Podcasts about Peter Sellers

GGACP's celebration of Women's History Month continues with this encore presentation of a 2019 interview with Oscar-nominated actress-director Marsha Mason. In this episode, Marsha talks about the value of character actors, the importance of onscreen chemistry, the true story behind “Bogart Slept Here” and her memories of collaborating with (and living with) the legendary Neil Simon. Also, Peter Falk shares the spotlight, Dustin Hoffman inspires “The Goodbye Girl,” Paul Newman introduces Marsha to auto racing and Gilbert sings the theme song from “Cinderella Liberty.” PLUS: “Dark Shadows”! “The Cheap Detective”! The superstitions of Peter Sellers! The elusiveness of George Segal! And Marsha co-stars with Albert Finney, Anthony Hopkins and Jason Robards! Learn more about your ad choices. Visit megaphone.fm/adchoices

GGACP celebrates the birthday (February 28) of Captain Stubing and Murray Slaughter himself, actor Gavin MacLeod, with this ENCORE of an interview from 2019. In this episode, Gavin talks about paying dues, playing bad guys, crushing on Marilyn Monroe, acting with (and without) a hairpiece and sharing a years-long friendship with the late, great Ted Knight. Also, Gavin praises Cary Grant, ad-libs with Peter Sellers, cuts the rug with Bing Crosby and breaks into the business with Martin Balsam, Martin Landau and Jack Warden. PLUS: Chuckles Bites the Dust”! The villainy of Big Chicken! “ The brilliance of Blake Edwards! A surprise caller chimes in! And Gavin and Tony Curtis share a donut! Learn more about your ad choices. Visit megaphone.fm/adchoices

The Fellowship is pleased to present our discussion of Being There (1979) to continue our look at Peter Sellers for Comedy Month. This is definitely not the funniest movie Sellers made, but it's got a lot going for it. Plus our usual random talk, geek news, and tangents

This week we are discussing the star-studded sequel "The Pink Panther 2". It was a sequel review that had us talking about how impossible it is to top Peter Sellers, Rue McClanahan, bullets being stopped by books, the endings we wanted to see, and so much more. This movie was perfect for our podcast name, some good, some bad, but it was a sequel that we had a blast discussing. Watch the review at sequelsonly.com/PinkPanther2 The next sequel discussed "Problem Child 2". For it chatted with Director Brian Levant. We talked about his love of TV at a young which led him to go to school for film, writing and running "Happy Days", "The New Leave it to Beaver", "Problem Child 2", designing the Turboman doll, and his book "My Life and Toys" which can be purchased at https://www.amazon.com/My-Life-Toys-Brian-Levant/dp/0996293051 Follow us on all social media @sequelsonly and our website is sequelsonly.com Review, rate, and share us with your friends, enemies, neighbors, exes, and even that annoying supermarket clerk!

He's someone who refuses to embrace modernity and is still scandalised by the obsolescence of wax cylinders in favour of shellac discs, however this week your hidebound host Tyler has been listening to sound recordings via the medium of Compact Disc, albeit with a stiff brandy and a cool damp flannel to hand. But he needn't have worried - "An Album Called Fred" is a delightful new CD recently released on Jasmine Records and compiled by producer & sound engineer (and Goons fan) Richard Moore. Bringing together a varied assortment of rare and in some cases never-before released recordings of songs and numbers from the likes of Peter Sellers, Spike Milligan, Harry Secombe, Ray Ellington, Max Geldray, Angela Morley and George Chisholm, as well as a couple of original recordings which were musical staples of the Goon Show and the original theme music from I'm All Right Jack and Two Way Stretch, "An Album Called Fred" takes its name of course from the 1956 Associated-Rediffusion series A Show Called Fred (and the CD even features the famous 'Jump Into A Dustbin and Dance' number!) Richard joins Tyler to talk about the creation of the album and where the idea originally came from - the CD can be ordered directly from Jasmine here: https://jasmine-records.co.uk/gb/comedy/3660-the-goons-an-album-called-fred.html

The Man Behind the Mask: Uncovering the Secret Life of Peter SellersDr. Strangelove a biography of Peter Sellers by Ed SikovIn this episode I discuss the book, Dr. Strangelove a biography of Peter Sellers and how I discovered that Mr. Peter Sellers was a very disturbed and tormented individual. Book by Ed Sikov Mr. StrangeloveMy latest documentary: Road to FogivenessMy YouTube Channel: PTPOPSupport the showSkating Bear Studios

The Fellowship is pleased to present our discussion of A Shot In The Dark (1964) to kick off our look at Peter Sellers for Comedy Month. This is the second in the series, and there's some interesting backstory to it. Oh, and it's pretty funny. Plus our usual random talk, geek news, and tangents

We're back!   After gremlins in our email system nearly managed to close us down forever, it's the return of the official Talking Pictures TV podcast. This week join Scott and a host of guest reviewers as they bring you all the news and reviews from the nation's favourite archive tv and movie channel. How's this for a line up? Boris Karloff, Matt Monro, Dick Powell, Sylvia Syms and Peter Sellers - all here on his week's show.   If you would like to take part in a future episode, drop us a line at our new email address: talkingpicturestvpodcast@gmail.com We'd love to hear from you.

"My school is the streets.  And looking down the barrel of a pointed revolver is my teacher.” Murder By Death (1976) directed by Robert Moore and starring Eileen Brennan, Truman Capote, James Coco, Peter Falk, Alec Guinness, Elsa Lanchester, David Nivens, Maggie Smith, Peter Sellers, Nancy Walker, James Cromwell, Richard Narita and Estelle Winwood. Next Time: Cache (Hidden) (2005)

Stanley Kubrick triunfa con este clásico film de humor antimilitarista, con personajes icónicos como el Dr. Strangelove, interpretado por Peter Sellers. Las claves, las anécdotas, y la repercusión de esta hilarante película te la cuentan 📽️ Imanol López y 👨‍🚀 Dani Caran, con trasfondo histórico incluido. Además, a 📽️ Imanol lo encontrarás en el blog Todo sobre mi Cine Bélico https://todosobremicinebelico.blogspot.com/ ¿Quieres anunciarte en este podcast, esponsorizar un episodio? ¿Alguna otra idea? Hazlo a través de 👉 https://www.advoices.com/casus-belli-podcast-historia Produce 🛠️ PodFactory http://podfactory.es Casus Belli Podcast pertenece a 🏭 Factoría Casus Belli. Casus Belli Podcast forma parte de 📀 Ivoox Originals. 📚 Zeppelin Books zeppelinbooks.com es un sello editorial de la 🏭 Factoría Casus Belli. 👉https://podcastcasusbelli.com 👉En Facebook, nuestra página es @casusbellipodcast https://www.facebook.com/CasusBelliPodcast 👉En Instagram estamos como @casusbellipodcast https://www.instagram.com/casusbellipodcast 👉En Twitter estamos como @casusbellipod @CasusBelliPod 👉Telegram, nuestro canal es @casusbellipodcast https://t.me/casusbellipodcast 👨‍💻Nuestro chat del canal es https://t.me/aviones10 ⚛️ El logotipo de la Factoría Casus Belli están diseñados por Publicidad Fabián publicidadfabian@yahoo.es 🎵 La música incluida en el programa es bajo licencia CC. https://creativecommons.org/licenses/by-nd/3.0/ O bajo licencia privada de Epidemic Music, Jamendo Music o SGAE. de Ivoox. 📧¿Queréis contarnos algo? También puedes escribirnos a casus.belli.pod@gmail.com Si te ha gustado, y crees que nos lo merecemos, nos sirve mucho que nos des un like, ya que nos da mucha visibilidad. Muchas gracias por escucharnos, y hasta la próxima. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Our old pal from Word magazine Kate Mossman adored Jeff Beck and the whole range of his recordings and interviewed him recently for the New Statesman. This pod features the outlandish techniques he developed, his cars and Afghan hounds, his “six wives”, his unchanging look (with occasion detours into “satin leggings and boxing boots”), the “Clapton is God” myth, his job offer from the Stones, falling out with the Yardbirds and the Jeff Beck Group, great musical ventures and occasional lapses of taste (like the recent tour with Johnny Depp). And our love of Hi Ho Silver Lining which he hated so much he said it was like “having a pink toilet seat hung around your neck for the rest of your life”. Plus …… the chillingly strange life of Lisa Marie Presley - “opulent neglect” - and her four marriages.… best-ever B-sides (suggested by birthday patron Roger Millington who went for ‘Paris France' by the Red Guitars). The greatest B-sides never appeared anywhere else “and were like secret messages to the hardcore fans” - eg the Stones' The Under Assistant West Coast Promotion Man and the Spider And the Fly. Honourable mentions for Yes It Is, This Boy and You Know My Name (Look Up The Number). … the White Lotus and that fabulous Jennifer Coolidge Golden Globes speech. … what would you do if you were the new Radio 3 boss? … haircut and knitwear issues in ‘the Banshees of Inisherin'. … Peter Sellers in Only Two Can Play. Plus birthday patron Paul Knox joins us with theories about impact of the Incredible String on the Beatles and the sad, mysterious tale of the disappearance of Licorice McKechnie.  Kate Mossman in the New Statesmanhttps://www.newstatesman.com/culture/music-theatre/2023/01/jeff-beck-interview-tribute-guitar-hero The Yardbirds on Shindig!https://www.youtube.com/watch?v=mn6q_jcc0uo And on the Milton Berle Show, 1966https://www.youtube.com/watch?v=9oNDXsIulXwGrab your EXCLUSIVE NordVPN Deal by going to https://nordvpn.com/yourear to get up a Huge Discount off your NordVPN Plan + 4 months for free! It's completely risk free with Nord's 30 day money-back guarantee! Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Our old pal from Word magazine Kate Mossman adored Jeff Beck and the whole range of his recordings and interviewed him recently for the New Statesman. This pod features the outlandish techniques he developed, his cars and Afghan hounds, his “six wives”, his unchanging look (with occasion detours into “satin leggings and boxing boots”), the “Clapton is God” myth, his job offer from the Stones, falling out with the Yardbirds and the Jeff Beck Group, great musical ventures and occasional lapses of taste (like the recent tour with Johnny Depp). And our love of Hi Ho Silver Lining which he hated so much he said it was like “having a pink toilet seat hung around your neck for the rest of your life”. Plus …… the chillingly strange life of Lisa Marie Presley - “opulent neglect” - and her four marriages.… best-ever B-sides (suggested by birthday patron Roger Millington who went for ‘Paris France' by the Red Guitars). The greatest B-sides never appeared anywhere else “and were like secret messages to the hardcore fans” - eg the Stones' The Under Assistant West Coast Promotion Man and the Spider And the Fly. Honourable mentions for Yes It Is, This Boy and You Know My Name (Look Up The Number). … the White Lotus and that fabulous Jennifer Coolidge Golden Globes speech. … what would you do if you were the new Radio 3 boss? … haircut and knitwear issues in ‘the Banshees of Inisherin'. … Peter Sellers in Only Two Can Play. Plus birthday patron Paul Knox joins us with theories about impact of the Incredible String on the Beatles and the sad, mysterious tale of the disappearance of Licorice McKechnie.  Kate Mossman in the New Statesmanhttps://www.newstatesman.com/culture/music-theatre/2023/01/jeff-beck-interview-tribute-guitar-hero The Yardbirds on Shindig!https://www.youtube.com/watch?v=mn6q_jcc0uo And on the Milton Berle Show, 1966https://www.youtube.com/watch?v=9oNDXsIulXwGrab your EXCLUSIVE NordVPN Deal by going to https://nordvpn.com/yourear to get up a Huge Discount off your NordVPN Plan + 4 months for free! It's completely risk free with Nord's 30 day money-back guarantee! Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This week Chris Diamond returns to discuss Ghost In The Noonday Sun, a film in which Peter Sellers in a bad wig and bad accent fannies about for ninety minutes. Goon Pod has clocked up 91 episodes - good grief - and so far we've talked about a dozen or so films either starring or featuring Peter Sellers and mostly they've been pretty good– true, The Blockhouse, Down Among The Z Men and The Great McGonagall are not universally loved (and it still surprises me the number of people who get wound up by The Magic Christian) but none of them are total stinkers. Is GITNS really THAT bad? It's certainly up there as one of the worst films Sellers was ever attached to but it's no Where Does It Hurt. The film features some great actors and performers such as Spike Milligan, James Villiers, Murray Melvin, Clive Revill and blink-and-you'll-miss-him Peter Boyle as well as Anthony Franciosa (described by Chris as being like one of those uncles you had as a kid who wasn't really your uncle) and Dave Lodge with very little to do. The script is pretty wretched, even though it was Milliganised, and had the film actually been released in cinemas at the time no doubt it would have sunk quicker than a pirate ship foundered on rocks. But of course it did result in a memorable telly advert for gaspers. More on that in the show.

This week we look at the 1965 Granada television special "The Music of Lennon and McCartney".      Peter Sellers, Billy J. Kramer, The Beatles and a thingie which is not too terribly fiendish.       We close out with some additional thoughts on Mary McCartney's "If These Walls Could Sing", which is getting a lukewarm reception from the public at large.

"I want to kill people but... they're all dead!" Director Peter Medak had a less than shipshape experience making the 1973 'pirate romp' Ghost In The Noonday Sun, starring Peter Sellers & Spike Milligan. The film from day one was beset by difficulties, dramas and indignities and as an exercise in therapy in 2016 Medak made the feature-length documentary The Ghost Of Peter Sellers. It charts the many obstacles to making GITNS that Medak had to grapple with, and the largest obstacle was its star. Tyler and returning guest Chris Diamond watched the documentary and the 1973 film and had a lot to say so their conversation has been broken down into two halves - this week their focus is largely on The Ghost Of Peter Sellers and next week's episode covers the actual film Ghost In The Noonday Sun.

Episode 151:   “Australia is not just a penial colony!”For this session, Jim, Joseph, and George present their favorite picks of Fish-out-of-Water characters in film. Also what are the Top 5 fish?·        What 1979 movie is more Forest Gump than Forest Gump?·        Where did the name Maddison originate from?·        Is Babbel pronounced as ‘bɑbəl' or ‘bæb.əl'?·        What is Dr. J's first (and only) movie role?·        What's the fish that doesn't taste like fish according to Joseph?·        What was Peter Sellers' final film?·        What was the first movie Disney released under the Touchstone banner?·        Robert De Niro in the movie Big?·        Who got mad at a movie poster of Crocodile Dundee?·        Why does every ‘Fish-out-of-Water' seem to take place in New York City?

On this Tuesday edition of Drive-In Double Feature Podcast, Nathan and Ryan talk about a non-eon Bond film with Casino Royale. Its another week of BondZilla here at DIDF and we might have the worst James Bond movie on our hands. David Niven, Mr.Boogalo, Peter Sellers, and Deborah Kerr join us this week! Support us here: https://www.patreon.com/driveindoublefeaturepodcast https://twitter.com/didfpod and email us at: driveindoublefeaturepodcast@gmail.com

What better way to end the year than a double feature of end-of-the-world classics? First up we have Stanley Kubrick's apocalyptic comedy masterpiece Dr. Strangelove, or How I Learned to Stop Worrying and Love the Bomb, starring the incredible Peter Sellers as three of his greatest characters, and George C. Scott in what is arguably a career best performance as the infinitely quotable General Buck Turgidson - followed by the scrappy, little-seen New Zealand breakout, The Quiet Earth, which turns the standard wake-up-and-everyone's gone plot in bizarre quantum directions!

Comedy writer, author, podcaster and musician Joel Morris is our special guest this week and what could be more Christmassy than a chat about The Phantom Raspberry Blower Of Old London Town? (Plenty - Ed.) Originally conceived by Spike Milligan as a vehicle for him, Peter Sellers and Harry Secombe, this proposed Goons special was stymied early on by Sellers' filming commitments elsewhere. A couple of years later Milligan dusted off the script and repurposed it for an episode of Six Dates With Barker, Ronnie Barker's 1971 series of one-off plays (similar to the Comedy Playhouse format which spawned a number of sitcoms) and if it had been left at that then it's highly likely that few people would remember it today. However, in 1976 Ronnie Barker collaborated with Milligan to expand the length of the play and serialise it in weekly episodes for the fifth series of The Two Ronnies. It is this version that is most fondly remembered by the public and is generally considered to be the strongest of the Ronnies' serials. Joel joins Tyler to laud the lost art of the comic play and talks about Milligan's genius, with a few caveats (Joel presents a strong argument that when writing without the grounding influence of collaborators Spike's ideas were often in danger of becoming loosed from their moorings) and there's also plenty of time to talk about other comedy too, including Peter Cook, The Office and Python. Joel is currently writing a book about comedy and is the host of the podcast Comfort Blanket: https://pod.link/1614879928

Comedian and writer Mike Wozniak (Man Down, Taskmaster, Three Bean Salad) talks about the influence and warmth of Spike Milligan, Peter Sellers and Harry Secombe's anything-goes 1950s radio programme The Goon Show, and the comforts of its self-contained, lunatic world. Hosted on Acast. See acast.com/privacy for more information.

One of Peter Sellers' favourite episodes of The Goon Show, the inspiration for The Jet-Propelled Guided NAAFI was torn from the pages of the news as Spike Milligan picked up on a story in the Telegraph about abuses of taxpayer money overseas. James Page joins Tyler to discuss the show and they talk about how a neat happenstance in the previously referred to newspaper article provided the perfect hook for Milligan and a gag which over time has lost its original relevance; the many memorable lines and sequences which still get quoted today (and who knew g-strings were around in 1956?); a new theme tune; plus negotiations at the time for a new series with the BBC. There's also time for some Ratties praise and that time an audience member walked onto the set of Wogan during a Harry & Spike interview.

  This week, John and Hunter examine Blake Edwards' "Pink Panther" and how the heist movie evolved into a comedy detective series for Peter Sellers.  They discuss Sellers' ability to steal the show, his comic genius, his eccentricities, and why he's vanished from the cinema conversation today. Enjoy Donate to our show via the ko.fi link below https://ko-fi.com/midnightmoviecowboys Come join us on our discord server on the link below. https://discord.com/invite/bDeW3nF3WM?fbclid=IwAR0xfTlUR3GqlfCSL0uaRbtJDn70BITg5sV6ZGFXAZTQXwgTisDn6BEBtnY  

Another week, Another Carol for Another Christmas! In this edition of Jackie and Nicole Analyze So Many Christmas Carol Adaptations, They Might Explode,  it's Rod Serling's very 1964 'adaptation' which 'stars' Peter Sellers. In the most political installment of this podcast yet, our hosts discuss such seasonal topics as isolationism, the UN, the early days of the Vietnam War, and The West Wing. Next week: Apple TV+'s Spirited!

Do you like endearingly bumbling detectives? Are you into animated opening credit sequences with iconic theme music? Do you appreciate it when Peter Sellers plays his Stradivarius? Then the Pink Panther (1963) is the movie for you! Check out this stylish and wintry comedy caper directed by Blake Edwards, starring David Niven, Peter Sellers, Capucine, Robert Wagner, and Claudia Cardinale. Host, Sara Greenfield and her guest Nick Lang chat about all this and more on this week's episode of Talk Classic To Me. --- Support this podcast: https://anchor.fm/sara-greenfield/support

It's episode 45 of Muppetsational! The UK's biggest Muppet Show podcast! This week, Peter Sellers loses himself on The Muppet Show. And on the podcast, Jade needs Paultons' number, Emma feels very peppy, and Lewis loves Daddy Pig's big sack slide. Find out more about the podcast at muppetspodcast.com Follow us on Twitter, Instagram, TikTok, YouTube and Facebook! And read all about us in The Guardian and The Times! Editor: Jade Turner Theme Music: Peppy Pepe by Kevin MacLeod Peppy Pepe License Artwork: Charlotte Rudge (Instagram: @Charlie_r_rudge)

Episode 159 of A History of Rock Music in Five Hundred Songs looks at “Itchycoo Park” by the Small Faces, and their transition from Mod to psychedelia. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "The First Cut is the Deepest" by P.P. Arnold. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As so many of the episodes recently have had no Mixcloud due to the number of songs by one artist, I've decided to start splitting the mixes of the recordings excerpted in the podcasts into two parts. Here's part one and part two. I've used quite a few books in this episode. The Small Faces & Other Stories by Uli Twelker and Roland Schmit is definitely a fan-work with all that that implies, but has some useful quotes. Two books claim to be the authorised biography of Steve Marriott, and I've referred to both -- All Too Beautiful by Paolo Hewitt and John Hellier, and All Or Nothing by Simon Spence. Spence also wrote an excellent book on Immediate Records, which I referred to. Kenney Jones and Ian McLagan both wrote very readable autobiographies. I've also used Andrew Loog Oldham's autobiography Stoned, co-written by Spence, though be warned that it casually uses slurs. P.P. Arnold's autobiography is a sometimes distressing read covering her whole life, including her time at Immediate. There are many, many, collections of the Small Faces' work, ranging from cheap budget CDs full of outtakes to hundred-pound-plus box sets, also full of outtakes. This three-CD budget collection contains all the essential tracks, and is endorsed by Kenney Jones, the band's one surviving member. And if you're intrigued by the section on Immediate Records, this two-CD set contains a good selection of their releases. ERRATUM-ISH: I say Jimmy Winston was “a couple” of years older than the rest of the band. This does not mean exactly two, but is used in the vague vernacular sense equivalent to “a few”. Different sources I've seen put Winston as either two or four years older than his bandmates, though two seems to be the most commonly cited figure. Transcript For once there is little to warn about in this episode, but it does contain some mild discussions of organised crime, arson, and mental illness, and a quoted joke about capital punishment in questionable taste which may upset some. One name that came up time and again when we looked at the very early years of British rock and roll was Lionel Bart. If you don't remember the name, he was a left-wing Bohemian songwriter who lived in a communal house-share which at various times was also inhabited by people like Shirley Eaton, the woman who is painted gold at the beginning of Goldfinger, Mike Pratt, the star of Randall and Hopkirk (Deceased), and Davey Graham, the most influential and innovative British guitarist of the fifties and early sixties. Bart and Pratt had co-written most of the hits of Britain's first real rock and roll star, Tommy Steele: [Excerpt: Tommy Steele, "Rock with the Caveman"] and then Bart had gone solo as a writer, and written hits like "Living Doll" for Britain's *biggest* rock and roll star, Cliff Richard: [Excerpt: Cliff Richard, "Living Doll"] But Bart's biggest contribution to rock music turned out not to be the songs he wrote for rock and roll stars, and not even his talent-spotting -- it was Bart who got Steele signed by Larry Parnes, and he also pointed Parnes in the direction of another of his biggest stars, Marty Wilde -- but the opportunity he gave to a lot of child stars in a very non-rock context. Bart's musical Oliver!, inspired by the novel Oliver Twist, was the biggest sensation on the West End stage in the early 1960s, breaking records for the longest-running musical, and also transferred to Broadway and later became an extremely successful film. As it happened, while Oliver! was extraordinarily lucrative, Bart didn't see much of the money from it -- he sold the rights to it, and his other musicals, to the comedian Max Bygraves in the mid-sixties for a tiny sum in order to finance a couple of other musicals, which then flopped horribly and bankrupted him. But by that time Oliver! had already been the first big break for three people who went on to major careers in music -- all of them playing the same role. Because many of the major roles in Oliver! were for young boys, the cast had to change frequently -- child labour laws meant that multiple kids had to play the same role in different performances, and people quickly grew out of the roles as teenagerhood hit. We've already heard about the career of one of the people who played the Artful Dodger in the original West End production -- Davy Jones, who transferred in the role to Broadway in 1963, and who we'll be seeing again in a few episodes' time -- and it's very likely that another of the people who played the Artful Dodger in that production, a young lad called Philip Collins, will be coming into the story in a few years' time. But the first of the artists to use the Artful Dodger as a springboard to a music career was the one who appeared in the role on the original cast album of 1960, though there's very little in that recording to suggest the sound of his later records: [Excerpt: Steve Marriott, "Consider Yourself"] Steve Marriott is the second little Stevie we've looked at in recent episodes to have been born prematurely. In his case, he was born a month premature, and jaundiced, and had to spend the first month of his life in hospital, the first few days of which were spent unsure if he was going to survive. Thankfully he did, but he was a bit of a sickly child as a result, and remained stick-thin and short into adulthood -- he never grew to be taller than five foot five. Young Steve loved music, and especially the music of Buddy Holly. He also loved skiffle, and managed to find out where Lonnie Donegan lived. He went round and knocked on Donegan's door, but was very disappointed to discover that his idol was just a normal man, with his hair uncombed and a shirt stained with egg yolk. He started playing the ukulele when he was ten, and graduated to guitar when he was twelve, forming a band which performed under a variety of different names. When on stage with them, he would go by the stage name Buddy Marriott, and would wear a pair of horn-rimmed glasses to look more like Buddy Holly. When he was twelve, his mother took him to an audition for Oliver! The show had been running for three months at the time, and was likely to run longer, and child labour laws meant that they had to have replacements for some of the cast -- every three months, any performing child had to have at least ten days off. At his audition, Steve played his guitar and sang "Who's Sorry Now?", the recent Connie Francis hit: [Excerpt: Connie Francis, "Who's Sorry Now?"] And then, ignoring the rule that performers could only do one song, immediately launched into Buddy Holly's "Oh Boy!" [Excerpt: Buddy Holly, "Oh Boy!"] His musical ability and attitude impressed the show's producers, and he was given a job which suited him perfectly -- rather than being cast in a single role, he would be swapped around, playing different small parts, in the chorus, and occasionally taking the larger role of the Artful Dodger. Steve Marriott was never able to do the same thing over and over, and got bored very quickly, but because he was moving between roles, he was able to keep interested in his performances for almost a year, and he was good enough that it was him chosen to sing the Dodger's role on the cast album when that was recorded: [Excerpt: Steve Marriott and Joyce Blair, "I'd Do Anything"] And he enjoyed performance enough that his parents pushed him to become an actor -- though there were other reasons for that, too. He was never the best-behaved child in the world, nor the most attentive student, and things came to a head when, shortly after leaving the Oliver! cast, he got so bored of his art classes he devised a plan to get out of them forever. Every art class, for several weeks, he'd sit in a different desk at the back of the classroom and stuff torn-up bits of paper under the floorboards. After a couple of months of this he then dropped a lit match in, which set fire to the paper and ended up burning down half the school. His schoolfriend Ken Hawes talked about it many decades later, saying "I suppose in a way I was impressed about how he had meticulously planned the whole thing months in advance, the sheer dogged determination to see it through. He could quite easily have been caught and would have had to face the consequences. There was no danger in anybody getting hurt because we were at the back of the room. We had to be at the back otherwise somebody would have noticed what he was doing. There was no malice against other pupils, he just wanted to burn the damn school down." Nobody could prove it was him who had done it, though his parents at least had a pretty good idea who it was, but it was clear that even when the school was rebuilt it wasn't a good idea to send him back there, so they sent him to the Italia Conti Drama School; the same school that Anthony Newley and Petula Clark, among many others, had attended. Marriott's parents couldn't afford the school's fees, but Marriott was so talented that the school waived the fees -- they said they'd get him work, and take a cut of his wages in lieu of the fees. And over the next few years they did get him a lot of work. Much of that work was for TV shows, which like almost all TV of the time no longer exist -- he was in an episode of the Sid James sitcom Citizen James, an episode of Mr. Pastry's Progress, an episode of the police drama Dixon of Dock Green, and an episode of a series based on the Just William books, none of which survive. He also did a voiceover for a carpet cleaner ad, appeared on the radio soap opera Mrs Dale's Diary playing a pop star, and had a regular spot reading listeners' letters out for the agony aunt Marje Proops on her radio show. Almost all of this early acting work wa s utterly ephemeral, but there are a handful of his performances that do survive, mostly in films. He has a small role in the comedy film Heavens Above!, a mistaken-identity comedy in which a radical left-wing priest played by Peter Sellers is given a parish intended for a more conservative priest of the same name, and upsets the well-off people of the parish by taking in a large family of travellers and appointing a Black man as his churchwarden. The film has some dated attitudes, in the way that things that were trying to be progressive and antiracist sixty years ago invariably do, but has a sparkling cast, with Sellers, Eric Sykes, William Hartnell, Brock Peters, Roy Kinnear, Irene Handl, and many more extremely recognisable faces from the period: [Excerpt: Heavens Above!] Marriott apparently enjoyed working on the film immensely, as he was a fan of the Goon Show, which Sellers had starred in and which Sykes had co-written several episodes of. There are reports of Marriott and Sellers jamming together on banjos during breaks in filming, though these are probably *slightly* inaccurate -- Sellers played the banjolele, a banjo-style instrument which is played like a ukulele. As Marriott had started on ukulele before switching to guitar, it was probably these they were playing, rather than banjoes. He also appeared in a more substantial role in a film called Live It Up!, a pop exploitation film starring David Hemmings in which he appears as a member of a pop group. Oddly, Marriott plays a drummer, even though he wasn't a drummer, while two people who *would* find fame as drummers, Mitch Mitchell and Dave Clark, appear in smaller, non-drumming, roles. He doesn't perform on the soundtrack, which is produced by Joe Meek and features Sounds Incorporated, The Outlaws, and Gene Vincent, but he does mime playing behind Heinz Burt, the former bass player of the Tornadoes who was then trying for solo stardom at Meek's instigation: [Excerpt: Heinz Burt, "Don't You Understand"] That film was successful enough that two years later, in 1965 Marriott came back for a sequel, Be My Guest, with The Niteshades, the Nashville Teens, and Jerry Lee Lewis, this time with music produced by Shel Talmy rather than Meek. But that was something of a one-off. After making Live It Up!, Marriott had largely retired from acting, because he was trying to become a pop star. The break finally came when he got an audition at the National Theatre, for a job touring with Laurence Olivier for a year. He came home and told his parents he hadn't got the job, but then a week later they were bemused by a phone call asking why Steve hadn't turned up for rehearsals. He *had* got the job, but he'd decided he couldn't face a year of doing the same thing over and over, and had pretended he hadn't. By this time he'd already released his first record. The work on Oliver! had got him a contract with Decca Records, and he'd recorded a Buddy Holly knock-off, "Give Her My Regards", written for him by Kenny Lynch, the actor, pop star, and all-round entertainer: [Excerpt: Steve Marriott, "Give Her My Regards"] That record wasn't a hit, but Marriott wasn't put off. He formed a band who were at first called the Moonlights, and then the Frantiks, and they got a management deal with Tony Calder, Andrew Oldham's junior partner in his management company. Calder got former Shadow Tony Meehan to produce a demo for the group, a version of Cliff Richard's hit "Move It", which was shopped round the record labels with no success (and which sadly appears no longer to survive). The group also did some recordings with Joe Meek, which also don't circulate, but which may exist in the famous "Teachest Tapes" which are slowly being prepared for archival releases. The group changed their name to the Moments, and added in the guitarist John Weider, who was one of those people who seem to have been in every band ever either just before or just after they became famous -- at various times he was in Johnny Kidd and the Pirates, John Mayall's Bluesbreakers, Family, Eric Burdon and the Animals, and the band that became Crabby Appleton, but never in their most successful lineups. They continued recording unsuccessful demos, of which a small number have turned up: [Excerpt: Steve Marriott and the Moments, "Good Morning Blues"] One of their demo sessions was produced by Andrew Oldham, and while that session didn't lead to a release, it did lead to Oldham booking Marriott as a session harmonica player for one of his "Andrew Oldham Orchestra" sessions, to play on a track titled "365 Rolling Stones (One For Every Day of the Year)": [Excerpt: The Andrew Oldham Orchestra, "365 Rolling Stones (One For Every Day of the Year)"] Oldham also produced a session for what was meant to be Marriott's second solo single on Decca, a cover version of the Rolling Stones' "Tell Me", which was actually scheduled for release but pulled at the last minute. Like many of Marriott's recordings from this period, if it exists, it doesn't seem to circulate publicly. But despite their lack of recording success, the Moments did manage to have a surprising level of success on the live circuit. Because they were signed to Calder and Oldham's management company, they got a contract with the Arthur Howes booking agency, which got them support slots on package tours with Billy J Kramer, Freddie and the Dreamers, the Kinks, and other major acts, and the band members were earning about thirty pounds a week each -- a very, very good living for the time. They even had a fanzine devoted to them, written by a fan named Stuart Tuck. But as they weren't making records, the band's lineup started changing, with members coming and going. They did manage to get one record released -- a soundalike version of the Kinks' "You Really Got Me", recorded for a budget label who rushed it out, hoping to get it picked up in the US and for it to be the hit version there: [Excerpt: The Moments, "You Really Got Me"] But the month after that was released, Marriott was sacked from the band, apparently in part because the band were starting to get billed as Steve Marriott and the Moments rather than just The Moments, and the rest of them didn't want to be anyone's backing band. He got a job at a music shop while looking around for other bands to perform with. At one point around this time he was going to form a duo with a friend of his, Davy Jones -- not the one who had also appeared in Oliver!, but another singer of the same name. This one sang with a blues band called the Mannish Boys, and both men were well known on the Mod scene in London. Marriott's idea was that they call themselves David and Goliath, with Jones being David, and Marriott being Goliath because he was only five foot five. That could have been a great band, but it never got past the idea stage. Marriott had become friendly with another part-time musician and shop worker called Ronnie Lane, who was in a band called the Outcasts who played the same circuit as the Moments: [Excerpt: The Outcasts, "Before You Accuse Me"] Lane worked in a sound equipment shop and Marriott in a musical instrument shop, and both were customers of the other as well as friends -- at least until Marriott came into the shop where Lane worked and tried to persuade him to let Marriott have a free PA system. Lane pretended to go along with it as a joke, and got sacked. Lane had then gone to the shop where Marriott worked in the hope that Marriott would give him a good deal on a guitar because he'd been sacked because of Marriott. Instead, Marriott persuaded him that he should switch to bass, on the grounds that everyone was playing guitar since the Beatles had come along, but a bass player would always be able to find work. Lane bought the bass. Shortly after that, Marriott came to an Outcasts gig in a pub, and was asked to sit in. He enjoyed playing with Lane and the group's drummer Kenney Jones, but got so drunk he smashed up the pub's piano while playing a Jerry Lee Lewis song. The resulting fallout led to the group being barred from the pub and splitting up, so Marriott, Lane, and Jones decided to form their own group. They got in another guitarist Marriott knew, a man named Jimmy Winston who was a couple of years older than them, and who had two advantages -- he was a known Face on the mod scene, with a higher status than any of the other three, and his brother owned a van and would drive the group and their equipment for ten percent of their earnings. There was a slight problem in that Winston was also as good on guitar as Marriott and looked like he might want to be the star, but Marriott neutralised that threat -- he moved Winston over to keyboards. The fact that Winston couldn't play keyboards didn't matter -- he could be taught a couple of riffs and licks, and he was sure to pick up the rest. And this way the group had the same lineup as one of Marriott's current favourites, Booker T and the MGs. While he was still a Buddy Holly fan, he was now, like the rest of the Mods, an R&B obsessive. Marriott wasn't entirely sure that this new group would be the one that would make him a star though, and was still looking for other alternatives in case it didn't play out. He auditioned for another band, the Lower Third, which counted Stuart Tuck, the writer of the Moments fanzine, among its members. But he was unsuccessful in the audition -- instead his friend Davy Jones, the one who he'd been thinking of forming a duo with, got the job: [Excerpt: Davy Jones and the Lower Third, "You've Got a Habit of Leaving"] A few months after that, Davy Jones and the Lower Third changed their name to David Bowie and the Lower Third, and we'll be picking up that story in a little over a year from now... Marriott, Lane, Jones, and Winston kept rehearsing and pulled together a five-song set, which was just about long enough to play a few shows, if they extended the songs with long jamming instrumental sections. The opening song for these early sets was one which, when they recorded it, would be credited to Marriott and Lane -- the two had struck up a writing partnership and agreed to a Lennon/McCartney style credit split, though in these early days Marriott was doing far more of the writing than Lane was. But "You Need Loving" was... heavily inspired... by "You Need Love", a song Willie Dixon had written for Muddy Waters: [Excerpt: Muddy Waters, "You Need Love"] It's not precisely the same song, but you can definitely hear the influence in the Marriott/Lane song: [Excerpt: The Small Faces, "You Need Loving"] They did make some changes though, notably to the end of the song: [Excerpt: The Small Faces, "You Need Loving"] You will be unsurprised to learn that Robert Plant was a fan of Steve Marriott. The new group were initially without a name, until after one of their first gigs, Winston's girlfriend, who hadn't met the other three before, said "You've all got such small faces!" The name stuck, because it had a double meaning -- as we've seen in the episode on "My Generation", "Face" was Mod slang for someone who was cool and respected on the Mod scene, but also, with the exception of Winston, who was average size, the other three members of the group were very short -- the tallest of the three was Ronnie Lane, who was five foot six. One thing I should note about the group's name, by the way -- on all the labels of their records in the UK while they were together, they were credited as "Small Faces", with no "The" in front, but all the band members referred to the group in interviews as "The Small Faces", and they've been credited that way on some reissues and foreign-market records. The group's official website is thesmallfaces.com but all the posts on the website refer to them as "Small Faces" with no "the". The use  of the word "the" or not at the start of a group's name at this time was something of a shibboleth -- for example both The Buffalo Springfield and The Pink Floyd dropped theirs after their early records -- and its status in this case is a strange one. I'll be referring to the group throughout as "The Small Faces" rather than "Small Faces" because the former is easier to say, but both seem accurate. After a few pub gigs in London, they got some bookings in the North of England, where they got a mixed reception -- they went down well at Peter Stringfellow's Mojo Club in Sheffield, where Joe Cocker was a regular performer, less well at a working-man's club, and reports differ about their performance at the Twisted Wheel in Manchester, though one thing everyone is agreed on is that while they were performing, some Mancunians borrowed their van and used it to rob a clothing warehouse, and gave the band members some very nice leather coats as a reward for their loan of the van. It was only on the group's return to London that they really started to gel as a unit. In particular, Kenney Jones had up to that point been a very stiff, precise, drummer, but he suddenly loosened up and, in Steve Marriott's tasteless phrase, "Every number swung like Hanratty" (James Hanratty was one of the last people in Britain to be executed by hanging). Shortly after that, Don Arden's secretary -- whose name I haven't been able to find in any of the sources I've used for this episode, sadly, came into the club where they were rehearsing, the Starlight Rooms, to pass a message from Arden to an associate of his who owned the club. The secretary had seen Marriott perform before -- he would occasionally get up on stage at the Starlight Rooms to duet with Elkie Brooks, who was a regular performer there, and she'd seen him do that -- but was newly impressed by his group, and passed word on to her boss that this was a group he should investigate. Arden is someone who we'll be looking at a lot in future episodes, but the important thing to note right now is that he was a failed entertainer who had moved into management and promotion, first with American acts like Gene Vincent, and then with British acts like the Nashville Teens, who had had hits with tracks like "Tobacco Road": [Excerpt: The Nashville Teens, "Tobacco Road"] Arden was also something of a gangster -- as many people in the music industry were at the time, but he was worse than most of his contemporaries, and delighted in his nickname "the Al Capone of pop". The group had a few managers looking to sign them, but Arden convinced them with his offer. They would get a percentage of their earnings -- though they never actually received that percentage -- twenty pounds a week in wages, and, the most tempting part of it all, they would get expense accounts at all the Carnaby St boutiques and could go there whenever they wanted and get whatever they wanted. They signed with Arden, which all of them except Marriott would later regret, because Arden's financial exploitation meant that it would be decades before they saw any money from their hits, and indeed both Marriott and Lane would be dead before they started getting royalties from their old records. Marriott, on the other hand, had enough experience of the industry to credit Arden with the group getting anywhere at all, and said later "Look, you go into it with your eyes open and as far as I was concerned it was better than living on brown sauce rolls. At least we had twenty quid a week guaranteed." Arden got the group signed to Decca, with Dick Rowe signing them to the same kind of production deal that Andrew Oldham had pioneered with the Stones, so that Arden would own the rights to their recordings. At this point the group still only knew a handful of songs, but Rowe was signing almost everyone with a guitar at this point, putting out a record or two and letting them sink or swim. He had already been firmly labelled as "the man who turned down the Beatles", and was now of the opinion that it was better to give everyone a chance than to make that kind of expensive mistake again. By this point Marriott and Lane were starting to write songs together -- though at this point it was still mostly Marriott writing, and people would ask him why he was giving Lane half the credit, and he'd reply "Without Ronnie's help keeping me awake and being there I wouldn't do half of it. He keeps me going." -- but for their first single Arden was unsure that they were up to the task of writing a hit. The group had been performing a version of Solomon Burke's "Everybody Needs Somebody to Love", a song which Burke always claimed to have written alone, but which is credited to him, Jerry Wexler, and Bert Berns (and has Bern's fingerprints, at least, on it to my ears): [Excerpt: Solomon Burke, "Everybody Needs Somebody to Love"] Arden got some professional writers to write new lyrics and vocal melody to their arrangement of the song -- the people he hired were Brian Potter, who would later go on to co-write "Rhinestone Cowboy", and Ian Samwell, the former member of Cliff Richard's Drifters who had written many of Richard's early hits, including "Move It", and was now working for Arden. The group went into the studio and recorded the song, titled "Whatcha Gonna Do About It?": [Excerpt: The Small Faces, "Whatcha Gonna Do About It?"] That version, though was deemed too raucous, and they had to go back into the studio to cut a new version, which came out as their first single: [Excerpt: The Small Faces, "Whatcha Gonna Do About It?"] At first the single didn't do much on the charts, but then Arden got to work with teams of people buying copies from chart return shops, bribing DJs on pirate radio stations to play it, and bribing the person who compiled the charts for the NME. Eventually it made number fourteen, at which point it became a genuinely popular hit. But with that popularity came problems. In particular, Steve Marriott was starting to get seriously annoyed by Jimmy Winston. As the group started to get TV appearances, Winston started to act like he should be the centre of attention. Every time Marriott took a solo in front of TV cameras, Winston would start making stupid gestures, pulling faces, anything to make sure the cameras focussed on him rather than on Marriott. Which wouldn't have been too bad had Winston been a great musician, but he was still not very good on the keyboards, and unlike the others didn't seem particularly interested in trying. He seemed to want to be a star, rather than a musician. The group's next planned single was a Marriott and Lane song, "I've Got Mine". To promote it, the group mimed to it in a film, Dateline Diamonds, a combination pop film and crime caper not a million miles away from the ones that Marriott had appeared in a few years earlier. They also contributed three other songs to the film's soundtrack. Unfortunately, the film's release was delayed, and the film had been the big promotional push that Arden had planned for the single, and without that it didn't chart at all. By the time the single came out, though, Winston was no longer in the group. There are many, many different stories as to why he was kicked out. Depending on who you ask, it was because he was trying to take the spotlight away from Marriott, because he wasn't a good enough keyboard player, because he was taller than the others and looked out of place, or because he asked Don Arden where the money was. It was probably a combination of all of these, but fundamentally what it came to was that Winston just didn't fit into the group. Winston would, in later years, say that him confronting Arden was the only reason for his dismissal, saying that Arden had manipulated the others to get him out of the way, but that seems unlikely on the face of it. When Arden sacked him, he kept Winston on as a client and built another band around him, Jimmy Winston and the Reflections, and got them signed to Decca too, releasing a Kenny Lynch song, "Sorry She's Mine", to no success: [Excerpt: Jimmy Winston and the Reflections, "Sorry She's Mine"] Another version of that song would later be included on the first Small Faces album. Winston would then form another band, Winston's Fumbs, who would also release one single, before he went into acting instead. His most notable credit was as a rebel in the 1972 Doctor Who story Day of the Daleks, and he later retired from showbusiness to run a business renting out sound equipment, and died in 2020. The group hired his replacement without ever having met him or heard him play. Ian McLagan had started out as the rhythm guitarist in a Shadows soundalike band called the Cherokees, but the group had become R&B fans and renamed themselves the Muleskinners, and then after hearing "Green Onions", McLagan had switched to playing Hammond organ. The Muleskinners had played the same R&B circuit as dozens of other bands we've looked at, and had similar experiences, including backing visiting blues stars like Sonny Boy Williamson, Little Walter, and Howlin' Wolf. Their one single had been a cover version of "Back Door Man", a song Willie Dixon had written for Wolf: [Excerpt: The Muleskinners, "Back Door Man"] The Muleskinners had split up as most of the group had day jobs, and McLagan had gone on to join a group called Boz and the Boz People, who were becoming popular on the live circuit, and who also toured backing Kenny Lynch while McLagan was in the band. Boz and the Boz People would release several singles in 1966, like their version of the theme for the film "Carry on Screaming", released just as by "Boz": [Excerpt: Boz, "Carry on Screaming"] By that time, McLagan had left the group -- Boz Burrell later went on to join King Crimson and Bad Company. McLagan left the Boz People in something of a strop, and was complaining to a friend the night he left the group that he didn't have any work lined up. The friend joked that he should join the Small Faces, because he looked like them, and McLagan got annoyed that his friend wasn't taking him seriously -- he'd love to be in the Small Faces, but they *had* a keyboard player. The next day he got a phone call from Don Arden asking him to come to his office. He was being hired to join a hit pop group who needed a new keyboard player. McLagan at first wasn't allowed to tell anyone what band he was joining -- in part because Arden's secretary was dating Winston, and Winston hadn't yet been informed he was fired, and Arden didn't want word leaking out until it had been sorted. But he'd been chosen purely on the basis of an article in a music magazine which had praised his playing with the Boz People, and without the band knowing him or his playing. As soon as they met, though, he immediately fit in in a way Winston never had. He looked the part, right down to his height -- he said later "Ronnie Lane and I were the giants in the band at 5 ft 6 ins, and Kenney Jones and Steve Marriott were the really teeny tiny chaps at 5 ft 5 1/2 ins" -- and he was a great player, and shared a sense of humour with them. McLagan had told Arden he'd been earning twenty pounds a week with the Boz People -- he'd actually been on five -- and so Arden agreed to give him thirty pounds a week during his probationary month, which was more than the twenty the rest of the band were getting. As soon as his probationary period was over, McLagan insisted on getting a pay cut so he'd be on the same wages as the rest of the group. Soon Marriott, Lane, and McLagan were all living in a house rented for them by Arden -- Jones decided to stay living with his parents -- and were in the studio recording their next single. Arden was convinced that the mistake with "I've Got Mine" had been allowing the group to record an original, and again called in a team of professional songwriters. Arden brought in Mort Shuman, who had recently ended his writing partnership with Doc Pomus and struck out on his own, after co-writing songs like "Save the Last Dance for Me", "Sweets For My Sweet", and "Viva Las Vegas" together, and Kenny Lynch, and the two of them wrote "Sha-La-La-La-Lee", and Lynch added backing vocals to the record: [Excerpt: The Small Faces, "Sha-La-La-La-Lee"] None of the group were happy with the record, but it became a big hit, reaching number three in the charts. Suddenly the group had a huge fanbase of screaming teenage girls, which embarrassed them terribly, as they thought of themselves as serious heavy R&B musicians, and the rest of their career would largely be spent vacillating between trying to appeal to their teenybopper fanbase and trying to escape from it to fit their own self-image. They followed "Sha-La-La-La-Lee" with "Hey Girl", a Marriott/Lane song, but one written to order -- they were under strict instructions from Arden that if they wanted to have the A-side of a single, they had to write something as commercial as "Sha-La-La-La-Lee" had been, and they managed to come up with a second top-ten hit. Two hit singles in a row was enough to make an album viable, and the group went into the studio and quickly cut an album, which had their first two hits on it -- "Hey Girl" wasn't included, and nor was the flop "I've Got Mine" -- plus a bunch of semi-originals like "You Need Loving", a couple of Kenny Lynch songs, and a cover version of Sam Cooke's "Shake". The album went to number three on the album charts, with the Beatles and the Rolling Stones in the number one and two spots, and it was at this point that Arden's rivals really started taking interest. But that interest was quelled for the moment when, after Robert Stigwood enquired about managing the band, Arden went round to Stigwood's office with four goons and held him upside down over a balcony, threatening to drop him off if he ever messed with any of Arden's acts again. But the group were still being influenced by other managers. In particular, Brian Epstein came round to the group's shared house, with Graeme Edge of the Moody Blues, and brought them some slices of orange -- which they discovered, after eating them, had been dosed with LSD. By all accounts, Marriott's first trip was a bad one, but the group soon became regular consumers of the drug, and it influenced the heavier direction they took on their next single, "All or Nothing". "All or Nothing" was inspired both by Marriott's breakup with his girlfriend of the time, and his delight at the fact that Jenny Rylance, a woman he was attracted to, had split up with her then-boyfriend Rod Stewart. Rylance and Stewart later reconciled, but would break up again and Rylance would become Marriott's first wife in 1968: [Excerpt: The Small Faces, "All or Nothing"] "All or Nothing" became the group's first and only number one record -- and according to the version of the charts used on Top of the Pops, it was a joint number one with the Beatles' double A-side of "Yellow Submarine" and "Eleanor Rigby", both selling exactly as well as each other. But this success caused the group's parents to start to wonder why their kids -- none of whom were yet twenty-one, the legal age of majority at the time -- were not rich. While the group were on tour, their parents came as a group to visit Arden and ask him where the money was, and why their kids were only getting paid twenty pounds a week when their group was getting a thousand pounds a night. Arden tried to convince the parents that he had been paying the group properly, but that they had spent their money on heroin -- which was very far from the truth, the band were only using soft drugs at the time. This put a huge strain on the group's relationship with Arden, and it wasn't the only thing Arden did that upset them. They had been spending a lot of time in the studio working on new material, and Arden was convinced that they were spending too much time recording, and that they were just faffing around and not producing anything of substance. They dropped off a tape to show him that they had been working -- and the next thing they knew, Arden had put out one of the tracks from that tape, "My Mind's Eye", which had only been intended as a demo, as a single: [Excerpt: The Small Faces, "My Mind's Eye"] That it went to number four on the charts didn't make up for the fact that the first the band heard of the record coming out at all was when they heard it on the radio. They needed rid of Arden. Luckily for them, Arden wasn't keen on continuing to work with them either. They were unreliable and flakey, and he also needed cash quick to fund his other ventures, and he agreed to sell on their management and recording contracts. Depending on which version of the story you believe, he may have sold them on to an agent called Harold Davison, who then sold them on to Andrew Oldham and Tony Calder, but according to Oldham what happened is that in December 1966 Arden demanded the highest advance in British history -- twenty-five thousand pounds -- directly from Oldham. In cash. In a brown paper bag. The reason Oldham and Calder were interested was that in July 1965 they'd started up their own record label, Immediate Records, which had been announced by Oldham in his column in Disc and Music Echo, in which he'd said "On many occasions I have run down the large record companies over issues such as pirate stations, their promotion, and their tastes. And many readers have written in and said that if I was so disturbed by the state of the existing record companies why didn't I do something about it.  I have! On the twentieth of this month the first of three records released by my own company, Immediate Records, is to be launched." That first batch of three records contained one big hit, "Hang on Sloopy" by the McCoys, which Immediate licensed from Bert Berns' new record label BANG in the US: [Excerpt: The McCoys, "Hang on Sloopy"] The two other initial singles featured the talents of Immediate's new in-house producer, a session player who had previously been known as "Little Jimmy" to distinguish him from "Big" Jim Sullivan, the other most in-demand session guitarist, but who was now just known as Jimmy Page. The first was a version of Pete Seeger's "The Bells of Rhymney", which Page produced and played guitar on, for a group called The Fifth Avenue: [Excerpt: The Fifth Avenue, "The Bells of Rhymney"] And the second was a Gordon Lightfoot song performed by a girlfriend of Brian Jones', Nico. The details as to who was involved in the track have varied -- at different times the production has been credited to Jones, Page, and Oldham -- but it seems to be the case that both Jones and Page play on the track, as did session bass player John Paul Jones: [Excerpt: Nico, "I'm Not Sayin'"] While "Hang on Sloopy" was a big hit, the other two singles were flops, and The Fifth Avenue split up, while Nico used the publicity she'd got as an entree into Andy Warhol's Factory, and we'll be hearing more about how that went in a future episode. Oldham and Calder were trying to follow the model of the Brill Building, of Phil Spector, and of big US independents like Motown and Stax. They wanted to be a one-stop shop where they'd produce the records, manage the artists, and own the publishing -- and they also licensed the publishing for the Beach Boys' songs for a couple of years, and started publicising their records over here in a big way, to exploit the publishing royalties, and that was a major factor in turning the Beach Boys from minor novelties to major stars in the UK. Most of Immediate's records were produced by Jimmy Page, but other people got to have a go as well. Giorgio Gomelsky and Shel Talmy both produced tracks for the label, as did a teenage singer then known as Paul Raven, who would later become notorious under his later stage-name Gary Glitter. But while many of these records were excellent -- and Immediate deserves to be talked about in the same terms as Motown or Stax when it comes to the quality of the singles it released, though not in terms of commercial success -- the only ones to do well on the charts in the first few months of the label's existence were "Hang on Sloopy" and an EP by Chris Farlowe. It was Farlowe who provided Immediate Records with its first home-grown number one, a version of the Rolling Stones' "Out of Time" produced by Mick Jagger, though according to Arthur Greenslade, the arranger on that and many other Immediate tracks, Jagger had given up on getting a decent performance out of Farlowe and Oldham ended up producing the vocals. Greenslade later said "Andrew must have worked hard in there, Chris Farlowe couldn't sing his way out of a paper bag. I'm sure Andrew must have done it, where you get an artist singing and you can do a sentence at a time, stitching it all together. He must have done it in pieces." But however hard it was to make, "Out of Time" was a success: [Excerpt: Chris Farlowe, "Out of Time"] Or at least, it was a success in the UK. It did also make the top forty in the US for a week, but then it hit a snag -- it had charted without having been released in the US at all, or even being sent as a promo to DJs. Oldham's new business manager Allen Klein had been asked to work his magic on the US charts, but the people he'd bribed to hype the record into the charts had got the release date wrong and done it too early. When the record *did* come out over there, no radio station would play it in case it looked like they were complicit in the scam. But still, a UK number one wasn't too shabby, and so Immediate Records was back on track, and Oldham wanted to shore things up by bringing in some more proven hit-makers. Immediate signed the Small Faces, and even started paying them royalties -- though that wouldn't last long, as Immediate went bankrupt in 1970 and its successors in interest stopped paying out. The first work the group did for the label was actually for a Chris Farlowe single. Lane and Marriott gave him their song "My Way of Giving", and played on the session along with Farlowe's backing band the Thunderbirds. Mick Jagger is the credited producer, but by all accounts Marriott and Lane did most of the work: [Excerpt: Chris Farlowe, "My Way of Giving"] Sadly, that didn't make the top forty. After working on that, they started on their first single recorded at Immediate. But because of contractual entanglements, "I Can't Make It" was recorded at Immediate but released by Decca. Because the band weren't particularly keen on promoting something on their old label, and the record was briefly banned by the BBC for being too sexual, it only made number twenty-six on the charts. Around this time, Marriott had become friendly with another band, who had named themselves The Little People in homage to the Small Faces, and particularly with their drummer Jerry Shirley. Marriott got them signed to Immediate, and produced and played on their first single, a version of his song "(Tell Me) Have You Ever Seen Me?": [Excerpt: The Apostolic Intervention, "(Tell Me) Have You Ever Seen Me?"] When they signed to Immediate, The Little People had to change their name, and Marriott suggested they call themselves The Nice, a phrase he liked. Oldham thought that was a stupid name, and gave the group the much more sensible name The Apostolic Intervention. And then a few weeks later he signed another group and changed *their* name to The Nice. "The Nice" was also a phrase used in the Small Faces' first single for Immediate proper. "Here Come the Nice" was inspired by a routine by the hipster comedian Lord Buckley, "The Nazz", which also gave a name to Todd Rundgren's band and inspired a line in David Bowie's "Ziggy Stardust": [Excerpt: Lord Buckley, "The Nazz"] "Here Come the Nice" was very blatantly about a drug dealer, and somehow managed to reach number twelve despite that: [Excerpt: The Small Faces, "Here Come the Nice"] It also had another obstacle that stopped it doing as well as it might. A week before it came out, Decca released a single, "Patterns", from material they had in the vault. And in June 1967, two Small Faces albums came out. One of them was a collection from Decca of outtakes and demos, plus their non-album hit singles, titled From The Beginning, while the other was their first album on Immediate, which was titled Small Faces -- just like their first Decca album had been. To make matters worse, From The Beginning contained the group's demos of "My Way of Giving" and "(Tell Me) Have You Ever Seen Me?", while the group's first Immediate album contained a new recording of  "(Tell Me) Have You Ever Seen Me?", and a version of "My Way of Giving" with the same backing track but a different vocal take from the one on the Decca collection. From this point on, the group's catalogue would be a complete mess, with an endless stream of compilations coming out, both from Decca and, after the group split, from Immediate, mixing tracks intended for release with demos and jam sessions with no regard for either their artistic intent or for what fans might want. Both albums charted, with Small Faces reaching number twelve and From The Beginning reaching number sixteen, neither doing as well as their first album had, despite the Immediate album, especially, being a much better record. This was partly because the Marriott/Lane partnership was becoming far more equal. Kenney Jones later said "During the Decca period most of the self-penned stuff was 99% Steve. It wasn't until Immediate that Ronnie became more involved. The first Immediate album is made up of 50% Steve's songs and 50% of Ronnie's. They didn't collaborate as much as people thought. In fact, when they did, they often ended up arguing and fighting." It's hard to know who did what on each song credited to the pair, but if we assume that each song's principal writer also sang lead -- we know that's not always the case, but it's a reasonable working assumption -- then Jones' fifty-fifty estimate seems about right. Of the fourteen songs on the album, McLagan sings one, which is also his own composition, "Up the Wooden Hills to Bedfordshire". There's one instrumental, six with Marriott on solo lead vocals, four with Lane on solo lead vocals, and two duets, one with Lane as the main vocalist and one with Marriott. The fact that there was now a second songwriter taking an equal role in the band meant that they could now do an entire album of originals. It also meant that their next Marriott/Lane single was mostly a Lane song. "Itchycoo Park" started with a verse lyric from Lane -- "Over bridge of sighs/To rest my eyes in shades of green/Under dreaming spires/To Itchycoo Park, that's where I've been". The inspiration apparently came from Lane reading about the dreaming spires of Oxford, and contrasting it with the places he used to play as a child, full of stinging nettles. For a verse melody, they repeated a trick they'd used before -- the melody of "My Mind's Eye" had been borrowed in part from the Christmas carol "Gloria in Excelsis Deo", and here they took inspiration from the old hymn "God Be in My Head": [Excerpt: The Choir of King's College Cambridge, "God Be in My Head"] As Marriott told the story: "We were in Ireland and speeding our brains out writing this song. Ronnie had the first verse already written down but he had no melody line, so what we did was stick the verse to the melody line of 'God Be In My Head' with a few chord variations. We were going towards Dublin airport and I thought of the middle eight... We wrote the second verse collectively, and the chorus speaks for itself." [Excerpt: The Small Faces, "Itchycoo Park"] Marriott took the lead vocal, even though it was mostly Lane's song, but Marriott did contribute to the writing, coming up with the middle eight. Lane didn't seem hugely impressed with Marriott's contribution, and later said "It wasn't me that came up with 'I feel inclined to blow my mind, get hung up, feed the ducks with a bun/They all come out to groove about, be nice and have fun in the sun'. That wasn't me, but the more poetic stuff was." But that part became the most memorable part of the record, not so much because of the writing or performance but because of the production. It was one of the first singles released using a phasing effect, developed by George Chkiantz (and I apologise if I'm pronouncing that name wrong), who was the assistant engineer for Glyn Johns on the album. I say it was one of the first, because at the time there was not a clear distinction between the techniques now known as phasing, flanging, and artificial double tracking, all of which have now diverged, but all of which initially came from the idea of shifting two copies of a recording slightly out of synch with each other. The phasing on "Itchycoo Park" , though, was far more extreme and used to far different effect than that on, say, Revolver: [Excerpt: The Small Faces, "Itchycoo Park"] It was effective enough that Jimi Hendrix, who was at the time working on Axis: Bold as Love, requested that Chkiantz come in and show his engineer how to get the same effect, which was then used on huge chunks of Hendrix's album. The BBC banned the record, because even the organisation which had missed that the Nice who "is always there when I need some speed" was a drug dealer was a little suspicious about whether "we'll get high" and "we'll touch the sky" might be drug references. The band claimed to be horrified at the thought, and explained that they were talking about swings. It's a song about a park, so if you play on the swings, you go high. What else could it mean? [Excerpt: The Small Faces, “Itchycoo Park”] No drug references there, I'm sure you'll agree. The song made number three, but the group ran into more difficulties with the BBC after an appearance on Top of the Pops. Marriott disliked the show's producer, and the way that he would go up to every act and pretend to think they had done a very good job, no matter what he actually thought, which Marriott thought of as hypocrisy rather than as politeness and professionalism. Marriott discovered that the producer was leaving the show, and so in the bar afterwards told him exactly what he thought of him, calling him a "two-faced", and then a four-letter word beginning with c which is generally considered the most offensive swear word there is. Unfortunately for Marriott, he'd been misinformed, the producer wasn't leaving the show, and the group were barred from it for a while. "Itchycoo Park" also made the top twenty in the US, thanks to a new distribution deal Immediate had, and plans were made for the group to tour America, but those plans had to be scrapped when Ian McLagan was arrested for possession of hashish, and instead the group toured France, with support from a group called the Herd: [Excerpt: The Herd, "From the Underworld"] Marriott became very friendly with the Herd's guitarist, Peter Frampton, and sympathised with Frampton's predicament when in the next year he was voted "face of '68" and developed a similar teenage following to the one the Small Faces had. The group's last single of 1967 was one of their best. "Tin Soldier" was inspired by the Hans Andersen story “The Steadfast Tin Soldier”, and was originally written for the singer P.P. Arnold, who Marriott was briefly dating around this time. But Arnold was *so* impressed with the song that Marriott decided to keep it for his own group, and Arnold was left just doing backing vocals on the track: [Excerpt: The Small Faces, "Tin Soldier"] It's hard to show the appeal of "Tin Soldier" in a short clip like those I use on this show, because so much of it is based on the use of dynamics, and the way the track rises and falls, but it's an extremely powerful track, and made the top ten. But it was after that that the band started falling apart, and also after that that they made the work generally considered their greatest album. As "Itchycoo Park" had made number one in Australia, the group were sent over there on tour to promote it, as support act for the Who. But the group hadn't been playing live much recently, and found it difficult to replicate their records on stage, as they were now so reliant on studio effects like phasing. The Australian audiences were uniformly hostile, and the contrast with the Who, who were at their peak as a live act at this point, couldn't have been greater. Marriott decided he had a solution. The band needed to get better live, so why not get Peter Frampton in as a fifth member? He was great on guitar and had stage presence, obviously that would fix their problems. But the other band members absolutely refused to get Frampton in. Marriott's confidence as a stage performer took a knock from which it never really recovered, and increasingly the band became a studio-only one. But the tour also put strain on the most important partnership in the band. Marriott and Lane had been the closest of friends and collaborators, but on the tour, both found a very different member of the Who to pal around with. Marriott became close to Keith Moon, and the two would get drunk and trash hotel rooms together. Lane, meanwhile, became very friendly with Pete Townshend, who introduced him to the work of the guru Meher Baba, who Townshend followed. Lane, too, became a follower, and the two would talk about religion and spirituality while their bandmates were destroying things. An attempt was made to heal the growing rifts though. Marriott, Lane, and McLagan all moved in together again like old times, but this time in a cottage -- something that became so common for bands around this time that the phrase "getting our heads together in the country" became a cliche in the music press. They started working on material for their new album. One of the tracks that they were working on was written by Marriott, and was inspired by how, before moving in to the country cottage, his neighbours had constantly complained about the volume of his music -- he'd been particularly annoyed that the pop singer Cilla Black, who lived in the same building and who he'd assumed would understand the pop star lifestyle, had complained more than anyone. It had started as as fairly serious blues song, but then Marriott had been confronted by the members of the group The Hollies, who wanted to know why Marriott always sang in a pseudo-American accent. Wasn't his own accent good enough? Was there something wrong with being from the East End of London? Well, no, Marriott decided, there wasn't, and so he decided to sing it in a Cockney accent. And so the song started to change, going from being an R&B song to being the kind of thing Cockneys could sing round a piano in a pub: [Excerpt: The Small Faces, "Lazy Sunday"] Marriott intended the song just as an album track for the album they were working on, but Andrew Oldham insisted on releasing it as a single, much to the band's disgust, and it went to number two on the charts, and along with "Itchycoo Park" meant that the group were now typecast as making playful, light-hearted music. The album they were working on, Ogden's Nut-Gone Flake, was eventually as known for its marketing as its music. In the Small Faces' long tradition of twisted religious references, like their songs based on hymns and their song "Here Come the Nice", which had taken inspiration from a routine about Jesus and made it about a drug dealer, the print ads for the album read: Small Faces Which were in the studios Hallowed be thy name Thy music come Thy songs be sung On this album as they came from your heads We give you this day our daily bread Give us thy album in a round cover as we give thee 37/9d Lead us into the record stores And deliver us Ogdens' Nut Gone Flake For nice is the music The sleeve and the story For ever and ever, Immediate The reason the ad mentioned a round cover is that the original pressings of the album were released in a circular cover, made to look like a tobacco tin, with the name of the brand of tobacco changed from Ogden's Nut-Brown Flake to Ogden's Nut-Gone Flake, a reference to how after smoking enough dope your nut, or head, would be gone. This made more sense to British listeners than to Americans, because not only was the slang on the label British, and not only was it a reference to a British tobacco brand, but American and British dope-smoking habits are very different. In America a joint is generally made by taking the dried leaves and flowers of the cannabis plant -- or "weed" -- and rolling them in a cigarette paper and smoking them. In the UK and much of Europe, though, the preferred form of cannabis is the resin, hashish, which is crumbled onto tobacco in a cigarette paper and smoked that way, so having rolling or pipe tobacco was a necessity for dope smokers in the UK in a way it wasn't in the US. Side one of Ogden's was made up of normal songs, but the second side mixed songs and narrative. Originally the group wanted to get Spike Milligan to do the narration, but when Milligan backed out they chose Professor Stanley Unwin, a comedian who was known for speaking in his own almost-English language, Unwinese: [Excerpt: Stanley Unwin, "The Populode of the Musicolly"] They gave Unwin a script, telling the story that linked side two of the album, in which Happiness Stan is shocked to discover that half the moon has disappeared and goes on a quest to find the missing half, aided by a giant fly who lets him sit on his back after Stan shares his shepherd's pie with the hungry fly. After a long quest they end up at the cave of Mad John the Hermit, who points out to them that nobody had stolen half the moon at all -- they'd been travelling so long that it was a full moon again, and everything was OK. Unwin took that script, and reworked it into Unwinese, and also added in a lot of the slang he heard the group use, like "cool it" and "what's been your hang-up?": [Excerpt: The Small Faces and Professor Stanley Unwin, "Mad John"] The album went to number one, and the group were justifiably proud, but it only exacerbated the problems with their live show. Other than an appearance on the TV show Colour Me Pop, where they were joined by Stanley Unwin to perform the whole of side two of the album with live vocals but miming to instrumental backing tracks, they only performed two songs from the album live, "Rollin' Over" and "Song of a Baker", otherwise sticking to the same live show Marriott was already embarrassed by. Marriott later said "We had spent an entire year in the studios, which was why our stage presentation had not been improved since the previous year. Meanwhile our recording experience had developed in leaps and bounds. We were all keenly interested in the technical possibilities, in the art of recording. We let down a lot of people who wanted to hear Ogden's played live. We were still sort of rough and ready, and in the end the audience became uninterested as far as our stage show was concerned. It was our own fault, because we would have sussed it all out if we had only used our brains. We could have taken Stanley Unwin on tour with us, maybe a string section as well, and it would have been okay. But we didn't do it, we stuck to the concept that had been successful for a long time, which is always the kiss of death." The group's next single would be the last released while they were together. Marriott regarded "The Universal" as possibly the best thing he'd written, and recorded it quickly when inspiration struck. The finished single is actually a home recording of Marriott in his garden, including the sounds of a dog barking and his wife coming home with the shopping, onto which the band later overdubbed percussion, horns, and electric guitars: [Excerpt: The Small Faces, "The Universal"] Incidentally, it seems that the dog barking on that track may also be the dog barking on “Seamus” by Pink Floyd. "The Universal" confused listeners, and only made number sixteen on the charts, crushing Marriott, who thought it was the best thing he'd done. But the band were starting to splinter. McLagan isn't on "The Universal", having quit the band before it was recorded after a falling-out with Marriott. He rejoined, but discovered that in the meantime Marriott had brought in session player Nicky Hopkins to work on some tracks, which devastated him. Marriott became increasingly unconfident in his own writing, and the writing dried up. The group did start work on some new material, some of which, like "The Autumn Stone", is genuinely lovely: [Excerpt: The Small Faces, "The Autumn Stone"] But by the time that was released, the group had already split up. The last recording they did together was as a backing group for Johnny Hallyday, the French rock star. A year earlier Hallyday had recorded a version of "My Way of Giving", under the title "Je N'Ai Jamais Rien Demandé": [Excerpt: Johnny Hallyday, "Je N'Ai Jamais Rien Demandé"] Now he got in touch with Glyn Johns to see if the Small Faces had any other material for him, and if they'd maybe back him on a few tracks on a new album. Johns and the Small Faces flew to France... as did Peter Frampton, who Marriott was still pushing to get into the band. They recorded three tracks for the album, with Frampton on extra guitar: [Excerpt: Johnny Hallyday, "Reclamation"] These tracks left Marriott more certain than ever that Frampton should be in the band, and the other three members even more certain that he shouldn't. Frampton joined the band on stage at a few shows on their next few gigs, but he was putting together his own band with Jerry Shirley from Apostolic Intervention. On New Year's Eve 1968, Marriott finally had enough. He stormed off stage mid-set, and quit the group. He phoned up Peter Frampton, who was hanging out with Glyn Johns listening to an album Johns had just produced by some of the session players who'd worked for Immediate. Side one had just finished when Marriott phoned. Could he join Frampton's new band? Frampton said of course he could, then put the phone down and listened to side two of Led Zeppelin's first record. The band Marriott and Frampton formed was called Humble Pie, and they were soon releasing stuff on Immediate. According to Oldham, "Tony Calder said to me one day 'Pick a straw'. Then he explained we had a choice. We could either go with the three Faces -- Kenney, Ronnie, and Mac -- wherever they were going to go with their lives, or we could follow Stevie. I didn't regard it as a choice. Neither did Tony. Marriott was our man". Marriott certainly seemed to agree that he was the real talent in the group. He and Lane had fairly recently bought some property together -- two houses on the same piece of land -- and with the group splitting up, Lane moved away and wanted to sell his share in the property to Marriott. Marriott wrote to him saying "You'll get nothing. This was bought with money from hits that I wrote, not that we wrote," and enclosing a PRS statement showing how much each Marriott/Lane

It's the first ever Old Movies for Young Stoners Holiday Special! Bob, Cory, Philena and Greg are back to spread some holiday cheer, or maybe just baffle and amuse you. First, we discuss the new "Sight and Sound" 100 Greatest Films of All Time list that just dropped last week. Does "Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles" deserve the top spot? Should "Citizen Kane" reign in perpetuity? What happened to "Lawrence of Arabia" and "Touch of Evil???" The young stoners, the olds and Paul Schrader have some thoughts about this. Then we take a look at "Carol for Another Christmas." Funded by Xerox, written by Rod Serling, and starring Peter Sellers and Sterling Hayden fresh off of Kubrick's "Dr. Strangelove," this is probably the bleakest version of Charles Dickens' "A Christmas Carol" and it's streaming now on HBOMax. After that, Bob shares his family's Christmas tradition of getting sloshed on rum and eggnog and watching "Horror Express," a 1972 Spanish shocker starring Peter Cushing and Christopher Lee but utterly ruled by Telly Savalas as a power-mad Cossack. Why is this a Christmas movie? Listen and find out. Bob does explain it... Kind of. "Horror Express" is now streaming on Shudder. Happy New Year everyone! See you in 2023 with Season 2.

Michael Seth Starr has covered television as a reporter and columnist at The New York Post since 1995. He has written a filmography of Peter Sellers and biographies of Art Carney, Joey Bishop, Bobby Darin, Raymond Burr, Redd Foxx, Ringo Starr, William Shatner, and now, Don Rickles. He has made frequent appearances on television including “The Today Show,” “Access Hollywood,” “Good Morning America,” “The Rachael Ray Show,” “The Early Show,” “Larry King Live,” “Extra,” “The Late Late Show with Craig Ferguson,” “Inside Edition,” “Entertainment Tonight” and “Tavis Smiley.” JONES.SHOW is a weekly podcast featuring host Randall Kenneth Jones (author, speaker & creative communications consultant) and Susan C. Bennett (the original voice of Siri). JONES.SHOW is produced and edited by Kevin Randall Jones. MICHAEL SETH STARR Online: Web: https://www.michaelsethstarr.com/ Twitter: https://twitter.com/biowriter61 JONES.SHOW Online: Join us in the Jones.Show Lounge on Facebook. Twitter (Randy): https://twitter.com/randallkjones Instagram (Randy): https://www.instagram.com/randallkennethjones/ Facebook (Randy): https://www.facebook.com/mindzoo/ Web: RandallKennethJones.com Follow Randy on Clubhouse Twitter (Susan): https://twitter.com/SiriouslySusan Instagram (Susan): https://www.instagram.com/siriouslysusan/ Facebook (Susan): https://www.facebook.com/siriouslysusan/ Web: SusanCBennett.com Follow Susan on Clubhouse LinkedIn (Kevin): https://www.linkedin.com/in/kevin-randall-jones/ Web: KevinRandallJones.com www.Jones.Show

Hello! And welcome to the Dana Gould Hour Podcast. We are in high dudgeon of the holiday season and we have an episode that, we hope, will stuff your stocking with candy coated oral enticements. We have two great guests joining us. From the Ologies podcast, as well as CBS' Henry Ford's Innovation Nation with Mo Rocca, Alie Ward is here to discuss all things ologistic, and we have a year-end recap with our film critic in residence Katharine Coldiron. We'll be discussing the year in film, the year in streaming, and the year in streaming film. True Tales From Weirdsville takes a deep dive into the world of the late great, brilliant but haunted Peter Sellers, specifically his barely released 1973 film Ghost In The Noonday Sun, which is the subject of the compelling making-of documentary The Ghost Of Peter Sellers.

If there's one thing the public cannot reach agreement on it's what was the greatest British black & white Peter Sellers film of all time. There is obviously a strong groundswell of support for that popular favourite, I'm All Right Jack, while trendier types (sneering metropolitan elites looking down on the hoi polloi) insist that Only Two Can Play is far superior. Others argue for The Naked Truth, with some justification, while a handful of nitwits push for The Ladykillers, completely misunderstanding the notion of 'black & white' as opposed to 'colour'. However, they are all wrong. Sensible people everywhere acknowledge that the correct answer is Two Way Stretch from 1960, a film which has only gained in popularity over the years. Directed by Robert Day from an original screenplay by John Warren & Len Heath (and with additional dialogue by Alan Hackney, writer of I'm All Right Jack), the working title for the film was Nothing Barred and it clearly provided inspiration for one of the greatest British sitcoms of all time - Porridge. It reunites Sellers with his 'Jack co-stars Irene Handl and Liz Fraser and teams him up with David Lodge and Bernard Cribbins, but the film's most memorable performance is delivered by the peerless Lionel Jeffries as Chief Officer Crout. Joining Tyler this week to do a bit of stir is returning guest Jeremy Limb - musician, actor and one third of The Trap.

The Men of Micheaux share their ideas for non-traditional Thanksgiving dishes (AKA what was Len thinking?); listener voicemail takes us back to the O.J. Simpson verdict; the Top 5 Denzags = Denzel movies that miss the mark; Six Degrees of D'Urville to Peter Sellers and Jessica Lange and (1:01) our review of director Ridley Scott's epic American Gangster with Denzel Washington and Russell Crowe. ________________ Rate & Review The Mission on Apple - Help us get to 200 reviews! Email micheauxmission@gmail.com Follow The Mission on IG, Twitter @micheauxmission  Leave Voicemail for Vincent & Len Subscribe to the Mission on YouTube Get your Micheaux Mission SWAG from TeePublic We are a proud member of The Podglomerate - we make podcasts work! Learn more about your ad choices. Visit megaphone.fm/adchoices

Agents Scott and Cam try, and repeatedly fail, to cross a moat while decoding Peter Sellers' fourth Clouseau comedy, 1976's The Pink Panther Strikes Again.  Directed by Blake Edwards. Starring Peter Sellers, Herbert Lom, Lesley-Anne Down, Burt Kwouk, Colin Blakely and Leonard Rossiter. Become a SpyHards Patron and gain access to top secret "Agents in the Field" bonus episodes, movie commentaries and more! Pick up exclusive SpyHards merch, including the "What Does Vargas Do?" t-shirt by @shaylayy, available only at Redbubble Social media: @spyhards View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes. Theme music by Doug Astley.

Our guest this week is podcaster and producer Tilt Araiza, who joins Tyler to talk about Michael Bentine and his ground-breaking television series It's A Square World. Written by Bentine and John Law, It's A Square World ran on the BBC from 1960-64 totalling 57 episodes and was a clear influence on later comedy series, notably Monty Python's Flying Circus. As well as Bentine the programme featured the likes of Clive Dunn, Frank Thornton, Deryck Guyler, John Bluthal, Benny Lee, Dick Emery, Ronnie Barker and Sherie Winton. It won the Press Prize at the Rose d'Or Festival in Montreux in 1963 and scooped a Light Entertainment BAFTA award the year before. This week's show is roughly divided into two parts: the second half mainly focuses on It's A Square World but firstly Tilt & Tyler talk more generally about Bentine's extraordinary life. Having grown up enjoying many of the trappings of privilege his early years were marked by an inability to communicate properly, thanks to some avoidable home-surgery on his tonsils. Later he faced innumerable barriers to entry into the Second World War due to his Peruvian roots and when he finally did enter the services he was almost killed due to a mistake during a routine typhoid vaccination and was in a coma for several weeks. He later recovered and joined Military Intelligence and was among those who helped liberate Bergen-Belsen. Despite all this he retained an optimistic, positive disposition and swept away on the currents of his imagination and facility for invention he found success as a comedian and performer in the late nineteen-forties. He met Harry Secombe who in turn introduced him to some friends of his, Spike Milligan and Peter Sellers, and the seeds of The Goon Show were planted. Bentine would later go on to find fame on television with shows like It's A Square World and also his childrens' series such as the much-loved Potty Time in the seventies. A committed believer in the paranormal he became President of the Association For the Scientific Study of Anomalous Phenomena and somehow found time to sail yachts, shoot, practise archery and go on hovercraft expeditions up the Amazon. As for It's A Square World, producer Barry Lupino told the Radio Times in 1961: “It has been called a diversion for the low in brow – but I wonder? The topics are lofty enough. What could be more uplifting than the opening of the Royal Academy?... Nor of course shall we overlook the situation in Volcania, of the effects of children's television on the adult viewer, and the arrival and departure of distinguished personages in the great metropolis.” The series also has the distinction of likely producing the first Dr Who parody – with Clive Dunn turning up barely a month after DW began dressed in an unmistakably Hartnellesque fashion. All this and more is up for discussion in what is likely to be the first of a two part Bentine retrospective (Tilt will return next year).

Stanley Kubrick parodia en Dr. Strangelove la crisis de los misiles de Cuba de 1962. Peter Sellers interpreta en ella al matemático que asesora a los americanos en un potencial conflicto nuclear con los rusos. El personaje está inspirado en el profesor John von Neumann, padre de la teoría de juegos. Dicen los manuales que la bomba atómica debería reducir la probabilidad de guerra, ahora que el coste es inasumible. Aunque los modelos no siempre se cumplen con humanos no siempre racionales.Este podcast está patrocinado por Equito App.Muchos españoles no pueden invertir en inmuebles porque los bancos exigen un capital alto antes de conceder un préstamo. Equito App llega para cambiar esto. Nuestra aplicación te permite invertir en inmuebles desde tan solo 100 euros, en menos de 2 minutos y con tu móvil, para recibir rentas cada mes. Equito tokeniza los activos inmobiliarios para hacerlos accesibles a todos. Es muy simple darte de alta: te descargas la app, le sacas una foto a tu DNI, eliges el tipo de inversión que quieres, firmas tu contrato desde el teléfono móvil y mandas el dinero. La inversión se realiza por transferencia bancaria, tarjeta de crédito o incluso criptomoneda. Con el código NB543, obtén 10 euros por una primera inversión de 200 y 30 euros por una de 500. Entra en Equito.app para conocer todos los detalles del proyecto.Índice:1.26. Un bonito consejo de José Luis Rodríguez Zapatero.11.26. Los buenos estudiantes mantienen la curiosidad.26.01. ¿Qué es la teoría de juegos?39.40. El dilema del prisionero.49.32. La tragedia de los comunes.1.13.17. 12 hombres sin piedad.1.17.30. El juego de la gallina con Puigdemont y Tsipras.1.40.56. ¿Teléfono rojo? Volamos hacia Moscú.1.54.15. El equilibrio de Nash en el lanzamiento de penaltis.Apuntes:Game theory: an applied introduction. José Luis Ferreira.La historia más lúdica jamás contada: Von Neumann. José Luis Ferreira.La historia más lúdica jamás contada: Schelling. José Luis Ferreira.La historia más lúdica jamás contada: Aumann. José Luis Ferreira.The strategy of conflict. Thomas Schelling.Theory of games and economic behavior. John von Neumann.How the mind works. Steven Pinker.The logic of life. Tim Harford.

Phil Cannon from the Who's He? podcast joins Tyler this week to discuss a film unfairly overlooked by the Academy - Spike Milligan's The Great McGonagall from 1974. Written by Spike and Joe McGrath (Casino Royale, Digby the Biggest Dog in the World, Not Only But Also) and starring Milligan as the titular poet & tragedian, the film also featured Peter Sellers as Queen Victoria (kneeling on a skateboard), John Bluthal, Victor Spinetti and Julia Foster. Considered by many to be the worst poet who ever drew breath, William Topaz McGonagall had long been a favourite of Sellers and Milligan and indeed had been woven into the fabric of The Goon Show, turning up as a character in occasional episodes (notably The Tay Bridge in 1959). This film takes constant liberties with the truth and is about as far away from being a faithful account of the poet's life as any biopic could credibly claim to be. That said, several of his poems were used and a handful of scenes were at least partly based on actual events. The film was shot over three weeks entirely at Wilton's Music Hall and was not a success, receiving only limited release. It did garner a few fairly favourable notices (Richard Eder, writing in the New York Times, described it as a "radiant failure") but most reviewers were chilly towards it. Time Out thundered: "The humour is forced and the social/political comment embarrassingly exposed... it looks like some tiresome theatrical junket brought out in the wake of the departing Lord Chamberlain, crammed full of previously vetoed references to the Royal Family!" Calm down Time Out, it's a low-budget British comedy, it's not trying to be Pather Panchali. Despite this (or perhaps because of it!) Tyler and Phil had an enjoyable time chatting about it and would welcome listeners to check out the film if they haven't already seen it: available for a few quid on DVD and for free on YouTube (as of time of writing). Who's He?: http://www.whos-he-podcast.co.uk/

Jim picked Lifes Rich Pageant by one of our most requested bands, R.E.M., before anyone could pick the wrong album. A new, innovative one-time only ranking system made it one of our shortest episodes ever but we had a record TWO surprise Zoom guests, Craig Rosen, author of R.E.M. Inside Out : The Stories Behind Every Song and Buck09/Plural's Scott Kennerly, who had so much to say that we'll be putting their full, unedited segments on our Youtube channel soon. Lots of fun talk about meeting Mike and Peter, singin' Supermen and teenage posters. Hear it at WeWillRankYouPod.com, Apple, Spotify and your local acronym outlet store. Follow us and weigh in with your favorites on Facebook, Instagram and Twitter @wewillrankyoupod . SPOILERS/FILE UNDER: Dinner side, Begin the Begin, Bill Berry, Peter Sellers, These Days, banjo, Fall on Me, Bob Welch, godzilla, Cuyahoga, the Clique, Hyena, Mike Mills, Underneath the Bunker, Michael Stipe, Supper side, Alternative rock, The Flowers of Guatemala, jangle pop, I Believe, Buck09, What If We Give It Away?, Craig Rosen, Just a Touch, mumbling, Swan Swan H, Peter Buck, Superman, Plural US: http://www.WeWillRankYouPod.com wewillrankyoupod@gmail.com http://www.facebook.com/WeWillRankYouPod http://www.instagram.com/WeWillRankYouPod http://www.twitter.com/WeWillRankYouPo http://www.YourOlderBrother.com (Sam's music page) http://www.YerDoinGreat.com (Adam's music page) https://open.spotify.com/user/dancecarbuzz (Dan's playlists)

The statues all shrieked and ran for their lives.

EVERYBODY OUT! For this week's show Tyler and comedian & writer Meryl O'Rourke downed tools and refused to record a podcast until their demands were met! To pass the time they chatted about the cracking 1959 film I'm All Right Jack, starring Peter Sellers, Ian Carmichael, Margaret Rutherford, Terry-Thomas, Dennis Price, Richard Attenborough, Sam Kydd, Victor Maddern and many others. They ascribed superlatives aplenty to Irene Handl and Liz Fraser and proposed a motion to officially acknowledge that Esma Cannon was criminally underused! The film is still strikingly relevant in many aspects and they were able to draw parallels between some of its themes & issues and current events some 60+ years later. Has the world really moved on all that much? As well as talking about the film itself there were many conversational meanderings via The Young Ones, Battleship Potemkin, Frankie Boyle, Mick Lynch and what is likely to be the first and last reference to Little Mix ever on Goon Pod! Check out Meryl: https://watch.nextupcomedy.com/videos/merylorovanilla0

Today on the 100th episode of the Rarified Heir Podcast, we talk to…wait a minute, we talk to Josh Mills? That's right, we've flipped the script! Because this is a milestone for us, having launched during Covid and posting a new episode for 100 weeks in a row, we decided to do something to celebrate. Something different. Our amazing and talented friend Daisy Torme took the time out of her busy schedule to guest host this 100th episode today and interview our regular host Josh Mills in a Freaky Friday moment no one saw coming. So Daisy is our host and Josh is our guest. Hmnnnn…. Daisy was the perfect person to take over the episode as they have had a familial connection that goes back decades. Josh's dad Marty Mills and Daisy's dad Mel Torme were friends from the early 50s in New York and while there were rough patches, Marty, Mel, Buddy Rich and Sammy Davis Jr. had a unique, irreverent, competitive, fraternal bond that we spoke about in episode 68. So Daisy was the perfect choice to do this because as the Buddy Rich & Mel Torme album title goes, we're Together Again for the First Time. We talk about Josh's years growing up the child of a celebrity with his mother, entertainer Edie Adams, professional photographer Martin Mills & running the estate of Edie's first husband Ernie Kovacs. Along the way, we touch on Mills Music, an iconic music publishing company run by Josh's grandfather Jack Mills, Mia Kovacs, Josh's sister, the mob, Edie's love of comedians & musicians, Marty's ship to shore mobile phone, Maury Wills, Italian food, Peter Sellers, Eddie Fisher, Edie's nightclub act and John Kenley, a name you will look up during the podcast, we are sure. But before we begin the episode, we have to thank our former producer/engineer Erik Paparazzi for his help in getting this off the ground in the early days and to Jason Klamm, who was the first one to sign on to the podcast as co-host back in 2020 when this wasn't even close to reality and to Jamie Harley (that's me) for all his help, patience and effort in making this podcast last 100 episode. His commitment to this podcast is unparalleled and quite literally, we never would have gotten to 100 episode without him. We also owe a huge thank you to Daisy for her time, effort, interest, kindness, research and help in making this 100th episode a reality. But most importantly, we want to thank you, the listeners, for commenting on social media, for emailing us ideas and suggestions and generally, letting us know that all this is worth it. Some new things are happening with the podcast – we've launched our Patreon page today so if you feel like what we are doing is worthy, let us know and feel free to send along a little something as a one-time pledge, a monthly pledge or just provide more an encouragement. While this podcast is a labor of love, we hope to make it even better over the next 100 episodes. And with that…we bring you Daisy and Josh, the podcast centennial

On this episode of X-Ray Vision, Jason Concepcion and Rosie Knight lose their minds, but keep their tongues! We're starting with the Hive Mind (1:54) and the grand finale of She-Hulk where Jason and Rosie are joined by She-Hulk writer Cody Ziglar to discuss comics, cameos, and carte blanche. Staying in the MCU for the Previously On (38:20), Jason, Rosie, and Zig step into black & white to explore Werewolf By Night, including Universal horror, horror that's universal, and more. In the Airlock (1:17:53) Jason and Rosie dive deep (deeep) into episode 8 of House of the Dragon, recapping and discussing Viserys, Vaemond, and Hightower hypocrisy. And in Ask the Maester (2:15:13), they answer listener questions about House of the Dragon.Tune in every Friday and don't forget to Hulk Smash the Follow button!Follow Jason: twitter.com/netw3rkFollow Rosie: IG, Letterboxd, IGN author page, Nerdist author pageJoin the X-Ray Vision DiscordFollow Crooked: twitter.com/crookedmediaThe Listener's Guide for all things X-Ray Vision!World War Hulk (2007) – A crossover storyline event in which the Hulk sees himself banished from Earth by the illuminati; written by various, including Greg Pak and Peter David, with pencils, inks, letters, and colors by various, including Rafa Sandoval, John Romita Jr, Al Rio, and Lee Weeks.The Ladykillers (1955) – An iconic Ealing comedy directed by Alexander Mackendrick with exquisite performances from an ensemble cast including Alec Guinness and Peter Sellers.Nextwave (2006-07) – A 12 issue series by Warren Ellis and Stuart Immonen. 

This week Tyler talks to voice actor and restorer Keith Wickham about his history with the Goons, about a show he has produced for Radio 4 called Raiders of the Lost Archive (which is being broadcast the day after this podcast goes out, on the 13th October) and a recently discovered Hancock's Half Hour featuring Peter Sellers. One of this country's most in-demand voice artists, Keith discovered Sellers at a tender age thanks to an indulgent schoolteacher and was immediately hooked. He soon abandoned his ambition to become a surgeon to focus on comedy and he recounts visits to watch classic radio comedy series being recorded, including I'm Sorry I Haven't A Clue and Just A Minute. He also developed an interest and talent for restoring radio shows, and as well as The Goon Show one of his proudest achievements in this field has been the complete I'm Sorry I'll Read That Again. He talks about collaborating with people like Ted Kendall, Richard Harrison and Steve Arnold and how he went about sourcing material - old tapes, discs etc - and the challenges he faced. Raiders of the Lost Archive tells the story of the audio engineers, enthusiasts and hobbyists who have spent years tracking down lost radio shows, dusting them off, cleaning them up and releasing them back into the world. Of particular note is the recently unearthed Hancock's Half Hour episode 'The Marriage Bureau', long thought lost forever, which featured Peter Sellers in a one-off appearance standing in for Kenneth Williams. https://www.bbc.co.uk/programmes/m001cxx2

If you are listening to this show on the day it goes out - Wednesday 5th October 2022 - then it is exactly 60 years since the Beatles' first single, Love Me Do, was released*. It's also exactly 50 years to the day since The Last Goon Show Of All was broadcast! We've previously dedicated a show to the connections between the Beatles & The Goons and an argument could be made that were it not for the Goons the Beatles (as we know them today) may not have existed. Had an EMI producer named George Martin not made a children's record called Jakka and the Flying Saucers in 1953 with an up-and-coming radio comedian then he may not have gone on to oversee Peter Sellers' (for it was he) subsequent hit comedy LPs at the end of the decade. He also may not have met and worked with Sellers' colleague Spike Milligan, and were it not for Martin's involvement with those two Goons on records which had entertained the teenage Beatles then he may have failed to have impressed them much when he met them in 1962. Things could have been so different... ... Ok, maybe that's a stretch but the importance of George Martin in British - in world - popular culture is undeniable. And without his experience creating those comedy & novelty records in the fifties and early sixties it is possible that much of the Beatles' later work may have lacked the levels of inventiveness and technical complexity that they achieved. This week Tyler is joined by Andrew Hickey - from the hugely popular podcast A History of Rock Music in 500 Songs - to talk about George Martin and specifically his work with Peter Sellers and Spike Milligan, as well as some of the other records he had a hand in, pre-Beatles. We talk about The Best of Sellers, Songs For Swinging Sellers, Unchained Melody, You Gotta Go Oww, the Sellers Beatles covers, Milligan Preserved, Bridge On The River Wye, Peter & Sophia and much more! * We're now as far away from that day as the Beatles were from the funeral of Émile Zola. A History of Rock Music in 500 Songs: 500songs.com/

On Snubs, film fans and co-hosts, Caroline Young and Chris Masciarelli, discuss their favorite films that were snubbed by the Oscars. On this episode, our titular hosts, along with special guest Jai Singh Nanda, discuss Shane Black's The Nice Guys, and the 2017 Academy Awards it was noticeably absent from. Caroline should've been in the marketing department for this film, Chris still doesn't know the difference between a lead and a supporting character, and Jai didn't know Peter Sellers died in the 80s. Don't forget to follow on Instagram! https://www.instagram.com/snubspod/ A High Tops Media Podcast You can follow for more High Tops Media content on Facebook, Instagram, and Twitter: @hightopsmedia Check out more podcasts on our website https://hightops.media

Gentlemen, you can't fight in here, Sean Fennessey is finally on our podcast! The Big Picture Pod host joins Griffin and David to talk about Kubrick's razor-sharp satire, the Peter Sellers tour-de-force that is “Dr. Strangelove”. We're asking all the questions - Could Sellers have played *every* character in this movie? Is the film paradoxically funnier because Kubrick isn't really a comedy guy? Would George C. Scott hate this podcast? Would you give “Tom Jones” a middling three stars on Letterboxd? And more! This episode is sponsored by: Decision to Leave brought to you by MUBI  Congratulations Join our Patreon at patreon.com/blankcheck Follow us @blankcheckpod on Twitter and Instagram! Buy some real nerdy merch at shopblankcheckpod.myshopify.com or at teepublic.com/stores/blank-check

Tom and Jenny discuss Stanley Kubrick’s satirical masterpiece, a Cold War black comedy about mutually assured destruction starring Peter Sellers, George C. Scott, Sterling Hayden, and Slim Pickens. Audio version: Video version: Please support us on Patreon! Don't forget to subscribe to our YouTube channel, like us on Facebook, and follow us on Twitter and Instagram. And check out our cool … Continue reading Movie Retrospective: Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)

Returning guest Sean Gaffney is back to talk about the Series 9 opener The Sahara Desert Statue - the one about what would happen if a nude Welshman holding a rice pudding in the middle of the desert got hit by an atom bomb. We talk a great deal about the events and circumstances leading up to the beginning of Series 9 and how it almost didn't get made. Spike Milligan was in Australia issuing demands to the BBC, Peter Sellers was making his first faltering steps in a legitimate stage production which famously collapsed under the weight of its star's self-indulgence, Harry Secombe was also appearing in a stage show and preparing for the Royal Variety Performance, while Max Geldray narrowly avoided the chop! Sean and Tyler discuss the episode itself, and Sean explains why it is his go-to show when he needs a bit of comfort listening. There's also a slightly wince-making recording of Wallace Greenslade trying to do Goon voices... hats off to the old man for trying but wiser counsel should have prevailed!

My guest on this episode is the absolute legend that is Gered Mankowitz - he is the photographer who created the enduring and defining image of the rock star as we know it today. Inspired to take up photography by the comedian Peter Sellers, Gered opened his first studio in 1963. Finding himself at the centre of Swinging London, he soon established himself as one of the most prominent music photographers on the scene. His portfolio showcases striking and beautiful photographs from the 1960s to the 2000s, encompassing the Rolling Stones, Jimi Hendrix , Small Faces, Marianne Faithfull, P.P. Arnold, Led Zeppelin, Eurythmics, Kate Bush, Oasis and many others. Check out his collection here. There are two links with Paul Weller. The photograph for the cover of The Jam's second album This Is The Modern World and a lovely shot for an advert for Vox Amps with The Style Council... In 2016 Gered was awarded the distinction of a Fellowship of The Royal Photographic Society. Find out more about Gered at mankowitz.com and check out my show notes at paulwellerfanpodcast.com/episode-112-gered-mankowitz If you enjoy this episode of the podcast - please share on your social media channels - and leave a review and if you want to support the podcast financially, you can buy me a virtual coffee at paulwellerfanpodcast.com/store

FOX GUEST SAYS TRUMP MAY HAVE TAKEN NUCLEAR RETALIATION PLANS A BLOCK: (1:50) We know Trump took nuclear weapons documents, information "among the most sensitive secrets we hold," documents marked "Special Access Programs" (2:19) What if it's even worse? What if it's worse than the worst we could imagine? (3:37) What if every crazy rumor about nuclear codes and invoking of The Rosenbergs is not only apt, but an understatement? (4:23) Biography of former Washington Post and Wall Street Journal investigative reporter Ronald Kessler (5:12) Kessler, a past Trump apologist, appears on Fox News Channel Thursday night (6:30) Kessler says what Trump took "could very well include the plans for counterstriking against Russia in the event of a nuclear attack" (8:50) Or, "penetrations by the CIA of foreign embassies, of foreign leaders like Putin, as well as recruitments of spies overseas." And that the Russians would've been trying to get a spy into Mar-a-Lago, and may have succeeded (11:00) Reinhart poised to release search warrant affidavit with all redactions the government requested (12:08) CNN reports Trump has been getting legal advice from non-lawyer Tom Fitton (12:56) Fox Business reports his web host may sue Trump for non-payment for Truth Social (13:40) We should assume that what's in Trump's Pandora's Box could be worse than we can possibly imagine. B BLOCK: (17:30) Every Dog Has Its Day: Duo-Duo has been saved! And I'm plugging the Schwarzman Animal Center's "AMC To The Rescue" fund to treat shelter and pound pets who need medical help (18:59) Postscripts To The News: White House burns Republicans complaining about Student Loan Forgiveness program who themselves got PPP Loan Forgiveness - like Marjorie Trailer Park Greene (21:27) Who says she was swatted - again (22:01) Bill Barr turns on Trump (22:48) Couple confesses to stealing President's daughter's diary for Project Veritas (23:14) Tim Scott thinks "fruitful" and "fruit-filled" are the same word (25:04) Sports: Bryce Harper returns to the Phillies and that might be BAD news (25:40) Bengals-Rams scrimmage fight recalls Cletus The Slack-Jawed Yokel from The Simpsons (26:19) Anniversary of the ESPN2 show - and song, and the back story of how we launched it to mess with Fox (32:00) Jared Kushner, Doug Mastriano, and Ron DeSantis compete for Worst Persons dishonors. C BLOCK: (37:13) Time for James Thurber and a short story that invokes Red Barber and Vin Scully (37:50) And might've become a film directed by Burt Lancaster (38:00) Regardless, it's one of his best: The Catbird Seat.See omnystudio.com/listener for privacy information.