Podcast appearances and mentions of Peter Fonda

Send us a textWas there ever an era in cinema history when the obsession with cars, speed, and outrunning the law—whether you were a hick, a hippie, or a world-weary urbanite—captured the public's imagination more than in the early 1970s?That's what we aim to ponder on this, our 106th episode of the Triple FFF as we discuss not one, not 2 but THREE POWERHOUSE mainstream movies of muscle-car mayhem starting with 1971's Vanishing Point directed by Richard C. Sarafian and starring Barry Newman, Dean Jagger, Paul Koslo, Severn Darden, Anthony James, John Amos and Cleavon Little followed by 1974's Gone in 60 Seconds directed and starring the great HB Halicki, his brother Ronald, Jerry Daugirda and Marion Busia. And topped off with Dirty Mary Crazy Larry also released in '74 directed by John Hough  and starring Peter Fonda, Susan George, Adam Roarke, Roddy McDowell and Vic Morrow. My guests this week are car and driving averse bookworm Roseanne Caputi, and the actor photographer and funnyman who heavily encouraged this topic of road burning revelry, a man who spent his formative years at the local theater in Ketchikan Alaska with a dazed smile on his face while his chin and his elbows rested on the seat in front him, whether there was someone seated in front of him or not, Gordon Alex Robertson. Before we cue the getaway banjo music and yell, “Kiss my Grits!” the synopses: Vanishing Point: Kowalski, a Nam vet and former cop turned delivery driver, is tasked with transporting a 1970 Dodge Challenger R/T from Colorado to San Francisco in record time. As he speeds across the desert, he becomes a symbol of freedom and defiance, pursued by a relentless law enforcement apparatus.  Gone in 60 Seconds (1974): Maindrian Pace, an insurance adjuster and skilled car thief, is tasked with stealing fifty cars in a single night for a dangerous crime syndicate. As the clock ticks down, Pace races against time and evades the law against every possible odd to complete his impressive score.    Dirty Mary, Crazy Larry: After pulling off a daring yet disturbing home invasion and supermarket safe heist, two over the hill race car drivers, Larry and Deke, hit the California highways while on the run from the law.  They run into a setback when they are joined by Mary, a feisty and free spirited former one night stand of Larry's. The oddball trio then speed through the CA Delta backroads pursued by the shrewd and determined Captain Everett Franklin.   Which film laps the others in the Grand Prix and stands as an indelible classic? Or do all three win the Championship? Find out! Watch the video podcast on Youtube: https://youtu.be/nSQrMM2TnsQ

In 1999, Steven Soderbergh pushed his formal experimentation even further, rendering a straightforward revenge tale into a modernist masterpiece. In the process, the Terence Stamp/Peter Fonda joint THE LIMEY examines memory, the legacy of the 60s, and inaugurates Sodie's obsession with Cockney rhyming slang. Film writer and podcaster and UK resident Elena Lazic joins us to get limey! Good ep! Further Reading: Getting Away With It by Steven Soderbergh Set the Night on Fire: L.A. in the Sixties by Mike Davis & Jon Wiener Hollywood from Vietnam to Reagan by Robin Wood "Steven Soderbergh on the 20th anniversary of The Limey" by David Fear Commentary track with Steven Soderbergh and Lem Dobbs Further Viewing: POINT BLANK (Boorman, 1967) POOR COW (Loach, 1967) EASY RIDER (Hopper, 1969) GET CARTER (Hodges, 1971) VANISHING POINT (Sarafian, 1971) APRÈS MAI (Assayas, 2012)   Follow Elena: https://x.com/elazic https://linktr.ee/Animus_mag Follow Pod Casty For Me: https://www.podcastyforme.com/ https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

Volume 43 of Brad & Mira For the Culture...remembering Mira's amazing grandmother, Rosanna Norton, who once bore witness to Peter Fonda's enormous genitalia...assessing the conclave and the new Chicago Pope..sifting through the toxic waste of the Diddy trial...Is Bill Belichick dating a Red Sparrow???...and more... *** Otherppl with Brad Listi is a weekly podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: Apple Podcasts, Spotify, YouTube, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch Twitter Instagram  TikTok Bluesky Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 135: The OFH boys pay special tribute to Canadian director Ted Kotcheff (1931-2025) with a look at his under-seen gem SPLIT IMAGE from 1982 starring Peter Fonda, Karen Allen & James Woods as an unhinged cult de-programmer! SIGN UP FOR THE OFH PATREON: https://www.patreon.com/onefuckinghour

Get your surf boards out folks cause we are Escaping L.A.!! If you have never seen the movie or the original Escape From New York, just imagine if Han Solo had to keep doing little side jobs for the emperor to get out of trouble before he met Luke. John Carpenter's Escape From L.A., 1996. Directed by John Carpenter. Written by John Carpenter, Debra Hill and Kurt Russell. Produced by Debra Hill and Kurt Russell. Starring: Kurt Russell, Stacy Keach, Steve Buscemi, Peter Fonda, Georges Corraface and Cliff Robertson.

Send us a textGraham explores why Steven Soderberg's new spy/com film, Black Bag starring Cate Blanchett and Michael Fassbender isn't as good as his best and most under-rated film, The Limey from 1999 which starred Terence Stamp and Peter Fonda.Charles and Graham chew over the headliners for this year's Glastonbury Festival.Graham takes a look at Grant McPhee's exceptional new book on Scottish indie bands, Postcards From Scotland.Graham relates how an enquiry from Fibbers owner Tim Hornsby led to uncovering Charm Magazine's spat in print with the early Kaiser Chiefs.Keep in touch with Two Big Egos in a Small Car:X@2big_egosFacebook@twobigegos

This special bonus episode of our season on the awesome movie year of 1969 features Dennis Hopper's Easy Rider. Directed and co-written by Dennis Hopper and starring Hopper, Peter Fonda, Jack Nicholson and Luke Askew, Easy Rider is a key touchstone of 1960s counterculture.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/easy-rider-1969), Gene Moskowitz in Variety (https://variety.com/1969/film/reviews/easy-rider-1117790631/), and Vincent Canby in The New York Times (https://www.nytimes.com/1969/07/15/archives/easy-rider-a-statement-on-film.html).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing

National Banana Bread day. Entertainment from 1956. Battle of the Alamo began, 1st mass Polio vaccines given, Marines raise US flag on Mt. Suribachi in WW2. Todays birthdays - Peter Fonda, Johnny Winter, Patricia Richardson, Howard Jones, Kristin Davis, Steve Holy, Emily Blunt, Dakota Fanning. John Keats died.Intro  - God did good - Dianna Corcoran  https://www.diannacorcoran.com/The banana bread song - The Hungry Food BandRock & Roll Waltz - Kay StarrI forgot to remember to forget - Elvis PresleyLords Prayer - Sister Janet MeadBirthdays - In da club - 50 Cent  https://www.50cent.com/ Highway 61 - Johnny WinterLife in one day - Howard JonesSex in the city TV themeBrand new girlfriend - Steve HolyExit - 98 Proof - Clay Rigdon   https://www.clayrigdon.com/countryundergroundradio.comcooolmedia.com

Bei Dréiaarbechten entstinn alt schonn emol gutt an déif Frëndschaften, esou och tëscht dem Dennis Hopper a Peter Fonda. Dernieft war den Hopper gefrot ginn, fir d'Regie vum Film Pretty Woman ze iwwerhuelen. Dee wollt en anert Enn vum Film hunn. Den Hollywood Reporter, Pit Biwer kennt d'Enn vum Film, wat esou ni ëmgesat gouf.

The future is not a nice place. That's what Peter Fonda wants to trip us out with. Idaho Transfer is this week's movie. Copyright Disclaimer under section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. Important links: Theme song: Strip Search by Neal Gardner. Visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠B&S About Movies⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and email me at bandsaboutmovies@gmail.com. Donate to our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ko-fi page⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

Wilson (Terrance Stamp) is a career criminal from the UK who is now coming to Los Angeles to find out about what happened to his daughter (Melissa George) who just tragically died in a car accident....or did she?  Her father suspects that she might have been murdered and he suspects that it might have been her wealthy, older record executive boyfriend Terry played by the late, great Peter Fonda.  Along the way, Wilson recruits help from two local actors (Lesley Ann Warren, Luis Guzman) who were friends with his daughter and what results is a stylish, somewhat time-bending revenge thriller which received significant acclaim when it was first released twenty five years ago.  Directed by Oscar-winning legend Steven Soderbergh at the peak of his powers (right between Out of Sight and Erin Brockovich), just tell them that WILSON IS COMING!!!!Host & Editor: Geoff GershonProducer: Marlene GershonSend us a texthttps://livingforthecinema.com/Facebook:https://www.facebook.com/Living-for-the-Cinema-Podcast-101167838847578Instagram:https://www.instagram.com/livingforthecinema/Letterboxd:https://letterboxd.com/Living4Cinema/

The First Part in Steven Soderbergh's Whistleblowers Trilogy A divisive audio commentary track for THE LIMEY provides some amusement for one host and despair for another as two children of the 90s try and define what the 60s icons Terence Stamp and Peter Fonda mean to them. The answer? Not much but this movie is cool. Catchup on last year's Movie Book Club from Quentin Tarantino's CINEMA SPECULATION! Follow along at our Patreon page as once a month (although sometimes more) we read AND watch films from 1999 for BEST MOVIE YEAR EVER by Brian Raftery! Threads/Twitter/Instagram/Facebook: @trilogyintheory Letterboxd: @projectingfilm & @webistrying Artwork by: @nasketchs Find out more at https://trilogyintheory.pinecast.co This podcast is powered by Pinecast.

Susanna Styron is a writer and director for film and television, and a documentary filmmaker.  Her latest documentary short, MY FATHER'S NAME, won Best Documentary in the NYWIFT Online Shorts Festival and is on the 2024-25 festival circuit. Susanna's documentary feature, OUT OF MY HEAD, premiered in MoMA's Doc Fortnight and went on to win Best International Documentary at the Melbourne Documentary Film festival. Her other documentary credits as writer/director include 9/12: FROM CHAOS TO COMMUNITY; IN OUR OWN BACKYARDS; and SUSPENDED SENTENCE. She began her documentary career as an Associate Producer for ABC-TV's documentary division, Close-Up. Susanna's debut feature, Sony Pictures' SHADRACH, starring Harvey Keitel and Andie MacDowell, which she directed and co-wrote, premiered at the Venice Film Festival and was one of New York Press critic Armond White's top ten films of the year. She wrote and directed for Sidney Lumet's TV series 100 CENTRE STREET, and wrote for Tom Fontana's BORGIA. Susanna co-authored several TV movies for Hallmark Hall of Fame and Lifetime, including an adaptation of Ann Tyler's BACK WHEN WE WERE GROWN-UPS, with Blythe Danner, Peter Fonda and Faye Dunaway; and the award-winning TAKING BACK OUR TOWN, with Ruby Dee. Her dramatic short, HOUSE OF TEETH, which she wrote and directed, won numerous awards on the festival circuit, aired on Shorts TV, and is available on Amazon. She directed several episodes of Brooke Adams and Lynne Adams' web series ALL DOWNHILL FROM HERE. Susanna's personal essays have appeared in The Yale Revue, SPIN Magazine, The New York Times and Real Simple magazine. She serves on the Special Projects Committee of the Directors Guild of America, and the Executive Committee of the Writers Guild Initiative, where she conducts writing workshops with underserved communities such as caregivers of wounded veterans, undocumented immigrant youth and LGBTQ asylum seekers, among others. She currently has projects in development with The Levinson/Fontana Company, Cinetic Media, and EP/Showrunner Carol Barbee.   Learn more about your ad choices. Visit podcastchoices.com/adchoices

I scored this green plastic 4 track cart of musical magic on Ebay, along with Bookends by Simon and Garfunkel, and The Live Adventures of Bloomfield and Kooper, Vol. 2. I needed to acquire an antiquated device through which to hear them because 4s don't play on standard 8 track machines, so I tracked down a heavy wooden Muntz cabinet model that still works. You have to change tracks with a lever - like an old time train conductor -  (which is thrilling enough by itself) - but when I heard Nick Gravenites crooning “Groovin' is Easy” and “Killin' Floor” through the jerry-rigged Jensen speakers,  I was hooked.  I read that Mike Bloomfield had first approached Mitch Ryder to be lead singer, but he didn't want to leave the Detroit Wheels.  Nick was a better fit. This writer of “Born in Chicago”, and collaborator with Janis Joplin and Quicksilver Messenger Service was the Chicago to California connection that made perfect sense at Monterrey, where the band debuted. I had forgotten that Bloomfield's mission when he first assembled his cracker jack, “All American” band, was to encompass more native musical genres and to seamlessly mix  R&B, Soul, Gospel, Country, and Pop. This was more than what the Chicago blues scene from which he emerged afforded. And, horns were part of the secret sauce. This happened at exactly the same time that Al Kooper's Blood, Sweat, and Tears were forming. Unfortunately, heroin, and other intrusions caused Bloomfield's band to break up before it could take its rightful crown, but this document, along with the soundtrack of Peter Fonda and Jack Nicholson's film, “The Trip” bears witness to their promised glory.  Groovin' may be easy, but Mike Bloomfield never did anything easy. 

Send us a textWhat happens when a movie starring Nicholas Cage as a flame-headed biker fails to ignite the same excitement as Iron Man? This week, we roll up our sleeves and prepare for Halloween with a critical and comedic review of the 2007 Marvel superhero film, Ghost Rider! We kick off by pitting Ghost Rider against Iron Man, marveling at the stark differences in quality, execution, and impact, even though they were released just a year apart. We take you through the wild ride of Johnny Blaze's transformation, the lackluster portrayal of the Devil by Peter Fonda, and the baffling transition from young Johnny Blaze to Nicholas Cage. Prepare for some laughs as we highlight the absurdity of the plot and characters—from Johnny's implausible discovery of his father's cancer diagnosis to the daredevil's contradictory stunts. We dive into the film's few redeeming moments, like the high-octane motorcycle jump set to "Crazy Train" and the introduction of quirky characters like Blaze's manager, Mac, and the rain-emerging villain, Dark Duskman. We don't shy away from scrutinizing the dynamics of the elemental villains and poking fun at the odd interactions and props, such as Johnny Blaze's “swagger stick” and Eva Mendez's character, Roxy's, lost demeanor.As we bring our analysis to a close, we take a hilarious journey through Johnny Blaze's epic motorcycle chases, his playful banter with Roxy, and the quirky elements Nicolas Cage brought to the character. We also touch on the film's chaotic narrative, jarring pacing, and the peculiar logic behind Ghost Rider's abilities. Finally, we wrap up with some chatter about TV shows and movies, including the latest season of "Only Murders in the Building" and the new "Borderlands" movie. Join us for a rollercoaster of an episode filled with critiques, laughter, and reflections on this chaotic Marvel film.Written Lovingly with AIBe our friend!Dan: @shakybaconTony: @tonydczechAnd follow the podcast on IG: @hatewatchingDAT

Send us a textWelcome back to The Fixate & Binge Podcast, for the fifth episode of a new 10-part series on underappreciated films.Spanning over 55 -years of forgotten Hollywood gems, join Joe for every episode as he discusses in depth his selection of five films that are worth rewatching or even viewing for the first time!Part 5 of this 10-part series the following films are reviewed:THE GAME (1997) Starring Michael Douglas, Sean Penn, Deborah Kara UngerFESTEN (or, THE CELEBRATION) (1998) Starring Ulrich Thomsen Henning Moritzen, Thomas Bo LarsenA SIMPLE PLAN (1998) Starring Bill Paxton, Billy Bob Thornton, Bridget Fonda, Brent BriscoeWAKING NED DEVINE (1998) Starring Ian Bannen, David Kelly, Fionnula FlanaganTHE LIMEY (1999) Starring Terence Stamp, Peter Fonda, Luis Guzman Joe also gives a **SPOILER-FREE** reaction to Tim Burton's latest -- BEETLEJUICE BEETLEJUICE -- and also offer his impressions on Netflix's latest viral actioned, REBEL RIDGE .The hope of this podcast is to engender a greater appreciation of the magic of moviemaking and how far the film industry has come in the preceding decades.Thank you for listening! You can find and follow us with the links below!Read our Letterboxd reviews at:https://letterboxd.com/fixateandbinge/Follow us on Instagram at:https://www.instagram.com/fixateandbingepodcast/?hl=msFollow us on TikTok at:https://www.tiktok.com/@fixateandbingepodcastVisit our website at:https://fixateandbingepodcast.com/

The Richard Syrett Show, September 4th, 2024 Subscribe to Richard's newsletter, "Why I Fight" Scroll to bottom of page https://sauga960am.ca/programs/the-richard-syrett-show Jagmeet Singh Ends Coalition Agreement with Trudeau Liberals https://tnc.news/2024/09/04/singh-ends-coalition-agreement-with-trudeau-liberals/ Blacklock's Reporter files notice of appeal in Blacklock's Reporter v. Attorney General. We challenge a May 31 ruling by a federal judge. The outcome will determine the viability of independent media in our country. https://www.blacklocks.ca/note-from-blacklocks-editor/   Department of Justice Senior Councel Refers to Media Critics as Animal Urine on Social Media https://www.blacklocks.ca/calls-media-critics-dog-urine/  Tom Korski Managing Editor of Blacklock's Reporter. SUBSCRIBE: https://www.blacklocks.ca THE CULT OF CLIMATE CHANGE Phoenix notched its 100th straight day of 100-degree temperatures, shattering a decades-old record https://fortune.com/2024/09/04/phoenix-arizona-100th-straight-day-100-degree-temperatures-shattering-records/   Meet the climate researcher who wants to take away your refrigerator https://www.dailymail.co.uk/news/article-13808351/nicola-twilley-advocating-refrigerator-effects-climate-change.html?ito=native_share_article-nativemenubutton   By 2050, there could be more than 40 million metric tonnes of blade waste piling up worldwide https://x.com/wideawake_media/status/1831301458878169541?s=48&t=NGJd8e_0uhcJwabvmjR-8g   Tony Heller – Geologist, weather historian, founder of https://realclimatescience.com German Politics Upended with Huge Gains for Right Wing Populist Party AfD in Regional Elections https://www.usatoday.com/story/news/world/2024/09/02/germany-elections-far-right-party-olaf-scholz/75044747007/ Trump Ahead in Michigan According to Left-Leaning Pollsters https://www.newsweek.com/donald-trump-kamala-harris-michigan-poll-1947138 How Trump Can Destroy Kamala in Upcoming Debate?  Dr. Steve Turley – The Patriot Professor, founder of Turley Talks, hugely popular YouTuber, over 1 million YouTube subscribers and 15 million podcast listeners, plus millions more across all platforms including Rumble and X. YouTube: https://www.youtube.com/@DrSteveTurleyTV https://fight.turleytalks.com THIS DAY IN ROCK HISTORHY In 1969, the film Easy Rider – starring Jack Nicholson, Peter Fonda, and Dennis Hopper – opened at The Classic in London, England. The movie's soundtrack featured songs from a handful of then-current acts, including The Band, The Jimi Hendrix Experience, and Steppenwolf.  In 1971, Paul and Linda McCartney topped the Billboard Hot 100 with “Uncle Albert / Admiral Halsey,” from their album Ram. Released only in the US, the track was McCartney's first solo No.1 in the country. Paul would later explain that “Uncle Albert” was based on his real-life uncle: “He's someone I recall fondly and when the song was coming, it was like a nostalgia thing.”  In 1976, The Bee Gees went to No.1 on the Billboard Hot 100 with “You Should Be Dancing.” The song, which would later be featured on the Saturday Night Fever soundtrack, launched the trio towards disco stardom and marked the group's first chart-topper to feature their trademark falsetto vocals. Jeremiah Tittle, Co-Host of “The 500 with Josh Adam Myers” podcast and CEO/Founder of Next Chapter Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

On our first episode of YOU DON'T KNOW DICK since Roger Corman's passing at the age of 98 we've brought in those ringers from The New World Pictures Podcast to help us discuss Corman's lasting legacy, their favorite Roger Corman-directed films, biker gangs and biker movies, and - specifically - 1966's THE WILD ANGELS featuring Peter Fonda, Nancy Sinatra, Bruce Dern, Diane Ladd and - OF COURSE- the legendary Dick Miller. Check it out, you squares!  The post Episode 237 – You Don't Know Dick – The Wild Angels (1966) (/w The New World Pictures Podcast) first appeared on Cinema Smorgasbord.

Welcome to Hit Rewind! In this episode, hosts Michael and Kersey dive into the groundbreaking films of the 1960s, right before the cinematic shift of the 70s. Join them as they explore how these revolutionary movies changed the landscape of cinema forever. The discussion begins with "Catch-22," a film that plays with narrative timelines and portrays the madness of war through the eyes of its disoriented protagonist. Michael and Kersey delve into its unique storytelling and powerful performances, particularly by Alan Arkin. Next up is "Bob & Carol & Ted & Alice," a character study that touches on infidelity and the 60s free love movement. The hosts debate its commitment to its themes and its portrayal of alternative lifestyles. The conversation then shifts to "Once Upon a Time in the West," which Michael hails as the greatest Western ever made. They discuss Sergio Leone's masterful direction, the film's epic scope, and standout performances by Charles Bronson and Henry Fonda. Finally, they analyze "Easy Rider," a film that not only defined a generation but also revolutionized independent filmmaking. The hosts reflect on its cultural significance, the timeless themes of freedom and persecution, and the iconic performances by Dennis Hopper, Peter Fonda, and Jack Nicholson. Tune in to this episode of Hit Rewind for an in-depth look at these revolutionary films of the 60s that continue to resonate today.

Illeana Douglas is an avid student of the movies who grew up, stepped onto a set and entered the big screen of her childhood dreams. Her deep interest and knowledge of film legend and lore provided her with rich opportunities to engage in meaningful conversations with the stars and directors she has imagined meeting and then encountered along her way, including Robert De Niro, Robert Redford, Marlon Brando, Martin Scorsese, Roddy McDowall and so many more. With a rare ability to manifest full circle moments, Illeana has  worked with the two men who upended her childhood, Dennis Hopper and Peter Fonda. Their film, Easy Rider had inspired her father to check out of suburbia and into a hippy commune, leaving the family financially destitute. That struggle is documented in her award winning book, I Blame Dennis Hopper. As a starving actress, Illeana went to work for a publicist in the Brill Building and years later, starred in Grace of My Heart, about songwriters in the Brill Building. Her fascination with her lost suburban childhood led her to write a new book called, Connecticut in the movies, WHILE she was restoring her own Connecticut dream home, a similar desperate effort to that of Mr. Blandings. Connecticut's role in American movies has evolved over the years from that of a metaphor for healthy, country living (Holiday Inn, Christmas In Connecticut) to a representation of our post-war suburban shift, the strain the work commute placed on marriages and the racism found in planned communities, (The Man In The Gray Flannel Suit, Gentleman's Agreement) to a depiction of dark suburbia and societal collapse (The Swimmer, The Ice Storm), to horror and dystopia. (The Stepford Wives, Let's Scare Jessica To Death.) Illeana, is a complete delight and she joins us for an in depth discussion about all things movie and many things Connecticut. Plus, elections are coming and Myra Page and Joan Bowman are here from Commit To Democracy to teach us how we can all do more than just vote this critical election season!Path Points of Interest:Illeana DouglasConnecticut in the Movies: From Dream Houses To Dark SuburbiaI Blame Dennis Hopper: And Other Stories Lived From In And Out Of The MoviesIlleana Douglas on WikipediaIlleana Douglas on IMDBIlleana Douglas on InstagramMedia Path PodcastGift of DemocracyCommit To DemocracyCommit To Democracy FacebookCommit To Democracy YoutubeCommit To Democracy Instagram

Lee closes out TMBDOS!'s tribute to the late Roger Corman by checking out his look into the world of LSD, "The Trip" (1967), with the help of friends and fellow podcasters Mike Wood and Vaughn Kuhlmeier. Written by Jack Nicholson, and starring Peter Fonda, Susan Strasberg, Bruce Dern & Dennis Hopper; does this snapshot of a very specific time and place in American culture still resonate today? Does it have anything deep to say or is it pure exploitation? Apart from the main film discussion there's a few wild asides, and the hosts also talk about what they've watched recently. Turn on, tune in, and drop out with us for an hour and a half. "The Trip" IMDB  Mike's podcast, The Grindbin.  Vaughn's Podcast, Motion Picture Massacre.  Featured Music: "A Little Head" & "Peter's Trip" by The Electric Flag.

Dana and Tom with guest Jesse Sertle (fellow group member of CineMadison, previously on Rounders, @jsertle on IG) discuss the dawn of New Hollywood with Easy Rider (1969): written and directed by Dennis Hopper with Peter Fonda and Terry Southern, starring Dennis Hopper, Peter Fonda, and Jack Nicholson.Plot Summary: In the open road odyssey "Easy Rider," director Dennis Hopper and co-star Peter Fonda embody the restless spirit of the 1960s counterculture. The film, a rambling narrative of freedom and disillusionment, follows two bikers, Wyatt (Fonda) and Billy (Hopper), as they traverse the American Southwest in search of authenticity and liberation. The duo's journey, funded by a drug deal, becomes a kaleidoscopic exploration of the American landscape, both physical and cultural.The film captures a nation in transition with its stunning cinematography showcasing the vastness of America while contrasting it with the intimacy of its small towns and eccentric characters. Along the way, they encounter an assortment of characters, from an idealistic lawyer (Jack Nicholson) to a communal farm, representing the era's ideological clashes."Easy Rider" is a raw, poignant, and at times, tragic reflection on the price of freedom and the inevitable collision between personal liberty and societal norms. The film's haunting ending, set against the backdrop of a sun setting over the American landscape, leaves viewers with a sense of loss and contemplation. Hopper's direction, combined with Fonda's cool demeanor and Nicholson's electrifying performance, creates a cinematic experience that is as timeless as it is of its time.Chapters:00:00 Introduction and Welcome01:59 Cast and Recognition04:12 Relationship(s) to Easy Rider07:54 What is Easy Rider About?10:47 The Impact of Easy Rider on the Film Industry15:50 The Relevance of Easy Rider Today17:40 Plot Summary for Easy Rider19:22 Did You Know?21:09 First Break23:20 Ask Dana Anything...25:16 Best Performance(s)34:08 Best/Favorite/Indelible Scene(s)42:05 Second Break43:01 In Memoriam43:36 Best/Funniest Lines44:54 The Stanley Rubric - Legacy50:28 The Stanley Rubric - Impact/Significance55:44 The Stanley Rubric - Novelty57:49 The Stanley Rubric - Classicness01:03:51 The Stanley Rubric - Rewatchability01:06:29 The Stanley Rubric - Audience Score and Final Total01:07:55 Remaining QuestionsYou can now follow us on Instagram, Twitter, YouTube, or TikTok (@gmoatpodcast) or find our Facebook page at Greatest Movie of All-Time Podcast.For the video version of this episode, go to: https://www.youtube.com/watch?v=RKeAEQ4qkUQFor more on the episode, go to: https://www.ronnyduncanstudios.com/post/easy-rider-1969-ft-jesse-sertleFor the entire rankings list so far, go to:Full Graded List - Greatest Movies of All-Time Keywords:Easy Rider, counterculture, new Hollywood, independent film, freedom, disillusionment, disconnect, Dennis Hopper, Jack Nicholson, Easy Rider, film industry, independent projects, studio system, 1970s culture, family, backgrounds, death row, Wisconsin prisons, novelty, classicness, rewatchability, ending,...

Greg Proops (Whose Line Is It Anyway?, Smartest Man In The World) returns to the show after far too long and we have so much catching up to do. We discuss how to properly answer the door, an historic pharmacy in LA, history, politics, a debonair possible Nazi Greg almost had lunch with, Peter Fonda, Peter Fonda's smile, sobriety and more. We also answered your questions and did round of Just Me Or Everyone and Podcast Pals Product Picks. Get yourself some new ARIYNBF merch here: https://alison-rosen-shop.fourthwall.com/ Subscribe to my Substack: http://alisonrosen.substack.com Products I Use/Recommend/Love: http://amazon.com/shop/alisonrosen Check us out on Patreon: http://patreon.com/alisonrosen   This episode is brought to you by: TROPICAL SMOOTHIE CAFE: Visit one of Tropical Smoothie Cafe's 1400+ locations or order online or through their app!  Buy Alison's Fifth Anniversary Edition Book (with new material): Tropical Attire Encouraged (and Other Phrases That Scare Me) https://amzn.to/2JuOqcd You probably need to buy the HGFY ringtone! https://www.alisonrosen.com/store/ Try Amazon Prime Free 30 Day Trial

Get your motor running, head out on the highway... wait, it's not that Peter Fonda-starring 1960s biker movie. No, The Wild Angels came a few years before Easy Rider, and it centres around a noticeably less idealistic group of bikers. Director Roger Corman hired several real Hell's Angels to serve as extras in his film, and if you're thinking there's probably stories from that set, you're right. Let Ben and Graham tell you them: from Corman's sociological reasons for having Bruce Dern's character work at an oil refinery to the unexpected trouble he had involving a coffin and the letter "Z". And, because this is Pop Screen, we also talk about the film's musical legacy - Primal Scream are certainly fans - and its female lead Nancy Sinatra. whose career teaches us many valuable lessons. Here's one: if you're accused of being a nepo baby, why not get together with an incredibly rum country singer and release a series of duets that are so unwholesome as to sound actively diseased? All this and Frank Sinatra's prog album, discussed herein! If you wanna get loaded, and have a good time, there are few better venues than our Patreon, where you'll find a bonus episode of this show every month, plus two exclusive podcasts concerning cult genre franchises (From the Video Aisle) and whatever we feel like (Last Night...). There's also written articles on cult Asian genre cinema, Red Dwarf and The X-Files, plus plenty more - follow us on Twitter, Instagram and Facebook to find out more. --- Send in a voice message: https://podcasters.spotify.com/pod/show/pop-screen/message

Filmmaker, Roger Corman, died peacefully at the ripe old age of 98, this May.  Known as "The Pope of Pop Cinema", or "The King of Schlock", he was a trailblazer in the world of independent film. Among the hundreds of features directed/produced by Corman, many were ultra-low budget films that later attracted a cult following, such as “The Little Shop of Horrors”  and “Death Race 2000”. Paradoxically, he simultaneously introduced prestige foreign “art” directors to US audiences like: Bergmann, Fellini, Kurasawa, Truffaut, and others. He gave many house hold name directors their first jobs: Francis Ford Coppola, Martin Scorsese, Ron Howard, Jonathan Demme, Peter Bogdanovich, Joe Dante, John Sayles, and James Cameron. He also launched actors like: Jack Nicolson, Robert DeNiro, Sylvestor Stallone, Peter Fonda, and many more. We dive deep into a remarkable 54 year career that dramatically shaped the global movie industry more than any other single person. If you wish to reach our regular guest, multi-year NYC Super Lawyer - David Grover, for personal injury, including auto accidents and slip and fall, free consultations: 212-527-7575, DGrover@GroverFen.com. Mention this podcast for additional discounts. Regular guest, Dylan Cuellar, is a co-host of the popular podcast “Unburied Books” with Kassia Oset, which interviews authors and examines book selections from the New York Review of Books. A teaser to their recent episode on JRR Tolkien's (often forgotten) prequel to the iconic “Lord of The Rings” trilogy, “Silmarillion” is here https://bit.ly/3RGkkar . Published posthumously by JRR's son, “Silmarillion”, describes the origin of the entire Tolkien universe. It also sets the stage for “The Hobbit” and LOR. It provided material for the very popular Amazon LOR TV series, “Rings of Power” (2022). Season 2 of the series will premiere in August 2024. Check out the “Unburied Books” pod to get up to speed on Tolkien and LOR! Please reach out to us at contact@scandalsheetpod.com or find us on Facebook as 'Scandal Sheet' or on X (formerly twitter) at @scandal_sheet. We'd love to hear from you.

Filmmaker, Roger Corman, died peacefully at the ripe old age of 98, this May. Known as "The Pope of Pop Cinema", or "The King of Schlock", he was a trailblazer in the world of independent film. Among the hundreds of features directed/produced by Corman, many were ultra-low budget films that later attracted a cult following, such as “The Little Shop of Horrors” and “Death Race 2000”. Paradoxically, he simultaneously introduced prestige foreign “art” directors to US audiences like: Bergmann, Fellini, Kurasawa, Truffaut, and others. He gave many house hold name directors their first jobs: Francis Ford Coppola, Martin Scorsese, Ron Howard, Jonathan Demme, Peter Bogdanovich, Joe Dante, John Sayles, and James Cameron. He also launched actors like: Jack Nicolson, Robert DeNiro, Sylvestor Stallone, Peter Fonda, and many more. We dive deep into a remarkable 54 year career that dramatically shaped the global movie industry more than any other single person. If you wish to reach multi-year NYC Super Lawyer - David Grover, for personal injury, including auto accidents and slip and fall, free consultations: 212-527-7575, DGrover@GroverFen.com. Mention this podcast for additional discounts. Regular guest, Dylan Cuellar, is a co-host of the popular podcast “Unburied Books” with Kassia Oset, which interviews authors and examines book selections from the New York Review of Books. A teaser to their recent episode on JRR Tolkien's (often forgotten) prequel to the iconic “Lord of The Rings” trilogy, “Silmarillion” is here https://bit.ly/3RGkkar . Published posthumously by JRR's son, “Silmarillion”, describes the origin of the entire Tolkien universe. It also sets the stage for “The Hobbit” and LOR. It provided material for the very popular Amazon LOR TV series, “Rings of Power” (2022). Season 2 of the series will premiere in August 2024. Check out the “Unburied Books” pod to get up to speed on Tolkien and LOR! Please reach out to us at contact@scandalsheetpod.com or find us on Facebook as 'Scandal Sheet' or on X (formerly twitter) at @scandal_sheet. We'd love to hear from you.

Lee is joined this episode by his friend and fellow podcaster Cameron Scott to continue the podcast's extended look at Roger Corman-directed and produced films. This time out its two wildly different motorcycle films, the first being Corman's own "The Wild Angels" (1966), starring Peter Fonda, Nancy Sinatra, Bruce Dern and Diane Ladd as members of a violent, and unfortunately, quite rapey chapter of the Hells Angels. Then it's David Carradine and Claudia Jennings in the spiritual sequel to "Deathrace 2000", "Deathsport" (1978), directed by Allan Arkush, Nicholas Niciphor & Corman. Does a production so troubled as this film had equal a terrible finished product, or are there joys to be had with such a jumbled mess? Put on your helmet, hop on our future bikes, and find out! "The Wild Angels" IMDB  "Deathsport" IMDB https://www.imdb.com/title/tt0077414/reference/ Check out Cameron's podcasts at Cinema Degeneration.  Check out Lee and Cameron's podcast with Gary Hill, Last Call at Torchy's, under the Butcher Shop family of podcasts.  Featured Music: "Midnight Rider" by The Hands of Time; "The Wild Angels Ballad (Dirge)" by Davie Allen and The Arrows; and music from "Deathsport" by Andy Stein.

Jeff Nichols ist einer der vielseitigsten und unterschätztesten Regisseure des amerikanischen Autorenkinos. In seinem neuen Meisterwerk „The Bikeriders“ nähert er sich einer Motorrad-Gang aus dem mittleren Westen, nach einem Fotobuch aus dem Jahr 1968. Austin Butler und Tom Hardy schlüpfen in schmutzige Jeansjacken. Pia Reiser und Christian Fuchs schwärmen über den Film und blicken auf das Genre der Bikermovies zurück. Da darf eine ausführliche Besprechung von „Easy Rider“ nicht fehlen. In dem ikonisch gewordenen Roadmovie rechnen Dennis Hopper und Peter Fonda 1969 mit dem konservativen Amerika ab, aber auch mit idealistischen Hippie-Utopien. Sendungshinweis: FM4 Film Podcast, 17.06. 2024, 0 Uhr.

In this chapter we find Corman looking for new cinematic ventures in the late 1960s, and working with a host of future movers and shakers such as Peter Fonda, Dennis Hopper, Peter Bogdanovich, Robert De Niro and Martin Scorsese!

Easy Rider, de Dennis Hopper, sort en 1969. Cʹest un film charnière qui porte loin le cheveu long et lʹutopie libertaire au bout des bécanes. Si on ne devait en garder quʹun, ce serait celui-ci. Car cʹest littéralement LE film qui va marquer des générations de spectateurs et de spectatrices, un film culte de la génération des contestataires de 1968, celui qui offre le reflet dʹune opposition aux prises avec la bêtise et le conservatisme. Film dur, véritable reflet dʹune époque, Easy Rider, propose une course au bonheur utopique qui finit tragiquement dans cette Amérique instable et violente de ces années 60. On lʹa peut-être oublié, mais lʹAmérique de ces années-là est dʹune dureté flagrante, où les oppositions se règlent souvent à coup dʹarmes à feu. Easy Rider est un road trip avec deux mecs, des motos, du sexe, de la came et des bouseux en pick-up qui les flinguent, selon les dires du réalisateur et scénariste Dennis Hopper. Mais Easy Rider cʹest surtout la figure mangée par la barbe de Dennis Hopper, acteur pétaradant fuit par les studios, cʹest également Peter Fonda sur sa moto aux couleurs du drapeau américain, cʹest Jack Nicholson, encore inconnu, incroyable en avocat alcoolo. Quand le film sort, il crée la polémique, mais il plait. Le public, les jeunes notamment, se ruent dans les salles, font leur la devise du film Sex & Drugs & Rock'n'roll. Pour tout dire, ce film authentiquement choquant, à petit budget (il a coûté 340 000 dollars), rapporte plus de 40 millions de dollars et devient culte. Tout comme sa bande-originale qui pioche dans les chansons et musiques du moment. La bande-son a eu autant, si ce nʹest plus, de succès que le film lui-même. Dès lors cʹest parti, le plein est fait, il est temps de tailler la route sur nos motos...accrochez-vous, la projection va commencer. REFERENCES Un documentaire sur Easy Rider : Shaking the Cage https://www.imdb.com/title/tt0345169/ Une interview de Dennis Hopper http://www.youtube.com/watch?v=gcywX-IlWhE HILL, Lee, " Easy Rider, BFI Modern Classics, 1996 PANGON, Gérard et SAADA, Nicolas, " 1969 Easy Rider ", mille et une nuit, Arte Editions, 1997 Dennis Hopper Interview à la cinémathèque française http://www.dailymotion.com/video/x74ogy_dennis-hopper-the-new-hollywood-int_shortfilms Dennis Hopper (réalisateur et acteur) et Peter Fonda (acteur) sont au festival de Cannes avec leur film en 1969 https://www.ina.fr/ina-eclaire-actu/video/i04342585/dennis-hopper-et-peter-fonda-au-sujet-de-easy-rider

Join America's Roundtable (https://americasrt.com/) radio co-hosts Natasha Srdoc and Joel Anand Samy with Ronald Maxwell, one America's most noted independent film writers and directors. Ron Maxwell's most known and revered productions mirror his life-long interest in American history. He was the writer and director of epic war drama films: "Gettysburg," starring Martin Sheen, Jeff Daniels, and Sam Elliott (New Line Cinema, 1993); “Gods and Generals,” starring Robert Duvall, Steven Lang, and Jeff Daniels (Warner Bros. Entertainment, 2003); and "Copperhead," starring Peter Fonda, Billy Campbell, Lucy Boynton, Geneviève Steele, Angus Macfadyen, and François Arnaud (2013). He is a member of the Writers Guild of America, the Directors Guild of America, and the Academy of Motion Picture Arts and Sciences. Ronald Maxwell is the son of a World War II veteran. Ron's father John F. Maxwell served in the U.S. Army Air Corps in North Africa, Sicily, Italy and Germany. On June 6, 1944 his unit had arrived in the newly liberated Rome. americasrt.com (https://americasrt.com/) https://ileaderssummit.org/ | https://jerusalemleaderssummit.com/ America's Roundtable on Apple Podcasts: https://podcasts.apple.com/us/podcast/americas-roundtable/id1518878472 Twitter: @ileaderssummit @AmericasRT @NatashaSrdoc @JoelAnandUSA @supertalk America's Roundtable is co-hosted by Natasha Srdoc and Joel Anand Samy, co-founders of International Leaders Summit and the Jerusalem Leaders Summit. America's Roundtable (https://americasrt.com/) radio program - a strategic initiative of International Leaders Summit, focuses on America's economy, healthcare reform, rule of law, security and trade, and its strategic partnership with rule of law nations around the world. The radio program features high-ranking US administration officials, cabinet members, members of Congress, state government officials, distinguished diplomats, business and media leaders and influential thinkers from around the world. Tune into America's Roundtable Radio program from Washington, DC via live streaming on Saturday mornings via 65 radio stations at 7:30 A.M. (ET) on Lanser Broadcasting Corporation covering the Michigan and the Midwest market, and at 7:30 A.M. (CT) on SuperTalk Mississippi — SuperTalk.FM reaching listeners in every county within the State of Mississippi, and neighboring states in the South including Alabama, Arkansas, Louisiana and Tennessee. Listen to America's Roundtable on digital platforms including Apple Podcasts, Spotify, Amazon, Google and other key online platforms. Listen live, Saturdays at 7:30 A.M. (CT) on SuperTalk | https://www.supertalk.fm

Send us a Text Message.Earlier this month, we lost one of the most significant figures in the history of the film industry, Roger Corman. Corman's illustrious career can't be narrowed down to three films, so we opted to pick three of his directorial films that helped shape American pop culture. We start with his 1960 gem Little Shop Of Horrors, the gold standard for independent filmmaking and the movie that sparked a decades-long running Broadway play and a very successful musical adaptation. Corman's passion project, The Intruder, highlights the filmmaker's deeper side as an artist. The raw and horrific film stands out against most of his directorial and production work. Lastly, we take a trip to the late 1960s with The Trip - a film about… well, tripping. Tripping balls, in fact! LSD! Join us as Nick and Bella discuss Corman's brilliant work and wildly entertaining stories about the making of these films. Support the Show.Sign up for our Patreon for exclusive Bonus Content.Follow the podcast on Instagram @gimmethreepodcastYou can keep up with Bella on Instagram @portraitofacinephile or Letterboxd You can keep up with Nick: on Instagram @nicholasybarra, on Twitter (X) @nicholaspybarra, or on LetterboxdShout out to contributor and producer Sonja Mereu. A special thanks to Anselm Kennedy for creating Gimme Three's theme music. And another special thanks to Zoe Baumann for creating our exceptional cover art.

Sugar is sweet, where's the beef, some hair-raising hairpieces, my man Alfredo ("you broke my heart, Fredo") Pacino, the sleazy and ugly Phil Spector, some John Travolta, a little Frank Sinatra, the hair and genius that was Burt Reynolds, big-screen boobs, Yul Brenner and I, a Peter Fonda moment, Matthew McConaughey and a miracle hair potion, a great Telly Savalas memory, and yes, some quotes. Stuff mentioned: Sugar (2024), Serpico (1973), Dog Day Afternoon (1975), The Dog (2013), Elton John "Amoreena" (1970), Scarface (1983), Sea of Love (1989), Frankie and Johnny (1991), Terence McNally Frankie and Johnnie in the Clair de Lune (1987), 88 Minutes (2007), Spector (2022), The Beatles Let it Be (1970), George Harrison All Things Must Pass (1970), The Ramones End of the Century (1980), George Harrison "What is Life" (1970), Grease (1978), Perfect (1985), Get Shorty (1985), Swordfish (2001), Tony Rome (1967), The First Deadly Sin (1980), Hustle (1975), The Cannonball Run (1981), S.O.B. (1981), Dallas (1978-1991), The Sound of Music (1965), Sharky's Machine (1981), Stick (1985), Heat (1986), Butch Cassidy and the Sundance Kid (1969), All the President's Men (1976), Malone (1987), Rent-a-Cop (1987), Westworld (2016-2022), Westworld (1973), Stephen Malkmus Stephen Malkmus (2001), Stephen Malkmus "Jo-Jo's Jacket" (2001), Futureworld (1976), Ghost Rider (2007), Birdy (1984), The Munsters (1964-1966), and Kojak (1973-1978).

Sam Clements is curating a fictional film festival. He'll accept almost anything, but the movie must not be longer than 90 minutes. This is the 90 Minutes Or Less Film Fest podcast. In episode 121 Sam is joined by Paul Scheer, comedian, actor, podcast host of Unspooled and How Did This Get Made?, and author of new book Joyful Recollections of Trauma. Paul has chosen The Limey (89 mins) directed by Steven Soderbergh. The 1999 film stars Terence Stamp, Lesley Ann Warren, Luis Guzmán, and Peter Fonda.  Sam and Paul discuss how Sarah Flack's editing radically changed The Limey, Soderbergh's prolific career, and why cinemas should bring back the intermission. Paul's book Joyful Recollections of Trauma is released in the UK on 23 May 2024, and can be pre-ordered now. Thank you for downloading. We'll be back in a couple of weeks! Rate and subscribe on Apple Podcasts: https://tinyurl.com/90minfilm If you enjoy the show, please subscribe, rate, review and share with your friends. We're an independent podcast and every recommendation helps - thank you!  You can also show your support for the podcast by leaving us a top at our Ko-fi page: https://ko-fi.com/90minfilmfest Website: 90minfilmfest.com Tweet: @90MinFilmFest  Instagram: @90MinFilmFest  We are a proud member of the Stripped Media Network. Hosted and produced by @sam_clements. Edited and produced by Louise Owen. Guest star @paulscheer. Additional editing and sound mixing by @lukemakestweets. Music by @martinaustwick. Artwork by @samgilbey. 

Filmmaker Roger Corman, the "King of the B" movies, died last week at the age of 98. He made hundreds of films, such cult classics as Little Shop of Horrors, A Bucket of Blood, House of Usher, The Last Woman on Earth, and The Cry Baby Killer. We feature our 1990 interview with him, and with those whose careers he helped launch – including actors Peter Fonda and Bruce Dern, as well as directors James Cameron, Martin Scorsese, and Jonathan Demme. And our critic at large, John Powers, has an appreciation.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

“Usted no hace cine con lo que aspira, usted hace cine con lo que tiene”. Ese era el postulado de Roger Corman, una de las figuras más influyentes y memorables en la historia de Hollywood, fallecido a los 98 años. Figura clave en los inicios de actores, técnicos y directores como Peter Fonda, Jack Nicholson, James Cameron, Peter Bogdanovich o Francis Coppola. Esta es su historia.

This month The Johns hop into their RV and go on a road trip to watch Race With The Devil.  Will this 70s craziness rock out?  Or will it send us directly to hell?  Listen and find out!

Today, Dr. Drew begins the show by talking about the recent protests on school campuses, Adam then explains the devolution of being a rebel, and Peter Fonda wants to party! Plus, the dangers of women against having children, what that means for our future, and it's time to throw in the flag on the delusional society. Please Support Our Sponsor: Shopify.com/adamanddrew

How does a clean cut kid from Kansas end up wandering naked in the jungle? Cocaine is a hell of a drug. This week on The Dust Up, Al and Jay break down Dennis Hopper's feuds with Peter Fonda and Rip Torn and talk about stolen writing credits, Al's fight while in line for empanadas, and Jay's love of the movie "Water World." Special thanks to Mark Rozzo whose book "Everybody Thought We Were Crazy: Dennis Hopper, Brooke Hayward, and 1960s Los Angeles" is available wherever you get books. Maybe you can get it from Jay's local bookstore Barnes & Noble. https://us.amazon.com/Everybody-Thought-We-Were-Crazy/dp/0062939971/ref=tmm_hrd_swatch_0?_encoding=UTF8 Don't forget to Rate, Review, and Subscribe. Give us a five star review. It helps with the algorithm. We don't know how. Follow us on social media. Instagram: https://www.instagram.com/thedustuppodcast/YouTube: https://www.youtube.com/@TheDustUpTikTok: https://www.tiktok.com/@thedustupX/Twitter: https://twitter.com/TheDustUpPod@almadrigal and @almadrigalcomedy on TikTok@jaylarsoncomedy everywhere Do you have a dust up in your life? Have you ever lost it on someone? You know you have. Call in, leave a message and we'll help settle your dust ups. Call us at (925) 727-3878‬ that's 925-727-DUSTOr write in at thedustuppod@gmail.com Theme song provided by @TheFlattrakkers

WIPE THAT SMIRK OFF YOUR FACE! Because we've got a head-to-head showdown between two high stakes thrillers made by two masterful American auteurs. Representing the arthouse, it's Steven Soderbergh's The Limey starring Terence Stamp, Peter Fonda, Lesley Ann Warren, and Luis Guzmán. Representing the mainstream, it's Michael Mann's The Insider, nominated for 7 Academy Awards and starring Al Pacino, Russell Crowe, Christopher Plummer, and Diane Venora. Which will win and enter the canon? Which will lose and we can never watch it again for the rest of our lives??? NEXT WEEK: Fight Club vs Star Wars: Episode 1 - The Phantom Menace FOLLOW US ON LETTERBOXD: https://letterboxd.com/weekendbergman/lists https://letterboxd.com/breyyyattt https://letterboxd.com/joecilio FOLLOW WEEKEND AT BERGMAN'S https://twitter.com/weekendbergman https://www.instagram.com/weekendbergman https://www.tiktok.com/@weekendbergman FOLLOW MOVIES BABYYYYY: https://www.youtube.com/@moviesbabyyyyy https://www.instagram.com/moviesbabyyyyy https://twitter.com/moviesbabyyyyy https://www.tiktok.com/@moviesbabyyyyy BUY MERCH https://www.teepublic.com/user/weekend-at-bergmans WEEKEND AT BERGMAN'S IS A FOREVER DOG PODCAST https://foreverdogpodcasts.com/podcasts/weekend-at-bergmans Learn more about your ad choices. Visit megaphone.fm/adchoices

GGACP marks the birthday of director, producer and counterculture hero Peter Fonda (b. February 23) by revisiting this fascinating interview (one of GIlbert's favorites) from 2018. In this episode, Peter talks about the making of "Easy Rider," his complex relationship with his legendary dad and his encounters with Salvador Dali, Jean Cocteau, John Lennon and Ernest Hemingway (among others). Also, Dennis Hopper holds a grudge, Elvis straps on a helmet, Jack Nicholson steps in for Rip Torn and Victor Mature gives a bravura performance. PLUS: The genius of Terry Southern! In praise of Christopher Plummer! The Monkees foot the bill! The Beatles find inspiration! And Peter names his favorite Henry Fonda movie! Learn more about your ad choices. Visit megaphone.fm/adchoices

Steve & Izzy continue Road Kill Month, a month-long celebration of murderous movies on the highways and byways, as they discuss 1975's "Race with the Devil" starring Peter Fonda, Warren Oates, Loretta Swit, RG Armstrong & more!!! Does this movie star Dobber from Coach? How does this movie fit into the Manos Cinematic Universe? Are motorcyclists still environmentalists if they are transporting them in an RV? Haulin' Ass or Hall 'n' Oates?!? Let's find out!!! So kick back, grab a few brews, stick to the main roads, and enjoy!!! This episode is proudly sponsored by Untidy Venus, your one-stop shop for incredible art & gift ideas at UntidyVenus.Etsy.com and be sure to follow her on Twitter, Facebook, Instagram & Patreon at @UntidyVenus for all of her awesomeness!!! Try it today!!! Twitter - www.twitter.com/eilfmovies Facebook - www.facebook.com/eilfmovies Etsy - www.untidyvenus.etsy.com TeePublic - www.teepublic.com/user/untidyvenus Learn more about your ad choices. Visit megaphone.fm/adchoices

For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the second part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on "With a Little Help From My Friends" by Joe Cocker. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud at this time as there are too many Byrds songs in the first chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. The International Submarine Band's only album can be bought from Bandcamp. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin, a brief warning – this episode contains brief mentions of suicide, alcoholism, abortion, and heroin addiction, and a brief excerpt of chanting of a Nazi slogan. If you find those subjects upsetting, you may want to read the transcript rather than listen. As we heard in the last part, in October 1967 Roger McGuinn and Chris Hillman fired David Crosby from the Byrds. It was only many years later, in a conversation with the group's ex-manager Jim Dickson, that Crosby realised that they didn't actually have a legal right to fire him -- the Byrds had no partnership agreement, and according to Dickson given that the original group had been Crosby, McGuinn, and Gene Clark, it would have been possible for Crosby and McGuinn to fire Hillman, but not for McGuinn and Hillman to fire Crosby. But Crosby was unaware of this at the time, and accepted a pay-off, with which he bought a boat and sailed to Florida, where saw a Canadian singer-songwriter performing live: [Excerpt: Joni Mitchell, "Both Sides Now (live Ann Arbor, MI, 27/10/67)"] We'll find out what happened when David Crosby brought Joni Mitchell back to California in a future story... With Crosby gone, the group had a major problem. They were known for two things -- their jangly twelve-string guitar and their soaring harmonies. They still had the twelve-string, even in their new slimmed-down trio format, but they only had two of their four vocalists -- and while McGuinn had sung lead on most of their hits, the sound of the Byrds' harmony had been defined by Crosby on the high harmonies and Gene Clark's baritone. There was an obvious solution available, of course, and they took it. Gene Clark had quit the Byrds in large part because of his conflicts with David Crosby, and had remained friendly with the others. Clark's solo album had featured Chris Hillman and Michael Clarke, and had been produced by Gary Usher who was now producing the Byrds' records, and it had been a flop and he was at a loose end. After recording the Gene Clark with the Gosdin Brothers album, Clark had started work with Curt Boettcher, a singer-songwriter-producer who had produced hits for Tommy Roe and the Association, and who was currently working with Gary Usher. Boettcher produced two tracks for Clark, but they went unreleased: [Excerpt: Gene Clark, "Only Colombe"] That had been intended as the start of sessions for an album, but Clark had been dropped by Columbia rather than getting to record a second album. He had put together a touring band with guitarist Clarence White, bass player John York, and session drummer "Fast" Eddie Hoh, but hadn't played many gigs, and while he'd been demoing songs for a possible second solo album he didn't have a record deal to use them on. Chisa Records, a label co-owned by Larry Spector, Peter Fonda, and Hugh Masekela, had put out some promo copies of one track, "Yesterday, Am I Right", but hadn't released it properly: [Excerpt: Gene Clark, "Yesterday, Am I Right"] Clark, like the Byrds, had left Dickson and Tickner's management organisation and signed with Larry Spector, and Spector was wanting to make the most of his artists -- and things were very different for the Byrds now. Clark had had three main problems with being in the Byrds -- ego clashes with David Crosby, the stresses of being a pop star with a screaming teenage fanbase, and his fear of flying. Clark had really wanted to have the same kind of role in the Byrds that Brian Wilson had with the Beach Boys -- appear on the records, write songs, do TV appearances, maybe play local club gigs, but not go on tour playing to screaming fans. But now David Crosby was out of the group and there were no screaming fans any more -- the Byrds weren't having the kind of pop hits they'd had a few years earlier and were now playing to the hippie audience. Clark promised that with everything else being different, he could cope with the idea of flying -- if necessary he'd just take tranquilisers or get so drunk he passed out. So Gene Clark rejoined the Byrds. According to some sources he sang on their next single, "Goin' Back," though I don't hear his voice in the mix: [Excerpt: The Byrds, "Goin' Back"] According to McGuinn, Clark was also an uncredited co-writer on one song on the album they were recording, "Get to You". But before sessions had gone very far, the group went on tour. They appeared on the Smothers Brothers TV show, miming their new single and "Mr. Spaceman", and Clark seemed in good spirits, but on the tour of the Midwest that followed, according to their road manager of the time, Clark was terrified, singing flat and playing badly, and his guitar and vocal mic were left out of the mix. And then it came time to get on a plane, and Clark's old fears came back, and he refused to fly from Minneapolis to New York with the rest of the group, instead getting a train back to LA. And that was the end of Clark's second stint in the Byrds. For the moment, the Byrds decided they were going to continue as a trio on stage and a duo in the studio -- though Michael Clarke did make an occasional return to the sessions as they progressed. But of course, McGuinn and Hillman couldn't record an album entirely by themselves. They did have several tracks in a semi-completed state still featuring Crosby, but they needed people to fill his vocal and instrumental roles on the remaining tracks. For the vocals, Usher brought in his friend and collaborator Curt Boettcher, with whom he was also working at the time in a band called Sagittarius: [Excerpt: Sagittarius, "Another Time"] Boettcher was a skilled harmony vocalist -- according to Usher, he was one of the few vocal arrangers that Brian Wilson looked up to, and Jerry Yester had said of the Modern Folk Quartet that “the only vocals that competed with us back then was Curt Boettcher's group” -- and he was more than capable of filling Crosby's vocal gap, but there was never any real camaraderie between him and the Byrds. He particularly disliked McGuinn, who he said "was just such a poker face. He never let you know where you stood. There was never any lightness," and he said of the sessions as a whole "I was really thrilled to be working with The Byrds, and, at the same time, I was glad when it was all over. There was just no fun, and they were such weird guys to work with. They really freaked me out!" Someone else who Usher brought in, who seems to have made a better impression, was Red Rhodes: [Excerpt: Red Rhodes, "Red's Ride"] Rhodes was a pedal steel player, and one of the few people to make a career on the instrument outside pure country music, which is the genre with which the instrument is usually identified. Rhodes was a country player, but he was the country pedal steel player of choice for musicians from the pop and folk-rock worlds. He worked with Usher and Boettcher on albums by Sagittarius and the Millennium, and played on records by Cass Elliot, Carole King, the Beach Boys, and the Carpenters, among many others -- though he would be best known for his longstanding association with Michael Nesmith of the Monkees, playing on most of Nesmith's recordings from 1968 through 1992. Someone else who was associated with the Monkees was Moog player Paul Beaver, who we talked about in the episode on "Hey Jude", and who had recently played on the Monkees' Pisces, Aquarius, Capricorn & Jones, Ltd album: [Excerpt: The Monkees, "Star Collector"] And the fourth person brought in to help the group out was someone who was already familiar to them. Clarence White was, like Red Rhodes, from the country world -- he'd started out in a bluegrass group called the Kentucky Colonels: [Excerpt: The Kentucky Colonels, "Clinch Mountain Backstep"] But White had gone electric and formed one of the first country-rock bands, a group named Nashville West, as well as becoming a popular session player. He had already played on a couple of tracks on Younger Than Yesterday, as well as playing with Hillman and Michael Clarke on Gene Clark's album with the Gosdin Brothers and being part of Clark's touring band with John York and "Fast" Eddie Hoh. The album that the group put together with these session players was a triumph of sequencing and production. Usher had recently been keen on the idea of crossfading tracks into each other, as the Beatles had on Sgt Pepper, and had done the same on the two Chad and Jeremy albums he produced. By clever crossfading and mixing, Usher managed to create something that had the feel of being a continuous piece, despite being the product of several very different creative minds, with Usher's pop sensibility and arrangement ideas being the glue that held everything together. McGuinn was interested in sonic experimentation. He, more than any of the others, seems to have been the one who was most pushing for them to use the Moog, and he continued his interest in science fiction, with a song, "Space Odyssey", inspired by the Arthur C. Clarke short story "The Sentinel", which was also the inspiration for the then-forthcoming film 2001: A Space Odyssey: [Excerpt: The Byrds, "Space Odyssey"] Then there was Chris Hillman, who was coming up with country material like "Old John Robertson": [Excerpt: The Byrds, "Old John Robertson"] And finally there was David Crosby. Even though he'd been fired from the group, both McGuinn and Hillman didn't see any problem with using the songs he had already contributed. Three of the album's eleven songs are compositions that are primarily by Crosby, though they're all co-credited to either Hillman or both Hillman and McGuinn. Two of those songs are largely unchanged from Crosby's original vision, just finished off by the rest of the group after his departure, but one song is rather different: [Excerpt: The Byrds, "Draft Morning"] "Draft Morning" was a song that was important to Crosby, and was about his -- and the group's -- feelings about the draft and the ongoing Vietnam War. It was a song that had meant a lot to him, and he'd been part of the recording for the backing track. But when it came to doing the final vocals, McGuinn and Hillman had a problem -- they couldn't remember all the words to the song, and obviously there was no way they were going to get Crosby to give them the original lyrics. So they rewrote it, coming up with new lyrics where they couldn't remember the originals: [Excerpt: The Byrds, "Draft Morning"] But there was one other contribution to the track that was very distinctively the work of Usher. Gary Usher had a predilection at this point for putting musique concrete sections in otherwise straightforward pop songs. He'd done it with "Fakin' It" by Simon and Garfunkel, on which he did uncredited production work, and did it so often that it became something of a signature of records on Columbia in 1967 and 68, even being copied by his friend Jim Guercio on "Susan" by the Buckinghams. Usher had done this, in particular, on the first two singles by Sagittarius, his project with Curt Boettcher. In particular, the second Sagittarius single, "Hotel Indiscreet", had had a very jarring section (and a warning here, this contains some brief chanting of a Nazi slogan): [Excerpt: Sagittarius, "Hotel Indiscreet"] That was the work of a comedy group that Usher had discovered and signed to Columbia. The Firesign Theatre were so named because, like Usher, they were all interested in astrology, and they were all "fire signs".  Usher was working on their first album, Waiting For The Electrician or Someone Like Him, at the same time as he was working on the Byrds album: [Excerpt: The Firesign Theatre, "W.C. Fields Forever"] And he decided to bring in the Firesigns to contribute to "Draft Morning": [Excerpt: The Byrds, "Draft Morning"] Crosby was, understandably, apoplectic when he heard the released version of "Draft Morning". As far as Hillman and McGuinn were concerned, it was always a Byrds song, and just because Crosby had left the band didn't mean they couldn't use material he'd written for the Byrds. Crosby took a different view, saying later "It was one of the sleaziest things they ever did. I had an entire song finished. They just casually rewrote it and decided to take half the credit. How's that? Without even asking me. I had a finished song, entirely mine. I left. They did the song anyway. They rewrote it and put it in their names. And mine was better. They just took it because they didn't have enough songs." What didn't help was that the publicity around the album, titled The Notorious Byrd Brothers minimised Crosby's contributions. Crosby is on five of the eleven tracks -- as he said later, "I'm all over that album, they just didn't give me credit. I played, I sang, I wrote, I even played bass on one track, and they tried to make out that I wasn't even on it, that they could be that good without me." But the album, like earlier Byrds albums, didn't have credits saying who played what, and the cover only featured McGuinn, Hillman, and Michael Clarke in the photo -- along with a horse, which Crosby took as another insult, as representing him. Though as McGuinn said, "If we had intended to do that, we would have turned the horse around". Even though Michael Clarke was featured on the cover, and even owned the horse that took Crosby's place, by the time the album came out he too had been fired. Unlike Crosby, he went quietly and didn't even ask for any money. According to McGuinn, he was increasingly uninterested in being in the band -- suffering from depression, and missing the teenage girls who had been the group's fans a year or two earlier. He gladly stopped being a Byrd, and went off to work in a hotel instead. In his place came Hillman's cousin, Kevin Kelley, fresh out of a band called the Rising Sons: [Excerpt: The Rising Sons, "Take a Giant Step"] We've mentioned the Rising Sons briefly in some previous episodes, but they were one of the earliest LA folk-rock bands, and had been tipped to go on to greater things -- and indeed, many of them did, though not as part of the Rising Sons. Jesse Lee Kincaid, the least well-known of the band, only went on to release a couple of singles and never had much success, but his songs were picked up by other acts -- his "Baby You Come Rollin' 'Cross My Mind" was a minor hit for the Peppermint Trolley Company: [Excerpt: The Peppermint Trolley Company, "Baby You Come Rollin' 'Cross My Mind"] And Harry Nilsson recorded Kincaid's "She Sang Hymns Out of Tune": [Excerpt: Harry Nilsson, "She Sang Hymns Out of Tune"] But Kincaid was the least successful of the band members, and most of the other members are going to come up in future episodes of the podcast -- bass player Gary Marker played for a while with Captain Beefheart and the Magic Band, lead singer Taj Mahal is one of the most respected blues singers of the last sixty years, original drummer Ed Cassidy went on to form the progressive rock band Spirit, and lead guitarist Ry Cooder went on to become one of the most important guitarists in rock music. Kelley had been the last to join the Rising Sons, replacing Cassidy but he was in the band by the time they released their one single, a version of Rev. Gary Davis' "Candy Man" produced by Terry Melcher, with Kincaid on lead vocals: [Excerpt: The Rising Sons, "Candy Man"] That hadn't been a success, and the group's attempt at a follow-up, the Goffin and King song "Take a Giant Step", which we heard earlier, was blocked from release by Columbia as being too druggy -- though there were no complaints when the Monkees released their version as the B-side to "Last Train to Clarksville". The Rising Sons, despite being hugely popular as a live act, fell apart without ever releasing a second single. According to Marker, Mahal realised that he would be better off as a solo artist, but also Columbia didn't know how to market a white group with a Black lead vocalist (leading to Kincaid singing lead on their one released single, and producer Terry Melcher trying to get Mahal to sing more like a white singer on "Take a Giant Step"), and some in the band thought that Terry Melcher was deliberately trying to sink their career because they refused to sign to his publishing company. After the band split up, Marker and Kelley had formed a band called Fusion, which Byrds biographer Johnny Rogan describes as being a jazz-fusion band, presumably because of their name. Listening to the one album the group recorded, it is in fact more blues-rock, very like the music Marker made with the Rising Sons and Captain Beefheart. But Kelley's not on that album, because before it was recorded he was approached by his cousin Chris Hillman and asked to join the Byrds. At the time, Fusion were doing so badly that Kelley had to work a day job in a clothes shop, so he was eager to join a band with a string of hits who were just about to conclude a lucrative renegotiation of their record contract -- a renegotiation which may have played a part in McGuinn and Hillman firing Crosby and Clarke, as they were now the only members on the new contracts. The choice of Kelley made a lot of sense. He was mostly just chosen because he was someone they knew and they needed a drummer in a hurry -- they needed someone new to promote The Notorious Byrd Brothers and didn't have time to go through a laborious process of audtioning, and so just choosing Hillman's cousin made sense, but Kelley also had a very strong, high voice, and so he could fill in the harmony parts that Crosby had sung, stopping the new power-trio version of the band from being *too* thin-sounding in comparison to the five-man band they'd been not that much earlier. The Notorious Byrd Brothers was not a commercial success -- it didn't even make the top forty in the US, though it did in the UK -- to the presumed chagrin of Columbia, who'd just paid a substantial amount of money for this band who were getting less successful by the day. But it was, though, a gigantic critical success, and is generally regarded as the group's creative pinnacle. Robert Christgau, for example, talked about how LA rather than San Francisco was where the truly interesting music was coming from, and gave guarded praise to Captain Beefheart, Van Dyke Parks, and the Fifth Dimension (the vocal group, not the Byrds album) but talked about three albums as being truly great -- the Beach Boys' Wild Honey, Love's Forever Changes, and The Notorious Byrd Brothers. (He also, incidentally, talked about how the two songs that Crosby's new discovery Joni Mitchell had contributed to a Judy Collins album were much better than most folk music, and how he could hardly wait for her first album to come out). And that, more or less, was the critical consensus about The Notorious Byrd Brothers -- that it was, in Christgau's words "simply the best album the Byrds have ever recorded" and that "Gone are the weak--usually folky--tracks that have always flawed their work." McGuinn, though, thought that the album wasn't yet what he wanted. He had become particularly excited by the potentials of the Moog synthesiser -- an instrument that Gary Usher also loved -- during the recording of the album, and had spent a lot of time experimenting with it, coming up with tracks like the then-unreleased "Moog Raga": [Excerpt: The Byrds, "Moog Raga"] And McGuinn had a concept for the next Byrds album -- a concept he was very excited about. It was going to be nothing less than a grand sweeping history of American popular music. It was going to be a double album -- the new contract said that they should deliver two albums a year to Columbia, so a double album made sense -- and it would start with Appalachian folk music, go through country, jazz, and R&B, through the folk-rock music the Byrds had previously been known for, and into Moog experimentation. But to do this, the Byrds needed a keyboard player. Not only would a keyboard player help them fill out their thin onstage sound, if they got a jazz keyboardist, then they could cover the jazz material in McGuinn's concept album idea as well. So they went out and looked for a jazz piano player, and happily Larry Spector was managing one. Or at least, Larry Spector was managing someone who *said* he was a jazz pianist. But Gram Parsons said he was a lot of things... [Excerpt: Gram Parsons, "Brass Buttons (1965 version)"] Gram Parsons was someone who had come from a background of unimaginable privilege. His maternal grandfather was the owner of a Florida citrus fruit and real-estate empire so big that his mansion was right in the centre of what was then Florida's biggest theme park -- built on land he owned. As a teenager, Parsons had had a whole wing of his parents' house to himself, and had had servants to look after his every need, and as an adult he had a trust fund that paid him a hundred thousand dollars a year -- which in 1968 dollars would be equivalent to a little under nine hundred thousand in today's money. Two events in his childhood had profoundly shaped the life of young Gram. The first was in February 1956, when he went to see a new singer who he'd heard on the radio, and who according to the local newspaper had just recorded a new song called "Heartburn Motel".  Parsons had tried to persuade his friends that this new singer was about to become a big star -- one of his friends had said "I'll wait til he becomes famous!" As it turned out, the day Parsons and the couple of friends he did manage to persuade to go with him saw Elvis Presley was also the day that "Heartbreak Hotel" entered the Billboard charts at number sixty-eight. But even at this point, Elvis was an obvious star and the headliner of the show. Young Gram was enthralled -- but in retrospect he was more impressed by the other acts he saw on the bill. That was an all-star line-up of country musicians, including Mother Maybelle and the Carter Sisters, and especially the Louvin Brothers, arguably the greatest country music vocal duo of all time: [Excerpt: The Louvin Brothers, "The Christian Life"] Young Gram remained mostly a fan of rockabilly music rather than country, and would remain so for another decade or so, but a seed had been planted. The other event, much more tragic, was the death of his father. Both Parsons' parents were functioning alcoholics, and both by all accounts were unfaithful to each other, and their marriage was starting to break down. Gram's father was also, by many accounts, dealing with what we would now call post-traumatic stress disorder from his time serving in the second world war. On December the twenty-third 1958, Gram's father died of a self-inflicted gunshot wound. Everyone involved seems sure it was suicide, but it was officially recorded as natural causes because of the family's wealth and prominence in the local community. Gram's Christmas present from his parents that year was a reel-to-reel tape recorder, and according to some stories I've read his father had left a last message on a tape in the recorder, but by the time the authorities got to hear it, it had been erased apart from the phrase "I love you, Gram." After that Gram's mother's drinking got even worse, but in most ways his life still seemed charmed, and the descriptions of him as a teenager are about what you'd expect from someone who was troubled, with a predisposition to addiction, but who was also unbelievably wealthy, good-looking, charming, and talented. And the talent was definitely there. One thing everyone is agreed on is that from a very young age Gram Parsons took his music seriously and was determined to make a career as a musician. Keith Richards later said of him "Of the musicians I know personally (although Otis Redding, who I didn't know, fits this too), the two who had an attitude towards music that was the same as mine were Gram Parsons and John Lennon. And that was: whatever bag the business wants to put you in is immaterial; that's just a selling point, a tool that makes it easier. You're going to get chowed into this pocket or that pocket because it makes it easier for them to make charts up and figure out who's selling. But Gram and John were really pure musicians. All they liked was music, and then they got thrown into the game." That's not the impression many other people have of Parsons, who is almost uniformly described as an incessant self-promoter, and who from his teens onwards would regularly plant fake stories about himself in the local press, usually some variant of him having been signed to RCA records. Most people seem to think that image was more important to him than anything. In his teens, he started playing in a series of garage bands around Florida and Georgia, the two states in which he was brought up. One of his early bands was largely created by poaching the rhythm section who were then playing with Kent Lavoie, who later became famous as Lobo and had hits like "Me and You and a Dog Named Boo". Lavoie apparently held a grudge -- decades later he would still say that Parsons couldn't sing or play or write. Another musician on the scene with whom Parsons associated was Bobby Braddock, who would later go on to co-write songs like "D-I-V-O-R-C-E" for Tammy Wynette, and the song "He Stopped Loving Her Today", often considered the greatest country song ever written, for George Jones: [Excerpt: George Jones, "He Stopped Loving Her Today"] Jones would soon become one of Parsons' musical idols, but at this time he was still more interested in being Elvis or Little Richard. We're lucky enough to have a 1962 live recording of one of his garage bands, the Legends -- the band that featured the bass player and drummer he'd poached from Lobo. They made an appearance on a local TV show and a friend with a tape recorder recorded it off the TV and decades later posted it online. Of the four songs in that performance, two are R&B covers -- Little Richard's "Rip It Up" and Ray Charles' "What'd I Say?", and a third is the old Western Swing classic "Guitar Boogie Shuffle". But the interesting thing about the version of "Rip it Up" is that it's sung in an Everly Brothers style harmony, and the fourth song is a recording of the Everlys' "Let It Be Me". The Everlys were, of course, hugely influenced by the Louvin Brothers, who had so impressed young Gram six years earlier, and in this performance you can hear for the first time the hints of the style that Parsons would make his own a few years later: [Excerpt: Gram Parsons and the Legends, "Let it Be Me"] Incidentally, the other guitarist in the Legends, Jim Stafford, also went on to a successful musical career, having a top five hit in the seventies with "Spiders & Snakes": [Excerpt: Jim Stafford, "Spiders & Snakes"] Soon after that TV performance though, like many musicians of his generation, Parsons decided to give up on rock and roll, and instead to join a folk group. The group he joined, The Shilos, were a trio who were particularly influenced by the Journeymen, John Phillips' folk group before he formed the Mamas and the Papas, which we talked about in the episode on "San Francisco". At various times the group expanded with the addition of some female singers, trying to capture something of the sound of the New Chrisy Minstrels. In 1964, with the band members still in school, the Shilos decided to make a trip to Greenwich Village and see if they could make the big time as folk-music stars. They met up with John Phillips, and Parsons stayed with John and Michelle Phillips in their home in New York -- this was around the time the two of them were writing "California Dreamin'". Phillips got the Shilos an audition with Albert Grossman, who seemed eager to sign them until he realised they were still schoolchildren just on a break. The group were, though, impressive enough that he was interested, and we have some recordings of them from a year later which show that they were surprisingly good for a bunch of teenagers: [Excerpt: The Shilos, "The Bells of Rhymney"] Other than Phillips, the other major connection that Parsons made in New York was the folk singer Fred Neil, who we've talked about occasionally before. Neil was one of the great songwriters of the Greenwich Village scene, and many of his songs became successful for others -- his "Dolphins" was recorded by Tim Buckley, most famously his "Everybody's Talkin'" was a hit for Harry Nilsson, and he wrote "Another Side of This Life" which became something of a standard -- it was recorded by the Animals and the Lovin' Spoonful, and Jefferson Airplane, as well as recording the song, included it in their regular setlists, including at Monterey: [Excerpt: Jefferson Airplane, "The Other Side of This Life (live at Monterey)"] According to at least one biographer, though, Neil had another, more pernicious, influence on Parsons -- he may well have been the one who introduced Parsons to heroin, though several of Parsons' friends from the time said he wasn't yet using hard drugs. By spring 1965, Parsons was starting to rethink his commitment to folk music, particularly after "Mr. Tambourine Man" became a hit. He talked with the other members about their need to embrace the changes in music that Dylan and the Byrds were bringing about, but at the same time he was still interested enough in acoustic music that when he was given the job of arranging the music for his high school graduation, the group he booked were the Dillards. That graduation day was another day that would change Parsons' life -- as it was the day his mother died, of alcohol-induced liver failure. Parsons was meant to go on to Harvard, but first he went back to Greenwich Village for the summer, where he hung out with Fred Neil and Dave Van Ronk (and started using heroin regularly). He went to see the Beatles at Shea Stadium, and he was neighbours with Stephen Stills and Richie Furay -- the three of them talked about forming a band together before Stills moved West. And on a brief trip back home to Florida between Greenwich Village and Harvard, Parsons spoke with his old friend Jim Stafford, who made a suggestion to him -- instead of trying to do folk music, which was clearly falling out of fashion, why not try to do *country* music but with long hair like the Beatles? He could be a country Beatle. It would be an interesting gimmick. Parsons was only at Harvard for one semester before flunking out, but it was there that he was fully reintroduced to country music, and in particular to three artists who would influence him more than any others. He'd already been vaguely aware of Buck Owens, whose "Act Naturally" had recently been covered by the Beatles: [Excerpt: Buck Owens, "Act Naturally"] But it was at Harvard that he gained a deeper appreciation of Owens. Owens was the biggest star of what had become known as the Bakersfield Sound, a style of country music that emphasised a stripped-down electric band lineup with Telecaster guitars, a heavy drumbeat, and a clean sound. It came from the same honky-tonk and Western Swing roots as the rockabilly music that Parsons had grown up on, and it appealed to him instinctively.  In particular, Parsons was fascinated by the fact that Owens' latest album had a cover version of a Drifters song on it -- and then he got even more interested when Ray Charles put out his third album of country songs and included a version of Owens' "Together Again": [Excerpt: Ray Charles, "Together Again"] This suggested to Parsons that country music and the R&B he'd been playing previously might not quite be so far apart as he'd thought. At Harvard, Parsons was also introduced to the work of another Bakersfield musician, who like Owens was produced by Ken Nelson, who also produced the Louvin Brothers' records, and who we heard about in previous episodes as he produced Gene Vincent and Wanda Jackson. Merle Haggard had only had one big hit at the time, "(My Friends Are Gonna Be) Strangers": [Excerpt: Merle Haggard, "(My Friends are Gonna Be) Strangers"] But he was about to start a huge run of country hits that would see every single he released for the next twelve years make the country top ten, most of them making number one. Haggard would be one of the biggest stars in country music, but he was also to be arguably the country musician with the biggest influence on rock music since Johnny Cash, and his songs would soon start to be covered by everyone from the Grateful Dead to the Everly Brothers to the Beach Boys. And the third artist that Parsons was introduced to was someone who, in most popular narratives of country music, is set up in opposition to Haggard and Owens, because they were representatives of the Bakersfield Sound while he was the epitome of the Nashville Sound to which the Bakersfield Sound is placed in opposition, George Jones. But of course anyone with ears will notice huge similarities in the vocal styles of Jones, Haggard, and Owens: [Excerpt: George Jones, "The Race is On"] Owens, Haggard, and Jones are all somewhat outside the scope of this series, but are seriously important musicians in country music. I would urge anyone who's interested in them to check out Tyler Mahan Coe's podcast Cocaine and Rhinestones, season one of which has episodes on Haggard and Owens, as well as on the Louvin Brothers who I also mentioned earlier, and season two of which is entirely devoted to Jones. When he dropped out of Harvard after one semester, Parsons was still mostly under the thrall of the Greenwich Village folkies -- there's a recording of him made over Christmas 1965 that includes his version of "Another Side of This Life": [Excerpt: Gram Parsons, "Another Side of This Life"] But he was encouraged to go further in the country direction by John Nuese (and I hope that's the correct pronunciation – I haven't been able to find any recordings mentioning his name), who had introduced him to this music and who also played guitar. Parsons, Neuse, bass player Ian Dunlop and drummer Mickey Gauvin formed a band that was originally called Gram Parsons and the Like. They soon changed their name though, inspired by an Our Gang short in which the gang became a band: [Excerpt: Our Gang, "Mike Fright"] Shortening the name slightly, they became the International Submarine Band. Parsons rented them a house in New York, and they got a contract with Goldstar Records, and released a couple of singles. The first of them, "The Russians are Coming, The Russians are Coming" was a cover of the theme to a comedy film that came out around that time, and is not especially interesting: [Excerpt: The International Submarine Band, "The Russians are Coming, The Russians are Coming"] The second single is more interesting. "Sum Up Broke" is a song by Parsons and Neuse, and shows a lot of influence from the Byrds: [Excerpt: The international Submarine Band, "Sum Up Broke"] While in New York with the International Submarine Band, Parsons made another friend in the music business. Barry Tashian was the lead singer of a band called the Remains, who had put out a couple of singles: [Excerpt: The Remains, "Why Do I Cry?"] The Remains are now best known for having been on the bill on the Beatles' last ever tour, including playing as support on their last ever show at Candlestick Park, but they split up before their first album came out. After spending most of 1966 in New York, Parsons decided that he needed to move the International Submarine Band out to LA. There were two reasons for this. The first was his friend Brandon DeWilde, an actor who had been a child star in the fifties -- it's him at the end of Shane -- who was thinking of pursuing a musical career. DeWilde was still making TV appearances, but he was also a singer -- John Nuese said that DeWilde sang harmony with Parsons better than anyone except Emmylou Harris -- and he had recorded some demos with the International Submarine Band backing him, like this version of Buck Owens' "Together Again": [Excerpt: Brandon DeWilde, "Together Again"] DeWilde had told Parsons he could get the group some work in films. DeWilde made good on that promise to an extent -- he got the group a cameo in The Trip, a film we've talked about in several other episodes, which was being directed by Roger Corman, the director who worked a lot with David Crosby's father, and was coming out from American International Pictures, the company that put out the beach party films -- but while the group were filmed performing one of their own songs, in the final film their music was overdubbed by the Electric Flag. The Trip starred Peter Fonda, another member of the circle of people around David Crosby, and another son of privilege, who at this point was better known for being Henry Fonda's son than for his own film appearances. Like DeWilde, Fonda wanted to become a pop star, and he had been impressed by Parsons, and asked if he could record Parsons' song "November Nights". Parsons agreed, and the result was released on Chisa Records, the label we talked about earlier that had put out promos of Gene Clark, in a performance produced by Hugh Masekela: [Excerpt: Peter Fonda, "November Nights"] The other reason the group moved West though was that Parsons had fallen in love with David Crosby's girlfriend, Nancy Ross, who soon became pregnant with his daughter -- much to Parsons' disappointment, she refused to have an abortion. Parsons bought the International Submarine Band a house in LA to rehearse in, and moved in separately with Nancy. The group started playing all the hottest clubs around LA, supporting bands like Love and the Peanut Butter Conspiracy, but they weren't sounding great, partly because Parsons was more interested in hanging round with celebrities than rehearsing -- the rest of the band had to work for a living, and so took their live performances more seriously than he did, while he was spending time catching up with his old folk friends like John Phillips and Fred Neil, as well as getting deeper into drugs and, like seemingly every musician in 1967, Scientology, though he only dabbled in the latter. The group were also, though, starting to split along musical lines. Dunlop and Gauvin wanted to play R&B and garage rock, while Parsons and Nuese wanted to play country music. And there was a third issue -- which record label should they go with? There were two labels interested in them, neither of them particularly appealing. The offer that Dunlop in particular wanted to go with was from, of all people, Jay Ward Records: [Excerpt: A Salute to Moosylvania] Jay Ward was the producer and writer of Rocky & Bullwinkle, Peabody & Sherman, Dudley Do-Right and other cartoons, and had set up a record company, which as far as I've been able to tell had only released one record, and that five years earlier (we just heard a snippet of it). But in the mid-sixties several cartoon companies were getting into the record business -- we'll hear more about that when we get to song 186 -- and Ward's company apparently wanted to sign the International Submarine Band, and were basically offering to throw money at them. Parsons, on the other hand, wanted to go with Lee Hazlewood International. This was a new label set up by someone we've only talked about in passing, but who was very influential on the LA music scene, Lee Hazlewood. Hazlewood had got his start producing country hits like Sanford Clark's "The Fool": [Excerpt: Sanford Clark, "The Fool"] He'd then moved on to collaborating with Lester Sill, producing a series of hits for Duane Eddy, whose unique guitar sound Hazlewood helped come up with: [Excerpt: Duane Eddy, "Rebel Rouser"] After splitting off from Sill, who had gone off to work with Phil Spector, who had been learning some production techniques from Hazlewood, Hazlewood had gone to work for Reprise records, where he had a career in a rather odd niche, producing hit records for the children of Rat Pack stars. He'd produced Dino, Desi, and Billy, who consisted of future Beach Boys sideman Billy Hinsche plus Desi Arnaz Jr and Dean Martin Jr: [Excerpt: Dino, Desi, and Billy, "I'm a Fool"] He'd also produced Dean Martin's daughter Deana: [Excerpt: Deana Martin, "Baby I See You"] and rather more successfully he'd written and produced a series of hits for Nancy Sinatra, starting with "These Boots are Made for Walkin'": [Excerpt: Nancy Sinatra, "These Boots are Made for Walkin'"] Hazlewood had also moved into singing himself. He'd released a few tracks on his own, but his career as a performer hadn't really kicked into gear until he'd started writing duets for Nancy Sinatra. She apparently fell in love with his demos and insisted on having him sing them with her in the studio, and so the two made a series of collaborations like the magnificently bizarre "Some Velvet Morning": [Excerpt: Lee Hazlewood and Nancy Sinatra, "Some Velvet Morning"] Hazlewood is now considered something of a cult artist, thanks largely to a string of magnificent orchestral country-pop solo albums he recorded, but at this point he was one of the hottest people in the music industry. He wasn't offering to produce the International Submarine Band himself -- that was going to be his partner, Suzi Jane Hokom -- but Parsons thought it was better to sign for less money to a label that was run by someone with a decade-long string of massive hit records than for more money to a label that had put out one record about a cartoon moose. So the group split up. Dunlop and Gauvin went off to form another band, with Barry Tashian -- and legend has it that one of the first times Gram Parsons visited the Byrds in the studio, he mentioned the name of that band, The Flying Burrito Brothers, and that was the inspiration for the Byrds titling their album The Notorious Byrd Brothers. Parsons and Nuese, on the other hand, formed a new lineup of The International Submarine Band, with bass player Chris Ethridge, drummer John Corneal, who Parsons had first played with in The Legends, and guitarist Bob Buchanan, a former member of the New Christy Minstrels who Parsons had been performing with as a duo after they'd met through Fred Neil. The International Submarine Band recorded an album, Safe At Home, which is now often called the first country-rock album -- though as we've said so often, there's no first anything. That album was a mixture of cover versions of songs by people like Johnny Cash and Merle Haggard: [Excerpt: The International Submarine Band, "I Must Be Somebody Else You've Known"] And Parsons originals, like "Do You Know How It Feels To Be Lonesome?", which he cowrote with Barry Goldberg of the Electric Flag: [Excerpt: The International Submarine Band, "Do You Know How It Feels To Be Lonesome?"] But the recording didn't go smoothly. In particular, Corneal realised he'd been hoodwinked. Parsons had told him, when persuading him to move West, that he'd be able to sing on the record and that some of his songs would be used. But while the record was credited to The International Submarine Band, everyone involved agrees that it was actually a Gram Parsons solo album by any other name -- he was in charge, he wouldn't let other members' songs on the record, and he didn't let Corneal sing as he'd promised. And then, before the album could be released, he was off. The Byrds wanted a jazz keyboard player, and Parsons could fake being one long enough to get the gig. The Byrds had got rid of one rich kid with a giant ego who wanted to take control of everything and thought his undeniable talent excused his attempts at dominating the group, and replaced him with another one -- who also happened to be signed to another record label. We'll see how well that worked out for them in two weeks' time.  

For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the first part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode on "My World Fell Down" by Sagittarius. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud at this time as there are too many Byrds songs in this chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, For future parts of this multi-episode story I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we left the Byrds at the end of the episode on "Eight Miles High", they had just released that single, which combined folk-rock with their new influences from John Coltrane and Ravi Shankar, and which was a group composition but mostly written by the group's lead singer, Gene Clark. And also, as we mentioned right at the end of the episode, Clark had left the group. There had been many, many factors leading to Clark's departure. Clark was writing *far* more material than the other band members, of whom only Roger McGuinn had been a writer when the group started, and as a result was making far more money than them, especially with songs like "She Don't Care About Time", which had been the B-side to their number one single "Turn! Turn! Turn!" [Excerpt: The Byrds, "She Don't Care About Time"] Clark's extra income was making the rest of the group jealous, and they also didn't think his songs were particularly good, though many of his songs on the early Byrds albums are now considered classics. Jim Dickson, the group's co-manager, said "Gene would write fifteen to twenty songs a week and you had to find a good one whenever it came along because there were lots of them that you couldn't make head or tail of.  They didn't mean anything. We all knew that. Gene would write a good one at a rate of just about one per girlfriend." Chris Hillman meanwhile later said more simply "Gene didn't really add that much." That is, frankly, hard to square with the facts. There are ten original songs on the group's first two albums, plus one original non-album B-side. Of those eleven songs, Clark wrote seven on his own and co-wrote two with McGuinn. But as the other band members were starting to realise that they had the possibility of extra royalties -- and at least to some extent were starting to get artistic ambitions as far as writing goes -- they were starting to disparage Clark's work as a result, calling it immature. Clark had, of course, been the principal writer for "Eight Miles High", the group's most experimental record to date: [Excerpt: The Byrds, "Eight Miles High"] But there he'd shared co-writing credit with David Crosby and Roger McGuinn, in part because that was the only way he could be sure they would agree to release it as a single. There were also internal rivalries within the band unrelated to songwriting -- as we've touched on, Crosby had already essentially bullied Clark off the guitar and into just playing tambourine (and McGuinn would be dismissive even of Clark's tambourine abilities). Crosby's inability to get on with any other member of any band he was in would later become legendary, but at this point Clark was the major victim of his bullying. According to Dickson "David understood when Gene left that ninety-five percent of why Gene left could be brought back to him." The other five percent, though, came from Clark's fear of flying. Clark had apparently witnessed a plane crash in his youth and been traumatised by it, and he had a general terror of flying and planes -- something McGuinn would mock him for a little, as McGuinn was an aviation buff. Eventually, Clark had a near-breakdown boarding a plane from California to New York for a promotional appearance with Murray the K, and ended up getting off the plane. McGuinn and Michael Clarke almost did the same, but in the end they decided to stay on, and the other four Byrds did the press conference without Gene. When asked where Gene was, they said he'd "broken a wing". He was also increasingly having mental health and substance abuse problems, which were exacerbated by his fear, and in the end he decided he just couldn't be a Byrd any more. Oddly, of all the band members, it was David Crosby who was most concerned about Clark's departure, and who did the most to try to persuade him to stay, but he still didn't do much, and the group decided to carry on as a four-piece and not even make a proper announcement of Clark's departure -- they just started putting out photos with four people instead of five. The main change as far as the group were concerned was that Hillman was now covering Clark's old vocal parts, and so Crosby moved to Clark's old centre mic while Hillman moved from his position at the back of the stage with Michael Clarke to take over Crosby's mic. The group now had three singer-instrumentalists in front, two of whom, Crosby and McGuinn, now thought of themselves as songwriters. So despite the loss of their singer/songwriter/frontman, they moved on to their new single, the guaranteed hit follow-up to "Eight Miles High": [Excerpt: The Byrds, "5D (Fifth Dimension)"] "5D" was written by McGuinn, inspired by a book of cartoons called 1-2-3-4 More More More More by Don Landis, which I haven't been able to track down a copy of, but which seems to have been an attempt to explain the mathematical concept of higher dimensions in cartoon form. McGuinn was inspired by this and by Einstein's theory of relativity -- or at least by his understanding of relativity, which does not seem to have been the most informed take on the topic. McGuinn has said in the past that the single should really have come with a copy of Landis' booklet, so people could understand it. Sadly, without the benefit of the booklet we only have the lyrics plus McGuinn's interviews to go on to try to figure out what he means. As far as I'm able to understand, McGuinn believed -- completely erroneously -- that Einstein had proved that along with the four dimensions of spacetime there is also a fifth dimension which McGuinn refers to as a "mesh", and that "the reason for the speed of light being what it is is because of that mesh." McGuinn then went on to identify this mesh with his own conception of God, influenced by his belief in Subud, and with a Bergsonian idea of a life force. He would talk about how most people are stuck in a materialist scientific paradigm which only admits to  the existence of three dimensions, and how there are people out there advocating for a five-dimensional view of the world. To go along with this mystic view of the universe, McGuinn wanted some music inspired by the greatest composer of sacred music, and he asked Van Dyke Parks, who was brought in to add keyboards on the session, to play something influenced by Bach -- and Parks obliged, having been thinking along the same lines himself: [Excerpt: The Byrds, "5D (Fifth Dimension)"] Unfortunately for the group, McGuinn's lyrical intention wasn't clear enough and the song was assumed to be about drugs, and was banned by many radio stations. That plus the track's basically uncommercial nature meant that it reached no higher than number forty-four in the charts. Jim Dickson, the group's co-manager, pointed to a simpler factor in the record's failure, saying that if the organ outro to the track had instead been the intro, to set a mood for the track rather than starting with a cold vocal open, it would have had more success. The single was followed by an album, called Fifth Dimension, which was not particularly successful. Of the album's eleven songs, two were traditional folk songs, one was an instrumental -- a jam called "Captain Soul" which was a version of Lee Dorsey's "Get Out My Life Woman" credited to the four remaining Byrds, though Gene Clark is very audible on it playing harmonica -- and one more was a jam whose only lyrics were "gonna ride a Lear jet, baby", repeated over and over. There was also "Eight Miles High" and the group's inept and slightly-too-late take on "Hey Joe". It also included a third single, a country track titled "Mr. Spaceman": [Excerpt: The Byrds, "Mr. Spaceman"] McGuinn and, particularly, Hillman, had some country music background, and both were starting to think about incorporating country sounds into the group's style, as after Clark's departure from the group they were moving away from the style that had characterised their first two albums. But the interest in "Mr. Spaceman" was less about the musical style than about the lyrics. McGuinn had written the song in the hopes of contacting extraterrestrial life -- sending them a message in his lyrics so that any aliens listening to Earth radio would come and visit, though he was later disappointed to realise that the inverse-square law means that the signals would be too faint to make out after a relatively short distance: [Excerpt: The Byrds, "Mr. Spaceman"] "Mr. Spaceman" did better on the charts than its predecessor, scraping the lower reaches of the top forty, but it hardly set the world alight, and neither did the album -- a typical review was the one by Jon Landau, which said in part "This album then cannot be considered up to the standards set by the Byrds' first two and basically demonstrates that they should be thinking in terms of replacing Gene Clark, instead of just carrying on without him." Fifth Dimension would be the only album that Allen Stanton would produce for the Byrds, and his replacement had actually just produced an album that was a Byrds record by any other name: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] We've looked at Gary Usher before, but not for some time, and not in much detail. Usher was one of several people who were involved in the scene loosely centred on the Beach Boys and Jan and Dean, though he never had much time for Jan Berry and he had got his own start in the music business slightly before the Beach Boys. As a songwriter, his first big successes had come with his collaborations with Brian Wilson -- he had co-written "409" for the Beach Boys, and had also collaborated with Wilson on some of his earliest more introspective songs, like "The Lonely Sea" and "In My Room", for which Usher had written the lyrics: [Excerpt: The Beach Boys, "In My Room"] Usher had built a career as a producer and writer for hire, often in collaboration with Roger Christian, who also wrote with Brian Wilson and Jan Berry. Usher, usually with Christian, and very occasionally Wilson wrote the songs for several of American International Pictures' Beach Party films: [Excerpt: Donna Loren, "Muscle Bustle"] And Usher and Christian had also had bit parts in some of the films, like Bikini Beach, and Usher had produced records for Annette Funicello, the star of the films, often with the Honeys (a group consisting of Brian Wilson's future wife Marilyn plus her sister and cousin) on backing vocals. He had also produced records for the Surfaris, as well as a whole host of studio-only groups like the Four Speeds, the Super Stocks, and Mr. Gasser and the Weirdoes, most of whom were Usher and the same small group of vocalist friends along with various selections of Wrecking Crew musicians making quick themed albums. One of these studio groups, the Hondells, went on to be a real group of sorts, after Usher and the Beach Boys worked together on a film, The Girls on the Beach. Usher liked a song that Wilson and Mike Love had written for the Beach Boys to perform in the film, "Little Honda", and after discovering that the Beach Boys weren't going to release their version as a single, he put together a group to record a soundalike version: [Excerpt: The Hondells, "Little Honda"] "Little Honda" made the top ten, and Usher produced two albums for the Hondells, who had one other minor hit with a cover version of the Lovin' Spoonful's "Younger Girl". Oddly, Usher's friend Terry Melcher, who would shortly produce the Byrds' first few hits, had also latched on to "Little Honda", and produced his own version of the track, sung by Pat Boone of all people, with future Beach Boy Bruce Johnston on backing vocals: [Excerpt: Pat Boone, "Little Honda"] But when Usher had got his version out first, Boone's was relegated to a B-side. When the Byrds had hit, and folk-rock had started to take over from surf rock, Usher had gone with the flow and produced records like the Surfaris' album It Ain't Me Babe, with Usher and his usual gang of backing vocalists augmenting the Surfaris as they covered hits by Dylan, the Turtles, the Beach Boys and the Byrds: [Excerpt: The Surfaris, "All I Really Want to Do"] Usher was also responsible for the Surfaris being the first group to release a version of "Hey Joe" on a major label, as we heard in the episode on that song: [Excerpt: The Surfaris, "Hey Joe"] After moving between Capitol, Mercury, and Decca Records, Usher had left Decca after a round of corporate restructuring and been recommended for a job at Columbia by his friend Melcher, who at that point was producing Paul Revere and the Raiders and the Rip Chords and had just finished his time as the Byrds' producer. Usher's first work at Columbia was actually to prepare new stereo mixes of some Byrds tracks that had up to that point only been issued in mono, but his first interaction with the Byrds themselves came via Gene Clark: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] On leaving the Byrds, Clark had briefly tried to make a success of himself as a songwriter-for-hire in much the same mould as Usher, attempting to write and produce a single for two Byrds fans using the group name The Cookie Fairies, while spending much of his time romancing Michelle Phillips, as we talked about in the episode on "San Francisco". When the Cookie Fairies single didn't get picked up by a label, Clark had put together a group with Bill Rinehart from the Leaves, Chip Douglas of the Modern Folk Quartet, and Joel Larson of the Grass Roots. Just called Gene Clark & The Group, they'd played around the clubs in LA and cut about half an album's worth of demos produced by Jim Dickson and Ed Tickner, the Byrds' management team, before Clark had fired first Douglas and then the rest of the group. Clark's association with Douglas did go on to benefit him though -- Douglas went on, as we've seen in other episodes, to produce hits for the Turtles and the Monkees, and he later remembered an old song by Clark and McGuinn that the Byrds had demoed but never released, "You Showed Me", and produced a top ten hit version of it for the Turtles: [Excerpt: The Turtles, "You Showed Me"] Clark had instead started working with two country singers, Vern and Rex Gosdin, who had previously been with Chris Hillman in the country band The Hillmen. When that band had split up, the Gosdin Brothers had started to perform together as a duo, and in 1967 they would have a major country hit with "Hangin' On": [Excerpt: The Gosdin Brothers, "Hangin' On"] At this point though, they were just Gene Clark's backing vocalists, on an album that had been started with producer Larry Marks, who left Columbia half way through the sessions, at which point Usher took over. The album, titled Gene Clark with the Gosdin Brothers, featured a mix of musicians from different backgrounds. There were Larson and Rinehart from Gene Clark and the Group, there were country musicians -- a guitarist named Clarence White and the banjo player Doug Dillard. Hillman and Michael Clarke, the Byrds' rhythm section, played on much of the album as a way of keeping a united front, Glen Campbell, Jerry Cole, Leon Russell and Jim Gordon of the Wrecking Crew contributed, and Van Dyke Parks played most of the keyboards. The lead-off single for Gene Clark with the Gosdin Brothers, "Echoes", is one of the tracks produced by Marks, but in truth the real producer of that track is Leon Russell, who wrote the orchestral arrangement that turned Clark's rough demo into a baroque pop masterpiece: [Excerpt: Gene Clark, "Echoes"] Despite Clark having quit the band, relations between him and the rest were still good enough that in September 1966 he temporarily rejoined the band after Crosby lost his voice, though he was gone again as soon as Crosby was well. But that didn't stop the next Byrds album, which Usher went on to produce straight after finishing work on Clark's record, coming out almost simultaneously with Clark's and, according to Clark, killing its commercial potential. Upon starting to work with the group, Usher quickly came to the conclusion that Chris Hillman was in many ways the most important member of the band. According to Usher "There was also quite a divisive element within the band at that stage which often prevented them working well together. Sometimes everything would go smoothly, but other times it was a hard road. McGuinn and Hillman were often more together on musical ideas. This left Crosby to fend for himself, which I might add he did very well." Usher also said "I quickly came to understand that Hillman was a good stabilising force within the Byrds (when he wanted to be). It was around the time that I began working with them that Chris also became more involved in the songwriting. I think part of that was the fact that he realised how much more money was involved if you actually wrote the songs yourself. And he was a good songwriter." The first single to be released from the new sessions was one that was largely Hillman's work. Hillman and Crosby had been invited by the great South African jazz trumpeter Hugh Masekela to play on some demos for another South African jazzer, singer Letta Mbulu. Details are sparse, but one presumes this was for what became her 1967 album Letta Mbulu Sings, produced by David Axelrod: [Excerpt: Letta Mbulu, "Zola (MRA)"] According to Hillman, that session was an epiphany for him, and he went home and started writing his own songs for the first time. He took one of the riffs he came up with to McGuinn, who came up with a bridge inspired by a song by yet another South African musician, Miriam Makeba, who at the time was married to Masekela, and the two wrote a lyric inspired by what they saw as the cynical manipulation of the music industry in creating manufactured bands like the Monkees -- though they have both been very eager to say that they were criticising the industry, not the Monkees themselves, with whom they were friendly. As Hillman says in his autobiography, "Some people interpreted it as a jab at The Monkees. In reality, we had immense respect for all of them as singers and musicians. We weren't skewering the members of the Monkees, but we were taking a shot at the cynical nature of the entertainment business that will try to manufacture a group like The Monkees as a marketing strategy. For us, it was all about the music, and we were commenting on the pitfalls of the industry rather than on any of our fellow musicians." [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track continued the experimentation with sound effects that they had started with the Lear jet song on the previous album. That had featured recordings of a Lear jet, and "So You Want to be a Rock 'n' Roll Star?" featured recordings of audience screams. Those screams were, according to most sources, recorded by Derek Taylor at a Byrds gig in Bournemouth in 1965, but given reports of the tepid response the group got on that tour, that doesn't seem to make sense. Other sources say they're recordings of a *Beatles* audience in Bournemouth in *1963*, the shows that had been shown in the first US broadcast of Beatles footage, and the author of a book on links between the Beatles and Bournemouth says on his blog "In the course of researching Yeah Yeah Yeah: The Beatles & Bournemouth I spoke to two people who saw The Byrds at the Gaumont that August and neither recalled any screaming at all, let alone the wall of noise that can be heard on So You Want To Be A Rock 'n' Roll Star." So it seems likely that screaming isn't for the Byrds, but of course Taylor had also worked for the Beatles. According to Usher "The crowd sound effects were from a live concert that Derek Taylor had taped with a little tape recorder in London. It was some outrageous crowd, something like 20,000 to 30,000 people. He brought the tape in, ran it off onto a big tape, re- EQ'd it, echoed it, cleaned it up and looped it." So my guess is that the audience screams in the Byrds song about the Monkees are for the Beatles, but we'll probably never know for sure: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track also featured an appearance by Hugh Masekela, the jazz trumpeter whose invitation to take part in a session had inspired the song: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] While Hillman was starting to lean more towards folk and country music -- he had always been the member of the band least interested in rock music -- and McGuinn was most interested in exploring electronic sounds, Crosby was still pushing the band more in the direction of the jazz experimentation they'd tried on "Eight Miles High", and one of the tracks they started working on soon after "So You Want to be a Rock 'n' Roll Star?" was inspired by another jazz trumpet great. Miles Davis had been partly responsible for getting the Byrds signed to Columbia, as we talked about in the episode on "Mr. Tambourine Man", and so the group wanted to pay him tribute, and they started working on a version of his classic instrumental "Milestones": [Excerpt: Miles Davis, "Milestones"] Sadly, while the group worked on their version for several days -- spurred on primarily by Crosby -- they eventually chose to drop the track, and it has never seen release or even been bootlegged, though there is a tiny clip of it that was used in a contemporaneous documentary, with a commentator talking over it: [Excerpt: The Byrds, "Milestones (TV)"] It was apparently Crosby who decided to stop work on the track, just as working on it was also apparently his idea. Indeed, while the biggest change on the album that would become Younger Than Yesterday was that for the first time Chris Hillman was writing songs and taking lead vocals, Crosby was also writing more than before. Hillman wrote four of the songs on the album, plus his co-write with McGuinn on "So You Want to be a Rock 'n' Roll Star?", but Crosby also supplied two new solo compositions, plus a cowrite with McGuinn, and Crosby and McGuinn's "Why?", the B-side to "Eight Miles High", was also dug up and rerecorded for the album. Indeed, Gary Usher would later say "The album was probably 60% Crosby. McGuinn was not that involved, nor was Chris; at least as far as performing was concerned." McGuinn's only composition on the album other than the co-writes with Crosby and Hillman was another song about contacting aliens, "CTA-102", a song about a quasar which at the time some people were speculating might have been evidence of alien life. That song sounds to my ears like it's had some influence from Joe Meek's similar records, though I've never seen McGuinn mention Meek as an influence: [Excerpt: The Byrds, "CTA-102"] Crosby's growing dominance in the studio was starting to rankle with the other members. In particular two tracks were the cause of conflict. One was Crosby's song "Mind Gardens", an example of his increasing experimentation, a freeform song that ignores conventional song structure, and which he insisted on including on the album despite the rest of the group's objections: [Excerpt: The Byrds, "Mind Gardens"] The other was the track that directly followed "Mind Gardens" on the album. "My Back Pages" was a song from Dylan's album Another Side of Bob Dylan, a song many have seen as Dylan announcing his break with the folk-song and protest movements he'd been associated with up to that point, and his intention to move on in a new direction: [Excerpt: Bob Dylan, "My Back Pages"] Jim Dickson, the Byrds' co-manager, was no longer on speaking terms with the band and wasn't involved in their day-to-day recording as he had been, but he'd encountered McGuinn on the street and rolled down his car window and suggested that the group do the song. Crosby was aghast. They'd already recorded several songs from Another Side of Bob Dylan, and Fifth Dimension had been their first album not to include any Dylan covers. Doing a jangly cover of a Dylan song with a McGuinn lead vocal was something they'd moved on from, and he didn't want to go back to 1964 at the end of 1966. He was overruled, and the group recorded their version, a track that signified something very different for the Byrds than the original had for Dylan: [Excerpt: The Byrds, "My Back Pages"] It was released as the second single from the album, and made number thirty. It was the last Byrds single to make the top forty. While he was working with the Byrds, Usher continued his work in the pop field, though as chart pop moved on so did Usher, who was now making records in a psychedelic sunshine pop style with acts like the Peanut Butter Conspiracy: [Excerpt: The Peanut Butter Conspiracy, "It's a Happening Thing"] and he produced Chad and Jeremy's massive concept album Of Cabbages and Kings, which included a five-song "Progress Suite" illustrating history from the start of creation until the end of the world: [Excerpt: Chad and Jeremy, "Editorial"] But one of the oddest projects he was involved in was indirectly inspired by Roger McGuinn. According to Usher "McGuinn and I had a lot in common. Roger would always say that he was "out of his head," which he thought was good, because he felt you had to go out of your head before you could really find your head! That sums up McGuinn perfectly! He was also one of the first people to introduce me to metaphysics, and from that point on I started reading everything I could get my hands on. His viewpoints on metaphysics were interesting, and, at the time, useful. He was also into Marshall McLuhan; very much into the effects of electronics and the electronic transformation. He was into certain metaphysical concepts before I was, but I was able to turn him onto some abstract concepts as well" These metaphysical discussions led to Usher producing an album titled The Astrology Album, with discussions of the meaning of different star signs over musical backing: [Excerpt: Gary Usher, "Leo"] And with interviews with various of the artists he was working with talking about astrology. He apparently interviewed Art Garfunkel -- Usher was doing some uncredited production work on Simon and Garfunkel's Bookends album at the time -- but Garfunkel declined permission for the interview to be used. But he did get both Chad and Jeremy to talk, along with John Merrill of the Peanut Butter Conspiracy -- and David Crosby: [Excerpt: Gary Usher, "Leo"] One of the tracks from that album, "Libra", became the B-side of a single by a group of studio musicians Usher put together, with Glen Campbell on lead vocals and featuring Bruce Johnston of the Beach Boys prominently on backing vocals. "My World Fell Down" was credited to Sagittarius, again a sign of Usher's current interest in astrology, and featured some experimental sound effects that are very similar to the things that McGuinn had been doing on recent Byrds albums: [Excerpt: Sagittarius, "My World Fell Down"] While Usher was continuing with his studio experimentation, the Byrds were back playing live -- and they were not going down well at all. They did a UK tour where they refused to play most of their old hits and went down as poorly as on their previous tour, and they were no longer the kings of LA. In large part this was down to David Crosby, whose ego was by this point known to *everybody*, and who was becoming hugely unpopular on the LA scene even as he was starting to dominate the band. Crosby was now the de facto lead vocalist on stage, with McGuinn being relegated to one or two songs per set, and he was the one who would insist that they not play their older hit singles live. He was dominating the stage, leading to sarcastic comments from the normally placid Hillman like "Ladies and gentlemen, the David Crosby show!", and he was known to do things like start playing a song then stop part way through a verse to spend five minutes tuning up before restarting. After a residency at the Whisky A-Go-Go where the group were blown off the stage by their support act, the Doors, their publicist Derek Taylor quit, and he was soon followed by the group's co-managers Jim Dickson and Eddie Tickner, who were replaced by Crosby's friend Larry Spector, who had no experience in rock management but did represent Peter Fonda and Dennis Hopper, two young film stars Crosby was hanging round with. The group were particularly annoyed by Crosby when they played the Monterey Pop Festival. Crosby took most lead vocals in that set, and the group didn't go down well, though instrumentally the worst performer was Michael Clarke, who unlike the rest of the band had never become particularly proficient on his instrument: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star (live at Monterey)"] But Crosby also insisted on making announcements from the stage advocating LSD use and describing conspiracy theories about the Kennedy assassination: [Excerpt: David Crosby on the Warren Commission, from the end of "Hey Joe" Monterey] But even though Crosby was trying to be the Byrds' leader on stage, he was also starting to think that they maybe didn't deserve to have him as their leader. He'd recently been spending a lot of time hanging out with Stephen Stills of the Buffalo Springfield, and McGuinn talks about one occasion where Crosby and Stills were jamming together, Stills played a blues lick and said to McGuinn "Can you play that?" and when McGuinn, who was not a blues musician, said he couldn't, Stills looked at him with contempt. McGuinn was sure that Stills was trying to poach Crosby, and Crosby apparently wanted to be poached. The group had rehearsed intensely for Monterey, aware that they'd been performing poorly and not wanting to show themselves up in front of the new San Francisco bands, but Crosby had told them during rehearsals that they weren't good enough to play with him. McGuinn's suspicions about Stills wanting to poach Crosby seemed to be confirmed during Monterey when Crosby joined Buffalo Springfield on stage, filling in for Neil Young during the period when Young had temporarily quit the group, and performing a song he'd helped Stills write about Grace Slick: [Excerpt: Buffalo Springfield, "Rock 'n' Roll Woman (live at Monterey)"] Crosby was getting tired not only of the Byrds but of the LA scene in general. He saw the new San Francisco bands as being infinitely cooler than the Hollywood plastic scene that was LA -- even though Crosby was possibly the single most Hollywood person on that scene, being the son of an Oscar-winning cinematographer and someone who hung out with film stars. At Monterey, the group had debuted their next single, the first one with an A-side written by Crosby, "Lady Friend": [Excerpt: The Byrds, "Lady Friend"] Crosby had thought of that as a masterpiece, but when it was released as a single, it flopped badly, and the rest of the group weren't even keen on the track being included on the next album. To add insult to injury as far as Crosby was concerned, at the same time as the single was released, a new album came out -- the Byrds' Greatest Hits, full of all those singles he was refusing to play live, and it made the top ten, becoming far and away the group's most successful album. But despite all this, the biggest conflict between band members when they came to start sessions for their next album wasn't over Crosby, but over Michael Clarke. Clarke had never been a particularly good drummer, and while that had been OK at the start of the Byrds' career, when none of them had been very proficient on their instruments, he was barely any better at a time when both McGuinn and Hillman were being regarded as unique stylists, while Crosby was writing metrically and harmonically interesting material. Many Byrds fans appreciate Clarke's drumming nonetheless, saying he was an inventive and distinctive player in much the same way as the similarly unskilled Micky Dolenz, but on any measure of technical ability he was far behind his bandmates. Clarke didn't like the new material and wasn't capable of playing it the way his bandmates wanted. He was popular with the rest of the band as a person, but simply wasn't playing well, and it led to a massive row in the first session: [Excerpt: The Byrds, "Universal Mind Decoder (alternate backing track)"] At one point they joke that they'll bring in Hal Blaine instead -- a reference to the recording of "Mr. Tambourine Man", when Clarke and Hillman had been replaced by Blaine and Larry Knechtel -- and Clarke says "Do it. I don't mind, I really don't." And so that ended up happening. Clarke was still a member of the band -- and he would end up playing on half the album's tracks -- but for the next few sessions the group brought in session drummers Hal Blaine and Jim Gordon to play the parts they actually wanted. But that wasn't going to stop the bigger problem in the group, and that problem was David Crosby's relationship with the rest of the band. Crosby was still at this point thinking of himself as having a future in the group, even as he was increasingly convinced that the group themselves were bad, and embarrassed by their live sound. He even, in a show of unity, decided to ask McGuinn and Hillman to collaborate on a couple of songs with him so they would share the royalties equally. But there were two flash-points in the studio. The first was Crosby's song "Triad", a song about what we would now call polyamory, partly inspired by Robert Heinlein's counterculture science fiction novel Stranger in a Strange Land. The song was meant to portray a progressive, utopian, view of free love, but has dated very badly -- the idea that the *only* reason a woman might be unhappy with her partner sleeping with another woman is because of her mother's disapproval possibly reveals more about the mindset of hippie idealists than was intended. The group recorded Crosby's song, but refused to allow it to be released, and Crosby instead gave it to his friends Jefferson Airplane, whose version, by having Grace Slick sing it, at least reverses the dynamics of the relationship: [Excerpt: Jefferson Airplane, "Triad"] The other was a song that Gary Usher had brought to the group and suggested they record, a Goffin and King song released the previous year by Dusty Springfield: [Excerpt: Dusty Springfield, "Goin' Back"] Crosby was incandescent. The group wanted to do this Brill Building pap?! Hell, Gary Usher had originally thought that *Chad and Jeremy* should do it, before deciding to get the Byrds to do it instead. Did they really want to be doing Chad and Jeremy cast-offs when they could be doing his brilliant science-fiction inspired songs about alternative relationship structures? *Really*? They did, and after a first session, where Crosby reluctantly joined in, when they came to recut the track Crosby flat-out refused to take part, leading to a furious row with McGuinn. Since they were already replacing Michael Clarke with session drummers, that meant the only Byrds on "Goin' Back", the group's next single, were McGuinn and Hillman: [Excerpt: The Byrds, "Goin' Back"] That came out in late October 1967, and shortly before it came out, McGuinn and Hillman had driven to Crosby's home. They told him they'd had enough. He was out of the band. They were buying him out of his contract. Despite everything, Crosby was astonished. They were a *group*. They fought, but only the way brothers fight. But McGuinn and Hillman were adamant. Crosby ended up begging them, saying "We could make great music together." Their response was just "And we can make great music without you." We'll find out whether they could or not in two weeks' time.

It's been a minute since I got a chance to talk to some filmmakers who really are passionate about what they are doing. Writer/director Marcus Albino, co-founder of Cloak and Cauldron Films and producer Brad Frizzell , founder of Greeked Pictures created this this great crime drama thats making a lot of buzz called “Black Maria.” Recently, it was nominated for "Best Short Film" at Shockfest. I instantly loved it and since a mutual friend (who also happens to be a fan of the podcast) worked on it, got us in touch and we started chatting.The movie is really intense and has one of the best crafted dinner scenes I've seen in years! Check out Cloak and Cauldron Films for more. I guarantee you'll be hearing a lot from these guys in the future! If you haven't done so already, check out Classic American Movies on Facebook and Instagram. I do tons of posts, free giveaways and more!

Jackie Chan ends his first American excursion on this episode of WE DO OUR OWN STUNTS with Hal Needham's star-studded 1981 cross country race movie THE CANNONBALL RUN, where he plays a Japanese (?) race car driver who watches porn in his futuristic vehicle and also kicks the hell out of Peter Fonda for some reason. He's racing against a who's who of early 80s celebs, including - of course - Burt Reynolds and (Liam O'Donnell favorite) Dom DeLuise, as well as Farrah Fawcett, Roger Moore, Jamie Farr, Dean Martin, Sammy Davis Jr., Adrienne Barbeau and SO MANY MORE. It's wild! We also chat about the latest Jackie Chan news and discuss Jackie's experience making the film (spoiler: it wasn't great) so CHECK US OUT!  The post Episode 198 – We Do Our Own Stunts – The Cannonball Run (1981) first appeared on Cinema Smorgasbord.

This week, Millie and Danielle discuss ONE FALSE MOVE (1992) and EASY RIDER (1969), high-assed Peter Fonda, I.R.S. Media films, and Millie revisiting her high school film work.To see a full ISWYD movie list, check out our Letterboxd here:https://letterboxd.com/isawwhatyoudid/films/diary/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In pop culture, beekeepers are generally portrayed as quirky side characters. There are exceptions, of course. The movie Ullee's Gold with Peter Fonda, comes to mind, as does The Secret Life of Bees, first as a novel and later a movie. Now, there is a new book where both bees and an entomologist are the subject, victim, and heros! Today, author and screenwriter, David Boito, join Jeff and Becky to talk about his newly released book, Bee Conspiracy. David talks about why he chose the characters he did and why he set bees as both the focus of the heros and the villan of his novel. Part cop-buddy, murder mystery, futuristic and agro-terrorism, Bee Conspiracy, is a fun winter read for anyone interested in insects and especially honey bees.  Interesting and entertaining, today's episode is one you will want to listen to! Leave comments and questions in the Comments Section of the episode's website. Links and websites mentioned in this podcast: Honey Bee Conspiracy on Amazon -  https://www.amazon.com/Bee-Conspiracy-David-Boito/dp/B0CJLCNQZY/ Honey Bee Obscura - https://www.honeybeeobscura.com   ______________ Betterbee is the presensting sponsor of Beekeeping Today Podcast. Betterbee's mission is to support every beekeeper with excellent customer service, continued education and quality equipment. From their colorful and informative catalog to their support of beekeeper educational activities, including this podcast series, Betterbee truly is Beekeepers Serving Beekeepers. See for yourself at www.betterbee.com This episode is brought to you by Global Patties! Global offers a variety of standard and custom patties. Visit them today at http://globalpatties.com and let them know you appreciate them sponsoring this episode!  Thanks to Strong Microbials for their support of Beekeeping Today Podcast. Find out more about heir line of probiotics in our Season 3, Episode 12 episode and from their website: https://www.strongmicrobials.com Thanks for Northern Bee Books for their support. Northern Bee Books is the publisher of bee books available worldwide from their website or from Amazon and bookstores everywhere. They are also the publishers of The Beekeepers Quarterly and Natural Bee Husbandry. _______________ We hope you enjoy this podcast and welcome your questions and comments in the show notes of this episode or: questions@beekeepingtodaypodcast.com Thank you for listening!  Podcast music: Be Strong by Young Presidents; Epilogue by Musicalman; Walking in Paris by Studio Le Bus; A Fresh New Start by Pete Morse; Wedding Day by Boomer; Original guitar background instrumental by Jeff Ott Beekeeping Today Podcast is an audio production of Growing Planet Media, LLC Copyright © 2023 by Growing Planet Media, LLC

SALMA HAYEK: ONCE UPON A TIME IN MEXICO & THE MALDONADO MIRACLESalma Hayek is a justifiably iconic actress, personality, celebrity and turned it all into getting hitched to a soulless billionaire. Good for her! But there was a time where she was an up and coming hyphenate pursuing passion projects like Frieda and balancing those with commercial films. ONCE UPON A TIME IN MEXICO (2003) is not exactly a passion project nor a commercial film. She is barely in it! This is the nominally third part of Robert Rodriguez' El Mariachi films. If the barely legible plot sounds like something made up as they went along, incorrect! But it sure shambles along like it. Hayek has been loyal to Rodriguez, maybe to a fault, but that is a valued thing to have in modern moviemaking. We think.Around this time Hayek also dabbled in directing, making the Maldonado Miracle (2003). A small fable of a film with a few pleasant performances by Peter Fonda, Mare Winngingham and podcast fave Reubén Blades, it's about an illegal child who hides out in a church and bleeds on a statue of Christ so the small town, the titular Maldonado, goes nuts for the miracle. It has some surprisingly good character bits and gentle satire while providing a slice of down-on-their-luck lifestyles not normally given much screen time in modern movies. Hayek does well with the slight story and actors. Should she have continued as director instead of marrying someone so entrenched in a class that has essentially made towns like Maldonado exist?  Thomas and Ken discuss at length along with the rest of her career. PROGRAMMING NOTE: Our editing issues have been resolved and our bank of multiple episodes we've recorded will commence being released weekly. THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralJack: jackk1096

Presented with Holley! The fall events at Holley are just around the corner and Holley MOPARTY is less than 60 days away. We'll be there and you should be too! Click here to see ALL of Holley's upcoming events (LS, Ford, Electric, even EFI tuning classes). https://www.holley.com/event Just visit Holley.com to peruse and view for yourself and be SURE to tell them that we sent you! Note: This movie review originally aired in Episode 99 of the Kibbe and Friends Show!  K&F Show Summary: In the mind of Corndog, this movie is the '69 Charger movie of movies. I think he'd even rather have a DMCL (screen used) Charger than a screen used General Lee. He's crazy, because this super weird 1974 box office smash starring Peter Fonda is a whacked-out example of what happens when directors and actors all use drugs while making a movie. The only redeeming thing is the stunts and the Charger. Al Wyatt, Jr is in it though, so maybe this is where he and the Charger first melded together to form the most dynamic duo ever on automotive cinematic history. Watch it for the car stunts and the helicopter flying and skip the rest. (Editor's Note: Kibbe is the only one of the three of us that feel this way, but since he's the guy that types this stuff up his opinion is what counts the most, apparently.) National Parts Depot Presents: Bernie on the News! https://www.npdlink.com/ Patreon Peeps, the year 2023 will be an important one for Patreon specifically, and if you'd consider jumping up to the $5 level it would sure help. The $10 level will remain and we now have a brand new $20 level as well! All members who join at that level will receive a sticker swag pack in the mail, you'll be IMMEDIATELY entered in the monthly prize grab, and you'll receive a phone call from one (or all) of us to chat up whatever you want for 30 minutes! Thank you SO MUCH to those of you who have joined in for the extra content that is only for Patreon supporters. To get in on the action and support the show with a minor financial contribution just click the link below to sign up. http://www.patreon.com/kfshow. Check out the brand new KF Show Shirt! It's the CNH 320 Edition: https://teechip.com/themusclecarplace The post K&F Show #268: Clay Millican Wins NHRA AGAIN!; Movie Review “Dirty Mary, Crazy Larry” first appeared on The Muscle Car Place.