Podcast appearances and mentions of Peyton Place

This episode was originally released on December 1, 2015. Listen to help prep for the next episode of our new season, The Old Man is Still Alive. Lana Turner, the legendary "Sweater Girl" was one of MGM's prized contract players, the epitome of the mid-century sex goddess on-screen and an unlucky-in-love single mom off-screen who would burn through seven husbands and countless affairs. After nearly twenty years as a star not known for her acting prowess, Turner's career suddenly got interesting in the late 1950s, when the hits The Bad and the Beautiful, Peyton Place and Imitation of Life sparked a reappraisal of her talents. In the middle of this renaissance, Turner became embroiled in one of Hollywood history's most shocking scandals: the murder of Turner's boyfriend Johnny Stompanato at the hand of her 14 year-old daughter, Cheryl Crane. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Are you a fan of classic film and television? Well, Donna and Dr Adam have you covered when they are joined by two very special guests: Scott Morrow and Shannon Allen! As a child actor during the Golden Age of Hollywood, Scott “Scotty” Morrow played Hope Lange's brother in the film “Peyton Place” and was seen in classic shows “The Donna Reed Show”, “Wagon Train”, “Lassie”, and “My Three Sons”. Shannon Allen is a podcaster and writer with her popular podcast “Vanguard of Hollywood”, where she gets up close and personal with the films and stars of the Golden Age. In conversation, Scott shares what it was like to share the screen and studio with legends Lana Turner, George Montgomery, Richard Chamberlain, Ethel Waters…and his friend Marilyn Monroe! While Shannon, as an expert on all things Hollywood, shares stories from that classic time. Plus, Scott lets us into his current career as a photographer and Shannon shares her secrets for cooking, Hollywood style. To learn more about Scott and Shannon, you can purchase the bestselling book “Made in Hollywood: The Scott Morrow Story” and visit Shannon's website VanguardofHollywood.com

We've started a series of paid and free posts and podcast episodes about writing bestsellers. Our first post about this is here. To see them all just look up “hit novel” or “bestselling” in the search bar.In his book Hit Lit, which we've been talking about, James W. Hall talks about 12 elements that he thinks really make those super-popular-multi-million-copy bestsellers in American fiction in the past 100 years or so.And one of those features?It's a fractured family.Yep. That's a big feature of what Hall found in the 12 books he analyzed, (Gone With the Wind, Peyton Place, To Kill a Mockingbird, Valley of the Dolls, The Godfather, The Exorcist, Jaws, The Dead Zone, The Hunt for Red October, The Firm, The Bridges of Madison County and The Da Vinci Code).“Families under economic stress, families at emotional war, families splitting apart, families with a missing parent, families dealing with disease, death, infidelity, job stress, or out-right life-threatening danger. You name it. Badly destabilized families are featured in each of our twelve bestsellers,” Hall writes.Why? That's the question, I think.Why do we as readers buy and books that have fractured families in them. OR is it that books with a lot of these elements and features (there are 12 that Hall lists) make books that feel like a lived and recognizable experience.Most of us know what a fractured family feels like. Most of us know what it is to feel like an outsider, to live in a time of crisis, are intrigued by secret societies.These novels hit at commonalities in human experience. And families (even a lack of one) are things that resonates throughout our culture.RANDOM THOUGHTA man was arrested for sneaking into his neighbors' homes and sniffing their shoes. the AP article about this is here.DOG TIP FOR LIFEIf you have to, go ahead and sniff shoes, just don't eat them. Humans get mad about that.SHOUT OUT!The music we've clipped and shortened in this podcast is awesome and is made available through the Creative Commons License. Here's a link to that and the artist's website. Who is this artist and what is this song? It's “Summer Spliff” by Broke For Free.WE HAVE EXTRA CONTENT ALL ABOUT LIVING HAPPY OVER HERE! It's pretty awesome. We have a podcast, LOVING THE STRANGE, which we stream biweekly live on Carrie's Facebook and Twitter and YouTube on Fridays. Her Facebook and Twitter handles are all carriejonesbooks or carriejonesbook. But she also has extra cool content focused on writing tips here. Carrie is reading one of her raw poems every once in awhile on CARRIE DOES POEMS. And there you go! Whew! That's a lot! Subscribe

Leigh Taylor Young, star of Peyton Place continues a candid and personal interview! Leigh talks about working with Glenn Close and Jeff Bridges on Jagged Edge and the way they set her up to be agitated in the her role, working with the spiritual Dennis Weaver on McCloud and her close friendship with Robert Wagner and Natalie Wood and almost being on the boat she died on. Leigh talks about her role on Dallas and the crazy antics of Larry Hagman and working with Robert DeNiro and being arrested with him for shoplifting, being part of Andy Warhol's world and her own spiritual journey in life. Leigh is so open and honest, thank you Leigh! Become a That's Classic! PATREON member including the opportunity to see Exclusive Bonus Footage: patreon.com/thatsclassic That's Classic! Merchandise: http://tee.pub/lic/2R57OwHl2tE Subscribe for free to That's Classic YouTube Channel: https://www.youtube.com/channel/UCBtpVKzLW389x6_nIVHpQcA?sub_confirmation=1 Facebook: facebook.com/thatsclassictv Hosted by John Cato, actor, voiceover artist, and moderator for over 20 years for the television and movie industry. John's background brings a unique insight and passion to the podcast. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-cato/support

Leigh Taylor Young, star of Peyton Place in a candid and personal interview! Leigh Taylor Young talks with John about the crazy circumstances that lead up to her audition for Peyton Place and the screen test that followed, how she became romantically involved with Ryan O'Neal and how while shooting I Love You Alice B. Toklas, Peter Sellers came on to her. Leigh also talks about how funny Peter was off set, how she saw him in an emotional moment months before he died, the distant relationship she had with Charlton Heston shooting Soylent Green and the special relationship she had with Edward G. Robinson before he died. Plus even more as well as the second episode of this interview, enjoy! Appreciate you Leigh! Become a That's Classic! PATREON member including the opportunity to see Exclusive Bonus Footage: patreon.com/thatsclassic That's Classic! Merchandise: http://tee.pub/lic/2R57OwHl2tE Subscribe for free to That's Classic YouTube Channel: https://www.youtube.com/channel/UCBtpVKzLW389x6_nIVHpQcA?sub_confirmation=1 Facebook: facebook.com/thatsclassictv Hosted by John Cato, actor, voiceover artist, and moderator for over 20 years for the television and movie industry. John's background brings a unique insight and passion to the podcast. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-cato/support

Dogs are Smarter Than PeopleThere's an old NPR article about writing bestsellers that quotes critic Ruth Franklin's overview of American best-sellers as saying "No possible generalization can be made regarding the 1,150 books that have appeared in the top 10 of the fiction best-seller list since its inception."In his book Hit Lit, which we've been talking about, James W. Hall disagrees, talking about 12 elements that he thinks really make those super-popular-multi-million-copy bestsellers in American fiction in the past 100 years or so.We've been talking about that a lot. Hall analyzed Gone With the Wind, Peyton Place, To Kill a Mockingbird, Valley of the Dolls, The Godfather, The Exorcist, Jaws, The Dead Zone, The Hunt for Red October, The Firm, The Bridges of Madison County and The Da Vinci Code.And I just wanted to have a moment to regroup because I found an old interview with Hall and Marc Schultz on Publisher's Weeklywhere he talks about what element he found in those 12 top selling books that surprised him.He says, “One I didn't expect to find is something we came to call the Golden Country, which is a phrase from Orwell's 1984. Winston, the protagonist, trapped in this dull empty world, has created in his imagination this edenic, natural, beautiful landscape called the Golden Country. It's his ideal world. And not just in these 12 books, but in all the bestsellers we looked at, there is always an image of a place or a time that's this idealized, edenic, natural landscape that serves a reference point for much of the story.”We've talked a bit about that in the last week. There's this idealized want of an idealized world or time that we long for, right? And the characters in our books long for it, too.In that same interview, Hall says, “But the ingredients themselves remain the same, as Americans we're really reading, and have wanted to read, permutations of the same book for the last 100 years, and probably into the foreseeable future.”And it doesn't have to necessarily be awesome writing for us Americans to want to read these books.“Grace Metalious, author of Peyton Place, once cracked, "If I'm a lousy writer, then a hell of a lot of people have got lousy taste.'” Sarah Weinman writes, “What Metalious and her kin in best-sellerdom really possess, as Hall explains so well in Hit Lit, is the power to connect with readers through their hearts and guts as much as, if not more than, their minds.”It's about your heart, humans. About your heart.DOG TIP FOR LIFEAs we learned from the raccoons, don't be aggressive if you don't get your food or else they call the sheriff on you.RANDOM THOUGHT LINK ALL ABOUT A WOMAN CORNERED BY 100 RACCOONS. YIKES!The linkPLACE TO SUBMITGuidelines:The winner receives $3,000; online publication; and a consultation with Marin Takikawa, a literary agent with The Friedrich Agency. The second- and third-place finalists receive cash prizes ($300/$200), online publication, and agent feedback. Submitted excerpts must be under 6,000 words. Submitted work must be previously unpublished. This includes personal blogs, social media accounts, and other websites. Previously published excerpts will be automatically disqualified. The entry fee is $20. Simultaneous and multiple submissions are allowed, though each submission requires a $20 entry fee. This contest is for emerging writers only. Writers with single-author book-length work published or under contract with a major press are ineligible. We are interested in providing a platform to new writers; authors with books published by indie presses are welcome to submit unpublished work, as are self-published authors. The contest's deadline is 11:59pm PST on Sunday, October 27, 2024.For full guidelines, check here. SHOUT OUT!The music we've clipped and shortened in this podcast is awesome and is made available through the Creative Commons License. Here's a link to that and the artist's website. Who is this artist and what is this song? It's “Summer Spliff” by Broke For Free.WE HAVE EXTRA CONTENT ALL ABOUT LIVING HAPPY OVER HERE! It's pretty awesome. We have a podcast, LOVING THE STRANGE, which we stream biweekly live on Carrie's Facebook and Twitter and YouTube on Fridays. Her Facebook and Twitter handles are all carriejonesbooks or carriejonesbook. But she also has extra cool content focused on writing tips here. Carrie is reading one of her raw poems every once in awhile on CARRIE DOES POEMS. And there you go! Whew! That's a lot! Subscribe

Book Vs. Movie: Peyton PlaceThe 1956 Novel Vs. the 1957 MoviePeyton Place by Grace Metalious, published in 1956, became one of the most controversial books of its time due to its exploration of taboo topics like adultery, incest, and moral hypocrisy in a small New England town. The explicit content led to the book being banned in several cities and states across the U.S. Despite the controversy, the novel became a bestseller. It inspired a successful 1957 film and a long-running TV series from 1964 to 1969, cementing its place in American pop culture. Which version did we (the Margos) prefer? Have a listen to find out. In this ep, the Margos discuss:The short, fascinating life of the author. Why did the book and movie cause such a stir? The 1957 Movie Cast: Lana Turner (Constance MacKenzie,) Diane Varsi (Allison MacKenzie,) Hope Lang (Selena Cross,) Lee Philips (Michael Rossi,) Arthur Kennedy (Lucas Cross,) Lloyd Nolan (Dr. Matthew Swain,) Russ Tamblyn (Norman Page,) Terry Moore (Betty Anderson,) David Nelson (Ted Carter,) Barry Coe (Rodney Harington,) and Lorne Green as the District Attorney. Clips used: “Dr. Swain on trial”Peyton Place (1957 trailer)The students plan for senior promSelena is pregnantNorman comes home from the WarMusic for Peyton Place by Franz WaxmanBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Please email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog  https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing. Follow on Instagram @Studio39Marketing & @musicalmadeleine 

EPISODE 52 - "BIG SCREEN TO SMALL SCREEN: CLASSIC CINEMA'S TV REMAKES." (052) - 09/09/2024 ** This episode is sponsored brought to you by BetterHelp. Give online therapy a try at betterhelp.com/BENEATH and get on your way to being your best self.” ** Sometimes, a classic film is primed for being turned into a successful television series — think “M*A*S*H*,” “Alice,” “In The Heat of the Night,” or “Peyton Place.” But this isn't always the case. There have been many classic films turned into TV shows with less-than-stellar results. Does anyone remember the “Casablanca" TV show on ABC with Starsky & Hutch star DAVID SOUL filling in for HUMPHREY BOGART? Don't worry, nobody else does either! This week, we take a look at a few of the TV series that were based on classic movies that didn't quite hit the mark. SHOW NOTES:  Sources: Television Series of the 1950s (2016), by Vincent Terrace; Encyclopedia of TV Shoes: 1925 - 2010 (2011), by Vincent Terrace; The Complete Directory To Prime Time Network TV Shows (1988), by Time Brooks and Earle F. Marsh; TCM.com; IMDBPro.com; Wikipedia.com; Movies Mentioned:  Operation Petticoat (1959), starring Cary Grant, Tony Curtis, Dina Merrill, and Arthur O'Connell; Halloween (1978), starring Jamie Lee Curtis and Donald Pleasence; Topper (1937), starring Cary Grant, Constance Bennett, Roland Young, and Billie Burke; How To Marry A Millionaire (1953), starring Marilyn Monroe and Jane Russell; The Third Man (1949), starring Joseph Cotten, Orson Welles, Trevor Howard, and Alida Valli; My Sister Eileen (1942), starring Rosalind Russell and Janet Blair; My Sister Eileen (1955), starring Janet Leigh, Betty Garrett, and Jack Lemmon; Please Don't Eat The Daisies (1960), starring Doris Day and David Niven; The Ghost and Mrs. Muir (1947), starring Gene Tierney and Rex Harrison; Casablanca (1942), staring Humphrey Bogart, Ingrid Bergman, Paul Henreid, Peter Lorre, and Sydney Greenstreet; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Book Vs. Movie: Peyton PlaceThe 1956 Novel Vs. the 1957 MoviePeyton Place by Grace Metalious, published in 1956, became one of the most controversial books of its time due to its exploration of taboo topics like adultery, incest, and moral hypocrisy in a small New England town. The explicit content led to the book being banned in several cities and states across the U.S. Despite the controversy, the novel became a bestseller. It inspired a successful 1957 film and a long-running TV series from 1964 to 1969, cementing its place in American pop culture. Which version did we (the Margos) prefer? Have a listen to find out. In this ep, the Margos discuss:The short, fascinating life of the author. Why did the book and movie cause such a stir? The 1957 Movie Cast: Lana Turner (Constance MacKenzie,) Diane Varsi (Allison MacKenzie,) Hope Lang (Selena Cross,) Lee Philips (Michael Rossi,) Arthur Kennedy (Lucas Cross,) Lloyd Nolan (Dr. Matthew Swain,) Russ Tamblyn (Norman Page,) Terry Moore (Betty Anderson,) David Nelson (Ted Carter,) Barry Coe (Rodney Harington,) and Lorne Green as the District Attorney. Clips used: “Dr. Swain on trial”Peyton Place (1957 trailer)The students plan for senior promSelena is pregnantNorman comes home from the WarMusic for Peyton Place by Franz WaxmanBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Please email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog  https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing. Follow on Instagram @Studio39Marketing & @musicalmadeleine 

Today on another episode of the Rarified Heir Podcast, we continue our conversation with actor Christopher Murray and delve deeper into some fun and fascinating new stories about his mother actor Hope Lange, father actor Don Murray and step father Director Alan J. Pakula. Christopher talks to us about one of the most interesting connections he and his parents have – Director David Lynch. Hope Lange starred in Blue Velvet and both Christopher and Don played roles on Twin Peaks all in three separate decades. A totally weird Lynchian through line that is perhaps only rivaled by Laura Dern and Diane Ladd. Moreover we discuss some of the backstage jealousies of making the film Bus Stop which his parents were both cast in – although no one knew they were married. It sheds a light on some of the insecurities and well documented frailties of Marilyn Monroe. We also discuss Sean Connery's golf game, Scarlett Johansen's first role in the film Just Cause, how you ingratiate yourself into the good graces of a Scotsman and more. This leads to a Christopher's reminisces of his truly remarkable stepfather Alan J. Pakula both at home and at work. From his time on the set of the film Klute where he met Jane Fonda to the trips Alan took he and his sister on to Morocco & Italy we really feel like we are getting a story very few know about. Part two of our conversation with Christopher is filled with beautiful memories and some tragic losses. Thanks for taking us along for the ride Chris. The Rarified Heir Podcast. Everyone has a story.

In our circle of talented friends back in the 1970s, whenever the moment called for a Charlie Poole song, we knew exactly on whom to call. H. David Holbrook and his powerful, popular Kentucky Foothill Ramblers string band covered the best of the Charlie Poole North Carolina Ramblers songbook, introducing so many of us to that marvelous old-time music of the 1920s.And despite KFR's pronounced Poole supremacy in our extended musical family, the fledgling Flood occasionally could swipe a tune off that same table.In fact, in the antediluvian era before The Flood was even a gleam in our eye, band progenitors David Peyton and Roger Samples — playing as a duet in the late-'60s — already had worked up a version of the 1928 Poole novelty number called “Took My Gal a-Walking.” Dave and Rog regularly played in coffeehouses at Marshall University and elsewhere around the region.Flash Forward to 1975The tune was still bobbing to the surface a few years later when The Flood began. That was in those halcyon days after Peyton teamed up with Charlie Bowen, after the two of them met Joe Dobbs and interested him in jamming with them, after Roger was drawn back into the mix following his brief sojourn in the eastern part of the state.The summer of 1975, then, was fertile period for the guys. They gathered almost every week — usually an evening at Peyton Place, Dave and Susan's beautiful Mount Union Road home just outside Huntington — to work out new tunes.On those summer nights, everybody brought songs to suggest; many of them got their first public performances at the next Bowen Bash that autumn. In the short film at the top of this report, the pictures and audio are from the Sept. 5-6, 1975, do, the first bash attended by fiddlin' Joe, incidentally.About That Song“Took My Gal a-Walkin'” came late in Charlie Poole's remarkable career. When Poole and his North Carolina Ramblers — with Roy Harvey on guitar and Lonnie Austin on fiddle — entered the Columbia Records studios in New York on July 23, 1928, the band already was nationally known. The group by then had had a half dozen recording sessions — two thirds of those that would produce its 60 sides over five years — and already had waxed their best seller. “Don't Let Your Deal Go Down Blues,” recorded in 1925, sold more than 106,000 copies at a time when there were estimated to be only 6,000 phonographs in the entire southern U.S.The Summer 1928 session was a marathon — in the single day, Poole, Harvey and Austin recorded a dozen sides — but it also was a lackluster one. None of the monsters hits of Poole's earlier days emerged from this outing, no "Good-Bye Booze" or "Leaving Home,” no "White House Blues" or "Hungry Hash House.”Instead, most of the tunes on the set list this time were old folk songs (such as “Hangman, Hangman”) and highly forgettable ballads (like "A Young Boy Left His Home One Day").The exception was the happy novelty tune that Peyton and Samples later sampled. “Took My Gal a-Walkin'” has some of the better, most ironic lyrics in the Poole catalog: I ain't got nobody, I′m just as blue as can be I ain′t got nobody to make a big fuss over me If I don't get somebody I′ll go back to the farm Milk the cows and chickens, I don't give a golly gosh darnPoole's biographer and great-nephew Kinney Rorrer, who wrote Rambling Blues: The Life and Songs of Charlie Poole in 1982, has found no source for this tune, leading many to speculate that Poole might have created the piece himself.FootnoteAs noted, Peyton, Samples, Dobbs and Bowen rolled out their rendition of the tune at the September 1975 edition of the Bowen Bashes. That magical weekend is commemorated in a full-length hour-long episode of the Flood's “Legacy Films” series, viewable for free on YouTube: This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Today on the Rarified Heir Podcast we are talking to actor Christopher Murray, who we find out, was quite literally born into show business. From both his maternal and paternal grandparents as well as both of his parents, Christopher likely couldn't have escaped a career in front of the camera if he tried. So who are his parents? Well, both are Oscar nominated and his mother is a two-time Emmy award winner. Can you guess? None other than actors Don Murray & Hope Lange. Between his parents, they have starred in films and TV productions with Marilyn Monroe, Elvis Presley, Robert Wagner, Charles Laughton, Roddy McDowell, Michelle Lee, Kathleen Turner, Joan Crawford, Glenn Ford, Suzy Parker and more. And if that isn't enough, his stepfather was a giant of a director,  Alan J. Pakula who directed some of the best films of the 70s as well. Our time  with Christopher was more a conversation than an interview and frankly, those are the ones we love best on this podcast. We jumped around a lot but the connections were never more apparent than when we were discussing how it is that Charles Nelson Reilly spent so much time at his house. We delved into just about everything with Christopher to the story of how his parents helped displaced European war refugees from WWII & the Korean War that still functions to this day as well as the fabulous dinner parties his mother gave that were a safe haven for gay Hollywood couples in an era when things like that were very rare. This conversation that spans the stage, film and television and involves everyone from Hubert H. Humphrey to Eleanor Roosevelt, Sean Connery to Ed Harris & Freddy Kruger to Don Deer. But to hear all of those stories, we had to spread this episode into two parts – there was just too much great stuff to cut out. You'll have to take a listen to this episode, part one,  of the Rarified Heir Podcast to begin this verbal scavenger hunt.  Everyone has a story.

This week's tribute is for Ryan O'Neill. Son of a screenwriter and actress, O'Neill first trained to be an amateur boxer before discovering his passion for acting. Starting out as an extra and stuntman, he moved from Germany to the United States and made his first television appearance as a guest star on The Many Loves of Dobie Gillis. After his role in the soap opera Peyton Place, he began finding success in films like Love Story (1970), What's Up, Doc? (1972), and many more!  To learn more about this episode and others, visit the official Cinema Sounds & Secrets website.

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Actress Terry Moore was married five times, six, if you include her disputed marriage to eccentric business magnate Howard Hughes. She received a reported $350,000 settlement from the Hughes estate. Terry was nominated for an Oscar in “Come Back, Little Sheba” with co-star Burt Lancaster. She appeared in many films and TV programs including “Peyton Place,” “Love Boat,” “Batman” and “Murder She Wrote.” Terry posed nude in Playboy magazine at age 55. She'll discuss that experience.

Swanner and Judd talk about: Masked Singer; Survivor; Master Chef; Velma; Deal or No Deal Island; Peyton Place; Myra Breckinridge; Into The Woods; and more! Left Click To Listen, Right Click Here To Download

Down in the depths of precode cinema, where Shelly likes to spend torrid nights, there’s a depiction of how a department store can be a little Peyton Place, and how Warren William is never to be trusted. The great precode lothario stars with very young Loretta Young and Wallace Ford (who we just saw as a middle-aged creep in The Breaking Point) as her love interest. Aside from the sleaze, it’s kind of fun to see how a department store works in the 1930s. Shelly Brisbin with Micheline Maynard, Nathan Alderman and Randy Dotinga.

Down in the depths of precode cinema, where Shelly likes to spend torrid nights, there’s a depiction of how a department store can be a little Peyton Place, and how Warren William is never to be trusted. The great precode lothario stars with very young Loretta Young and Wallace Ford (who we just saw as a middle-aged creep in The Breaking Point) as her love interest. Aside from the sleaze, it’s kind of fun to see how a department store works in the 1930s. Shelly Brisbin with Micheline Maynard, Nathan Alderman and Randy Dotinga.

A bold memoir of an extraordinary, singular life lived by one of the world's most beloved and acclaimed figures: Russ Tamblyn. With more than eighty years as a celebrated artist and actor under his belt, Russ Tamblyn is a cherished figure to name among cinephiles and pop culture fans alike, working with such legendary directors as Robert Wise, David Lynch, and Quentin Tarantino. He tumbled through his acclaimed starring role in the original West Side Story as an actor and acrobatic dancer, taught Elvis Presley some signature dance moves, and became an unlikely visionary in the counterculture movement of the sixties alongside peers and friends Henry Miller and Dennis Hopper. Russ deftly guides readers through his star-studded life and his search for a deeper, more connected existence: attending school with Elizabeth Taylor, earning an Academy Award nomination for Peyton Place, dropping out of Hollywood at the height of his career to become a fine artist in Topanga Canyon, and forging a lifelong friendship with Neil Young. He shares the painful breakup of a twenty-year marriage and the joy of finding true love and inspiration as a husband, father, and mentor in his own right.Perfect for old and new fans alike, Dancing on the Edge is an intimate and powerful story about the singular life of one of our most gifted storytellers, artists, and stars of the silver screenBecome a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

"There are some lives you have to read to believe they were really lived. Russ Tamblyn lived one of those lives. A killer story about one of our last remaining living legends of the screen. His time as child actor in the forties (in Gun Crazy), his time working and acrobatically dancing his way through MGM's glorious heyday of the fifties, to being one of the coolest iconoclasts of the sixties, to his days toiling in the world of sleazy seventies exploitation cinema (my favorite part), all written by the man himself." - Quentin Tarantino A bold memoir of an extraordinary, singular life lived by one of the world's most beloved and acclaimed figures: Russ Tamblyn. With more than eighty years as a celebrated artist and actor under his belt, Russ Tamblyn is a cherished figure to name among cinephiles and pop culture fans alike, working with such legendary directors as Robert Wise, David Lynch, and Quentin Tarantino. He tumbled through his acclaimed starring role in the original West Side Story as an actor and acrobatic dancer, taught Elvis Presley some signature dance moves, and became an unlikely visionary in the counterculture movement of the sixties alongside peers and friends Henry Miller and Dennis Hopper. Russ deftly guides readers through his star-studded life and his search for a deeper, more connected existence: attending school with Elizabeth Taylor, earning an Academy Award nomination for Peyton Place, dropping out of Hollywood at the height of his career to become a fine artist in Topanga Canyon, and forging a lifelong friendship with Neil Young. He shares the painful breakup of a twenty-year marriage and the joy of finding true love and inspiration as a husband, father, and mentor in his own right.Perfect for old and new fans alike, Dancing on the Edge is an intimate and powerful story about the singular life of one of our most gifted storytellers, artists, and stars of the silver screenBecome a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

"If you turn over a rock in these small towns, you just never know what you'll find."In 1956, young mother and housewife Grace Metalious published Peyton Place, her debut novel, which would go on to become one of the highest-selling books ever published. But it was also considered scandalous and dirty for its portrayal of sex, adultery, incest, and abortion. On this month's episode, we're looking into how Peyton Place wasn't actually the trash it was made out to be, as well as the forgotten legacy of its feminist-trailblazing creator.Theme music is credited to Wendy Marcini, Elvin Vanguard, and Jules Gaia.Instagram: @literaryscandalsSelected bibliography:• Peyton Place (1999 ed.) by Grace Metalious• Inside Peyton Place: The Life of Grace Metalious by Emily Toth• Unbuttoning America: A Biography of Peyton Place by Ardis Cameron• "Peyton Place's Real Victim," Vanity Fair• "50 Shades of Grace," New Hampshire magazine

Tyler talks about one of the greatest adventure films ever made in The Bridge on the River Kwai. As well as the cultural and sociological impact of what happens when East meets West through a forgotten nominee, Sayonara. Also included are the other nominees, Peyton Place, Witness for the Prosecution and 12 Angry Men. 

This episode we're covering the 30th Academy Awards or the films of 1957. The nominees were: 12 Angry Men, The Bridge on the River Kwai, Peyton Place, Sayonara, Witness for the Prosecution. No extras this year? Wild.Notes: SPOILERS - we talk through the full plots of all the movies we cover.Timestamps are approximate:10:10 - Peyton Place23:30 - Sayonara37:00 - The Bridge on the River Kwai54:00 - Witness for the Prosecution [58:10 EXTRA SPOILER WARNING]1:06:35 - 12 Angry Men1:19:35 - Did the Oscars get it wrong?1:19:50 - Jake Gyllenhaal Corner1:24:05 - Conclusions1:31:15 - Next Time

A television writer comes to Mayberry saying he wants to do a show on Andy, but things are not right. Aaron and Chris discuss if there ever was an old redeye flight from LAX to Raleigh and if $10 bill are the main cash currency at the Mayberry Bank.

The History Tapes.  The oral telling jumps to the early 1960s   and with it more ammunition for the therapists to manipulate.  A sixth-grade party goes horribly wrong taking with it my self-esteem as I enter Junior High School without friends.  Wanting a more grown-up look for junior high school, Anita and I decided to cut our hair into the layered look, the au currant style of the time leaving me with dandelion fuzz every time the barometer went above fifty percent.  I wore scarves, like Audrey Hepburn, I fantasied, but wound up looking more like old Mrs. McCormick, our next-door neighbor who'd bang on the wall between our apartments when she was drunk, yelling, ‘You dirty kikes.'With Anita gone and because of the Clifford incident,  I didn't have a single friend when I started Kingsley Junior High School, but I'd been placed in Honor Art and that's where I met Suzanne, only to be abandoned by her two years later when her desire to be popular became more important than our friendship and I was left behind. Eventually, I found a good friend in Rachel. We shared our first sexual experiences, which for me brought back the memory of the rape scene from Peyton Place, the movie that my mother took me to see as a ten-year-old,  the traumatic scene that profoundly shaped my ideas about sex and, bolstered by my mother's continued mixed messages about what "nice girls" do,  just adding to my confusion and misconceptions. You will find out about the sealed envelope handed to me by my guidance for my mother to sign but instead found its way to the bottom of the sewer, torn into tiny pieces.  The complete documentary Through a BlueWindow can be seen on my youtube channel shellfein1. I would love to hear your thoughts.Thank you

pWotD Episode 2411: Ryan O'Neal Welcome to popular Wiki of the Day where we read the summary of a popular Wikipedia page every day.With 345,054 views on Friday, 8 December 2023 our article of the day is Ryan O'Neal.Ryan O'Neal (April 20, 1941 – December 8, 2023) was an American actor. Born in Los Angeles, he trained as an amateur boxer before beginning a career in acting in 1960. In 1964, he landed the role of Rodney Harrington on the ABC nighttime soap opera Peyton Place. It was an instant hit and boosted O'Neal's career. He later found success in films, most notably in the romantic drama Love Story (1970), for which he was nominated for the Academy Award for Best Actor and the Golden Globe Award for Best Actor – Motion Picture Drama, Peter Bogdanovich's What's Up, Doc? (1972) and Paper Moon (1973), which earned him a nomination for the Golden Globe Award for Best Actor – Motion Picture Musical or Comedy, Stanley Kubrick's Barry Lyndon (1975), Richard Attenborough's A Bridge Too Far (1977), and Walter Hill's The Driver (1978). From 2005 to 2017, he had a recurring role in the Fox television series Bones as Max, the father of the show's protagonist.This recording reflects the Wikipedia text as of 02:38 UTC on Saturday, 9 December 2023.For the full current version of the article, see Ryan O'Neal on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Justin Neural.

Harvey Brownstone conducts an in-depth Interview with Linda Gray, Legendary Actress, Star, “Dallas”, “Ladies of the 80's: A Divas Christmas” About Harvey's guest: Today's special guest, Linda Gray, is a beloved, multi-award winning actress, director and author who became a global superstar with her portrayal of ‘Sue Ellen', in the blockbuster TV series “Dallas”, for which she won numerous international awards and was nominated for 2 Golden Globe Awards, an Emmy Award and 4 Soap Opera Digest Awards.  But her career extends far beyond “Dallas”.   On the big screen, she's appeared in many movies including “Dogs”, “Oscar”, “Star of Jaipur”, “Expecting Mary”, “The Flight of the Swan”, “Hidden Moon”, “Intuitions” and “Wally's Will”, which won her 2 Best Actress awards at the USA Film Festival and the North Hollywood Film Festival.  And she's starred in dozens of TV shows like “Melrose Place”, “The Bold and the Beautiful”  and “Models Inc.”, and many TV movies including “Murder in Peyton Place”, “Haywire”, “The Wild and the Free”, “Not in Front of the Children”, “Moment of Truth: Why My Daughter?”, “Accidental Meeting”, “When the Cradle Falls”, “Perfect Match”, and of course, the 2 “Dallas” TV movies, “J.R. Returns” and “War of the Ewings”.    On the stage, our guest starred in the world premiere production, in London, of “Terms of Endearment”, AND in the West End production of “The Graduate”, in which she starred on Broadway for a limited engagement.  In 2014 she returned to the London stage to star in the Christmas pantomime “Cinderella”, playing the Fairy Godmother.  She's also starred onstage in “The Vagina Monologues”, “Agnes of God” and “Love Letters”.   In 1982, she was named Woman of the Year by the Hollywood Radio & Television Society.   In 2013, she was included in People Magazine's list of the Most Beautiful Women in the world.   And in 2015, she published her highly compelling, emotionally powerful and inspirational memoir entitled, “The Road to Happiness is Always Under Construction”, which became an instant best seller.  The book chronicles our guest's amazing life journey, through childhood illness, family trauma, and the many challenges of an ultimately triumphant career and fulfilling personal life, bringing her to a place of honesty, serenity and joy.    And I'm very excited to announce that on December 2, our guest's highly anticipated, brand new TV movie, entitled “Ladies of the 80s: A Divas Christmas” will be premiering on the Lifetime channel.   This is a delicious comedy in which our guest co-stars with Loni Anderson, Morgan Fairchild, Donna Mills and Nicollette Sheridan, who play 5 glamorous soap opera queens who reunite to shoot the final Christmas episode of their long-running TV series.   And if all of that weren't enough, our guest is also a highly respected philanthropist.  She's been very involved with the Best Buddies Program for people with intellectual challenges, as well as Meals on Wheels and the Force For Good Foundation.  And for 10 years, from 1997 to 2007, she served as a United Nations Goodwill Ambassador to promote women's rights, and the health of women and children. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about Linda Gray, go to:https://www.lindagrayofficial.comhttps://www.instagram.com/lindagray #LindaGray    #harveybrownstoneinterviews

POP ART 111 says SOAPY SALES: Join me and my guest Sam Homrig (attorney by day, murder mystery host by night as well as co-host of “The Cabot Cove Confab Podcast”, “The Columbo Confab Podcast”, and “The Best Picture Podcast”)   “We were just playing a game called Photography. You turn off the lights and see what develops.” Lies, deceit, adultery, murder, teen sex, drugs, abortion by proxy, incest by proxy, illegitimate children, coded gay characters…Sounds like it's time for Episode 111 of Pop Art, the podcast where we find the pop culture in art and the art in pop culture. It's the podcast where my guest chooses a movie from popular culture, and I'll select a film from the more art/classic/indie/foreign side of cinema with a connection to it.   For this episode, I am happy to welcome as my guest, Sean Homrig, who has chosen as his film Ang Lee's dissection of suburban life in 1970s Connecticut, The Ice Storm, while I have chosen Mark Robson's dissection of small town New England life in the 1940s, Peyton Place, both soap opera looks at small towns.     And in this episode, we answer such questions as: What scandal made Peyton Place one of the top grossing movies of that year? Why are soap operas so appealing? What rating from the Catholic Church was given to Peyton Place? What are the anachronisms and historical inaccuracies of both films? What Cannes award did The Ice Storm receive? What changes from the book did they make in bringing Peyton Place to the screen? What is inaccurate about the death in The Ice Story? How many Oscar acting nominations did Peyton Place receive?   Be sure and check out Sean's various podcasts, “The Cabot Cove Confab Podcast”, “The Columbo Confab Podcast”, and “The Best Picture Podcast”.   Check out my blog at https://howardcasner.wordpress.com/   My books, More Rantings and Ravings of a Screenplay Reader, The Starving Artists and Other Stories and The Five Corporations and One True Religion can be found at https://www.amazon.com/s?k=howard+casner&ref=nb_sb_noss   Be sure to like, follow or comment on my podcast. I'd love to know what you think. And check out the other episodes. --- Support this podcast: https://podcasters.spotify.com/pod/show/howard-casner/support

In this episode, we take a look at some of the most notable Ryans in pop culture. We discuss which Ryans are underrated, which are overrated, and which one has a documented foot fetish. And finally, we decide which Ryan reigns supreme: Gosling or Reynolds. MENTIONSCTA: Our holiday bucket list comes out on Friday! Get it by signing up for our Friday newsletter, Note for the Audio: knoxandjamie.com/newsletter. Or if it's after Friday, get on the list at knoxandjamie.com/holidaybucketlist.Revisit: 441: For Your Consider-Jason | 320: Tom-ageddon | 348: The Elizabests | 254: Miss Jenn-ited States of America (archived) | 196: Chris-America pageant (archived)Trailer: The Fall GuyWay back: Ryan history | Peyton Place (see also: slang) | Ryan on NameberryFact check: How many people are in the United States? How many Ryans are there?Ryan links: Ryan O'Neal | Ryan The Temp | Saving Private Ryan | Jack Ryan | Ryan Phillippee (aside: MacGruber's sidekick was almost Captain America?) | Ryan Coogler (see also: MCU book, MBJ's teacher movie) | Ryan Lochte | Ryan Evans | Ryan's (change the world: sign the petition to bring back Ryan's) | Irene Ryan | Ryan Atwood | Ryan Murphy (see also: his development deals) | Lucy Ryan | Ryan Tedder | Ryan Leaf | Nolan Ryan (by request: Robin Ventura charges the mound and Nolan Ryan puts him in a headlock) | Rex Ryan (only linking this because it's a relevant link) | Ryan Day | Ryan Seacrest | Ryan Gosling (see also: 1992 dance video, Eva Mendes) | Ryan Reynolds (revisit: 481: Ryan Reynolds Explained | see also: Kyle Marisa Roth, Jamie's favorite blind item source)Notable quotable: “The Princess Switch movies are amazing and everyone should watch them.” -Erin MoonRed light mentions: Adele snubs Kardashians | Katy Perry debuts daughter | THIS IS ARTGreen light to Danielle Kelly for this episode idea!BONUS SEGMENTOur Patreon supporters can get full access to this week's The More You Know news segment. Become a partner. This week we discussed celebrity Halloween costumes, the Tatum/Kravitz engagement, and more!GREEN LIGHTSJamie: book- The Road of Bones by Demi Winters (get a trial of Kindle Unlimited here), music: Neo-Romance by Alexandra StreliskiKnox: book- Wellness by Nathan HillSHOW SPONSORSSubscribe to Episodes: iTunes | Android Subscribe to our Monthly Newsletter: knoxandjamie.com/newsletterShop our Amazon Link: amazon.com/shop/thepopcast | this week's featured itemFollow Us: Instagram | Twitter | FacebookSupport Us: Monthly Donation | One-Time Donation | SwagSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Harvey Brownstone conducts an in-depth interview with Mariette Hartley and Jerry Sroka, Co-Stars “Our (Almost Completely True) Love Story” About Harvey's guest: Today's special guests, Mariette Hartley and Jerry Sroka, are 2 beloved entertainers who happen to be husband and wife - or as they call themselves, the “icon” and the “leprechaun”.   Starting with the “icon” first, she's been dazzling us with great performances for over 6 decades, in classic movies like “Ride the High Country”, “Marnie”, “Marooned”, “Skyjacked”, “1969”, “Improper Channels”, and of course, her many highly acclaimed TV movies including “MADD: Mothers Against Drunk Drivers” and “Silence of the Heart”.   On television, she's been in everything from “The Twilight Zone”, “Daniel Boone”, “Bonanza”, “Gunsmoke” and “The Bob Newhart Show”, to “Little House on the Prairie”, “M.A.S.H.”, “Murder She Wrote”, “NCIS”, “Grey's Anatomy”, and dozens more.   She created the unforgettable characters of “Dr. Claire Morton” on “Peyton Place”, “Sister Mary Daniel” on “One Life to Live”, “Liz McVey” on “W-I-O-U”, “Lorna Scarry” in “Law and Order: SVU”, “Patricia Clark” in “9-1-1” – and let's not forget that classic episode of “Star Trek”, where our guest, who played “Zarabeth”, fulfilled every woman's dream of having her wicked way with “Mr. Spock”.   And for a while in the 80's, she co-hosted NBC's “The Today Show”, and she also co-hosted “The Morning Program” on CBS.   And we all loved her wonderful, long-running TV documentary series, “Wild About Animals”.  She's been nominated for 5 Emmy Awards and WON an Emmy for Outstanding Lead Actress in a Drama Series for her work in “The Incredible Hulk”.  And she has a star on the Hollywood Walk of Fame.  She also wrote an incredibly impactful and emotionally powerful book entitled, “Breaking the Silence”, which is one of the most compelling, insightful and inspirational celebrity memoirs I've ever read.    And at the risk of making her blush even more, I can't resist mentioning this remarkable woman's extraordinary devotion to community service.  She's been the national spokesperson for the American Foundation for Suicide Prevention, which honored her with a Humanitarian Award.  She's also worked tirelessly as an advocate for mental health, and with a number of vitally important organizations, including the Center to Prevent Handgun Violence, SOJOURN, and Mothers Against Drunk Drivers.  And get this:  she was named Outstanding Mother of the Year by the National Mother's Day Committee in Washington, D.C.  It doesn't get much better than that.    And now, moving on to her loving husband, the “leprechaun”, he's an actor and producer, well known for his work in the movie “Godspell”, the mini-series “Murder One: Diary of a Serial Killer”, and dozens of TV shows including “Murphy Brown”, “Seinfeld”, “Ally McBeal”, “Star Trek Voyager”, “The Brothers Flub”, “The West Wing”, “Shameless”, “The Comeback Kids” and many, many more.     And now, these 2 great talents have joined together in a terrific and very charming movie which they wrote, called “Our (Almost Completely True) Love Story”, in which they play themselves, telling the story of how this initially very unlikely couple met and grew to love each other.  The movie, which also features veteran stars Tess Harper, Bernie Kopell, Morgan Fairchild and John Rubenstein, has been conquering film festivals everywhere, and it's won 9 prestigious awards.  After seeing this humorous, poignant and heartwarming movie, I just had to invite our guests on our show.  For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ #MarietteHartley   #JerrySroka   #harveybrownstoneinterviews&n

The Hayes Code relaxed restrictions on certain issues related to sex the year before Peyton Place was released, and the filmmakers took that ball and ran with it. A melodrama that would go on to be a television soap opera, every plot point is as over-the-top and ridiculous as it possibly can be.

For our Halloween 2023 episode, we take you on a tour of Peyton Place—the 1956 novel by Grace Metalious, 1957 Fox movie starring Lana Turner, and the mid-late-60s TV series starring Dorothy Malone and Mia Farrow (among many others) that reinvented television. We discuss the strange journey of Metalious's scabrous and scathing vision from satire to soap opera, in the course of which the story of shack-dweller Selena Cross's violation by her stepfather becomes the story of lower-middle-class Betty Anderson's resentful ambition, while ostensible protagonist Allison MacKenzie goes from being a bit of a jerk to being a nightmare of willfulness. But which versions of the story influenced David Lynch the most? We give our surmises.    Time Codes: 0h 00m 45s:    Peyton Place by Grace Metalious 0h 42 m 52s:   PEYTON PLACE (1957) [dir. Mark Robson] 1h 02m 26s:    PEYTON PLACE – TV SERIES (1964 to 1969) +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

SIDE HUSTLE 7: LEE GRANT. FROM INGENUE STAR TO BLACKLISTED RED TO A SECOND LIFE WHERE SHE WON AN ACTING OSCAR AND THEN A THIRD LIFE AS AN OSCAR-WINNING DOCUMENTARIAN. Who is Lee Grant? Read the all-caps above! One of the most remarkable people we've covered this, or any season. We are joined by Charlie to discuss Grant's work as actor and director this week! Born on Halloween in an undetermined year in the mid 1920s (she is still with us!) Grant was raised to be in the arts and was well on her way as a classically trained ballerina and Broadway understudy. She was destined for stardom after nabbing an Oscar nomination for her FIRST film (Detective Story).  Following her name appearing in newsletter called Red Channels she was blacklisted as a communist - yes, it was that capricious back in the early 50s to be on the wrong side of fear mongering. Your name in a  newsletter put out by a few bums and suddenly you are on the outs.  Losing a decade plus in what was, essentially, what she was raised to do, Grant eventually returned in supporting roles and an extended role on Peyton Place. Hey, we know she won an Oscar for Shampoo, the climax of her triumphant return to the town that had so pathetically abandoned her, but we may do a Beatty run some day so we are saving it. We are instead talking the second Columbo ever, RANSOM FOR A DEAD MAN (1971), where Grant friend - and future not-friend - Peter Falk was still figuring out his character in what was a second pilot TV film. Grant and Falk, when they are given classic Columbo scenes together, are positively combustible. The story itself may not be prime Columbo but it is a beautifully shot little oddity that would be followed up by the first aired series episode, directed by Steven Spielberg (which we talked about during our Spielberg season and is still the best Columbo ever).Grant got into directing  film in the early 80s, moving into documentary soon after. In 1983 she directed the legendary groundbreaking documentary WHAT SEX AM I? (1983) which tracks the stories of a group people that feels years ahead of its time in its empathy and presentation of their struggles. Grant would win an Oscar for her documentary, DOWN AND OUT IN AMERICA (1986), another film about people the camera usually shies away from during the dark economic side of the 1980s. Grant has a laser focus on people in America normally passed by in representation on film and her work should be heralded more, in front of and behind the camera. Grant is a damn unsung hero in film so sit down and we'll tell you about her career and these two projects.  THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralJack: jackk1096

¿Cantaste con KATY PERRY “E.T.”, “LOS OJOS DE BETTE DAVIS” (KIM CARNES), JUAN GABRIEL “ABRAZAME MUY FUERTE”, “DEJAME LLORAR” (RICARDO MONTANER),… y mucho mas! Bailaste “LLEVALA PAL RINCON”(TITO RODRIGUEZ),”STARS ON 45(MEDLEY)”, “I SHOOT THE SHERIF”(BOB MARLEY),…y mucho mas!  Veías “BONANZA”, “PEYTON PLACE”, “DALLAS”, “LOS PICAPIEDRAS”,… y mucho mas! --- Support this podcast: https://podcasters.spotify.com/pod/show/genteenambiente/support

Paul & Liz interview actor, director, documentarian, & author Lee Grant.    Listeners will definitely know her as Leslie Williams from Ransom for a Dead Man, but will probably also know her from at least one of her many films & tv shows.  Lee Grant has won numerous awards for her acting & directing, including an Oscar for best supporting actress for her performance in Shampoo with Warren Beatty, as well as an Oscar for best documentary feature for Down & Out in America, and Emmy awards for her performance on Peyton Place and the Neon Ceiling.   She also was an artistic director for the Actors Studio.     She's written a memoir “I said Yes to everything” and we are so glad that she said Yes to our podcast!   Books & Movies we discussed:   -Down & Out in America - Lee Grant documentary -What Sex Am I? - Lee Grant documentary -The Neon Ceiling starring Lee Grant -Shampoo starring Lee Grant -Detective Story starring Lee Grant -Hope Runs High Films Watch the video interview on our Patreon! Head to https://patreon.com/trenchcoatcigar    Get Columbo merch on Redbubble: https://www.redbubble.com/people/trenchcoatcigar/shop?asc=u   Send us a comment at trenchcoatcigar@gmail.com or follow us on Instagram @trenchcoatcigar

Links from the show:* Secret Lives of Royal Women: Fascinating Biographies of Queens, Princesses, Duchesses, and other Regal Women* Connect with Marlene* Subscribe to the newsletterAbout my guest:The frigidity of the Torontonian winters-not to mention shyness-led to becoming a life-long bibliophile. And, like most voracious readers, at the pinnacle of my bucket list was the dream of seeing my name on the spine of a book. However, until I could pen the Great Canadian Novel, there was the matter of economic survival. After reading The Great Gatsby, I decided to become an English teacher, and to that end, attended York University where I received an Honors B.A. followed by teacher's college at The University of Toronto. I made the great sacrifice of leaving my winter wonderland when I moved to San Diego and currently am an English teacher in National City, California. I always tell my students that dreams do not just have to be for sleeping and several times, in the quest to pursue my own, I sent out my novels to literary agents. The result: enough rejection notices to wallpaper my home. And then serendipity stepped in. In 2008, I read Peyton Place and became intrigued by its Dedication Page: To George for all the reasons he knows so well. I turned to Google and discovered that George was Grace Metalious' long-suffering husband, and their marriage was as tempestuous as the ones in the novel. I then had my Eureka moment—a book that explored the backstories of the world's literary masterpieces. Fired with enthusiasm, I told my husband my idea, and he responded, “Don't think you're quitting your day job.” Undaunted, I sent out query letters, and after signing up with a literary agent, three days later I had a contract with Penguin Publishers. One of the great moments of my life was seeing Joel's jaw drop when I showed him my advance check. Get full access to Dispatches from the War Room at dispatchesfromthewarroom.substack.com/subscribe

De FRANK SINATRA, PAT BOONE, JERRY LEE LEWIS y ELVIS PRESLEY a BEE GEES, GLADYS KNIGHT, BON JOVI y PAUL McCARNEY... De "EL DISCO RAYAO", los TEEN TOPS y CELIA CRUZ a THE MONKEES y QUEEN... De "EL ULTIMO EMPERADOR", "EL PUENTE SOBRE EL RIO KWAI" a "PEYTON PLACE" y VICENTE ALEIXANDRE,... Y MUCHO MAS!!! --- Support this podcast: https://anchor.fm/genteenambiente/support

October 19-25, 1968 This week Ken welcomes author of The Twilight Zone Encyclopedia and host of the Podcast "Steven Jay Rubin's Saturday Night at the Movies", Steven Jay Rubin. Ken and Steve discuss being in space, seeing the Twilight Zone for the first time, how 1968 is the sweet spot, not talking for a year, Night Gallery, the lack of product placement in the Twilight Zone, Combat, color TV, The Wild Wild West, writing for Cinefantastique, being a feature film publicist, working on Weekend at Bernie's II, working for Showtime, not knowing director's credits, Clark Gable films, being a contestant on The Joker's Wild, later writing for the Joker's Wild, being on Sale of the Century, taping old movies audio only on reel to reel, Once Upon a Time in Hollywood, growing up in LA, being a baseball fan, Get Smart!, the darkness of today's film, having never seen The Prisoner, Assault on a Queen, Fall Previews, Peyton Place, Laugh-In, Lancer, porpoise vs dolphin, actors in WWII, Russ Meyer being a still photographer on the Twilight Zone, Green Acres, The Olympics, competition shows, reality TV, Star Trek the original series, visiting film sets, Logan's Run, The Wonderful World of Disney, being on the Sony lot when Spielberg was directing Hook, The Entity, ghost hunting, Twilight Zone: The Movie, how The Twilight Zone doesn't work in color, Anne Frank's cat, and the amazing Sam Fuller.

Erin and Paul review two films about pleasant-looking small towns and suburbs that are actually hotbeds of lust and adultery: Todd Field's 2006 adaptation of Tom Perrotta's novel LITTLE CHILDREN and Mark Robson's 1957 adaptation of Grace Metalious' bestseller PEYTON PLACE. Plus: our quick takes on MOONAGE DAYDREAM, BONES AND ALL, SHE SAID, GLASS ONION, TAR, TERRIFIER 2, PIGGY, THE MENU, THE FABELMANS and ARMAGEDDON TIME.

What a CreepSeason 17, Episode 10The Murder of Johnny Stompanato Lana Turner was one of Hollywood's most alluring (and controversial) actors in movie history, with star turns in the original The Postman Always Rings Twice, Imitation of Life, and Peyton Place. She was blonde, sexy, and a supposed “maneater” with eight marriages and several lovers. In 1958 she dated the former war hero and current mob hooligan Johnny Stompanato who supposedly treated her terribly. Her only child, Cheryl Crane, at 14, stabbed Johnny to death after her mother tried to break off their relationship. Cheryl was acquitted of any wrongdoing (Johnny was a BAD dude) but spent years dealing with her childhood trauma and being the daughter of a movie queen. But did Cheryl really kill Johnny, or was she covering up for her mother? Trigger warnings: Domestic Violence, Sexual Assault, & MurderSources:Vanity Fair April 1999 The Gangster and the GoddessLana Turner WikipediaBiography.comJohnny Stompanato WikipediaCheryl Crane WikiPeople MagazineAll That is InterestingHistory 101.comLos Angeles TimesThe Daily BeastE Mysteries & Scandals March 9, 1998Cinema ScholarsBe sure to follow us on social media. But don't follow us too closely … don't be a creep about it! Subscribe to us on Apple PodcastsTwitter: https://twitter.com/CreepPod @CreepPodFacebook: Join the private group! Instagram @WhatACreepPodcastVisit our Patreon page: https://www.patreon.com/whatacreepEmail: WhatACreepPodcast@gmail.com We've got merch here! https://whatacreeppodcast.threadless.com/#Our website is www.whatacreeppodcast.com Claudia Gomez-Rodriguez created our logo. Follow her on Instagram @ClaudInCloud

This week on And the Runner-Up Is, Kevin welcomes Categorically Oscars host Calum Reed to discuss the 1957 Oscar race for Best Actress, where Joanne Woodward won for her performance in "The Three Faces of Eve," beating Deborah Kerr in "Heaven Knows, Mr. Allison," Anna Magnani in "Wild Is the Wind," Elizabeth Taylor in "Raintree County," and Lana Turner in "Peyton Place." We discuss all of these nominated performances and determine who we think was the runner-up to Woodward. 0:00 - 8:09 - Introduction 8:10 - 27:08 - Deborah Kerr 27:09 - 48:53 - Anna Magnani 48:54 - 1:09:19 - Elizabeth Taylor 1:09:20 - 1:30:04 - Lana Turner 1:30:05 - 1:46:20 - Joanne Woodward 1:46:21 - 2:13:46 - Why Joanne Woodward won / Twitter questions 2:13:47 - 2:20:31 - Who was the runner-up? Support And the Runner-Up Is on Patreon at patreon.com/andtherunnerupis! Follow Kevin Jacobsen on Twitter Follow Calum Reed on Twitter Follow And the Runner-Up Is on Twitter and Instagram Theme/End Music: "Diamonds" by Iouri Sazonov Additional Music: "Storming Cinema Ident" by Edward Blakeley Artwork: Brian O'Meara

Randall Kenneth Jones is an author, keynote speaker, comic actor, communications pro and host of the popular Jones.Show podcast. His literary journey began with his 2016 book, a celebrity interview-infused, feel-good opus entitled “Show Me: Celebrities, Business Tycoons, Rock Stars, Journalists, Humanitarians, Attack Bunnies & More!” His first fiction book, RUBY, was released on 9/23/22 and published by Mark Victor Hansen of CHICKEN SOUP FOR THE SOUL fame. A playful mystery, defined by the author as “more of a ‘who is she' than a whodunnit,” RUBY follows an appealing cast of mature characters who not only rediscover and reinvent themselves but reshape our view of the words “holiday spirit” in the process. In the words of pop culture icon Erin Brockovich, “[RUBY] evokes memories of “The Golden Girls,” “Harry Potter,” and even “Peyton Place” — everybody seems to be up to something—yet [Jones] stays true to his ongoing quest to look for the best in people. He shines in his ability to simultaneously embrace the laughter and tears while deftly peeling back the layers to expose the inner truth. And though Randy never preaches to the reader from a literary pulpit, RUBY has much to teach about the ageless art of being human.” For more information, visit www.RubyBook.info 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). This week's guest hosts, Kevin and Steph Mason, have ventured into a new phase of their lives as authors, speakers, and podcasters. The podcast “Tell Us a Good Story” gives them an opportunity to share their crazy experiences from their 17+ years of marriage, plus swap some behind-the-scenes stories with guests who have a good story to tell. Visit www.kevinandsteph.com JONES.SHOW is produced and edited by Kevin Randall Jones. 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

Episode Notes Please rate, review, and/or subscribe on Apple Podcasts to help promote this show! You can explore all of my podcasts, including over 200 hours of Patreon content, on my website https://www.lostinthemovies.com/p/film-in-focus.html & https://www.lostinthemovies.com/p/film-capsule.html 0:00 INTRO 6:02 AH, WILDERNESS! (1935) *the Our Town comparison to Twin Peaks is here: https://www.lostinthemovies.com/2022/02/our-town-as-twin-peaks-cinema-10-podcast.html 10:50 A LETTER TO THREE WIVES (1949) 14:57 INVITATION (1952) 17:37 MORNING GLORY (1933) 18:58 PARNELL (1937) 20:49 LITTLE CAESAR (1931) 22:13 DICK TRACY (1945) 24:37 NIGHTMARE ALLEY (1947) 26:19 GILDA (1946) 28:11 THE WOMAN IN WHITE (1948) 29:30 IT CAME FROM OUTER SPACE (1953) 31:21 PINOCCHIO (1940) *this inspired a visual tribute to Pinocchio's "little worlds": https://www.lostinthemovies.com/2020/07/four-worlds-in-pinocchio-visual-tribute.html 34:07 THE DEVIL AND DANIEL WEBSTER (1941) 36:05 THE ENCHANGED COTTAGE (1945) 38:57 THE WHITE CLIFFS OF DOVER (1944) 41:38 THE FALLEN SPARROW (1943) 45:03 THE ANGEL WORE RED (1960) OTHER LINKS My tweet about the "capitalism" speech in Ah, Wilderness! https://twitter.com/LostInTheMovies/status/1163621435711131648 My other Twin Peaks Cinema - "Small Town Blues" episodes: Kings Row https://www.lostinthemovies.com/2022/01/kings-row-as-twin-peaks-cinema-9-podcast.html & Peyton Place https://www.lostinthemovies.com/2022/03/peyton-place-as-twin-peaks-cinema-11.html My Patreon podcast w/ a capsule on Midsommar (mentioned w/ Invitation)https://www.patreon.com/posts/episode-63c-in-33489777 My video essay "The Full Cinepoem" (including Pinocchio clips) https://www.youtube.com/watch?v=D8wDMyO7NI4 My review of Inside Out https://www.lostinthemovies.com/2019/12/inside-out-unseen-2015.html My review of Affliction (referenced alongside The Sweet Hereafter in The Devil & Daniel Webster capsule)https://www.lostinthemovies.com/2008/07/affliction-1998-was-good-year-for_31.html My Twin Peaks Cinema podcast on The Sweet Hereafter (actually takes place in New York in the book, and Canada in the film) https://www.lostinthemovies.com/2022/05/the-sweet-hereafter-as-twin-peaks.html My Patreon podcast w/ a capsule on The Silence of Others, a documentary about Franco's Spain https://www.patreon.com/posts/36042992 MY RECENT WORK OTHER PODCASTS Twin Peaks Cinema: Rebel Without a Cause (Ray's Haunted Fifties #2) https://www.lostinthemovies.com/2022/08/rebel-without-cause-as-twin-peaks.html & Twin Peaks Conversations w/ Twin Peaks: Fire Walk With Me book author Lindsay Hallam, part 1 on YouTube https://www.youtube.com/watch?v=Fqi0SB3W_Vo PATREON ($5/month): Part 2 of Twin Peaks Conversations w/ Twin Peaks: Fire Walk With Me book author Lindsay Hallam https://www.patreon.com/posts/patreon-part-2-w-70575254 ($1/month) Episode 94 podcast: The 80s in August... Desperately Seeking Susan & Top Gun (capsules on Stranger Things, Poltergeist, Beverly Hills Cop, Witness, The Breakfast Club, Wall Street, Twins, The Hunger, archive reading of Fast Times at Ridgemont High + feedback/media/work updates including Captain America: Civil War & more) https://www.patreon.com/posts/episode-94-80s-71329778 / EXCLUSIVE advances: TWIN PEAKS Character Series #77 - 75 https://www.patreon.com/posts/exclusive-twin-71063594 (FREE for the public) Episode 94 bonus - Opening the Archive: The 80s Imagination (readings of The Brave Little Toaster, The Secret of NIMH, The Last Unicorn, An American Tail, E.T. The Extra-Terrestrial & another essay) https://www.patreon.com/posts/episode-94-bonus-71226358 PREVIOUSLY ON THIS PODCAST Monkey Business https://www.lostinthemovies.com/2022/08/monkey-business-lost-in-movies-podcast.html This episode's home page on my site is https://www.lostinthemovies.com/2022/09/melodrama-crime-fantasy-and-war-17.html This podcast is powered by Pinecast.

ABOUT LEE GRANT (FROM TCM.COM)An attractive brunette with angular features, Lee Grant began her career as a child performer with NYC's Metropolitan Opera. By age 11, she had become a member of the American Ballet Theatre. After music studies at Juilliard, she won a scholarship to attend the Neighborhood Playhouse and switched her focus to acting. Grant understudied the role of Ado Annie in a touring production of "Oklahoma!" before landing her breakthrough stage role as a young shoplifter in Sidney Kingsley's "Detective Story" in 1949. Hollywood soon beckoned and she recreated the role in William Wyler's 1951 superb film version. Grant won the Cannes Film Festival Best Actress prize and earned a Best Supporting Actor Oscar nomination for the role. Seemingly on the verge of a brilliant career, the actress found herself the victim of the blacklist when her husband, playwright Arnold Manoff was named before the House Committee on Un-American Activities. Grant herself refused to testify and the film offers over the next decade were sporadic.Returning to Manhattan, Grant found work in TV (e.g., the daytime soap "Search for Tomorrow") and on stage (i.e., "A Hole in the Head" 1957; "Two for the Seesaw" 1959). After earning an OBIE Award for her work in Genet's "The Maids" in 1963, her small screen career began to pick up. In 1965, Grant joined the cast of the primetime soap "Peyton Place" as Stella Chernak and picked up an Emmy for her work. She earned a second statuette for her performance as a runaway wife and mother who ends up at a truck stop in California in "The Neon Ceiling" (NBC, 1971).By the time she had earned her second Emmy, Grant's feature career had been rejuvenated with her stellar work as the widow of a murder victim in Norman Jewison's Oscar-winning "In the Heat of the Night" (1967). That same year, she essayed a neurotic in the campy "Valley of the Dolls." In "The Landlord" (1970), she was the society matron mother of Beau Bridges and her comic portrayal earned her a second Oscar nomination as Best Supporting Actress. Grant then played the mother of all Jewish mothers, Sophie Portnoy, in Ernest Lehman's film version of Philip Roth's novel "Portnoy's Complaint" (1972). Hal Ashby's "Shampoo" (1975) finally brought her a Best Supporting Actress Academy Award as a Beverly Hills matron having an affair with her hairdresser. The following year, Grant received a fourth nomination for her deeply moving portrayal of a Jewish refugee in "Voyage of the Damned."Her subsequent screen roles have been of varying quality, although Grant always brings a professionalism and degree of excellence to even the smallest role. After striking out as a sitcom lead in the underrated "Fay" (NBC, 1975), she delivered a fine portrayal of First Lady Grace Coolidge in "Backstairs at the White House" (NBC, 1979), was the domineering mother of actress Frances Farmer in "Will There Really Be a Morning?" (CBS, 1983) and excelled as Dora Cohn, mother of "Roy Cohn" (HBO, 1992). On the big screen, Grant lent her substantial abilities to "Teachers" (1984) as a hard-nosed school superintendent, "Defending Your Life" (1991), as an elegant prosecutor sparring with adversary Rip Torn, and "It's My Party" (1996), as the mother of man suffering from complications from AIDS.While Grant has continued to act in features and on TV, she has concentrated more on her directing career since the 80s. After studying at the American Film Institute, she made the short "The Stronger" (1976) which eventually aired on Arts & Entertainment's "Shortstories" in 1988. Grant made her feature debut with "Tell Me a Riddle" (1980), an earnest, well-acted story of an elderly couple facing death. She has excelled in the documentary format, beginning with "The Wilmar 8" (1981), about strike by female bank employees in the Midwest. (Grant later directed a fictionalized account entitled "A Matter of Sex" for NBC in 1984). She steered Marlo Thomas to an Emmy in the fact-based "Nobody's Child" (CBS, 1986) and earned praise for helming "No Place Like Home" (CBS, 1989), a stark look at the effects of unemployment. A number of her documentaries have been screened as part of HBO's "America Undercover" series, including the Oscar-winning "Down and Out in America" (1985), about the unemployed, "What Sex Am I?" (1985), about transsexuals and transvestites, "Battered" (1989), about victims of domestic violence, and "Women on Trial" (1992), about mothers who turn to the courts to protect their children. In 1997, she produced, directed and hosted the well-received "Say It, Fight It, Cure It" (Lifetime) which focused on breast cancer survivors and their families.ABOUT KILLIAN AND THE COMEBACK KIDSIn August, film distributor Hope Runs High will release its latest feature film across VOD platforms - bringing the much-lauded "Killian & the Comeback Kids" to a national audience outside of its 30 city theatrical release. For composer-writer-director Taylor A. Purdee, "Killian & the Comeback Kids" is a passion project that has united a dynamic team of creatives both onscreen and off. Concurrently with digital release, the film's screenplay will be preserved by The Academy of Motion Picture Arts and Sciences' permanent archive.With the film's initial theatrical releases, Purdee became the youngest director in 2020 and 2021 to have a film playing in major American exhibition circuits. He is also the first bi-racial director-star of African American descent to have a film theatrically released in the United States in the 21st century.'Killian' is the story of a young mixed-race musician forced to return to his rural hometown, burdened by the expense of his college degree. A chance encounter with a childhood acquaintance takes his summer in a new direction as the pair enlist a rag-tag band of other struggling locals to play a music festival coming to their once-prosperous steel town. With youthful ambition and an unflagging passion for folk-rock, Killian and the band take a shot at uniting their divided community and setting the stage for their futures.Purdee discusses the film's resonance in the current moment. "Folk music has always represented three things: a lot of self-determination, social responsibility, and a DIY spirit that happens to run through most younger generations. In a moment where the culture seems increasingly divided, when higher education could be viewed as more of a corporate scheme than a ticket to prosperity, and when one-third of our young people remain suspended in an elongated adolescence, our view of professional and personal identity is worth reimagining."The film's music by Purdee and his The Cumberland Kids bandmate Liam Higgins garnered Oscar buzz, and Purdee's original screenplay will be preserved in The Academy's permanent archive. The film stars Taylor A. Purdee, Kassie DePaiva, Nathan Purdee, John Donchak, Shannon O'Boyle, Shane Andries, Emily Mest, Yael Elisheva, and Andrew O'Shanick, and features Maddi Jane and Academy Award-winner Lee Grant."With a cast built of new faces, street musicians, Broadway mainstays, daytime superstars, new media darlings, and a living legend of classic Hollywood, our disruptive star power is the perfect mixture for an unconventional film in unconventional times."SYNOPSIS: Killian & the Comeback Kids is the story of a young mixed race musician forced to return to his rural hometown after an expensive college degree. A chance encounter with a childhood acquaintance gives the summer new direction. Together they throw together a rag-tag band of other struggling locals for one shot to play a music festival coming to their once prosperous steel town. Armed with only folk-rock, Killian and the band hope to unite the community - - if just for one night. A little musical at the cross roads of small town America and a burgeoning youth culture only just beginning to find its voice.Here's the trailer:https://www.youtube.com/watch?v=rI6n2nkk8V0

Tom Cruise has once again thrown the Hollywood machine into turbulence while Mark & William are basking in the splendor of CineGear! They might also talk about Cleopatra, Sound of Music, Nazis, Peyton Place and smoke bombs. But who knows, you'll have to listen. 

This episode of Big Blend Radio features author Alice Kaltman, who discusses her latest novel, "Dawg Towne." The book explores universal themes of love and loss through the deceptively simple lens of suburban life. But is life in the suburbs ever really simple? Over the course of one year in Towne, spouses die, children grow up, affairs begin and end, lies are repeatedly spoken, bad sex happens (good sex, less often), gender is questioned, and dogs go missing. Many dogs. Humorous and canine-centric, "Dawg Towne" is like Peyton Place re-written by Dorothy Parker and your friendly neighborhood veterinarian. And yes, this is a work of fiction. More: https://alicekaltman.com/ 

Subscribe to The Locher Room: https://bit.ly/TheLocherRoomAcademy Award winning actor and director Lee Grant will be my guest in The Locher Room.Grant's films have become some of the most influential of the New Hollywood era. A survivor of the Hollywood Blacklist, she is the first female director to be honored by the Director's Guild of America. She is well known to movie audiences for her roles in some of the most recognizable series and films of the last 60 years including In the Heat of the Night, The Valley of the Dolls, Peyton Place, Search for Tomorrow, Colombo, and Shampoo, for which she won an Academy Award. Her work as a director was also groundbreaking, earning an Oscar for the documentary Down and Out in America.Ms. Grant will be here to discuss her incredible career and the 2020 re-release of her work behind the camera, 20th Century Woman: The Documentary Films of Lee Grant. The collection became America's first virtual repertory film series as Grant continues to break ground even now. She will be seen in the upcoming music film Killian & the Comeback Kids in theaters this fall. Original Airdate: 7/23/2021

Episode 144 of A History of Rock Music in Five Hundred Songs looks at “Last Train to Clarksville" and the beginnings of the career of the Monkees, along with a short primer on the origins of the Vietnam War.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a seventeen-minute bonus episode available, on "These Boots Are Made For Walking" by Nancy Sinatra, which I mispronounce at the end of this episode as "These Boots Were Made For Walking", so no need to correct me here. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. The best versions of the Monkees albums are the triple-CD super-deluxe versions that used to be available from monkees.com , and I've used Andrew Sandoval's liner notes for them extensively in this episode. Sadly, though, the only one of those that is still in print is More of the Monkees. For those just getting into the group, my advice is to start with this five-CD set, which contains their first five albums along with bonus tracks. The single biggest source of information I used in this episode is the first edition of Andrew Sandoval's The Monkees; The Day-By-Day Story. Sadly that is now out of print and goes for hundreds of pounds. Sandoval released a second edition of the book last year, which I was unfortunately unable to obtain, but that too is now out of print. If you can find a copy of either, do get one. Other sources used were Monkee Business by Eric Lefcowitz, and the autobiographies of three of the band members and one of the songwriters -- Infinite Tuesday by Michael Nesmith, They Made a Monkee Out of Me by Davy Jones, I'm a Believer by Micky Dolenz, and Psychedelic Bubble-Gum by Bobby Hart. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've obviously talked in this podcast about several of the biggest hits of 1966 already, but we haven't mentioned the biggest hit of the year, one of the strangest records ever to make number one in the US -- "The Ballad of the Green Berets" by Sgt Barry Sadler: [Excerpt: Barry Sadler, "The Ballad of the Green Berets"] Barry Sadler was an altogether odd man, and just as a brief warning his story, which will last a minute or so, involves gun violence. At the time he wrote and recorded that song, he was on active duty in the military -- he was a combat medic who'd been fighting in the Vietnam War when he'd got a wound that had meant he had to be shipped back to the USA, and while at Fort Bragg he decided to write and record a song about his experiences, with the help of Robin Moore, a right-wing author of military books, both fiction and nonfiction, who wrote the books on which the films The Green Berets and The French Connection were based. Sadler's record became one of those massive fluke hits, selling over nine million copies and getting him appearances on the Ed Sullivan Show, but other than one top thirty hit, he never had another hit single. Instead, he tried and failed to have a TV career, then became a writer of pulp fiction himself, writing a series of twenty-one novels about the centurion who thrust his spear into Jesus' side when Jesus was being crucified, and is thus cursed to be a soldier until the second coming. He moved to Nashville, Tennessee, where he lived until he shot Lee Emerson, a country songwriter who had written songs for Marty Robbins, in the head, killing him, in an argument over a woman. He was sentenced to thirty days in jail for this misdemeanour, of which he served twenty-eight. Later he moved to Guatemala City, where he was himself shot in the head. The nearest Army base to Nashville, where Sadler lived after his discharge, is Fort Campbell, in Clarksville: [Excerpt: The Monkees, "Last Train to Clarksville"] The Vietnam War was a long and complicated war, one which affected nearly everything we're going to see in the next year or so of this podcast, and we're going to talk about it a lot, so it's worth giving a little bit of background here. In doing so, I'm going to use quite a flippant tone, but I want to make it clear that I'm not mocking the very real horrors that people suffered in the wars I'm talking about -- it's just that to sum up multiple decades of unimaginable horrors in a few sentences requires glossing over so much that you have to either laugh or cry. The origin of the Vietnam War, as in so many things in twentieth century history, can be found in European colonialism. France had invaded much of Southeast Asia in the mid-to-late nineteenth century, and created a territory known as French Indo-China, which became part of the French colonial Empire. But in 1940 France was taken over by Germany, and Japan was at war with China. Germany and Japan were allies, and the Japanese were worried that French Indo-China would be used to import fuel and arms to China -- plus, they quite fancied the idea of having a Japanese empire. So Vichy France let Japan take control of French Indo-China. But of course the *reason* that France had been taken over by Germany was that pretty much the whole world was at war in 1940, and obviously the countries that were fighting Germany and Japan -- the bloc led by Britain, soon to be joined by America and Russia -- weren't very keen on the idea of Japan getting more territory. But they were also busy with the whole "fighting a world war" thing, so they did what governments in this situation always do -- they funded local guerilla insurgent fighters on the basis that "my enemy's enemy is my friend", something that has luckily never had any negative consequences whatsoever, except for occasionally. Those local guerilla fighters were an anti-imperialist popular front, the Việt Minh, led by Hồ Chí Minh, a revolutionary Communist. They were dedicated to overthrowing foreign imperialist occupiers and gaining independence for Vietnam, and Hồ Chí Minh further wanted to establish a Soviet-style Communist government in the newly-independent country. The Allies funded the Việt Minh in their fight against the Japanese occupiers until the end of the Second World War, at which point France was liberated from German occupation, Vietnam was liberated from Japanese occupation, and the French basically said "Hooray! We get our Empire back!", to which Hồ Chí Minh's response was, more or less, "what part of anti-imperialist Marxist dedicated to overthrowing foreign occupation of Vietnam did you not understand, exactly?" Obviously, the French weren't best pleased with this, and so began what was the first of a series of wars in the region. The First Indochina War lasted for years and ended in a negotiated peace of a sort. Of course, this led to the favoured tactic of the time, partition -- splitting a formerly-occupied country into two, at an arbitrary dividing line, a tactic which was notably successful in securing peace everywhere it was tried. Apart from Ireland, India, Korea, and a few other places, but surely it wouldn't be a problem in Vietnam, right? North Vietnam was controlled by the Communists, led by Hồ Chí Minh, and recognised by China and the USSR but not by the Western states. South Vietnam was nominally independent but led by the former puppet emperor who owed his position to France, soon replaced by a right-wing dictatorship. And both the right-wing dictatorship and the left-wing dictatorship were soon busily oppressing their own citizens and funding military opposition groups in the other country. This soon escalated into full-blown war, with the North backed by China and Russia and the South backed by America. This was one of a whole series of wars in small countries which were really proxy wars between the two major powers, the USA and the USSR, both of which were vying for control, but which couldn't confront each other directly because either country had enough nuclear weapons to destroy the whole world multiple times over. But the Vietnam War quickly became more than a small proxy war. The US started sending its own troops over, and more and more of them. The US had never ended the draft after World War II, and by the mid sixties significant numbers of young men were being called up and sent over to fight in a war that had by that point lasted a decade (depending on exactly when you count the war as starting from) between two countries they didn't care about, over things few of them understood, and at an exorbitant cost in lives. As you might imagine, this started to become unpopular among those likely to be drafted, and as the people most affected (other, of course, than the Vietnamese people, whose opinions on being bombed and shot at by foreigners supporting one of other of the dictators vying to rule over them nobody else was much interested in) were also of the generation who were the main audience for popular music, slowly this started to seep into the lyrics of songs -- a seepage which had already been prompted by the appearance in the folk and soul worlds of many songs against other horrors, like segregation. This started to hit the pop charts with songs like "The Universal Soldier" by Buffy Saint-Marie, which made the UK top five in a version by Donovan: [Excerpt: Donovan, "The Universal Soldier"] That charted in the lower regions of the US charts, and a cover version by Glen Campbell did slightly better: [Excerpt: Glen Campbell, "The Universal Soldier"] That was even though Campbell himself was a supporter of the war in Vietnam, and rather pro-military. Meanwhile, as we've seen a couple of times, Jan Berry of Jan and Dean recorded a pro-war answer song to that, "The Universal Coward": [Excerpt: Jan Berry, "The Universal Coward"] This, of course, was even though Berry was himself avoiding the draft. And I've not been able to find the credits for that track, but Glen Campbell regularly played guitar on Berry's sessions, so it's entirely possible that he played guitar on that record made by a coward, attacking his own record, which he disagreed with, for its cowardice. This is, of course, what happens when popular culture tries to engage with social and political issues -- pop culture is motivated by money, not ideological consistency, and so if there's money to be made from anti-war songs or from pro-war songs, someone will take that money. And so on October the ninth 1965, Billboard magazine ran a report: "Colpix Enters Protest Field HOLLYWOOD -Colpix has secured its first protest lyric disk, "The Willing Conscript,"as General Manager Bud Katzel initiates relationships with independent producers. The single features Lauren St. Davis. Katzel says the song was written during the Civil War, rewritten during World War I and most recently updated by Bob Krasnow and Sam Ashe. Screen Gems Music, the company's publishing wing, is tracing the song's history, Katzel said. Katzel's second single is "(You Got the Gamma Goochee" by an artist with that unusual stage name. The record is a Screen Gems production and was in the house when Katzel arrived one month ago. The executive said he was expressly looking for material for two contract artists, David Jones and Hoyt Axton. The company is also working on getting Axton a role in a television series, "Camp Runamuck." " To unpack this a little, Colpix was a record label, owned by Columbia Pictures, and we talked about that a little bit in the episode on "The Loco-Motion" -- the film and TV companies were getting into music, and Columbia had recently bought up Don Kirshner's Aldon publishing and Dimension Records as part of their strategy of tying in music with their TV shows. This is a company trying desperately to jump on a bandwagon -- Colpix at this time was not exactly having huge amounts of success with its records. Hoyt Axton, meanwhile, was a successful country singer and songwriter. We met his mother many episodes back -- Mae Axton was the writer of "Heartbreak Hotel". Axton himself is now best known as the dad in the 80s film Gremlins. David Jones will be coming up shortly. Bob Krasnow and Sam Ashe were record executives then at Kama Sutra records, but soon to move on -- we'll be hearing about Krasnow more in future episodes. Neither of them were songwriters, and while I have no real reason to disbelieve the claim that "The Willing Conscript" dates back to the Civil War, the earliest version *I* have been able to track down was its publication in issue 28 of Broadside Magazine in June 1963 -- nearly a hundred years after the American Civil War -- with the credit "by Tom Paxton" -- Paxton was a popular singer-songwriter of the time, and it certainly sounds like his writing. The first recording of it I know of was by Pete Seeger: [Excerpt: Pete Seeger, "The Willing Conscript"] But the odd thing is that by the time this was printed, the single had already been released the previous month, and it was not released under the name Lauren St Davis, or under the title "The Willing Conscript" -- there are precisely two differences between the song copyrighted as by Krasnow and Ashe and the one copyrighted two years earlier as by Paxton. One is that verses three and four are swapped round, the other is that it's now titled "The New Recruit". And presumably because they realised that the pseudonym "Lauren St. Davis" was trying just a bit too hard to sound cool and drug culture, they reverted to another stage name the performer had been using, Michael Blessing: [Excerpt: Michael Blessing, "The New Recruit"] Blessing's name was actually Michael Nesmith, and before we go any further, yes his mother, Bette Nesmith Graham, did invent the product that later became marketed in the US as Liquid Paper. At this time, though, that company wasn't anywhere near as successful as it later became, and was still a tiny company. I only mention it to forestall the ten thousand comments and tweets I would otherwise get asking why I didn't mention it. In Nesmith's autobiography, while he talks a lot about his mother, he barely mentions her business and says he was uninterested in it -- he talks far more about the love of art she instilled in him, as well as her interest in the deep questions of philosophy and religion, to which in her case and his they found answers in Christian Science, but both were interested in conversations about ideas, in a way that few other people in Nesmith's early environment were. Nesmith's mother was also responsible for his music career. He had spent two years in the Air Force in his late teens, and the year he got out, his mother and stepfather bought him a guitar for Christmas, after he was inspired by seeing Hoyt Axton performing live and thinking he could do that himself: [Excerpt: Hoyt Axton, "Greenback Dollar"] As he put it in his autobiography, "What did it matter that I couldn't play the guitar, couldn't sing very well, and didn't know any folk songs? I would be going to college and hanging out at the student union with pretty girls and singing folk songs. They would like me. I might even figure out a way to get a cool car." This is, of course, the thought process that pretty much every young man to pick up a guitar goes through, but Nesmith was more dedicated than most. He gave his first performance as a folk singer ten days after he first got a guitar, after practising the few chords in most folk songs for twelve hours a day every day in that time. He soon started performing as a folk singer, performing around Dallas both on his own and with his friend John London, performing the standard folk repertoire of Woody Guthrie and Lead Belly songs, things like "Pick a Bale of Cotton": [Excerpt: Michael Nesmith, "Pick a Bale of Cotton"] He also started writing his own songs, and put out a vanity record of one of them in 1963: [Excerpt: Mike Nesmith, "Wanderin'"] London moved to California, and Nesmith soon followed, with his first wife Phyllis and their son Christian. There Nesmith and London had the good fortune to be neighbours with someone who was a business associate of Frankie Laine, and they were signed to Laine's management company as a folk duo. However, Nesmith's real love was rock and roll, especially the heavier R&B end of the genre -- he was particularly inspired by Bo Diddley, and would always credit seeing Diddley live as a teenager as being his biggest musical influence. Soon Nesmith and London had formed a folk-rock trio with their friend Bill Sleeper. As Mike & John & Bill, they put out a single, "How Can You Kiss Me?", written by Nesmith: [Excerpt: Mike & John & Bill, "How Can You Kiss Me?"] They also recorded more of Nesmith's songs, like "All the King's Horses": [Excerpt: Mike & John & Bill, "All the King's Horses"] But that was left unreleased, as Bill was drafted, and Nesmith and London soon found themselves in The Survivors, one of several big folk groups run by Randy Sparks, the founder of the New Christie Minstrels. Nesmith was also writing songs throughout 1964 and 1965, and a few of those songs would be recorded by other people in 1966, like "Different Drum", which was recorded by the bluegrass band The Greenbriar Boys: [Excerpt: The Greenbriar Boys, "Different Drum"] That would more successfully be recorded by the Stone Poneys later of course. And Nesmith's "Mary Mary" was also picked up by the Paul Butterfield Blues Band: [Excerpt: The Paul Butterfield Blues Band, "Mary Mary"] But while Nesmith had written these songs by late 1965, he wasn't able to record them himself. He was signed by Bob Krasnow, who insisted he change his name to Michael Blessing, and recorded two singles for Colpix -- "The New Recruit", which we heard earlier, and a version of Buffy Saint-Marie's "Until It's Time For You To Go", sung in a high tenor range very far from Nesmith's normal singing voice: [Excerpt: Michael Blessing, "Until It's Time For You To Go"] But to my mind by far the best thing Nesmith recorded in this period is the unissued third Michael Blessing single, where Nesmith seems to have been given a chance to make the record he really wanted to make. The B-side, a version of Allen Toussaint's swamp-rocker "Get Out of My Life, Woman", is merely a quite good version of the song, but the A-side, a version of his idol Bo Diddley's classic "Who Do You Love?" is utterly extraordinary, and it's astonishing that it was never released at the time: [Excerpt: Michael Blessing, "Who Do You Love?"] But the Michael Blessing records did no better than anything else Colpix were putting out. Indeed, the only record they got onto the hot one hundred at all in a three and a half year period was a single by one David Jones, which reached the heady heights of number ninety-eight: [Excerpt: David Jones, "What Are We Going to Do?"] Jones had been brought up in extreme poverty in Openshaw in Manchester, but had been encouraged by his mother, who died when he was fourteen, to go into acting. He'd had a few parts on local radio, and had appeared as a child actor on TV shows made in Manchester, like appearing in the long-running soap opera Coronation Street (still on today) as Ena Sharples' grandson Colin: [Excerpt: Coronation St https://www.youtube.com/watch?v=5FDEvOs1imc , 13:30] He also had small roles in Z-Cars and Bill Naughton's TV play "June Evening", and a larger role in Keith Waterhouse's radio play "There is a Happy Land". But when he left school, he decided he was going to become a jockey rather than an actor -- he was always athletic, he loved horses, and he was short -- I've seen his height variously cited as five foot three and five foot four. But it turned out that the owner of the stables in which he was training had showbusiness connections, and got him the audition that changed his life, for the part of the Artful Dodger in Lionel Bart's West End musical Oliver! We've encountered Lionel Bart before a couple of times, but if you don't remember him, he was the songwriter who co-wrote Tommy Steele's hits, and who wrote "Living Doll" for Cliff Richard. He also discovered both Steele and Marty Wilde, and was one of the major figures in early British rock and roll. But after the Tommy Steele records, he'd turned his attention to stage musicals, writing book, music, and lyrics for a string of hits, and more-or-less singlehandedly inventing the modern British stage musical form -- something Andrew Lloyd Webber, for example, always credits him with. Oliver!, based on Oliver Twist, was his biggest success, and they were looking for a new Artful Dodger. This was *the* best role for a teenage boy in the UK at the time -- later performers to take the role on the London stage include Steve Marriott and Phil Collins, both of whom we'll no doubt encounter in future episodes -- and Jones got the job, although they were a bit worried at first about his Manchester vowels. He assured them though that he could learn to do a Cockney accent, and they took him on. Jones not having a natural Cockney accent ended up doing him the biggest favour of his career. While he could put on a relatively convincing one, he articulated quite carefully because it wasn't his natural accent. And so when the North American version found  in previews that their real Cockney Dodger wasn't being understood perfectly, the fake Cockney Jones was brought over to join the show on Broadway, and was there from opening night on. On February the ninth, 1964, Jones found himself, as part of the Broadway cast of Oliver!, on the Ed Sullivan Show: [Excerpt: Davy Jones and Georgia Brown, "I'd Do Anything"] That same night, there were some other British people, who got a little bit more attention than Jones did: [Excerpt: The Beatles, "I Want to Hold Your Hand (live on Ed Sullivan)"] Davy Jones wasn't a particular fan of pop music at that point, but he knew he liked what he saw, and he wanted some of the same reaction. Shortly after this, Jones was picked up for management by Ward Sylvester, of Columbia Pictures, who was going to groom Jones for stardom. Jones continued in Oliver! for a while, and also had a brief run in a touring version of Pickwick, another musical based on a Dickens novel, this time starring Harry Secombe, the British comedian and singer who had made his name with the Goon Show. Jones' first single, "Dream Girl", came out in early 1965: [Excerpt: Davy Jones, "Dream Girl"] It was unsuccessful, as was his one album, David Jones, which seemed to be aiming at the teen idol market, but failing miserably. The second single, "What Are  We Going to Do?" did make the very lowest regions of the Hot One Hundred, but the rest of the album was mostly attempts to sound a bit like Herman's Hermits -- a band whose lead singer, coincidentally, also came from Manchester, had appeared in Coronation Street, and was performing with a fake Cockney accent. Herman's Hermits had had a massive US hit with the old music hall song "I'm Henry VIII I Am": [Excerpt: Herman's Hermits, "I'm Henry VIII I Am"] So of course Davy had his own old music-hall song, "Any Old Iron": [Excerpt: Davy Jones, "Any Old Iron"] Also, the Turtles had recently had a hit with a folk-rock version of Dylan's "It Ain't Me Babe", and Davy cut his own version of their arrangement, in the one concession to rock music on the album: [Excerpt: Davy Jones, "It Ain't Me Babe"] The album was, unsurprisingly, completely unsuccessful, but Ward Sylvester was not disheartened. He had the perfect job for a young British teen idol who could sing and act. The Monkees was the brainchild of two young TV producers, Bob Rafelson and Bert Schneider, who had come up with the idea of doing a TV show very loosely based on the Beatles' film A Hard Day's Night (though Rafelson would later claim that he'd had the idea many years before A Hard Day's Night and was inspired by his youth touring with folk bands -- Schneider always admitted the true inspiration though). This was not a particularly original idea -- there were a whole bunch of people trying to make TV shows based in some way around bands. Jan and Dean were working on a possible TV series, there was talk of a TV series starring The Who, there was a Beatles cartoon series, Hanna-Barbera were working on a cartoon series about a band called The Bats, and there was even another show proposed to Screen Gems, Columbia's TV department, titled Liverpool USA, which was meant to star Davy Jones, another British performer, and two American musicians, and to have songs provided by Don Kirshner's songwriters. That The Monkees, rather than these other series, was the one that made it to the TV (though obviously the Beatles cartoon series did too) is largely because Rafelson and Schneider's independent production company, Raybert, which they had started after leaving Screen Gems, was given two hundred and twenty-five thousand dollars to develop the series by their former colleague, Screen Gems' vice president in charge of programme development, the former child star Jackie Cooper. Of course, as well as being their former colleague, Cooper may have had some more incentive to give Bob Rafelson and Bert Schneider that money in that the head of Columbia Pictures, and thus Cooper's boss' boss, was one Abe Schneider. The original idea for the show was to use the Lovin' Spoonful, but as we heard last week they weren't too keen, and it was quickly decided instead that the production team would put together a group of performers. Davy Jones was immediately attached to the project, although Rafelson was uncomfortable with Jones, thinking he wasn't as rock and roll as Rafelson was hoping for -- he later conceded, though, that Jones was absolutely right for the group. As for everyone else, to start with Rafelson and Schneider placed an ad in a couple of the trade papers which read "Madness!! Auditions Folk and Roll Musicians-Singers for acting roles in new TV series. Running parts for 4 insane boys ages 17-21. Want spirited Ben Frank's types. Have courage to work. Must come down for interview" There were a couple of dogwhistles in there, to appeal to the hip crowd -- Ben Frank's was a twenty-four-hour restaurant on the Sunset Strip, where people including Frank Zappa and Jim Morrison used to hang out, and which was very much associated with the freak scene we've looked at in episodes on Zappa and the Byrds. Meanwhile "Must come down for interview" was meant to emphasise that you couldn't actually be high when you turned up -- but you were expected to be the kind of person who would at least at some points have been high. A lot of people answered that ad -- including Paul Williams, Harry Nilsson, Van Dyke Parks, and many more we'll be seeing along the way. But oddly, the only person actually signed up for the show because of that ad was Michael Nesmith -- who was already signed to Colpix Records anyway. According to Davy Jones, who was sitting in at the auditions, Schneider and Rafelson were deliberately trying to disorient the auditioners with provocative behaviour like just ignoring them, to see how they'd react. Nesmith was completely unfazed by this, and apparently walked in wearing a  green wool hat and carrying a bag of laundry, saying that he needed to get this over with quickly so he could go and do his washing. John London, who came along to the audition as well, talked later about seeing Nesmith fill in a questionnaire that everyone had to fill in -- in a space asking about previous experience Nesmith just wrote "Life" and drew a big diagonal line across the rest of the page. That attitude certainly comes across in Nesmith's screen test: [Excerpt: Michael Nesmith screen test] Meanwhile, Rafelson and Schneider were also scouring the clubs for performers who might be useful, and put together a shortlist of people including Jerry Yester and Chip Douglas of the Modern Folk Quartet, Bill Chadwick, who was in the Survivors with Nesmith and London, and one Micky Braddock, whose agent they got in touch with and who was soon signed up. Braddock was the stage name of Micky Dolenz, who soon reverted to his birth surname, and it's the name by which he went in his first bout of fame. Dolenz was the son of two moderately successful Hollywood actors, George Dolenz and Janelle Johnson, and their connections had led to Dolenz, as Braddock, getting the lead role in the 1958 TV series Circus Boy, about a child named Corky who works in a circus looking after an elephant after his parents, the Flying Falcons, were killed in a trapeze accident. [Excerpt: Circus Boy, "I can't play a drum"] Oddly, one of the other people who had been considered for that role was Paul Williams, who was also considered for the Monkees but ultimately turned down, and would later write one of the Monkees' last singles. Dolenz had had a few minor TV appearances after that series had ended, including a recurring role on Peyton Place, but he had also started to get interested in music. He'd performed a bit as a folk duo with his sister Coco, and had also been the lead singer of a band called Micky and the One-Nighters, who later changed their name to the Missing Links, who'd played mostly covers of Little Richard and Chuck Berry songs and later British Invasion hits. He'd also recorded two tracks with Wrecking Crew backing, although neither track got released until after his later fame -- "Don't Do It": [Excerpt: Micky Dolenz, "Don't Do It"] and "Huff Puff": [Excerpt: Micky Dolenz, "Huff Puff"] Dolenz had a great singing voice, an irrepressible personality, and plenty of TV experience. He was obviously in. Rafelson and Schneider took quite a while whittling down the shortlist to the final four, and they *were* still considering people who'd applied through the ads. One they actually offered the role to was Stephen Stills, but he decided not to take the role. When he turned the role down, they asked if he knew anyone else who had a similar appearance to him, and as it happened he did. Steve Stills and Peter Tork had known of each other before they actually met on the streets of Greenwich Village -- the way they both told the story, on their first meeting they'd each approached the other and said "You must be the guy everyone says looks like me!" The two had become fast friends, and had played around the Greenwich Village folk scene together for a while, before going their separate ways -- Stills moving to California while Tork joined another of those big folk ensembles of the New Christie Minstrels type, this one called the Phoenix Singers. Tork had later moved to California himself, and reconnected with his old friend, and they had performed together for a while in a trio called the Buffalo Fish, with Tork playing various instruments, singing, and doing comedy bits. Oddly, while Tork was the member of the Monkees with the most experience as a musician, he was the only one who hadn't made a record when the TV show was put together. But he was by far the most skilled instrumentalist of the group -- as distinct from best musician, a distinction Tork was always scrupulous about making -- and could play guitar, bass, and keyboards, all to a high standard -- and I've also seen him in more recent years play French horn live. His great love, though, was the banjo, and you can hear how he must have sounded on the Greenwich Village folk scene in his solo spots on Monkees shows, where he would show off his banjo skills: [Excerpt: Peter Tork, "Cripple Creek"] Tork wouldn't get to use his instrumental skills much at first though, as most of the backing tracks for the group's records were going to be performed by other people. More impressive for the TV series producers was his gift for comedy, especially physical comedy -- having seen Tork perform live a few times, the only comparison I can make to his physical presence is to Harpo Marx, which is about as high a compliment as one can give. Indeed, Micky Dolenz has often pointed out that while there were intentional parallels to the Beatles in the casting of the group, the Marx Brothers are a far better parallel, and it's certainly easy to see Tork as Harpo, Dolenz as Chico, Nesmith as Groucho, and Jones as Zeppo. (This sounds like an insult to Jones, unless you're aware of how much the Marx Brothers films actually depended on Zeppo as the connective tissue between the more outrageous brothers and the more normal environment they were operating in, and how much the later films suffered for the lack of Zeppo). The new cast worked well together, even though there were obvious disagreements between them right from the start. Dolenz, at least at this point, seems to have been the gel that held the four together -- he had the experience of being a child star in common with Jones, he was a habitue of the Sunset Strip clubs where Nesmith and Tork had been hanging out, and he had personality traits in common with all of them. Notably, in later years, Dolenz would do duo tours with each of his three bandmates without the participation of the others. The others, though, didn't get on so well with each other. Jones and Tork seem to have got on OK, but they were very different people -- Jones was a showbiz entertainer, whose primary concern was that none of the other stars of the show be better looking than him, while Tork was later self-diagnosed as neurodivergent, a folkie proto-hippie who wanted to drift from town to town playing his banjo. Tork and Nesmith had similar backgrounds and attitudes in some respects -- and were united in their desire to have more musical input into the show than was originally intended -- but they were such different personalities in every aspect of their lives from their religious views to their politics to their taste in music they came into conflict. Nesmith would later say of Tork "I never liked Peter, he never liked me. So we had an uneasy truce between the two of us. As clear as I could tell, among his peers he was very well liked. But we rarely had a civil word to say to each other". Nesmith also didn't get on well with Jones, both of them seeming to view themselves as the natural leader of the group, with all the clashes that entails. The four Monkees were assigned instruments for their characters based not on instrumental skill, but on what suited their roles better. Jones was the teen idol character, so he was made the maraca-playing frontman who could dance without having to play an instrument, though Dolenz took far more of the lead vocals. Nesmith was made the guitarist, while Tork was put on bass, though Tork was by far the better guitarist of the two. And Dolenz was put on drums, even though he didn't play the drums -- Tork would always say later that if the roles had been allocated by actual playing ability, Jones would have been the drummer. Dolenz did, though, become a good drummer, if a rather idiosyncratic one. Tork would later say "Micky played the drums but Mike kept time, on that one record we all made, Headquarters. Mike was the timekeeper. I don't know that Micky relied on him but Mike had a much stronger sense of time. And Davy too, Davy has a much stronger sense of time. Micky played the drums like they were a musical instrument, as a colour. He played the drum colour.... as a band, there was a drummer and there was a timekeeper and they were different people." But at first, while the group were practising their instruments so they could mime convincingly on the TV and make personal appearances, they didn't need to play on their records. Indeed, on the initial pilot, they didn't even sing -- the recordings had been made before the cast had been finalised: [Excerpt: Boyce & Hart, "Monkees Theme (pilot version)"] The music was instead performed by two songwriters, Tommy Boyce and Bobby Hart, who would become hugely important in the Monkees project. Boyce and Hart were not the first choice for the project. Don Kirshner, the head of Screen Gems Music, had initially suggested Roger Atkins, a Brill Building songwriter working for his company, as the main songwriter for The Monkees. Atkins is best known for writing "It's My Life", a hit for the Animals: [Excerpt: The Animals, "It's My Life"] But Atkins didn't work out, though he would collaborate later on one song with Nesmith, and reading between the lines, it seems that there was some corporate infighting going on, though I've not seen it stated in so many words. There seems to have been a turf war between Don Kirshner, the head of Screen Gems' music publishing, who was based in the Brill Building, and Lester Sill, the West Coast executive we've seen so many times before, the mentor to Leiber and Stoller, Duane Eddy, and Phil Spector, who was now the head of Screen Gems music on the West Coast. It also seems to be the case that none of the top Brill Building songwriters were all that keen on being involved at this point -- writing songs for an unsold TV pilot wasn't exactly a plum gig. Sill ended up working closely with the TV people, and it seems to have been him who put forward Boyce and Hart, a songwriting team he was mentoring. Boyce and Hart had been working in the music industry for years, both together and separately, and had had some success, though they weren't one of the top-tier songwriting teams like Goffin and King. They'd both started as performers -- Boyce's first single, "Betty Jean", had come out in 1958: [Excerpt: Tommy Boyce, "Betty Jean"] And Hart's, "Love Whatcha Doin' to Me", under his birth name Robert Harshman, a year later: [Excerpt: Robert Harshman, "Love Whatcha Doin' to Me"] Boyce had been the first one to have real songwriting success, writing Fats Domino's top ten hit "Be My Guest" in 1959: [Excerpt: Fats Domino, "Be My Guest"] and cowriting two songs with singer Curtis Lee, both of which became singles produced by Phil Spector -- "Under the Moon of Love" and the top ten hit "Pretty Little Angel Eyes": [Excerpt: Curtis Lee, "Pretty Little Angel Eyes"] Boyce and Hart together, along with Wes Farrell, who had co-written "Twist and Shout" with Bert Berns, wrote "Lazy Elsie Molly" for Chubby Checker, and the number three hit "Come a Little Bit Closer" for Jay and the Americans: [Excerpt: Jay and the Americans, "Come a Little Bit Closer"] At this point they were both working in the Brill Building, but then Boyce moved to the West Coast, where he was paired with Steve Venet, the brother of Nik Venet, and they co-wrote and produced "Peaches and Cream" for the Ikettes: [Excerpt: The Ikettes, "Peaches and Cream"] Hart, meanwhile, was playing in the band of Teddy Randazzo, the accordion-playing singer who had appeared in The Girl Can't Help It, and with Randazzo and Bobby Weinstein he wrote "Hurts So Bad", which became a big hit for Little Anthony and the Imperials: [Excerpt: Little Anthony and the Imperials, "Hurts So Bad"] But Hart soon moved over to the West Coast, where he joined his old partner Boyce, who had been busy writing TV themes with Venet for shows like "Where the Action Is". Hart soon replaced Venet in the team, and the two soon wrote what would become undoubtedly their most famous piece of music ever, a theme tune that generations of TV viewers would grow to remember: [Excerpt: "Theme from Days of Our Lives"] Well, what did you *think* I meant? Yes, just as Davy Jones had starred in an early episode of Britain's longest-running soap opera, one that's still running today, so Boyce and Hart wrote the theme music for *America's* longest-running soap opera, which has been running every weekday since 1965, and has so far aired well in excess of fourteen thousand episodes. Meanwhile, Hart had started performing in a band called the Candy Store Prophets, with Larry Taylor  -- who we last saw with the Gamblers, playing on "LSD-25" and "Moon Dawg" -- on bass, Gerry McGee on guitar, and Billy Lewis on drums. It was this band that Boyce and Hart used -- augmented by session guitarists Wayne Erwin and Louie Shelton and Wrecking Crew percussionist Gene Estes on tambourine, plus Boyce and session singer Ron Hicklin on backing vocals, to record first the demos and then the actual tracks that would become the Monkees hits. They had a couple of songs already that would be suitable for the pilot episode, but they needed something that would be usable as a theme song for the TV show. Boyce and Hart's usual working method was to write off another hit -- they'd try to replicate the hook or the feel or the basic sound of something that was already popular. In this case, they took inspiration from the song "Catch Us If You Can", the theme from the film that was the Dave Clark Five's attempt at their own A Hard Day's Night: [Excerpt: The Dave Clark Five, "Catch Us If You Can"] Boyce and Hart turned that idea into what would become the Monkees theme. We heard their performance of it earlier of course, but when the TV show finally came out, it was rerecorded with Dolenz singing: [Excerpt: The Monkees, "Monkees Theme"] For a while, Boyce and Hart hoped that they would get to perform all the music for the TV show, and there was even apparently some vague talk of them being cast in it, but it was quickly decided that they would just be songwriters. Originally, the intent was that they wouldn't even produce the records, that instead the production would be done by a name producer. Micky Most, the Animals' producer, was sounded out for the role but wasn't interested. Snuff Garrett was brought in, but quickly discovered he didn't get on with the group at all -- in particular, they were all annoyed at the idea that Davy would be the sole lead vocalist, and the tracks Garrett cut with Davy on lead and the Wrecking Crew backing were scrapped. Instead, it was decided that Boyce and Hart would produce most of the tracks, initially with the help of the more experienced Jack Keller, and that they would only work with one Monkee at a time to minimise disruption -- usually Micky and sometimes Davy. These records would be made the same way as the demos had been, by the same set of musicians, just with one of the Monkees taking the lead. Meanwhile, as Nesmith was seriously interested in writing and production, and Rafelson and Schneider wanted to encourage the cast members, he was also assigned to write and produce songs for the show. Unlike Boyce and Hart, Nesmith wanted to use his bandmates' talents -- partly as a way of winning them over, as it was already becoming clear that the show would involve several competing factions. Nesmith's songs were mostly country-rock tracks that weren't considered suitable as singles, but they would be used on the TV show and as album tracks, and on Nesmith's songs Dolenz and Tork would sing backing vocals, and Tork would join the Wrecking Crew as an extra guitarist -- though he was well aware that his part on records like "Sweet Young Thing" wasn't strictly necessary when Glen Campbell, James Burton, Al Casey and Mike Deasy were also playing guitar: [Excerpt: The Monkees, "Sweet Young Thing"] That track was written by Nesmith with Goffin and King, and there seems to have been some effort to pair Nesmith, early on, with more commercial songwriters, though this soon fell by the wayside and Nesmith was allowed to keep making his own idiosyncratic records off to the side while Boyce and Hart got on with making the more commercial records. This was not, incidentally, something that most of the stars of the show objected to or even thought was a problem at the time. Tork was rather upset that he wasn't getting to have much involvement with the direction of the music, as he'd thought he was being employed as a musician, but Dolenz and Jones were actors first and foremost, while Nesmith was happily making his own tracks. They'd all known going in that most of the music for the show would be created by other people -- there were going to be two songs every episode, and there was no way that four people could write and record that much material themselves while also performing in a half-hour comedy show every week. Assuming, of course, that the show even aired. Initial audience response to the pilot was tepid at best, and it looked for a while like the show wasn't going to be green-lit. But Rafelson and Schneider -- and director James Frawley who played a crucial role in developing the show -- recut the pilot, cutting out one character altogether -- a manager who acted as an adult supervisor -- and adding in excerpts of the audition tapes, showing the real characters of some of the actors. As three of the four were playing characters loosely based on themselves -- Peter's "dummy" character wasn't anything like he was in real life, but was like the comedy character he'd developed in his folk-club performances -- this helped draw the audience in. It also, though, contributed to some line-blurring that became a problem. The re-edited pilot was a success, and the series sold. Indeed, the new format for the series was a unique one that had never been done on TV before -- it was a sitcom about four young men living together, without any older adult supervision, getting into improbable adventures, and with one or two semi-improvised "romps", inspired by silent slapstick, over which played original songs. This became strangely influential in British sitcom when the series came out over here  -- two of the most important sitcoms of the next couple of decades, The Goodies and The Young Ones, are very clearly influenced by the Monkees. And before the broadcast of the first episode, they were going to release a single to promote it. The song chosen as the first single was one Boyce and Hart had written, inspired by the Beatles. Specifically inspired by this: [Excerpt: The Beatles, "Paperback Writer"] Hart heard that tag on the radio, and thought that the Beatles were singing "take the last train". When he heard the song again the next day and realised that the song had nothing to do with trains, he and Boyce sat down and wrote their own song inspired by his mishearing. "Last Train to Clarksville" is structured very, very, similarly to "Paperback Writer" -- both of them stay on one chord, a G7, for an eight-bar verse before changing to C7 for a chorus line -- the word "writer" for the Beatles, the "no no no" (inspired by the Beatles "yeah yeah yeah") for the Monkees. To show how close the parallels are, I've sped up the vocals from the Beatles track slightly to match the tempo with a karaoke backing track version of "Last Train to Clarksville" I found, and put the two together: [Excerpt: "Paperback Clarksville"] Lyrically, there was one inspiration I will talk about in a minute, but I think I've identified another inspiration that nobody has ever mentioned. The classic country song "Night Train to Memphis", co-written by Owen Bradley, and made famous by Roy Acuff, has some slight melodic similarity to "Last Train to Clarksville", and parallels the lyrics fairly closely -- "take the night train to Memphis" against "take the last train to Clarksville", both towns in Tennessee, and "when you arrive at the station, I'll be right there to meet you I'll be right there to greet you, So don't turn down my invitation" is clearly close to "and I'll meet you at the station, you can be here by 4:30 'cos I've made your reservation": [Excerpt: Roy Acuff, "Night Train to Memphis"] Interestingly, in May 1966, the same month that "Paperback Writer" was released, and so presumably the time that Hart heard the song on the radio for the first time, Rick Nelson, the teen idol formerly known as Ricky Nelson, who had started his own career as a performer in a sitcom, had released an album called Bright Lights and Country Music. He'd had a bit of a career downslump and was changing musical direction, and recording country songs. The last track on that album was a version of "Night Train to Memphis": [Excerpt: Rick Nelson, "Night Train to Memphis"] Now, I've never seen either Boyce or Hart ever mention even hearing that song, it's pure speculation on my part that there's any connection there at all, but I thought the similarity worth mentioning. The idea of the lyric, though, was to make a very mild statement about the Vietnam War. Clarksville was, as mentioned earlier, the site of Fort Campbell, a military training base, and they crafted a story about a young soldier being shipped off to war, calling his girlfriend to come and see him for one last night. This is left more-or-less ambiguous -- this was a song being written for a TV show intended for children, after all -- but it's still very clear on the line "and I don't know if I'm ever coming home". Now, Boyce and Hart were songwriters first and foremost, and as producers they were quite hands-off and would let the musicians shape the arrangements. They knew they wanted a guitar riff in the style of the Beatles' recent singles, and Louie Shelton came up with one based around the G7 chord that forms the basis of the song, starting with an octave leap: Shelton's riff became the hook that drove the record, and engineer Dave Hassinger added the final touch, manually raising the volume on the hi-hat mic for a fraction of a second every bar, creating a drum sound like a hissing steam brake: [Excerpt: The Monkees, "Last Train to Clarksville"] Now all that was needed was to get the lead vocals down. But Micky Dolenz was tired, and hungry, and overworked -- both Dolenz and Jones in their separate autobiographies talk about how it was normal for them to only get three hours' sleep a night between working twelve hour days filming the series, three-hour recording sessions, and publicity commitments. He got the verses down fine, but he just couldn't sing the middle eight. Boyce and Hart had written a complicated, multisyllabic, patter bridge, and he just couldn't get his tongue around that many syllables when he was that tired. He eventually asked if he could just sing "do do do" instead of the words, and the producers agreed. Surprisingly, it worked: [Excerpt: The Monkees, "Last Train to Clarksville"] "Last Train to Clarksville" was released in advance of the TV series, on a new label, Colgems, set up especially for the Monkees to replace Colpix, with a better distribution deal, and it went to number one. The TV show started out with mediocre ratings, but soon that too became a hit. And so did the first album released from the TV series. And that album was where some of the problems really started. The album itself was fine -- ten tracks produced by Boyce and Hart with the Candy Store Prophets playing and either Micky or Davy singing, mostly songs Boyce and Hart wrote, with a couple of numbers by Goffin and King and other Kirshner staff songwriters, plus two songs produced by Nesmith with the Wrecking Crew, and with token participation from Tork and Dolenz. The problem was the back cover, which gave little potted descriptions of each of them, with their height, eye colour, and so on. And under three of them it said "plays guitar and sings", while under Dolenz it said "plays drums and sings". Now this was technically accurate -- they all did play those instruments. They just didn't play them on the record, which was clearly the impression the cover was intended to give. Nesmith in particular was incandescent. He believed that people watching the TV show understood that the group weren't really performing that music, any more than Adam West was really fighting crime or William Shatner travelling through space. But crediting them on the record was, he felt, crossing a line into something close to con artistry. To make matters worse, success was bringing more people trying to have a say. Where before, the Monkees had been an irrelevance, left to a couple of B-list producer-songwriters on the West Coast, now they were a guaranteed hit factory, and every songwriter working for Kirshner wanted to write and produce for them -- which made sense because of the sheer quantity of material they needed for the TV show, but it made for a bigger, less democratic, organisation -- one in which Kirshner was suddenly in far more control. Suddenly as well as Boyce and Hart with the Candy Store Prophets and Nesmith with the Wrecking Crew, both of whom had been operating without much oversight from Kirshner, there were a bunch of tracks being cut on the East Coast by songwriting and production teams like Goffin and King, and Neil Sedaka and Carole Bayer. On the second Monkees album, released only a few months after the first, there were nine producers credited -- as well as Boyce, Hart, Jack Keller, and Nesmith, there were now also Goffin, King, Sedaka, Bayer, and Jeff Barry, who as well as cutting tracks on the east coast was also flying over to the West Coast, cutting more tracks with the Wrecking Crew, and producing vocal sessions while there. As well as producing songs he'd written himself, Barry was also supervising songs written by other people. One of those was a new songwriter he'd recently discovered and been co-producing for Bang Records, Neil Diamond, who had just had a big hit of his own with "Cherry Cherry": [Excerpt: Neil Diamond, "Cherry Cherry"] Diamond was signed with Screen Gems, and had written a song which Barry thought would be perfect for the Monkees, an uptempo song called "I'm a Believer", which he'd demoed with the regular Bang musicians -- top East Coast session players like Al Gorgoni, the guitarist who'd played on "The Sound of Silence": [Excerpt: Neil Diamond, "I'm a Believer"] Barry had cut a backing track for the Monkees using those same musicians, including Diamond on acoustic guitar, and brought it over to LA. And that track would indirectly lead to the first big crisis for the group. Barry, unlike Boyce and Hart, was interested in working with the whole group, and played all of them the backing track. Nesmith's reaction was a blunt "I'm a producer too, and that ain't no hit". He liked the song -- he wanted to have a go at producing a track on it himself, as it happened -- but he didn't think the backing track worked. Barry, trying to lighten the mood, joked that it wasn't finished and you needed to imagine it with strings and horns. Unfortunately, Nesmith didn't get that he was joking, and started talking about how that might indeed make a difference -- at which point everyone laughed and Nesmith took it badly -- his relationship with Barry quickly soured. Nesmith was getting increasingly dissatisfied with the way his songs and his productions were being sidelined, and was generally getting unhappy, and Tork was wanting more musical input too. They'd been talking with Rafelson and Schneider, who'd agreed that the group were now good enough on their instruments that they could start recording some tracks by themselves, an idea which Kirshner loathed. But for now they were recording Neil Diamond's song to Jeff Barry's backing track. Given that Nesmith liked the song, and given that he had some slight vocal resemblance to Diamond, the group suggested that Nesmith be given the lead vocal, and Kirshner and Barry agreed, although Kirshner at least apparently always intended for Dolenz to sing lead, and was just trying to pacify Nesmith. In the studio, Kirshner kept criticising Nesmith's vocal, and telling him he was doing it wrong, until eventually he stormed out, and Kirshner got what he wanted -- another Monkees hit with Micky Dolenz on lead, though this time it did at least have Jones and Tork on backing vocals: [Excerpt: The Monkees, "I'm a Believer"] That was released on November 23rd, 1966, as their second single, and became their second number one. And in January 1967, the group's second album, More of the Monkees, was released. That too went to number one. There was only one problem. The group weren't even told about the album coming out beforehand -- they had to buy their own copies from a record shop to even see what tracks were on it. Nesmith had his two tracks, but even Boyce and Hart were only given two, with the rest of the album being made up of tracks from the Brill Building songwriters Kirshner preferred. Lots of great Nesmith and Boyce and Hart tracks were left off the album in favour of some astonishingly weak material, including the two worst tracks the group ever recorded, "The Day We Fall in Love" and "Laugh", and a novelty song they found embarrassing, "Your Auntie Grizelda", included to give Tork a vocal spot. Nesmith called it "probably the worst album in the history of the world", though in truth seven of the twelve tracks are really very strong, though some of the other material is pretty poor. The group were also annoyed by the packaging. The liner notes were by Don Kirshner, and read to the group at least like a celebration of Kirshner himself as the one person responsible for everything on the record. Even the photo was an embarrassment -- the group had taken a series of photos in clothes from the department store J. C. Penney as part of an advertising campaign, and the group thought the clothes were ridiculous, but one of those photos was the one chosen for the cover. Nesmith and Tork made a decision, which the other two agreed to with varying degrees of willingness. They'd been fine miming to other people's records when it was clearly just for a TV show. But if they were being promoted as a real band, and having to go on tour promoting albums credited to them, they were going to *be* a real band, and take some responsibility for the music that was being put out in their name.  With the support of Rafelson and Schneider, they started making preparations to do just that. But Don Kirshner had other ideas, and told them so in no uncertain terms. As far as he was concerned, they were a bunch of ungrateful, spoiled, kids who were very happy cashing the ridiculously large cheques they were getting, but now wanted to kill the goose that laid the golden egg. They were going to keep doing what they were told. Things came to a head in a business meeting in January 1967, when Nesmith gave an ultimatum. Either the group got to start playing on their own records, or he was quitting. Herb Moelis, Kirshner's lawyer, told Nesmith that he should read his contract more carefully, at which point Nesmith got up, punched a hole in the wall of the hotel suite they were in, and told Moelis "That could have been your face". So as 1967 began, the group were at a turning point. Would they be able to cut the puppet strings, or would they have to keep living a lie? We'll find out in a few weeks' time...

Little Sister Lana Wood The Donald Jeffries Show 12-15-2021 Lana Wood Little Sister Lana Wood Lana Wood is the younger sister of Hollywood legend Natalie Wood. She made her film debut in the John Ford/John Wayne classic The Searchers as a child. She appeared in numerous television shows and was a regular for a year on Peyton Place. She posed in Playboy and starred as the lovely James Bond girl Plenty O'Toole in the 1971 film Diamonds are Forever. She wrote a 1984 memoir about her sister, and was vocal about doubts concerning the official cause of Natalie's death for many years, before publishing the recent best-seller Little Sister: My Investigation of the Mysterious Death of Natalie Wood. Donald Jeffries and Lana Wood discuss the explosive revelations in her new book, including her charge that a sixteen-year-old Natalie was raped by actor Kirk Douglas. “Credible” Witness Says Natalie Wood's Husband Was Jealous Over Christopher Walken https://people.com/crime/natalie-wood-death-witness-says-robert-wagner-jealous-christopher-walken/ Little Sister: My Investigation into the Mysterious Death of Natalie Wood Hardcover https://www.amazon.com/Little-Sister-Investigation-Mysterious-Natalie/dp/0063081628/ref=asc_df_0063081628/?tag=hyprod-20&linkCode=df0&hvadid=509360428472&hvpos=&hvnetw=g&hvrand=9219136310964432150&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9011249&hvtargid=pla-1263149405275&psc=1 Mystery over Natalie Wood's death endures 40 years after drowning off Catalina https://ktla.com/news/local-news/mystery-over-natalie-woods-death-endures-40-years-after-drowning-off-catalina/ IMDB: https://www.imdb.com/name/nm0939836/ Legal Action Filed To Obtain Confidential Natalie Wood Death Records https://losangeles.cbslocal.com/2021/01/15/natalie-wood-death-investigation-book-christopher-walken/ DONALD JEFFRIES ONLINE: Blog: https://donaldjeffries.wordpress.com/ “I Protest” https://donaldjeffries.substack.com/ Twitter page: https://twitter.com/DonJeffries Amazon Author Page: https://www.amazon.com/Donald-Jeffries/e/B004T6NFAS%3Fref=dbs_a_mng_rwt_scns_share Facebook: https://www.facebook.com/donald.jeffries On Borrowed Fame: Money, Mysteries, and Corruption in the Entertainment World: https://www.amazon.com/gp/product/B09LR2R4Q3/ref=dbs_a_def_rwt_bibl_vppi_i0 OCHELLI LINKS: YOUR HELP TO KEEP US GOING IS CRITICAL AT THIS TIME: https://ochelli.com/donate/ Ochelli Effect – Uncle – Age of Transitions – T-shirts and MORE: https://theageoftransitions.com/category/support-the-podcasts/ SPREAKER FEED: https://www.spreaker.com/show/4331265/episodes/feed Little Sister Lana Wood

Little Sister Lana WoodThe Donald Jeffries Show 12-15-2021 Lana Wood Lana Wood is the younger sister of Hollywood legend Natalie Wood. She made her film debut in the John Ford/John Wayne classic The Searchers as a child. She appeared in numerous television shows and was a regular for a year on Peyton Place. She posed in Playboy and starred as the lovely James Bond girl Plenty O'Toole in the 1971 film Diamonds are Forever. She wrote a 1984 memoir about her sister, and was vocal about doubts concerning the official cause of Natalie's death for many years, before publishing the recent best-seller Little Sister: My Investigation of the Mysterious Death of Natalie Wood. Donald Jeffries and Lana Wood discuss the explosive revelations in her new book, including her charge that a sixteen-year-old Natalie was raped by actor Kirk Douglas."Credible" Witness Says Natalie Wood's Husband Was Jealous Over Christopher Walken https://people.com/crime/natalie-wood-death-witness-says-robert-wagner-jealous-christopher-walken/Little Sister: My Investigation into the Mysterious Death of Natalie Wood Hardcover https://www.amazon.com/Little-Sister-Investigation-Mysterious-Natalie/dp/0063081628/ref=asc_df_0063081628/?tag=hyprod-20&linkCode=df0&hvadid=509360428472&hvpos=&hvnetw=g&hvrand=9219136310964432150&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9011249&hvtargid=pla-1263149405275&psc=1Mystery over Natalie Wood's death endures 40 years after drowning off Catalina https://ktla.com/news/local-news/mystery-over-natalie-woods-death-endures-40-years-after-drowning-off-catalina/IMDB: https://www.imdb.com/name/nm0939836/Legal Action Filed To Obtain Confidential Natalie Wood Death Records https://losangeles.cbslocal.com/2021/01/15/natalie-wood-death-investigation-book-christopher-walken/DONALD JEFFRIES ONLINE:Blog: https://donaldjeffries.wordpress.com/"I Protest" https://donaldjeffries.substack.com/Twitter page: https://twitter.com/DonJeffries Amazon Author Page: https://www.amazon.com/Donald-Jeffries/e/B004T6NFAS%3Fref=dbs_a_mng_rwt_scns_shareFacebook: https://www.facebook.com/donald.jeffriesOn Borrowed Fame: Money, Mysteries, and Corruption in the Entertainment World: https://www.amazon.com/gp/product/B09LR2R4Q3/ref=dbs_a_def_rwt_bibl_vppi_i0OCHELLI LINKS:YOUR HELP TO KEEP US GOING IS CRITICAL AT THIS TIME:https://ochelli.com/donate/Ochelli Effect - Uncle - Age of Transitions - T-shirts and MORE: https://theageoftransitions.com/category/support-the-podcasts/SPREAKER FEED: https://www.spreaker.com/show/4331265/episodes/feed