POPULARITY
5 episodes with ronette
3 episodes with ronette
2 episodes with ronette
2 episodes with ronette
2 episodes with ronette
2 episodes with ronette
4 episodes with ronette
2 episodes with ronette
2 episodes with ronette
Ever wonder how someone becomes a rock and roll star? Well, today you're going to find out. Steph Paynes, founder and lead guitarist of the all-girl powerhouse quartet Lez Zeppelin, shares her journey from rock journalist to leader of a band that captures the essence, spirit, power and seductiveness of Led Zeppelin. Steph started the group in 2004, after touring as a “Ronette” with the “first bad girl of rock and roll,” Ronnie Spector. Before donning the white satin dragon suit, she worked as a freelance writer, novelist and music journalist. Her stories and reviews have appeared in Rolling Stone, The NME, Musician, Guitar Player and Playboy among many other publications. She has shared the stage with Joey Ramone, Keith Richards and Chuck Berry. So much gold in this episode. We go deep on: How boldly walking into the offices of The NME as a young 20-something propelled her early career as a music journalist The story of how she dined on ham sandwiches with Frank Zappa at the Waldorf Astoria and discussed the censorship happening in music Dealing with disappointment The importance of practicing, persisting and being a master at your craft How Ronnie Spector restored her spirit and what she learned about giving everything to your performances When Steph knew she was onto something big with her new band Lez Zeppelin You've got to love what you're doing because the audience can tell Navigating the art and challenge of a group playing in communion Channeling emotion and pulling your own essence out of your art < CONNECT WITH LEZ ZEPPELIN > https://lezzeppelin.com/ < LET'S RISE > Energy Queen Mastermind: June - December 2025 Applications Open Soon What You Came Here For Retreat | Cape Cod | September 2025 https://www.oceanedge.com/wellness-retreats/What-You-Came-Here-For Iceland Retreat: Worldly Women Traveling in the Land of Fire + Ice | November 2025 Applications Open Soon
Hey Besties! Today on Biohacking Bestie, we're diving back in with Ronit and Vida from WeNatal for Part 2 of our interview. We're getting real about everything from the power of sleep and managing stress to the often-overlooked role of sperm health in fertility. This episode is all about creating a foundation for fertility through biohacking strategies that enhance overall wellness.In this episode, we'll explore the surprising power of daily habits like sleep and stress management, uncover the real impact of environmental toxins, and go deeper into how both partners can support a healthy conception journey. Plus, we tackle common myths, share actionable tips, and talk about the magic of community in the fertility process.Join us as we discuss…(02:15) Why Sleep and Stress Are the Ultimate Biohacks for Fertility(06:50) How Sperm Health Impacts Conception and Ways to Boost It(14:30) The Small Lifestyle Swaps with Big Fertility Payoffs(21:10) Reframing Miscarriage and Finding Strength in the Journey… and so much more!This series is filled with essential insights, actionable tips, and the motivation to redefine what it means to prepare for pregnancy—together.Grab my book: Biohack Like a Woman.Order now on Amazon: http://bit.ly/3TYMz5ZFind more from Aggie:Start optimizing your health here: biohackingbestie.comGet daily Biohacking Bestie tips here: @biohackingbestieJoin the 13-Day Fertility Challenge: fitasfuck.co/fertilitychallenge Hosted on Acast. See acast.com/privacy for more information.
CAS 11 - 19 - 1-2024 Ronette Costain-Harrisburg Volleyball Coach by Calling All Sports
Hey Besties! Today's episode is going to break down some myths about fertility that might just blow your mind! I'm sitting down with Ronette and Vida, founders of WeNatal and dear friends of mine, who are revolutionizing how we think about fertility and conception. Both of these amazing women faced miscarriages in their 40s, were told they'd never have children, and went on to research the science behind egg and sperm health, uncovering some incredible truths along the way.In Part 1 of our interview, we discuss why miscarriage isn't just a women's health issue and how much men's health and lifestyle choices impact fertility and pregnancy outcomes. Did you know that 50% of miscarriages are related to sperm quality? Vida and Ronette explain how men can optimize their fertility, and why the preconception period is crucial for both partners.We're rethinking fertility as a team sport and discussing practical tips to help both partners prepare for pregnancy with everything from diet changes to reducing toxins. You don't want to miss this!Listen in as we chat about…(03:30) Ronette & Vida's Journey to Starting WeNatal After Miscarriage(08:10) The Role of Sperm Health in Miscarriage and Conception(14:15) Why the Burden of Fertility Shouldn't Fall Solely on Women(19:20) Preconception as a Window of Opportunity for Both Partners(23:30) Practical Tips to Boost Fertility Through Lifestyle & NutritionPlus, I'm sharing a sneak peek of my upcoming Fertility Challenge! Tune in for the tips, stories, and actionable steps that can help you take control of your journey.Grab my book: Biohack Like a Woman.Order now on Amazon: http://bit.ly/3TYMz5ZFind more from Aggie:Start optimizing your health here: biohackingbestie.comGet daily Biohacking Bestie tips here: @biohackingbestieJoin the 13-Day Fertility Challenge: fitasfuck.co/fertilitychallengeP.S. Ready for Part 2? It drops next week, and trust me—it only gets better! Hosted on Acast. See acast.com/privacy for more information.
We're kicking off Alright Scary with Frank Oz's under-sung movie musical “Little Shop of Horrors”! While not the spookiest pick on the list this month, it's certainly got the best balance of bonkers and beautiful. Plus all those homoerotic overtones in the dentist's office, Levi Stubbs' vocals, the perfection of Ellen Greene, and a Greek chorus by way of Crystal, Chiffon and Ronette. Become a Matreon at the Sister Mary level to get full access to Drag Race UK this season, plus Global All Stars, movie reviews and past seasons of US Drag Race, UK, Canada, Down Under, Philippines and more.Join us at our OnlyMary's level for EVEN MORE movie reviews, brackets, and deep dives into our personal lives!Patreon: www.patreon.com/alrightmaryEmail: alrightmarypodcast@gmail.comInstagram: @alrightmarypodJohnny: @johnnyalso (Instagram)Colin: @colindrucker_ (Instagram)Web: www.alrightmary.com
We dive further into Twin Peaks' final season and take a fantastic voyage with our good friend Agent Cooper through time, space, and the electrical grid. CHAPTERS: (00:00:00) - The Nextlander Watchcast Episode 092: Twin Peaks: The Return Parts 3 & 4 (00:00:18) - Intro, and early thoughts. (00:12:36) - Gathering our thoughts to kick off Part 3, or Call for Help. (00:17:26) - Cooper's not-so-fantastic voyage. (00:25:29) - She's an American Girl, but is she Ronette? (00:28:27) - Mr. C tries to hold it in, and we meet Dougie Jones. (00:37:33) - Cooper comes in through the outlet. (00:43:38) - Something real badwrong happening in Mr. C's car. Meanwhile, in Twin Peaks... (00:48:58) - The longest two minutes in Twin Peaks history. (00:50:41) - Helloooooo Mr. Jackpots. (00:56:09) - Cole! Albert! Tammy! The Cactus Blossoms! (01:05:47) - Break! (01:06:07) - We're back, and it's time for Part 4, or, ...Brings Back Some Memories. (01:16:07) - Off to Lancelot Court to meet Janey-E and Sonny Jim. (01:21:07) - Cole goes to see an old friend. (01:27:45) - Sheriff Truman! Wait...Sheriff Truman? (01:36:55) - Wally Brando. (01:44:57) - Dougie gets a message and enjoys a jazz breakfast. (01:49:42) - Classified fingerprints. (01:52:32) - Face to face with Mr. C, and Cole wants to bring someone in. (02:04:51) - Au Revoir Simone, and final thoughts. (02:10:34) - Outro.
Creamed corn and Windom Earle have entered the chat and we are here for it. Ronette is awake, Andy is having a bad time, and Coop gets another strange visit. Oh yeah, "Just You and I" was a thing and it happened. Join Michelle and Liz to discuss this madness!
#crimechatwithnatandkat brings you Episode 084: Phil Spector! Once the youngest and most successful music producer in the industry, his records includes songs from The Crystals, The Ronette's, The Beatles, The Ramones and more... but what happened to #philspector? And how did the beautiful Lana Clarkson end up shot in his Pyrenees Castle home. Bare with us, Chatters... its a long one, with twists and turns you probably never heard of! Find out more in the full episode coming Saturday, February 17, 2024, anywhere you get your podcasts #applepodcasts #amazonpodcasts #googlepodcasts #rss #youtubepodcasts #spotifypodcasts #patreonNOTE: We do not own the rights to the music used in this episode; they are for demonstrative purposes only.Also, become a Patreon subscriber to get bonus material, references and extras, and some free merch! Go to www.patreon.com/crimechatwithnatandkat to subscribe for as little as $1 a month! FOLLOW US ON Facebook: CrimeChat with Nat and Kat X (Twitter): CrimeChat with Nat and Kat Instagram: @crimechatnk TikTok: @crimechatnatkat YouTube: CrimeChat with Nat and Kat Be sure to checkout our website at https://crimechatwithnatandkat.com!
With over 20 years' experience in acting, modelling and presenting on TV in South Africa, India and Europe, Ronette Marx joins us on this episode of Celeb Savant. Ronette explains the world of modelling, and how her success in the industry led to career paths in various parts of the entertainment world. Instagram - @ronny.c.marx Facebook - @ronnettemarx
With over 20 years' experience in acting, modelling and presenting on TV in South Africa, India and Europe, Ronette Marx joins us on this episode of Celeb Savant. Ronette explains the world of modelling, and how her success in the industry led to career paths in various parts of the entertainment world. Instagram - @ronny.c.marx Facebook - @ronnettemarx
Things are officially popping off in Twin Peaks, and it's up to the Watchcasters to try to sort out the myriad comas, betrayals, kidnappings, terrible musical numbers, and other dark business going on. CHAPTERS: (00:00:00) - The Nextlander Watchcast 071: Twin Peaks: Coma and The Man Behind Glass (00:01:05) - Intro. (00:03:56) - Now that we've got a few episodes under our belt, let's see where we're at. (00:09:28) - Kicking things off with Coma. (00:18:56) - Ronette can't speak, but she still says volumes. (00:20:31) - Creamed corn. (00:24:18) - A meeting of the minds between Major Briggs and the Log Lady. (00:28:40) - Two ledgers and a cheese pig. (00:32:23) - Andy's sterility, and Hank's past. (00:35:39) - Leland sees Bob. (00:38:09) - Audrey ruins Emory's fetish night. (00:42:40) - Bobby discovers insurance fraud. (00:46:27) - Briggs delivers the message. (00:52:28) - Oh James. You're not talented. (01:01:08) - Another dream about Bob, and Audrey's in trouble. (01:04:34) - Break! (01:05:01) - We're back, and it's time for The Man Behind Glass. (01:07:47) - Making contact with Harold. (01:13:14) - The circle of Bob, and Albert's unexpected moment. (01:20:13) - Leland tells the cops about Bob. (01:24:11) - On the subject of Dick Tremayne. (01:29:59) - James and Maddy continue to accidentally make Donna think they're into each other. (01:32:31) - Jean Renault. (01:38:13) - The return of the One-Armed Man. (01:42:59) - Shelley clams up, and Ben goes toe-to-toe with Cooper. (01:47:08) - Nadine crashes back into the world. (01:51:33) - The hypnotization of Dr. Jacoby. (01:56:53) - Donna's graveyard monologue, and James continues to be an idiot. (02:06:04) - The discovery of the diary. (02:08:34) - Final thoughts. (02:10:59) - Outro.
Joel Bocko returns this week to discuss Ronette's Angel. We talk about what think prompted the Angel to emerge in the train car, Ronette Pulaski's life before and after that night and even discuss The Angel's role in The Return. Joel Bocko on X, YouTube, and Lost In The Movies: https://twitter.com/lostinthemovies?lang=en https://twitter.com/JourneyPeaks https://www.youtube.com/c/lostinthemovies https://www.lostinthemovies.com/p/home.html
CAS 11 - 22 - 2-2023 Eric Rud-Stampede Hockey Coach and Ronette Costain-Harrisburg VB Coach by Calling All Sports
CAS 9 - 26 - 2-2023 Jimmy Rogers-SDSU FB Coach and Ronette Costain-Harrisburg VB Coach by Calling All Sports
Ronette Edgar grew up in and returned to a small town in Missouri, bringing with her skills that set her up to succeed in real estate. Learn why the most significant challenge she sees for agents today is the ability actually to talk to people. Connect with Ronnette at https://www.homesnap.com/RONETTE-EDGAR/gmb ---------- Visit www.builthow.com to sign up for our next live or virtual event. Part of the Win Make Give Podcast Network
Emily-Mae is currently starring as Nicki Marron in the UK & Ireland tour of The Bodyguard. Based on the 1992 film which starred Whitney Houston, The Bodyguard first opened in the West End in 2012 and has since toured multiple times in addition to returning to the West End in 2016. To date, The Bodyguard has been seen by over 3.6 million people in 15 countries and 45 US cities. Emily-Mae's theatre credits include: Bulda in Disney's Frozen (Theatre Royal Drury Lane), Kiki Kavelle in Are You As Nervous As I Am (Greenwhich Theatre), City of Angels (Garrick Theatre), title role in Pippi Longstocking (Theatre Royal and Derngate), Paradice in Brooklyn the Musical (Greenwich Theatre), Ronette in Little Shop of Horrors (Storyhouse Chester), Ulla in The Producers (Royal Exchange Manchester) and Dynamite/understudy Motormouth in Hairspray (UK Tour).The Bodyguard is touring the UK & Ireland until 30th December 2023. Visit www.thebodyguardmusical.com for info, tour dates and tickets. Hosted by Andrew Tomlins @AndrewTomlins32 Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.
Listen to the Show Right Click to Save GuestsCircus Chickendog & The VORTEX The Mutt-Cracker (Sweet!)The Alchemy Theatre Frostbites: A Holiday Cabaret What We Talked About Ohio State Murders Some Like it Hot Carolines Closes TCG Conference goes biennially Ain't No Mo announces closing Tony's move to my old hood Downstate Cut song from Little Shop – Crystal, Ronette, and Chiffon Thank you to Dean Johanesen, lead singer of "The Human Condition" who gave us permission to use "Step Right Up" as our theme song, so please visit their website.. they're good! (that's an order)
CAS 11 - 14 - 1-2022 Ronette Costain-Harrisburg Volleyball Coach by Calling All Sports
We start season four of A History of Rock Music in Five Hundred Songs with an extra-long look at "San Francisco" by Scott McKenzie, and at the Monterey Pop Festival, and the careers of the Mamas and the Papas and P.F. Sloan. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Up, Up, and Away" by the 5th Dimension. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. Scott McKenzie's first album is available here. There are many compilations of the Mamas and the Papas' music, but sadly none that are in print in the UK have the original mono mixes. This set is about as good as you're going to find, though, for the stereo versions. Information on the Mamas and the Papas came from Go Where You Wanna Go: The Oral History of The Mamas and the Papas by Matthew Greenwald, California Dreamin': The True Story Of The Mamas and Papas by Michelle Phillips, and Papa John by John Phillips and Jim Jerome. Information on P.F. Sloan came from PF - TRAVELLING BAREFOOT ON A ROCKY ROAD by Stephen McParland and What's Exactly the Matter With Me? by P.F. Sloan and S.E. Feinberg. The film of the Monterey Pop Festival is available on this Criterion Blu-Ray set. Sadly the CD of the performances seems to be deleted. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to season four of A History of Rock Music in Five Hundred Songs. It's good to be back. Before we start this episode, I just want to say one thing. I get a lot of credit at times for the way I don't shy away from dealing with the more unsavoury elements of the people being covered in my podcast -- particularly the more awful men. But as I said very early on, I only cover those aspects of their life when they're relevant to the music, because this is a music podcast and not a true crime podcast. But also I worry that in some cases this might mean I'm giving a false impression of some people. In the case of this episode, one of the central figures is John Phillips of the Mamas and the Papas. Now, Phillips has posthumously been accused of some truly monstrous acts, the kind of thing that is truly unforgivable, and I believe those accusations. But those acts didn't take place during the time period covered by most of this episode, so I won't be covering them here -- but they're easily googlable if you want to know. I thought it best to get that out of the way at the start, so no-one's either anxiously waiting for the penny to drop or upset that I didn't acknowledge the elephant in the room. Separately, this episode will have some discussion of fatphobia and diet culture, and of a death that is at least in part attributable to those things. Those of you affected by that may want to skip this one or read the transcript. There are also some mentions of drug addiction and alcoholism. Anyway, on with the show. One of the things that causes problems with rock history is the tendency of people to have selective memories, and that's never more true than when it comes to the Summer of Love, summer of 1967. In the mythology that's built up around it, that was a golden time, the greatest time ever, a period of peace and love where everything was possible, and the world looked like it was going to just keep on getting better. But what that means, of course, is that the people remembering it that way do so because it was the best time of their lives. And what happens when the best time of your life is over in one summer? When you have one hit and never have a second, or when your band splits up after only eighteen months, and you have to cope with the reality that your best years are not only behind you, but they weren't even best years, but just best months? What stories would you tell about that time? Would you remember it as the eve of destruction, the last great moment before everything went to hell, or would you remember it as a golden summer, full of people with flowers in their hair? And would either really be true? [Excerpt: Scott McKenzie, "San Francisco"] Other than the city in which they worked, there are a few things that seem to characterise almost all the important figures on the LA music scene in the middle part of the 1960s. They almost all seem to be incredibly ambitious, as one might imagine. There seem to be a huge number of fantasists among them -- people who will not only choose the legend over reality when it suits them, but who will choose the legend over reality even when it doesn't suit them. And they almost all seem to have a story about being turned down in a rude and arrogant manner by Lou Adler, usually more or less the same story. To give an example, I'm going to read out a bit of Ray Manzarek's autobiography here. Now, Manzarek uses a few words that I can't use on this podcast and keep a clean rating, so I'm just going to do slight pauses when I get to them, but I'll leave the words in the transcript for those who aren't offended by them: "Sometimes Jim and Dorothy and I went alone. The three of us tried Dunhill Records. Lou Adler was the head man. He was shrewd and he was hip. He had the Mamas and the Papas and a big single with Barry McGuire's 'Eve of Destruction.' He was flush. We were ushered into his office. He looked cool. He was California casually disheveled and had the look of a stoner, but his eyes were as cold as a shark's. He took the twelve-inch acetate demo from me and we all sat down. He put the disc on his turntable and played each cut…for ten seconds. Ten seconds! You can't tell jack [shit] from ten seconds. At least listen to one of the songs all the way through. I wanted to rage at him. 'How dare you! We're the Doors! This is [fucking] Jim Morrison! He's going to be a [fucking] star! Can't you see that? Can't you see how [fucking] handsome he is? Can't you hear how groovy the music is? Don't you [fucking] get it? Listen to the words, man!' My brain was a boiling, lava-filled Jell-O mold of rage. I wanted to eviscerate that shark. The songs he so casually dismissed were 'Moonlight Drive,' 'Hello, I Love You,' 'Summer's Almost Gone,' 'End of the Night,' 'I Looked at You,' 'Go Insane.' He rejected the whole demo. Ten seconds on each song—maybe twenty seconds on 'Hello, I Love You' (I took that as an omen of potential airplay)—and we were dismissed out of hand. Just like that. He took the demo off the turntable and handed it back to me with an obsequious smile and said, 'Nothing here I can use.' We were shocked. We stood up, the three of us, and Jim, with a wry and knowing smile on his lips, cuttingly and coolly shot back at him, 'That's okay, man. We don't want to be *used*, anyway.'" Now, as you may have gathered from the episode on the Doors, Ray Manzarek was one of those print-the-legend types, and that's true of everyone who tells similar stories about Lou Alder. But... there are a *lot* of people who tell similar stories about Lou Adler. One of those was Phil Sloan. You can get an idea of Sloan's attitude to storytelling from a story he always used to tell. Shortly after he and his family moved to LA from New York, he got a job selling newspapers on a street corner on Hollywood Boulevard, just across from Schwab's Drug Store. One day James Dean drove up in his Porsche and made an unusual request. He wanted to buy every copy of the newspaper that Sloan had -- around a hundred and fifty copies in total. But he only wanted one article, something in the entertainment section. Sloan didn't remember what the article was, but he did remember that one of the headlines was on the final illness of Oliver Hardy, who died shortly afterwards, and thought it might have been something to do with that. Dean was going to just clip that article from every copy he bought, and then he was going to give all the newspapers back to Sloan to sell again, so Sloan ended up making a lot of extra money that day. There is one rather big problem with that story. Oliver Hardy died in August 1957, just after the Sloan family moved to LA. But James Dean died in September 1955, two years earlier. Sloan admitted that, and said he couldn't explain it, but he was insistent. He sold a hundred and fifty newspapers to James Dean two years after Dean's death. When not selling newspapers to dead celebrities, Sloan went to Fairfax High School, and developed an interest in music which was mostly oriented around the kind of white pop vocal groups that were popular at the time, groups like the Kingston Trio, the Four Lads, and the Four Aces. But the record that made Sloan decide he wanted to make music himself was "Just Goofed" by the Teen Queens: [Excerpt: The Teen Queens, "Just Goofed"] In 1959, when he was fourteen, he saw an advert for an open audition with Aladdin Records, a label he liked because of Thurston Harris. He went along to the audition, and was successful. His first single, released as by Flip Sloan -- Flip was a nickname, a corruption of "Philip" -- was produced by Bumps Blackwell and featured several of the musicians who played with Sam Cooke, plus Larry Knechtel on piano and Mike Deasey on guitar, but Aladdin shut down shortly after releasing it, and it may not even have had a general release, just promo copies. I've not been able to find a copy online anywhere. After that, he tried Arwin Records, the label that Jan and Arnie recorded for, which was owned by Marty Melcher (Doris Day's husband and Terry Melcher's stepfather). Melcher signed him, and put out a single, "She's My Girl", on Mart Records, a subsidiary of Arwin, on which Sloan was backed by a group of session players including Sandy Nelson and Bruce Johnston: [Excerpt: Philip Sloan, "She's My Girl"] That record didn't have any success, and Sloan was soon dropped by Mart Records. He went on to sign with Blue Bird Records, which was as far as can be ascertained essentially a scam organisation that would record demos for songwriters, but tell the performers that they were making a real record, so that they would record it for the royalties they would never get, rather than for a decent fee as a professional demo singer would get. But Steve Venet -- the brother of Nik Venet, and occasional songwriting collaborator with Tommy Boyce -- happened to come to Blue Bird one day, and hear one of Sloan's original songs. He thought Sloan would make a good songwriter, and took him to see Lou Adler at Columbia-Screen Gems music publishing. This was shortly after the merger between Columbia-Screen Gems and Aldon Music, and Adler was at this point the West Coast head of operations, subservient to Don Kirshner and Al Nevins, but largely left to do what he wanted. The way Sloan always told the story, Venet tried to get Adler to sign Sloan, but Adler said his songs stunk and had no commercial potential. But Sloan persisted in trying to get a contract there, and eventually Al Nevins happened to be in the office and overruled Adler, much to Adler's disgust. Sloan was signed to Columbia-Screen Gems as a songwriter, though he wasn't put on a salary like the Brill Building songwriters, just told that he could bring in songs and they would publish them. Shortly after this, Adler suggested to Sloan that he might want to form a writing team with another songwriter, Steve Barri, who had had a similar non-career non-trajectory, but was very slightly further ahead in his career, having done some work with Carol Connors, the former lead singer of the Teddy Bears. Barri had co-written a couple of flop singles for Connors, before the two of them had formed a vocal group, the Storytellers, with Connors' sister. The Storytellers had released a single, "When Two People (Are in Love)" , which was put out on a local independent label and which Adler had licensed to be released on Dimension Records, the label associated with Aldon Music: [Excerpt: The Storytellers "When Two People (Are in Love)"] That record didn't sell, but it was enough to get Barri into the Columbia-Screen Gems circle, and Adler set him and Sloan up as a songwriting team -- although the way Sloan told it, it wasn't so much a songwriting team as Sloan writing songs while Barri was also there. Sloan would later claim "it was mostly a collaboration of spirit, and it seemed that I was writing most of the music and the lyric, but it couldn't possibly have ever happened unless both of us were present at the same time". One suspects that Barri might have a different recollection of how it went... Sloan and Barri's first collaboration was a song that Sloan had half-written before they met, called "Kick That Little Foot Sally Ann", which was recorded by a West Coast Chubby Checker knockoff who went under the name Round Robin, and who had his own dance craze, the Slauson, which was much less successful than the Twist: [Excerpt: Round Robin, "Kick that Little Foot Sally Ann"] That track was produced and arranged by Jack Nitzsche, and Nitzsche asked Sloan to be one of the rhythm guitarists on the track, apparently liking Sloan's feel. Sloan would end up playing rhythm guitar or singing backing vocals on many of the records made of songs he and Barri wrote together. "Kick That Little Foot Sally Ann" only made number sixty-one nationally, but it was a regional hit, and it meant that Sloan and Barri soon became what Sloan later described as "the Goffin and King of the West Coast follow-ups." According to Sloan "We'd be given a list on Monday morning by Lou Adler with thirty names on it of the groups who needed follow-ups to their hit." They'd then write the songs to order, and they started to specialise in dance craze songs. For example, when the Swim looked like it might be the next big dance, they wrote "Swim Swim Swim", "She Only Wants to Swim", "Let's Swim Baby", "Big Boss Swimmer", "Swim Party" and "My Swimmin' Girl" (the last a collaboration with Jan Berry and Roger Christian). These songs were exactly as good as they needed to be, in order to provide album filler for mid-tier artists, and while Sloan and Barri weren't writing any massive hits, they were doing very well as mid-tier writers. According to Sloan's biographer Stephen McParland, there was a three-year period in the mid-sixties where at least one song written or co-written by Sloan was on the national charts at any given time. Most of these songs weren't for Columbia-Screen Gems though. In early 1964 Lou Adler had a falling out with Don Kirshner, and decided to start up his own company, Dunhill, which was equal parts production company, music publishers, and management -- doing for West Coast pop singers what Motown was doing for Detroit soul singers, and putting everything into one basket. Dunhill's early clients included Jan and Dean and the rockabilly singer Johnny Rivers, and Dunhill also signed Sloan and Barri as songwriters. Because of this connection, Sloan and Barri soon became an important part of Jan and Dean's hit-making process. The Matadors, the vocal group that had provided most of the backing vocals on the duo's hits, had started asking for more money than Jan Berry was willing to pay, and Jan and Dean couldn't do the vocals themselves -- as Bones Howe put it "As a singer, Dean is a wonderful graphic artist" -- and so Sloan and Barri stepped in, doing session vocals without payment in the hope that Jan and Dean would record a few of their songs. For example, on the big hit "The Little Old Lady From Pasadena", Dean Torrence is not present at all on the record -- Jan Berry sings the lead vocal, with Sloan doubling him for much of it, Sloan sings "Dean"'s falsetto, with the engineer Bones Howe helping out, and the rest of the backing vocals are sung by Sloan, Barri, and Howe: [Excerpt: Jan and Dean, "The Little Old Lady From Pasadena"] For these recordings, Sloan and Barri were known as The Fantastic Baggys, a name which came from the Rolling Stones' manager Andrew Oldham and Mick Jagger, when the two were visiting California. Oldham had been commenting on baggys, the kind of shorts worn by surfers, and had asked Jagger what he thought of The Baggys as a group name. Jagger had replied "Fantastic!" and so the Fantastic Baggys had been born. As part of this, Sloan and Barri moved hard into surf and hot-rod music from the dance songs they had been writing previously. The Fantastic Baggys recorded their own album, Tell 'Em I'm Surfin', as a quickie album suggested by Adler: [Excerpt: The Fantastic Baggys, "Tell 'Em I'm Surfin'"] And under the name The Rally Packs they recorded a version of Jan and Dean's "Move Out Little Mustang" which featured Berry's girlfriend Jill Gibson doing a spoken section: [Excerpt: The Rally Packs, "Move Out Little Mustang"] They also wrote several album tracks for Jan and Dean, and wrote "Summer Means Fun" for Bruce and Terry -- Bruce Johnston, later of the Beach Boys, and Terry Melcher: [Excerpt: Bruce and Terry, "Summer Means Fun"] And they wrote the very surf-flavoured "Secret Agent Man" for fellow Dunhill artist Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But of course, when you're chasing trends, you're chasing trends, and soon the craze for twangy guitars and falsetto harmonies had ended, replaced by a craze for jangly twelve-string guitars and closer harmonies. According to Sloan, he was in at the very beginning of the folk-rock trend -- the way he told the story, he was involved in the mastering of the Byrds' version of "Mr. Tambourine Man". He later talked about Terry Melcher getting him to help out, saying "He had produced a record called 'Mr. Tambourine Man', and had sent it into the head office, and it had been rejected. He called me up and said 'I've got three more hours in the studio before I'm being kicked out of Columbia. Can you come over and help me with this new record?' I did. I went over there. It was under lock and key. There were two guards outside the door. Terry asked me something about 'Summer Means Fun'. "He said 'Do you remember the guitar that we worked on with that? How we put in that double reverb?' "And I said 'yes' "And he said 'What do you think if we did something like that with the Byrds?' "And I said 'That sounds good. Let's see what it sounds like.' So we patched into all the reverb centres in Columbia Music, and mastered the record in three hours." Whether Sloan really was there at the birth of folk rock, he and Barri jumped on the folk-rock craze just as they had the surf and hot-rod craze, and wrote a string of jangly hits including "You Baby" for the Turtles: [Excerpt: The Turtles, "You Baby"] and "I Found a Girl" for Jan and Dean: [Excerpt: Jan and Dean, "I Found a Girl"] That song was later included on Jan and Dean's Folk 'n' Roll album, which also included... a song I'm not even going to name, but long-time listeners will know the one I mean. It was also notable in that "I Found a Girl" was the first song on which Sloan was credited not as Phil Sloan, but as P.F. Sloan -- he didn't have a middle name beginning with F, but rather the F stood for his nickname "Flip". Sloan would later talk of Phil Sloan and P.F. Sloan as almost being two different people, with P.F. being a far more serious, intense, songwriter. Folk 'n' Roll also contained another Sloan song, this one credited solely to Sloan. And that song is the one for which he became best known. There are two very different stories about how "Eve of Destruction" came to be written. To tell Sloan's version, I'm going to read a few paragraphs from his autobiography: "By late 1964, I had already written ‘Eve Of Destruction,' ‘The Sins Of A Family,' ‘This Mornin',' ‘Ain't No Way I'm Gonna Change My Mind,' and ‘What's Exactly The Matter With Me?' They all arrived on one cataclysmic evening, and nearly at the same time, as I worked on the lyrics almost simultaneously. ‘Eve Of Destruction' came about from hearing a voice, perhaps an angel's. The voice instructed me to place five pieces of paper and spread them out on my bed. I obeyed the voice. The voice told me that the first song would be called ‘Eve Of Destruction,' so I wrote the title at the top of the page. For the next few hours, the voice came and went as I was writing the lyric, as if this spirit—or whatever it was—stood over me like a teacher: ‘No, no … not think of all the hate there is in Red Russia … Red China!' I didn't understand. I thought the Soviet Union was the mortal threat to America, but the voice went on to reveal to me the future of the world until 2024. I was told the Soviet Union would fall, and that Red China would continue to be communist far into the future, but that communism was not going to be allowed to take over this Divine Planet—therefore, think of all the hate there is in Red China. I argued and wrestled with the voice for hours, until I was exhausted but satisfied inside with my plea to God to either take me out of the world, as I could not live in such a hypocritical society, or to show me a way to make things better. When I was writing ‘Eve,' I was on my hands and knees, pleading for an answer." Lou Adler's story is that he gave Phil Sloan a copy of Bob Dylan's Bringing it All Back Home album and told him to write a bunch of songs that sounded like that, and Sloan came back a week later as instructed with ten Dylan knock-offs. Adler said "It was a natural feel for him. He's a great mimic." As one other data point, both Steve Barri and Bones Howe, the engineer who worked on most of the sessions we're looking at today, have often talked in interviews about "Eve of Destruction" as being a Sloan/Barri collaboration, as if to them it's common knowledge that it wasn't written alone, although Sloan's is the only name on the credits. The song was given to a new signing to Dunhill Records, Barry McGuire. McGuire was someone who had been part of the folk scene for years, He'd been playing folk clubs in LA while also acting in a TV show from 1961. When the TV show had finished, he'd formed a duo, Barry and Barry, with Barry Kane, and they performed much the same repertoire as all the other early-sixties folkies: [Excerpt: Barry and Barry, "If I Had a Hammer"] After recording their one album, both Barrys joined the New Christy Minstrels. We've talked about the Christys before, but they were -- and are to this day -- an ultra-commercial folk group, led by Randy Sparks, with a revolving membership of usually eight or nine singers which included several other people who've come up in this podcast, like Gene Clark and Jerry Yester. McGuire became one of the principal lead singers of the Christys, singing lead on their version of the novelty cowboy song "Three Wheels on My Wagon", which was later released as a single in the UK and became a perennial children's favourite (though it has a problematic attitude towards Native Americans): [Excerpt: The New Christy Minstrels, "Three Wheels on My Wagon"] And he also sang lead on their big hit "Green Green", which he co-wrote with Randy Sparks: [Excerpt: The New Christy Minstrels, "Green Green"] But by 1965 McGuire had left the New Christy Minstrels. As he said later "I'd sung 'Green Green' a thousand times and I didn't want to sing it again. This is January of 1965. I went back to LA to meet some producers, and I was broke. Nobody had the time of day for me. I was walking down street one time to see Dr. Strangelove and I walked by the music store, and I heard "Green Green" comin' out of the store, ya know, on Hollywood Boulevard. And I heard my voice, and I thought, 'I got four dollars in my pocket!' I couldn't believe it, my voice is comin' out on Hollywood Boulevard, and I'm broke. And right at that moment, a car pulls up, and the radio is playing 'Chim Chim Cherie" also by the Minstrels. So I got my voice comin' at me in stereo, standin' on the sidewalk there, and I'm broke, and I can't get anyone to sign me!" But McGuire had a lot of friends who he'd met on the folk scene, some of whom were now in the new folk-rock scene that was just starting to spring up. One of them was Roger McGuinn, who told him that his band, the Byrds, were just about to put out a new single, "Mr. Tambourine Man", and that they were about to start a residency at Ciro's on Sunset Strip. McGuinn invited McGuire to the opening night of that residency, where a lot of other people from the scene were there to see the new group. Bob Dylan was there, as was Phil Sloan, and the actor Jack Nicholson, who was still at the time a minor bit-part player in low-budget films made by people like American International Pictures (the cinematographer on many of Nicholson's early films was Floyd Crosby, David Crosby's father, which may be why he was there). Someone else who was there was Lou Adler, who according to McGuire recognised him instantly. According to Adler, he actually asked Terry Melcher who the long-haired dancer wearing furs was, because "he looked like the leader of a movement", and Melcher told him that he was the former lead singer of the New Christy Minstrels. Either way, Adler approached McGuire and asked if he was currently signed -- Dunhill Records was just starting up, and getting someone like McGuire, who had a proven ability to sing lead on hit records, would be a good start for the label. As McGuire didn't have a contract, he was signed to Dunhill, and he was given some of Sloan's new songs to pick from, and chose "What's Exactly the Matter With Me?" as his single: [Excerpt: Barry McGuire, "What's Exactly the Matter With Me?"] McGuire described what happened next: "It was like, a three-hour session. We did two songs, and then the third one wasn't turning out. We only had about a half hour left in the session, so I said 'Let's do this tune', and I pulled 'Eve of Destruction' out of my pocket, and it just had Phil's words scrawled on a piece of paper, all wrinkled up. Phil worked the chords out with the musicians, who were Hal Blaine on drums and Larry Knechtel on bass." There were actually more musicians than that at the session -- apparently both Knechtel and Joe Osborn were there, so I'm not entirely sure who's playing bass -- Knechtel was a keyboard player as well as a bass player, but I don't hear any keyboards on the track. And Tommy Tedesco was playing lead guitar, and Steve Barri added percussion, along with Sloan on rhythm guitar and harmonica. The chords were apparently scribbled down for the musicians on bits of greasy paper that had been used to wrap some takeaway chicken, and they got through the track in a single take. According to McGuire "I'm reading the words off this piece of wrinkled paper, and I'm singing 'My blood's so mad, feels like coagulatin'", that part that goes 'Ahhh you can't twist the truth', and the reason I'm going 'Ahhh' is because I lost my place on the page. People said 'Man, you really sounded frustrated when you were singing.' I was. I couldn't see the words!" [Excerpt: Barry McGuire, "Eve of Destruction"] With a few overdubs -- the female backing singers in the chorus, and possibly the kettledrums, which I've seen differing claims about, with some saying that Hal Blaine played them during the basic track and others saying that Lou Adler suggested them as an overdub, the track was complete. McGuire wasn't happy with his vocal, and a session was scheduled for him to redo it, but then a record promoter working with Adler was DJing a birthday party for the head of programming at KFWB, the big top forty radio station in LA at the time, and he played a few acetates he'd picked up from Adler. Most went down OK with the crowd, but when he played "Eve of Destruction", the crowd went wild and insisted he play it three times in a row. The head of programming called Adler up and told him that "Eve of Destruction" was going to be put into rotation on the station from Monday, so he'd better get the record out. As McGuire was away for the weekend, Adler just released the track as it was, and what had been intended to be a B-side became Barry McGuire's first and only number one record: [Excerpt: Barry McGuire, "Eve of Destruction"] Sloan would later claim that that song was a major reason why the twenty-sixth amendment to the US Constitution was passed six years later, because the line "you're old enough to kill but not for votin'" shamed Congress into changing the constitution to allow eighteen-year-olds to vote. If so, that would make "Eve of Destruction" arguably the single most impactful rock record in history, though Sloan is the only person I've ever seen saying that As well as going to number one in McGuire's version, the song was also covered by the other artists who regularly performed Sloan and Barri songs, like the Turtles: [Excerpt: The Turtles, "Eve of Destruction"] And Jan and Dean, whose version on Folk & Roll used the same backing track as McGuire, but had a few lyrical changes to make it fit with Jan Berry's right-wing politics, most notably changing "Selma, Alabama" to "Watts, California", thus changing a reference to peaceful civil rights protestors being brutally attacked and murdered by white supremacist state troopers to a reference to what was seen, in the popular imaginary, as Black people rioting for no reason: [Excerpt: Jan and Dean, "Eve of Destruction"] According to Sloan, he worked on the Folk & Roll album as a favour to Berry, even though he thought Berry was being cynical and exploitative in making the record, but those changes caused a rift in their friendship. Sloan said in his autobiography "Where I was completely wrong was in helping him capitalize on something in which he didn't believe. Jan wanted the public to perceive him as a person who was deeply concerned and who embraced the values of the progressive politics of the day. But he wasn't that person. That's how I was being pulled. It was when he recorded my actual song ‘Eve Of Destruction' and changed a number of lines to reflect his own ideals that my principles demanded that I leave Folk City and never return." It's true that Sloan gave no more songs to Jan and Dean after that point -- but it's also true that the duo would record only one more album, the comedy concept album Jan and Dean Meet Batman, before Jan's accident. Incidentally, the reference to Selma, Alabama in the lyric might help people decide on which story about the writing of "Eve of Destruction" they think is more plausible. Remember that Lou Adler said that it was written after Adler gave Sloan a copy of Bringing it All Back Home and told him to write a bunch of knock-offs, while Sloan said it was written after a supernatural force gave him access to all the events that would happen in the world for the next sixty years. Sloan claimed the song was written in late 1964. Selma, Alabama, became national news in late February and early March 1965. Bringing it All Back Home was released in late March 1965. So either Adler was telling the truth, or Sloan really *was* given a supernatural insight into the events of the future. Now, as it turned out, while "Eve of Destruction" went to number one, that would be McGuire's only hit as a solo artist. His next couple of singles would reach the very low end of the Hot One Hundred, and that would be it -- he'd release several more albums, before appearing in the Broadway musical Hair, most famous for its nude scenes, and getting a small part in the cinematic masterpiece Werewolves on Wheels: [Excerpt: Werewolves on Wheels trailer] P.F. Sloan would later tell various stories about why McGuire never had another hit. Sometimes he would say that Dunhill Records had received death threats because of "Eve of Destruction" and so deliberately tried to bury McGuire's career, other times he would say that Lou Adler had told him that Billboard had said they were never going to put McGuire's records on the charts no matter how well they sold, because "Eve of Destruction" had just been too powerful and upset the advertisers. But of course at this time Dunhill were still trying for a follow-up to "Eve of Destruction", and they thought they might have one when Barry McGuire brought in a few friends of his to sing backing vocals on his second album. Now, we've covered some of the history of the Mamas and the Papas already, because they were intimately tied up with other groups like the Byrds and the Lovin' Spoonful, and with the folk scene that led to songs like "Hey Joe", so some of this will be more like a recap than a totally new story, but I'm going to recap those parts of the story anyway, so it's fresh in everyone's heads. John Phillips, Scott McKenzie, and Cass Elliot all grew up in Alexandria, Virginia, just a few miles south of Washington DC. Elliot was a few years younger than Phillips and McKenzie, and so as is the way with young men they never really noticed her, and as McKenzie later said "She lived like a quarter of a mile from me and I never met her until New York". While they didn't know who Elliot was, though, she was aware who they were, as Phillips and McKenzie sang together in a vocal group called The Smoothies. The Smoothies were a modern jazz harmony group, influenced by groups like the Modernaires, the Hi-Los, and the Four Freshmen. John Phillips later said "We were drawn to jazz, because we were sort of beatniks, really, rather than hippies, or whatever, flower children. So we used to sing modern harmonies, like Lambert, Hendricks, and Ross. Dave Lambert did a lot of our arrangements for us as a matter of fact." Now, I've not seen any evidence other than Phillips' claim that Dave Lambert ever arranged for the Smoothies, but that does tell you a lot about the kind of music that they were doing. Lambert, Hendricks, and Ross were a vocalese trio whose main star was Annie Ross, who had a career worthy of an episode in itself -- she sang with Paul Whiteman, appeared in a Little Rascals film when she was seven, had an affair with Lenny Bruce, dubbed Britt Ekland's voice in The Wicker Man, played the villain's sister in Superman III, and much more. Vocalese, you'll remember, was a style of jazz vocal where a singer would take a jazz instrumental, often an improvised one, and add lyrics which they would sing, like Lambert, Hendricks, and Ross' version of "Cloudburst": [Excerpt: Lambert, Hendricks, and Ross, "Cloudburst"] Whether Dave Lambert ever really did arrange for the Smoothies or not, it's very clear that the trio had a huge influence on John Phillips' ideas about vocal arrangement, as you can hear on Mamas and Papas records like "Once Was a Time I Thought": [Excerpt: The Mamas and the Papas, "Once Was a Time I Thought"] While the Smoothies thought of themselves as a jazz group, when they signed to Decca they started out making the standard teen pop of the era, with songs like "Softly": [Excerpt, The Smoothies, "Softly"] When the folk boom started, Phillips realised that this was music that he could do easily, because the level of musicianship among the pop-folk musicians was so much lower than in the jazz world. The Smoothies made some recordings in the style of the Kingston Trio, like "Ride Ride Ride": [Excerpt: The Smoothies, "Ride Ride Ride"] Then when the Smoothies split, Phillips and McKenzie formed a trio with a banjo player, Dick Weissman, who they met through Izzy Young's Folklore Centre in Greenwich Village after Phillips asked Young to name some musicians who could make a folk record with him. Weissman was often considered the best banjo player on the scene, and was a friend of Pete Seeger's, to whom Seeger sometimes turned for banjo tips. The trio, who called themselves the Journeymen, quickly established themselves on the folk scene. Weissman later said "we had this interesting balance. John had all of this charisma -- they didn't know about the writing thing yet -- John had the personality, Scott had the voice, and I could play. If you think about it, all of those bands like the Kingston Trio, the Brothers Four, nobody could really *sing* and nobody could really *play*, relatively speaking." This is the take that most people seemed to have about John Phillips, in any band he was ever in. Nobody thought he was a particularly good singer or instrumentalist -- he could sing on key and play adequate rhythm guitar, but nobody would actually pay money to listen to him do those things. Mark Volman of the Turtles, for example, said of him "John wasn't the kind of guy who was going to be able to go up on stage and sing his songs as a singer-songwriter. He had to put himself in the context of a group." But he was charismatic, he had presence, and he also had a great musical mind. He would surround himself with the best players and best singers he could, and then he would organise and arrange them in ways that made the most of their talents. He would work out the arrangements, in a manner that was far more professional than the quick head arrangements that other folk groups used, and he instigated a level of professionalism in his groups that was not at all common on the scene. Phillips' friend Jim Mason talked about the first time he saw the Journeymen -- "They were warming up backstage, and John had all of them doing vocal exercises; one thing in particular that's pretty famous called 'Seiber Syllables' -- it's a series of vocal exercises where you enunciate different vowel and consonant sounds. It had the effect of clearing your head, and it's something that really good operetta singers do." The group were soon signed by Frank Werber, the manager of the Kingston Trio, who signed them as an insurance policy. Dave Guard, the Kingston Trio's banjo player, was increasingly having trouble with the other members, and Werber knew it was only a matter of time before he left the group. Werber wanted the Journeymen as a sort of farm team -- he had the idea that when Guard left, Phillips would join the Kingston Trio in his place as the third singer. Weissman would become the Trio's accompanist on banjo, and Scott McKenzie, who everyone agreed had a remarkable voice, would be spun off as a solo artist. But until that happened, they might as well make records by themselves. The Journeymen signed to MGM records, but were dropped before they recorded anything. They instead signed to Capitol, for whom they recorded their first album: [Excerpt: The Journeymen, "500 Miles"] After recording that album, the Journeymen moved out to California, with Phillips' wife and children. But soon Phillips' marriage was to collapse, as he met and fell in love with Michelle Gilliam. Gilliam was nine years younger than him -- he was twenty-six and she was seventeen -- and she had the kind of appearance which meant that in every interview with an older heterosexual man who knew her, that man will spend half the interview talking about how attractive he found her. Phillips soon left his wife and children, but before he did, the group had a turntable hit with "River Come Down", the B-side to "500 Miles": [Excerpt: The Journeymen, "River Come Down"] Around the same time, Dave Guard *did* leave the Kingston Trio, but the plan to split the Journeymen never happened. Instead Phillips' friend John Stewart replaced Guard -- and this soon became a new source of income for Phillips. Both Phillips and Stewart were aspiring songwriters, and they collaborated together on several songs for the Trio, including "Chilly Winds": [Excerpt: The Kingston Trio, "Chilly Winds"] Phillips became particularly good at writing songs that sounded like they could be old traditional folk songs, sometimes taking odd lines from older songs to jump-start new ones, as in "Oh Miss Mary", which he and Stewart wrote after hearing someone sing the first line of a song she couldn't remember the rest of: [Excerpt: The Kingston Trio, "Oh Miss Mary"] Phillips and Stewart became so close that Phillips actually suggested to Stewart that he quit the Kingston Trio and replace Dick Weissman in the Journeymen. Stewart did quit the Trio -- but then the next day Phillips suggested that maybe it was a bad idea and he should stay where he was. Stewart went back to the Trio, claimed he had only pretended to quit because he wanted a pay-rise, and got his raise, so everyone ended up happy. The Journeymen moved back to New York with Michelle in place of Phillips' first wife (and Michelle's sister Russell also coming along, as she was dating Scott McKenzie) and on New Year's Eve 1962 John and Michelle married -- so from this point on I will refer to them by their first names, because they both had the surname Phillips. The group continued having success through 1963, including making appearances on "Hootenanny": [Excerpt: The Journeymen, "Stack O'Lee (live on Hootenanny)"] By the time of the Journeymen's third album, though, John and Scott McKenzie were on bad terms. Weissman said "They had been the closest of friends and now they were the worst of enemies. They talked through me like I was a medium. It got to the point where we'd be standing in the dressing room and John would say to me 'Tell Scott that his right sock doesn't match his left sock...' Things like that, when they were standing five feet away from each other." Eventually, the group split up. Weissman was always going to be able to find employment given his banjo ability, and he was about to get married and didn't need the hassle of dealing with the other two. McKenzie was planning on a solo career -- everyone was agreed that he had the vocal ability. But John was another matter. He needed to be in a group. And not only that, the Journeymen had bookings they needed to complete. He quickly pulled together a group he called the New Journeymen. The core of the lineup was himself, Michelle on vocals, and banjo player Marshall Brickman. Brickman had previously been a member of a folk group called the Tarriers, who had had a revolving lineup, and had played on most of their early-sixties recordings: [Excerpt: The Tarriers, "Quinto (My Little Pony)"] We've met the Tarriers before in the podcast -- they had been formed by Erik Darling, who later replaced Pete Seeger in the Weavers after Seeger's socialist principles wouldn't let him do advertising, and Alan Arkin, later to go on to be a film star, and had had hits with "Cindy, O Cindy", with lead vocals from Vince Martin, who would later go on to be a major performer in the Greenwich Village scene, and with "The Banana Boat Song". By the time Brickman had joined, though, Darling, Arkin, and Martin had all left the group to go on to bigger things, and while he played with them for several years, it was after their commercial peak. Brickman would, though, also go on to a surprising amount of success, but as a writer rather than a musician -- he had a successful collaboration with Woody Allen in the 1970s, co-writing four of Allen's most highly regarded films -- Sleeper, Annie Hall, Manhattan, and Manhattan Murder Mystery -- and with another collaborator he later co-wrote the books for the stage musicals Jersey Boys and The Addams Family. Both John and Michelle were decent singers, and both have their admirers as vocalists -- P.F. Sloan always said that Michelle was the best singer in the group they eventually formed, and that it was her voice that gave the group its sound -- but for the most part they were not considered as particularly astonishing lead vocalists. Certainly, neither had a voice that stood out the way that Scott McKenzie's had. They needed a strong lead singer, and they found one in Denny Doherty. Now, we covered Denny Doherty's early career in the episode on the Lovin' Spoonful, because he was intimately involved in the formation of that group, so I won't go into too much detail here, but I'll give a very abbreviated version of what I said there. Doherty was a Canadian performer who had been a member of the Halifax Three with Zal Yanovsky: [Excerpt: The Halifax Three, "When I First Came to This Land"] After the Halifax Three had split up, Doherty and Yanovsky had performed as a duo for a while, before joining up with Cass Elliot and her husband Jim Hendricks, who both had previously been in the Big Three with Tim Rose: [Excerpt: Cass Elliot and the Big 3, "The Banjo Song"] Elliot, Hendricks, Yanovsky, and Doherty had formed The Mugwumps, sometimes joined by John Sebastian, and had tried to go in more of a rock direction after seeing the Beatles on Ed Sullivan. They recorded one album together before splitting up: [Excerpt: The Mugwumps, "Searchin'"] Part of the reason they split up was that interpersonal relationships within the group were put under some strain -- Elliot and Hendricks split up, though they would remain friends and remain married for several years even though they were living apart, and Elliot had an unrequited crush on Doherty. But since they'd split up, and Yanovsky and Sebastian had gone off to form the Lovin' Spoonful, that meant that Doherty was free, and he was regarded as possibly the best male lead vocalist on the circuit, so the group snapped him up. The only problem was that the Journeymen still had gigs booked that needed to be played, one of them was in just three days, and Doherty didn't know the repertoire. This was a problem with an easy solution for people in their twenties though -- they took a huge amount of amphetamines, and stayed awake for three days straight rehearsing. They made the gig, and Doherty was now the lead singer of the New Journeymen: [Excerpt: The New Journeymen, "The Last Thing on My Mind"] But the New Journeymen didn't last in that form for very long, because even before joining the group, Denny Doherty had been going in a more folk-rock direction with the Mugwumps. At the time, John Phillips thought rock and roll was kids' music, and he was far more interested in folk and jazz, but he was also very interested in making money, and he soon decided it was an idea to start listening to the Beatles. There's some dispute as to who first played the Beatles for John in early 1965 -- some claim it was Doherty, others claim it was Cass Elliot, but everyone agrees it was after Denny Doherty had introduced Phillips to something else -- he brought round some LSD for John and Michelle, and Michelle's sister Rusty, to try. And then he told them he'd invited round a friend. Michelle Phillips later remembered, "I remember saying to the guys "I don't know about you guys, but this drug does nothing for me." At that point there was a knock on the door, and as I opened the door and saw Cass, the acid hit me *over the head*. I saw her standing there in a pleated skirt, a pink Angora sweater with great big eyelashes on and her hair in a flip. And all of a sudden I thought 'This is really *quite* a drug!' It was an image I will have securely fixed in my brain for the rest of my life. I said 'Hi, I'm Michelle. We just took some LSD-25, do you wanna join us?' And she said 'Sure...'" Rusty Gilliam's description matches this -- "It was mind-boggling. She had on a white pleated skirt, false eyelashes. These were the kind of eyelashes that when you put them on you were supposed to trim them to an appropriate length, which she didn't, and when she blinked she looked like a cow, or those dolls you get when you're little and the eyes open and close. And we're on acid. Oh my God! It was a sight! And everything she was wearing were things that you weren't supposed to be wearing if you were heavy -- white pleated skirt, mohair sweater. You know, until she became famous, she suffered so much, and was poked fun at." This gets to an important point about Elliot, and one which sadly affected everything about her life. Elliot was *very* fat -- I've seen her weight listed at about three hundred pounds, and she was only five foot five tall -- and she also didn't have the kind of face that gets thought of as conventionally attractive. Her appearance would be cruelly mocked by pretty much everyone for the rest of her life, in ways that it's genuinely hurtful to read about, and which I will avoid discussing in detail in order to avoid hurting fat listeners. But the two *other* things that defined Elliot in the minds of those who knew her were her voice -- every single person who knew her talks about what a wonderful singer she was -- and her personality. I've read a lot of things about Cass Elliot, and I have never read a single negative word about her as a person, but have read many people going into raptures about what a charming, loving, friendly, understanding person she was. Michelle later said of her "From the time I left Los Angeles, I hadn't had a friend, a buddy. I was married, and John and I did not hang out with women, we just hung out with men, and especially not with women my age. John was nine years older than I was. And here was a fun-loving, intelligent woman. She captivated me. I was as close to in love with Cass as I could be to any woman in my life at that point. She also represented something to me: freedom. Everything she did was because she wanted to do it. She was completely independent and I admired her and was in awe of her. And later on, Cass would be the one to tell me not to let John run my life. And John hated her for that." Either Elliot had brought round Meet The Beatles, the Beatles' first Capitol album, for everyone to listen to, or Denny Doherty already had it, but either way Elliot and Doherty were by this time already Beatles fans. Michelle, being younger than the rest and not part of the folk scene until she met John, was much more interested in rock and roll than any of them, but because she'd been married to John for a couple of years and been part of his musical world she hadn't really encountered the Beatles music, though she had a vague memory that she might have heard a track or two on the radio. John was hesitant -- he didn't want to listen to any rock and roll, but eventually he was persuaded, and the record was put on while he was on his first acid trip: [Excerpt: The Beatles, "I Want to Hold Your Hand"] Within a month, John Phillips had written thirty songs that he thought of as inspired by the Beatles. The New Journeymen were going to go rock and roll. By this time Marshall Brickman was out of the band, and instead John, Michelle, and Denny recruited a new lead guitarist, Eric Hord. Denny started playing bass, with John on rhythm guitar, and a violinist friend of theirs, Peter Pilafian, knew a bit of drums and took on that role. The new lineup of the group used the Journeymen's credit card, which hadn't been stopped even though the Journeymen were no more, to go down to St. Thomas in the Caribbean, along with Michelle's sister, John's daughter Mackenzie (from whose name Scott McKenzie had taken his stage name, as he was born Philip Blondheim), a pet dog, and sundry band members' girlfriends. They stayed there for several months, living in tents on the beach, taking acid, and rehearsing. While they were there, Michelle and Denny started an affair which would have important ramifications for the group later. They got a gig playing at a club called Duffy's, whose address was on Creeque Alley, and soon after they started playing there Cass Elliot travelled down as well -- she was in love with Denny, and wanted to be around him. She wasn't in the group, but she got a job working at Duffy's as a waitress, and she would often sing harmony with the group while waiting at tables. Depending on who was telling the story, either she didn't want to be in the group because she didn't want her appearance to be compared to Michelle's, or John wouldn't *let* her be in the group because she was so fat. Later a story would be made up to cover for this, saying that she hadn't been in the group at first because she couldn't sing the highest notes that were needed, until she got hit on the head with a metal pipe and discovered that it had increased her range by three notes, but that seems to be a lie. One of the songs the New Journeymen were performing at this time was "Mr. Tambourine Man". They'd heard that their old friend Roger McGuinn had recorded it with his new band, but they hadn't yet heard his version, and they'd come up with their own arrangement: [Excerpt: The New Journeymen, "Mr. Tambourine Man"] Denny later said "We were doing three-part harmony on 'Mr Tambourine Man', but a lot slower... like a polka or something! And I tell John, 'No John, we gotta slow it down and give it a backbeat.' Finally we get the Byrds 45 down here, and we put it on and turn it up to ten, and John says 'Oh, like that?' Well, as you can tell, it had already been done. So John goes 'Oh, ah... that's it...' a light went on. So we started doing Beatles stuff. We dropped 'Mr Tambourine Man' after hearing the Byrds version, because there was no point." Eventually they had to leave the island -- they had completely run out of money, and were down to fifty dollars. The credit card had been cut up, and the governor of the island had a personal vendetta against them because they gave his son acid, and they were likely to get arrested if they didn't leave the island. Elliot and her then-partner had round-trip tickets, so they just left, but the rest of them were in trouble. By this point they were unwashed, they were homeless, and they'd spent their last money on stage costumes. They got to the airport, and John Phillips tried to write a cheque for eight air fares back to the mainland, which the person at the check-in desk just laughed at. So they took their last fifty dollars and went to a casino. There Michelle played craps, and she rolled seventeen straight passes, something which should be statistically impossible. She turned their fifty dollars into six thousand dollars, which they scooped up, took to the airport, and paid for their flights out in cash. The New Journeymen arrived back in New York, but quickly decided that they were going to try their luck in California. They rented a car, using Scott McKenzie's credit card, and drove out to LA. There they met up with Hoyt Axton, who you may remember as the son of Mae Axton, the writer of "Heartbreak Hotel", and as the performer who had inspired Michael Nesmith to go into folk music: [Excerpt: Hoyt Axton, "Greenback Dollar"] Axton knew the group, and fed them and put them up for a night, but they needed somewhere else to stay. They went to stay with one of Michelle's friends, but after one night their rented car was stolen, with all their possessions in it. They needed somewhere else to stay, so they went to ask Jim Hendricks if they could crash at his place -- and they were surprised to find that Cass Elliot was there already. Hendricks had another partner -- though he and Elliot wouldn't have their marriage annulled until 1968 and were still technically married -- but he'd happily invited her to stay with them. And now all her friends had turned up, he invited them to stay as well, taking apart the beds in his one-bedroom apartment so he could put down a load of mattresses in the space for everyone to sleep on. The next part becomes difficult, because pretty much everyone in the LA music scene of the sixties was a liar who liked to embellish their own roles in things, so it's quite difficult to unpick what actually happened. What seems to have happened though is that first this new rock-oriented version of the New Journeymen went to see Frank Werber, on the recommendation of John Stewart. Werber was the manager of the Kingston Trio, and had also managed the Journeymen. He, however, was not interested -- not because he didn't think they had talent, but because he had experience of working with John Phillips previously. When Phillips came into his office Werber picked up a tape that he'd been given of the group, and said "I have not had a chance to listen to this tape. I believe that you are a most talented individual, and that's why we took you on in the first place. But I also believe that you're also a drag to work with. A pain in the ass. So I'll tell you what, before whatever you have on here sways me, I'm gonna give it back to you and say that we're not interested." Meanwhile -- and this part of the story comes from Kim Fowley, who was never one to let the truth get in the way of him taking claim for everything, but parts of it at least are corroborated by other people -- Cass Elliot had called Fowley, and told him that her friends' new group sounded pretty good and he should sign them. Fowley was at that time working as a talent scout for a label, but according to him the label wouldn't give the group the money they wanted. So instead, Fowley got in touch with Nik Venet, who had just produced the Leaves' hit version of "Hey Joe" on Mira Records: [Excerpt: The Leaves, "Hey Joe"] Fowley suggested to Venet that Venet should sign the group to Mira Records, and Fowley would sign them to a publishing contract, and they could both get rich. The trio went to audition for Venet, and Elliot drove them over -- and Venet thought the group had a great look as a quartet. He wanted to sign them to a record contract, but only if Elliot was in the group as well. They agreed, he gave them a one hundred and fifty dollar advance, and told them to come back the next day to see his boss at Mira. But Barry McGuire was also hanging round with Elliot and Hendricks, and decided that he wanted to have Lou Adler hear the four of them. He thought they might be useful both as backing vocalists on his second album and as a source of new songs. He got them to go and see Lou Adler, and according to McGuire Phillips didn't want Elliot to go with them, but as Elliot was the one who was friends with McGuire, Phillips worried that they'd lose the chance with Adler if she didn't. Adler was amazed, and decided to sign the group right then and there -- both Bones Howe and P.F. Sloan claimed to have been there when the group auditioned for him and have said "if you won't sign them, I will", though exactly what Sloan would have signed them to I'm not sure. Adler paid them three thousand dollars in cash and told them not to bother with Nik Venet, so they just didn't turn up for the Mira Records audition the next day. Instead, they went into the studio with McGuire and cut backing vocals on about half of his new album: [Excerpt: Barry McGuire with the Mamas and the Papas, "Hide Your Love Away"] While the group were excellent vocalists, there were two main reasons that Adler wanted to sign them. The first was that he found Michelle Phillips extremely attractive, and the second is a song that John and Michelle had written which he thought might be very suitable for McGuire's album. Most people who knew John Phillips think of "California Dreamin'" as a solo composition, and he would later claim that he gave Michelle fifty percent just for transcribing his lyric, saying he got inspired in the middle of the night, woke her up, and got her to write the song down as he came up with it. But Michelle, who is a credited co-writer on the song, has been very insistent that she wrote the lyrics to the second verse, and that it's about her own real experiences, saying that she would often go into churches and light candles even though she was "at best an agnostic, and possibly an atheist" in her words, and this would annoy John, who had also been raised Catholic, but who had become aggressively opposed to expressions of religion, rather than still having nostalgia for the aesthetics of the church as Michelle did. They were out walking on a particularly cold winter's day in 1963, and Michelle wanted to go into St Patrick's Cathedral and John very much did not want to. A couple of nights later, John woke her up, having written the first verse of the song, starting "All the leaves are brown and the sky is grey/I went for a walk on a winter's day", and insisting she collaborate with him. She liked the song, and came up with the lines "Stopped into a church, I passed along the way/I got down on my knees and I pretend to pray/The preacher likes the cold, he knows I'm going to stay", which John would later apparently dislike, but which stayed in the song. Most sources I've seen for the recording of "California Dreamin'" say that the lineup of musicians was the standard set of players who had played on McGuire's other records, with the addition of John Phillips on twelve-string guitar -- P.F. Sloan on guitar and harmonica, Joe Osborn on bass, Larry Knechtel on keyboards, and Hal Blaine on drums, but for some reason Stephen McParland's book on Sloan has Bones Howe down as playing drums on the track while engineering -- a detail so weird, and from such a respectable researcher, that I have to wonder if it might be true. In his autobiography, Sloan claims to have rewritten the chord sequence to "California Dreamin'". He says "Barry Mann had unintentionally showed me a suspended chord back at Screen Gems. I was so impressed by this beautiful, simple chord that I called Brian Wilson and played it for him over the phone. The next thing I knew, Brian had written ‘Don't Worry Baby,' which had within it a number suspended chords. And then the chord heard 'round the world, two months later, was the opening suspended chord of ‘A Hard Day's Night.' I used these chords throughout ‘California Dreamin',' and more specifically as a bridge to get back and forth from the verse to the chorus." Now, nobody else corroborates this story, and both Brian Wilson and John Phillips had the kind of background in modern harmony that means they would have been very aware of suspended chords before either ever encountered Sloan, but I thought I should mention it. Rather more plausible is Sloan's other claim, that he came up with the intro to the song. According to Sloan, he was inspired by "Walk Don't Run" by the Ventures: [Excerpt: The Ventures, "Walk Don't Run"] And you can easily see how this: [plays "Walk Don't Run"] Can lead to this: [plays "California Dreamin'"] And I'm fairly certain that if that was the inspiration, it was Sloan who was the one who thought it up. John Phillips had been paying no attention to the world of surf music when "Walk Don't Run" had been a hit -- that had been at the point when he was very firmly in the folk world, while Sloan of course had been recording "Tell 'Em I'm Surfin'", and it had been his job to know surf music intimately. So Sloan's intro became the start of what was intended to be Barry McGuire's next single: [Excerpt: Barry McGuire, "California Dreamin'"] Sloan also provided the harmonica solo on the track: [Excerpt: Barry McGuire, "California Dreamin'"] The Mamas and the Papas -- the new name that was now given to the former New Journeymen, now they were a quartet -- were also signed to Dunhill as an act on their own, and recorded their own first single, "Go Where You Wanna Go", a song apparently written by John about Michelle, in late 1963, after she had briefly left him to have an affair with Russ Titelman, the record producer and songwriter, before coming back to him: [Excerpt: The Mamas and the Papas, "Go Where You Wanna Go"] But while that was put out, they quickly decided to scrap it and go with another song. The "Go Where You Wanna Go" single was pulled after only selling a handful of copies, though its commercial potential was later proved when in 1967 a new vocal group, the 5th Dimension, released a soundalike version as their second single. The track was produced by Lou Adler's client Johnny Rivers, and used the exact same musicians as the Mamas and the Papas version, with the exception of Phillips. It became their first hit, reaching number sixteen on the charts: [Excerpt: The 5th Dimension, "Go Where You Wanna Go"] The reason the Mamas and the Papas version of "Go Where You Wanna Go" was pulled was because everyone became convinced that their first single should instead be their own version of "California Dreamin'". This is the exact same track as McGuire's track, with just two changes. The first is that McGuire's lead vocal was replaced with Denny Doherty: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Though if you listen to the stereo mix of the song and isolate the left channel, you can hear McGuire singing the lead on the first line, and occasional leakage from him elsewhere on the backing vocal track: [Excerpt: The Mamas and the Papas, "California Dreamin'"] The other change made was to replace Sloan's harmonica solo with an alto flute solo by Bud Shank, a jazz musician who we heard about in the episode on "Light My Fire", when he collaborated with Ravi Shankar on "Improvisations on the Theme From Pather Panchali": [Excerpt: Ravi Shankar, "Improvisation on the Theme From Pather Panchali"] Shank was working on another session in Western Studios, where they were recording the Mamas and Papas track, and Bones Howe approached him while he was packing his instrument and asked if he'd be interested in doing another session. Shank agreed, though the track caused problems for him. According to Shank "What had happened was that whe
This week's episode focuses on Twin Peaks Episode 10, and your host John looks into Robert Engels and Lesli Linka Glatter's time working on it and sifts through the Log Lady Introduction before digging into the episode itself. Albert's role in the Blue Rose Task Force is explored, as is Cooper's path through the episode, Ronette's and Leland's reactions to the BOB sketch, and what to make of Dick Tremayne and Harold Smith. Not to mention Nadine's new lease on her teenage years, Jacoby's hypnosis program, and Maddy's identity crisis.Production by Mitch Proctor and Area 42 Studios and Soundwww.25yearslatersite.comwww.RuminationsRadioNetwork.comwww.instagram.com/RuminationsRadioNetworkInstagram: BlueRoseTaskForceTwitter: RuminationsRadioNetwork@RuminationsNTwitter: @BlueRoseTFpodhttps://www.patreon.com/RuminationsRadioEmail ruminationsradio@gmail.comEmail bluerosetaskforcepodcast@gmail.com★ Support this podcast on Patreon ★
Steph Paynes is the founder and lead guitarist of the New York City-based all-girl quartet, Lez Zeppelin. Paynes started the group in 2004, after touring as a “Ronette” with the “first bad girl of rock and roll,” Ronnie Spector. Paynes lives in New York City, is a Brown graduate and before donning the white satin dragon suit, she worked as a freelance writer, novelist and music journalist. Her stories and reviews have appeared in Rolling Stone, The NME, Musician, Guitar Player and Playboy among many other publications. She has shared the stage with Joey Ramone, Keith Richards and Chuck Berry and has had the unique pleasure of dining on ham sandwiches with Frank Zappa at the Waldorf Astoria. Subscribe to the podcast: https://podcasts.apple.com/us/podcast/roadie-free-radio/id1115332289 The Following links are affiliate links! Each sale helps our channel out at no additional cost to you. My VLOG & Streaming camera: https://amzn.to/3nEuIh2 The VLOG Lens: https://amzn.to/2y4Zrjd The ALL PURPOSE lens: http://amzn.to/2vPGayB My OTHER lens: https://amzn.to/38OVlfb My MAIN PODCAST mic: https://roswellproaudio.com/products/mini-k87 My OTHER podcast mic: https://amzn.to/3nK9oGQ Create ‘n Cast Bundle from SHURE & Focusrite: https://amzn.to/2LTUTTv The camera CAGE I use: http://amzn.to/2fWUwI2 My DESKTOP mixer: https://amzn.to/39yiSzZ My AUDIO interface: https://amzn.to/2LRF53W BEST FIELD recorder: http://amzn.to/2wfzCYI My FAVORITE mic stands: http://amzn.to/2xnBn6d Roadie Free Radio Merch: http://www.roadiefreeradio.com/merch/ RFR Website: http://www.roadiefreeradio.com
Steph Paynes is the founder and lead guitarist of the New York City-based all-girl quartet, Lez Zeppelin. Paynes started the group in 2004, after touring as a “Ronette” with the “first bad girl of rock and roll,” Ronnie Spector. Paynes lives in New York City, is a Brown graduate and before donning the white satin dragon suit, she worked as a freelance writer, novelist and music journalist. Her stories and reviews have appeared in Rolling Stone, The NME, Musician, Guitar Player and Playboy among many other publications. She has shared the stage with Joey Ramone, Keith Richards and Chuck Berry and has had the unique pleasure of dining on ham sandwiches with Frank Zappa at the Waldorf Astoria. Subscribe to the podcast: https://podcasts.apple.com/us/podcast/roadie-free-radio/id1115332289 The Following links are affiliate links! Each sale helps our channel out at no additional cost to you. My VLOG & Streaming camera: https://amzn.to/3nEuIh2 The VLOG Lens: https://amzn.to/2y4Zrjd The ALL PURPOSE lens: http://amzn.to/2vPGayB My OTHER lens: https://amzn.to/38OVlfb My MAIN PODCAST mic: https://roswellproaudio.com/products/mini-k87 My OTHER podcast mic: https://amzn.to/3nK9oGQ Create ‘n Cast Bundle from SHURE & Focusrite: https://amzn.to/2LTUTTv The camera CAGE I use: http://amzn.to/2fWUwI2 My DESKTOP mixer: https://amzn.to/39yiSzZ My AUDIO interface: https://amzn.to/2LRF53W BEST FIELD recorder: http://amzn.to/2wfzCYI My FAVORITE mic stands: http://amzn.to/2xnBn6d Roadie Free Radio Merch: http://www.roadiefreeradio.com/merch/ RFR Website: http://www.roadiefreeradio.com
Maddy's vision of BOB climbs a couch in Twin Peaks Episode 9 and your host John digs into that, as well as how Cooper gets more connected to the supernatural when the Major delivers his space message, and why Donna may NOT connect to the supernatural when she meets the Tremonds. This podcast also explores how Twin Peaks residents react to the “Have You Seen This Man” fliers, how communication crosses thresholds, and production information like Twin Peaks reacting to its new Saturday time slot, Harley Peyton and David Lynch's only solo pairing, and why “Just You” felt like a great idea.0:00:00 Intro0:05:07 Production History0:08:46 “Just You”0:13:39 The Saturday time slot0:17:42 Log Lady Intro0:24:04 Cooper's connections to Buddhism0:27:43 Albert's task force role0:30:20 Windom Earle0:33:00 Audrey at One Eyed Jack's0:39:12 The Major's message from space0:47:52 Cooper's interrupted dream0:58:02 Thresholds in this episode1:03:28 verbal vs non-verbal communication1:06:50 Lucy operating a junction point1:10:22 Donna and the Tremonds1:13:47 The grandson's magic trick1:17:50 How Donna may dodge the supernatural1:25:20 Ronette recognizing BOB1:29:10 Leland has “seen this man”1:32:55 Performing “Just You”1:37:30 Maddy sees BOB1:41:20 Comparing BOB appearancesDiscussed this episode:Deliver the Message: Thoughts on Twin Peaks Episode 9Production by Mitch Proctor and Area 42 Studios and Soundwww.25yearslatersite.comwww.RuminationsRadioNetwork.comwww.instagram.com/RuminationsRadioNetworkInstagram: BlueRoseTaskForceTwitter: RuminationsRadioNetwork@RuminationsNTwitter: @BlueRoseTFpodhttps://www.patreon.com/RuminationsRadioEmail ruminationsradio@gmail.comEmail bluerosetaskforcepodcast@gmail.com★ Support this podcast on Patreon ★
Cheryl Lee Latter of Between Two Worlds joins me on her first podcast to discuss Ronette Pulaski. We talk a lot about the sensitive subject matter surrounding her in this particular episode, but still find positivity in the midst of her arc. Please check out Cheryl Lee's writing and the Between Two Worlds group whenever you have the chance. She, along with others of BTW offer a lot of great insight on both. https://betweentwoworldsblog.com/ https://www.facebook.com/groups/twinpeaks2017
Episode 31J: Laura scenes, part 1 Please rate, review, and/or subscribe on Apple Podcasts to help promote this show! You can explore both public and patron episodes of this podcast here: https://www.lostinthemovies.com/p/lost-in-twin-peaks.html Become a patron at https://www.patreon.com/lostinthemovies to listen to the entire series ahead of the public schedule and access my main monthly podcast as well. For $5/month, all Lost in Twin Peaks episodes are available immediately in addition to exclusive ongoing Twin Peaks Conversations with other commentators as a monthly reward. Episode 0: Introducing the podcast (show format) https://podcasts.apple.com/us/podcast/introducing-the-podcast-show-format/id1588350903?i=1000537195013 The illustrated companion for the Fire Walk With Me episodes is: https://www.lostinthemovies.com/2022/05/the-complete-lost-in-twin-peaks-31-fire.html 0:00 SCENES ORGANIZED BY LAURA STORY... Harold & the Secret Diary / Laura & Jacques (10:49) / Laura's spirituality (15:22) / Laura's prostitution (37:57) / Laura & Leo (50:45) / Laura's charity (52:15) / Laura's drug dealing (54:49) / Laura's addiction (56:03) / Laura & Ronette (59:41) My Journey Through Twin Peaks video essay series is on YouTube (in 36 chapters as of now) https://www.youtube.com/playlist?list=PLIHlB-wesGPVETlNFLsGCKL-SFjW8wrJf & Vimeo (in 5 parts as of now) https://vimeo.com/showcase/7281266 EPISODE LINKS My video comparison between Maya Deren & David Lynch https://www.youtube.com/watch?v=zCUX4GIv-WI Young Goodman Brown by Nathaniel Hawthorne https://www.gutenberg.org/files/512/512-h/512-h.htm#goodman My other podcasts include: Lost in the Movies https://www.lostinthemovies.com/p/patreon-podcast.html Twin Peaks Cinema https://www.lostinthemovies.com/p/twin-peaks-cinema.html This podcast is powered by Pinecast.
Soon after the end of The Long Dark Teatime of the Soulless, Georgie, Ronette, and Birdy are on their way back to their cozy little places. Sometimes, we all just need a little time to relax and recover. And level up? Have you had a chance to check out the Brindlewood Bay kickstarter? https://www.kickstarter.com/projects/gauntlet/brindlewood-bay-cozy-murder-mystery-rpg (The Kickstarter) https://www.gauntlet-rpg.com/ (The Gauntlet) https://discord.gg/yv7QGQBU (The Gauntlet Discord) https://www.ceciliaferri.com/ (Cecelia Ferri)
On episode 11 of Really Weird Stuff, we're discussing Twin Peaks Season 2, episode 3: The Man Behind the Glass. This episode originally aired on October 13th, 1990. It was written by Robert Engels and directed by Lesli Linka Glatter. It's best known as the one where Albert declares his love for Sheriff Truman. Chris Brugos joins us to explore such mysteries as: HOW much does Leland really know about BOB?WHO cares about the Lucy/Andy/Dick paternity triangle? WHY doesn't Ronette get more credit for being such a survivor? PLUS: What a piece of work is Emory Battis?
We are just over the moon for this week's guest, Anna Maria Horsford. You Might Know Her From Friday, Pose, The Wayans Brothers, The Bold & the Beautiful, Hacks, Minority Report, How High, St. Elmo's Fire, The Fan, The Last O.G. and Amen. Anna Maria just gave it all to us. We talked about her playing Ice Cube's (and Method Man and Redman's) mom in iconic stoner fare, talking shit about The Wayans Brothers before she realized she was a series regular, sinking her teeth into a daytime soap as Hollywood vet, and renegotiating her Amen contract amidst network pushback. But that's not all! We also got into the landmark series Soul; her guest appearance on Pose opposite Janet Hubert and Jackée Harry; and how (why?) Steven Spielberg loves pregnant women. This one was just beyond. RIP to that extra in The Stone Pillow! Follow us on social media @damianbellino || @rodemanne Discussed this week: Special thanks to our intern, Ronette the Pit So many deaths this week: Sidney Poitier, Bob Saget, and of course Bob Durst Bob Saget in Half Baked: “have you ever sucked dick for coke?” Bob Saget emceed Anne Meara's funeral Bob Durst posed as a deaf mute then killed and dismembered his neighbor and got off Documentary about Bob Durst Maria Ewing, mother of Rebecca Hall just passed away Nella Larsen's novel, Passing Passing (directed and adapted by Rebecca Hall) on Netflix Ruth Negga is a movie star holy smokes Rebeca Hall's Fresh Air interview Let's turn the SAG awards into the new Golden Globes JoBeth Williams used to produce the SAG broadcast (YMKHF Ep #99 JoBeth Williams) First job was with Joe Papp at Harlem Shakespeare Festival Went to Sweden to meet Ingmar Bergman. Didn't meet him but did meet Sven Nykvist Lee Grant directed Anna Maria and Marlo Thomas in Nobody's Child Worked as a PA on the WNYC Soul (go watch on Amazon Prime now!) Anna Maria reading a poem on Soul! Played Craig's mom in Friday (1995) and Friday After Next (2002) Played Thelma Frye on Amen! “The oldest living virgin” (1986-1991) the Sherman Hemsley sitcom Ed Weinberger (Taxi, The Cosby Show, Amen) Plays Vivian Avant on The Bold and the Beautiful (TV daughter is trans) Had 2 eps on Grey's Anatomy and was SO GOOD as Liz Fallon (1x04, 03x17) Mike Nichols (Heartburn), Steven Spielberg (Minority Report) F. Gary Gray (Set it Off, Friday), Joel Shumacher (St Elmo's Fire), Alan Pakula (Presumed Innocent), Louis Malle (Cracker) Page Six in the New York Post Played Dee Baxter, security guard on The Wayans' Brothers sitcom William Friedkin was a screamer (C.A.T. Squad) Plays moms in stoner comedies: Friday (Ice Cube's mom), How High (Redman's mom), Method and Red (Method's mom) “Stephen loves pregnant women” Played a prostitute in St. Elmo's Fire opposite Andrew McCarthy Plays Pray Tell's mom on last season of Pose (Jackee Harry on 227 and Janet Hubert from Fresh Prince also star) Bill (opp Mickey Rooney, 1981), The Fan (opp Lauren Bacall, 1981), and Stone PIllow (opp Lucille Ball, 1985) Went out with Christopher Reeve (co-starred with him in Street Smart) and Corbin Bernsen How many pregnant women are in Steven Spielberg's movies? Anne will compile a list Anna Maria doing 8 episodes on the CBS sitcom, B Positive (starring former guest of this show, Annaleigh Ashford YMKHF ep #40) Celia Weston YMKHF ep #66 Crazy Days & Nights have revealed their Sex and the City blind item from 20 years ago!
Episode 5C Notes: Laura scenes Please rate, review, and/or subscribe on Apple Podcasts to help promote this show! You can explore both public and patron episodes of this podcast here: https://www.lostinthemovies.com/p/lost-in-twin-peaks.html Become a patron at https://www.patreon.com/lostinthemovies to listen to the entire series ahead of the public schedule and access my main monthly podcast as well. For $5/month, all Lost in Twin Peaks episodes are available immediately, including my 12-part coverage of Fire Walk With Me, in addition to exclusive ongoing Twin Peaks Conversations with other commentators as a monthly reward. Episode 0: Introducing the podcast (show format) https://podcasts.apple.com/us/podcast/introducing-the-podcast-show-format/id1588350903?i=1000537195013 The illustrated companion to this week's episodes is https://www.lostinthemovies.com/2021/10/lost-in-twin-peaks-5-s1e5-one-armed.html 0:00 SCENES ORGANIZED BY LAURA STORY... Laura's murder (including shirt & Waldo) / Laura's family (10:08) / Laura & Bobby (13:10) / Laura & James (13:46) & brief mention of Laura & Donna / Laura & Ronette (16:40) / Laura's therapy (17:11) & brief mention of Laura's addiction + drug dealing / Laura & the sex trade (21:02) / Laura & Leo (23:15) / Laura's spirituality (23:46) / The One-Armed Man (25:36) - moved from non-Laura storylines / NEW: Laura & Maddy (30:25) / Laura's employment (31:33) & brief mention of Laura & Jacques (32:54) My Journey Through Twin Peaks video essay series is on YouTube (in 36 chapters as of now)https://www.youtube.com/playlist?list=PLIHlB-wesGPVETlNFLsGCKL-SFjW8wrJf & Vimeo (in 5 parts as of now) https://vimeo.com/showcase/7281266 My other podcasts include: Lost in the Movies https://www.lostinthemovies.com/p/patreon-podcast.html Twin Peaks Cinema https://www.lostinthemovies.com/p/twin-peaks-cinema.html Left of the Movies https://www.lostinthemovies.com/p/left-of-movies.html
Episode 3C Notes: Laura scenes Please rate, review, and/or subscribe on Apple Podcasts to help promote this show! You can explore both public and patron episodes of this podcast here: https://www.lostinthemovies.com/p/lost-in-twin-peaks.html Become a patron at https://www.patreon.com/lostinthemovies to listen to the entire series ahead of the public schedule and access my main monthly podcast as well. For $5/month, all Lost in Twin Peaks episodes are available immediately, including my 12-part coverage of Fire Walk With Me, in addition to exclusive ongoing Twin Peaks Conversations with other commentators as a monthly reward. Episode 0: Introducing the podcast (show format) https://podcasts.apple.com/us/podcast/introducing-the-podcast-show-format/id1588350903?i=1000537195013 The illustrated companion to this week's episodes is https://www.lostinthemovies.com/2021/10/lost-in-twin-peaks-3-s1e3-zen-or-skill.html 0:00 SCENES ORGANIZED BY LAURA STORY... Laura's murder / Laura's family (10:45) & brief mention of Laura & Bobby + James (9:16) / Laura & Donna (14:05) / Laura & Ronette (14:45) & brief mention of Laura's therapy + drug dealing + charity + Leo / Laura's spirituality (16:20) & brief mention of Laura's "Mystery Man" / NEW: Laura & Ben (17:44) My Journey Through Twin Peaks video essay series is on YouTube (in 36 chapters as of now)https://www.youtube.com/playlist?list=PLIHlB-wesGPVETlNFLsGCKL-SFjW8wrJf & Vimeo (in 5 parts as of now) https://vimeo.com/showcase/7281266 My other podcasts include: Lost in the Movies https://www.lostinthemovies.com/p/patreon-podcast.html Twin Peaks Cinema https://www.lostinthemovies.com/p/twin-peaks-cinema.html Left of the Movies https://www.lostinthemovies.com/p/left-of-movies.html This podcast is powered by Pinecast.
Episode 2C Notes: Laura scenes (A quickly-deleted upload had the wrong title; sorry for the confusion in your feed - this one is the correct episode) Please rate, review, and/or subscribe on Apple Podcasts to help promote this show! You can explore both public and patron episodes of this podcast here: https://www.lostinthemovies.com/p/lost-in-twin-peaks.html Become a patron at https://www.patreon.com/lostinthemovies to listen to the entire series ahead of the public schedule and access my main monthly podcast as well. For $5/month, all Lost in Twin Peaks episodes are available immediately, including my 12-part coverage of Fire Walk With Me, in addition to exclusive ongoing Twin Peaks Conversations with other commentators as a monthly reward. Episode 0: Introducing the podcast (show format) https://podcasts.apple.com/us/podcast/introducing-the-podcast-show-format/id1588350903?i=1000537195013 The illustrated companion to this week's episodes was published on Saturday, October 9 at 8am: https://www.lostinthemovies.com/2021/10/lost-in-twin-peaks-2-s1e2-traces-to.html 0:00 SCENES ORGANIZED BY LAURA STORY... Laura's murder / Laura's family (5:53) / Laura & Bobby (6:46) / Laura & James (9:16) / Laura & Donna (13:21) / Laura & Ronette (14:41) / brief mention of Laura's therapy (16:00) / Laura's addiction (16:13) & brief mention of Laura's drug dealing (split from addiction) / Laura's charity (17:00) / Laura & Leo (18:32) / Laura's spirituality (19:55) / brief mention of Laura's "Mystery Man" / brief mention of Laura & Log Lady visions My Journey Through Twin Peaks video essay series is on YouTube (in 36 chapters as of now)https://www.youtube.com/playlist?list=PLIHlB-wesGPVETlNFLsGCKL-SFjW8wrJf & Vimeo (in 5 parts as of now) https://vimeo.com/showcase/7281266 My other podcasts include: Lost in the Movies https://www.lostinthemovies.com/p/patreon-podcast.html Twin Peaks Cinema https://www.lostinthemovies.com/p/twin-peaks-cinema.html Left of the Movies https://www.lostinthemovies.com/p/left-of-movies.html This podcast is powered by Pinecast.
Episode 1B Notes: Clues, episode structure & Laura scenes Please rate, review, and/or subscribe on Apple Podcasts to help promote this show! You can explore both public and patron episodes of this podcast here: https://www.lostinthemovies.com/p/lost-in-twin-peaks.html Become a patron at https://www.patreon.com/lostinthemovies to listen to the entire series ahead of the public schedule and access my main monthly podcast as well. For $5/month, all Lost in Twin Peaks episodes are available immediately, including my 12-part coverage of Fire Walk With Me, in addition to exclusive ongoing Twin Peaks Conversations with other commentators as a monthly reward. Episode 0: Introducing the podcast (show format) https://podcasts.apple.com/us/podcast/introducing-the-podcast-show-format/id1588350903?i=1000537195013 The illustrated companion to this week's episodes will be found here (to be updated on the evening of Saturday, October 2): https://www.lostinthemovies.com/2021/10/lost-in-twin-peaks-1-pilot-s1e1.html 0:00 SECOND INTRO (other podcast activity) 2:34 WHO KILLED LAURA PALMER? (New clues, investigative threads, conclusions & the big picture) 12:16 THE STRUCTURE OF THE PILOT (commercial breaks, different acts, James/Donna arc as the most complete) 19:27 TOP STORYLINE: Laura & James 20:19 SCENES ORGANIZED BY LAURA STORY... Laura's murder / Laura's family (24:35) / Laura & Bobby (30:21) / Laura & James (34:33) / Laura & Donna (39:55) / Laura & Ronette (44:35) / Laura's therapy (46:20) / Laura's addiction (47:46) / Laura's charity (49:10) / Laura & the sex trade (49:57) / Laura & Leo (50:39) My Journey Through Twin Peaks video essay series is on YouTube (in 36 chapters as of now)https://www.youtube.com/playlist?list=PLIHlB-wesGPVETlNFLsGCKL-SFjW8wrJf & Vimeo (in 5 parts as of now) https://vimeo.com/showcase/7281266 My other podcasts include: Lost in the Movies https://www.lostinthemovies.com/p/patreon-podcast.html Twin Peaks Cinema https://www.lostinthemovies.com/p/twin-peaks-cinema.html This podcast is powered by Pinecast.
Ronette Burkes discusses her long career as a leader in the field of justice advocacy and offers insights on team building, creating a positive culture, and transformational leadership. Ronette Burkes serves as Deputy Director of the Ohio Department of Rehabilitation and Corrections. Her leadership career began at the Cleveland Rape Crisis Center as the Director of Justice Advocacy and includes serving as the Warden of the Ohio Reformatory for Women at Marysville; but if you ask her, Ronette describes herself as being in the business of saving lives. Ronette has received multiple awards for her ongoing commitment to transformational leadership and serving others including the Governor's Award for Community Development and Participation in 2019, and Warden of the Year in 2017.
You know who she is! We are joined by the phenomenally talented Tichina Arnold. You Might Know Her From The Neighborhood, Martin, Everybody Hates Chris, The Last Black Man in San Francisco, The Lena Baker Story, Big Momma’s House, and Little Shop of Horrors. Tichina talked to us about the ways the Black Lives Matter movement has influenced conversations at The Neighborhood and CBS, getting to show off her range in prestige projects like Last Black Man in San Francisco, and biting the “mom” bullet to play Rochelle on Everybody Hates Chris. We also get into being part of the iconic Martin Lawrence series Martin, her best friendship with Tisha Campbell, her singing chops, and, of course, her performance as Crystal in The Little Shop of Horrors film adaptation. We are just over the moon (said in our old-timey voices). Follow us on social media: @damianbellino || @rodemanne Anne’s been listening to a lot of Randy Travis Lyle Lovett, Mick Jagger, Harvey Keitel all ugly sexy (per the conversation in Kissing Jessica Stein)Plays Tina on CBS’ The Neighborhood (with Cedric the Entertainer, Beth Behrs, Max Greenfield) Started in soaps like Ryan’s Hope and All My Children on ABC Beth and Tichina post a lot of online content First black mom on CBS was Isabel Sanford (2nd is Tichina on The Neighborhood) Played Gina’s best friend Pam on Martin Martin had multiple guest stars: Chris Rock, Marla Gibbs, Outkast, Tracy Morgan, Tichina did Mary J. Blige when she approached Biggie in this famous episode where Pam and Gina compete to be his backup singers Tisha Campbell filed a sexual harassment lawsuit against Martin Lawrence and didn’t appear in any scenes with him in that last (5th) season Appeared as Aunt Wanda in The Last Black Man in San Francisco Tichina started a company called Famously Blacker Starred as Rochelle the matriarch on Everybody Hates Chris (the story of Chris Rock growing up in Bed Stuy Brooklyn in the 1980s). Tichina grew up in Jamaica, Queens The Lena Baker Story (Baker was posthumously pardoned in 2005) Ralph Wilcox directed the movie and wanted Tichina for the role(was on Good Times and every sitcom in the 80s) Tichina stars as Crystal, one of the street urchins in the film adaptation of Little Shop of Horrors Frank Oz directed this perfect movie musical (they made him direct them as Miss Piggy) Tichina played Ronette in the play (Damian’s dog is named after Ronette aka Ronnie Spector) Michelle Weeks and Tichina grew up together in school. Tichina knew Tisha Campbell from auditions The stage version of Little Shop of Horrors has a sad/dark ending, the movie has happy ending Original ending of Little Shop of Horrors is a TRIP Tisha Campbell wasn’t available for the reshoot so they used a stand-in (Tichina flew the Concorde) Eveline in The Wiz @ City Centers (here she is killing “No Bad News”), toured with The Buddy Holly Story, did Little Shop Off-Broadway Tichina attended LaGuardia school of the arts (Fame school) Fuck Marry Kill: Fuck: Pam, Marry: Tina, Kill: Rochelle Tichina spotted Ellen Greene’s neck vein a mile away Played Fran Drescher’s bff on Happily Divorced Celebrity Wife Swap (Tichina swapped with Kelly Packard) Fakin da Funk with Margaret Cho, Duane Martin, and Nell Carter Nell Carter was on her own show, Gimme a Break! (Tichina grew up loving Nell, Carol Burnett, Marsha Warfield) Tichina is huge in Brazil! Watch Ellen Greene’s neck vein in her clips from Hey Mr Producer! Next week’s guest: Tichina was in Fakin da Funk with Pam Grier, who was in The L Word with next week’s guest (she had a small arc)
It's that time! Listen in as best you can to this episode! Off Book is now LIVE! Every Sunday at 6 pm EST. That means you can watch it as it happens on youtube, Twitter, Facebook, and Instagram every week. DISCLAIMER: Now because we're doing something new, we're still working out the kinds. This week's sound is not up to our regular standards but the episode is sooooooo worth the listen. Yall know Drew is a perfectionist and it's probably not as bad as it makes him feel. Listen in as Drew, Ngozi, & Kim chat it up about the One Night Only Broadway special, get candid with the Grammy-nominated(?) Urchins of Little Shop of Horrors 2019 Off-Broadway cast, and a surprise guest appearance from Michelle Weeks, the original Ronette from The Little Shop of Horrors film. The things that were shared in this episode are sure to make you laugh, cry, and laugh some more. You truly want to lend your good ear for this one. It's worth it! Hit your mark! It's time for places! Email: OffBook@BroadwayBlack.com Twitter: @OffBookPodcast | @BroadwayBlack IG: @BroadwayBlack | @OffBookPodcast Facebook: www.facebook.com/broadwayblack2.0 www.BroadwayBlack.com
iTunes Spotify Youtube Patreon Steph Paynes is the founder and lead guitarist of the New York City-based all-girl quartet, Lez Zeppelin. Paynes started the group in 2004, after touring as a “Ronette” with the “first bad girl of rock and roll,” Ronnie Spector. Paynes lives in New York City, is a Brown graduate and before donning the white satin dragon suit, she worked as a freelance writer, novelist and music journalist. Her stories and reviews have appeared in Rolling Stone, The NME, Musician, Guitar Player and Playboy among many other publications. She has shared the stage with Joey Ramone, Keith Richards and Chuck Berry and has had the unique pleasure of dining on ham sandwiches with Frank Zappa at the Waldorf Astoria. Today’s episode is sponsored by Soundgirls.org, Lensrentals, & Showpro Beard Co. Special Mentions: Lez Zeppelin, Michael Dorf Article, Lij Shaw - Ultimate Mixing Masterclass with Craig Alvin, Crew Nation - Video, I Am Michael Alago: Breathing Music. Signing Metallica. Beating Death, The Girl in the Back: A Female Drummer's Life with Bowie, Blondie, and the '70s Rock Scene, Tour Health Research Initiative, ROADIE: My Documentary (TJ Hoffman film), Loud: A Life In Rock ‘N Roll by the World’s First Female Roadie. By Tana Douglas, Mixing Music Live, The Last Seat in the House: The Story of Hanley Sound, The Power of Podcasting Panel at NAMM, Soundgirls, Roswell Pro Audio Mini K87, Filming Great Concert Footage, Roadie Short Film, Roadie: A True Story (at least the parts I remember)
Comedian and actress Zainab Johnson finds strength in the powerful femininity of Spanish Harlem R&B trio The Ronette's only studio album: 1964's Presenting The Fabulous Ronettes Featuring Veronica. Watch her on Amazon’s ‘Upload’, '100 Humans' on Netflix, and listen to her podcast HonesTEA with Z. For new music influenced by this album, music history and show notes, go to The500podcast.com. Join the movement.
On this episode of The Bull Pen, Les talks with Ronette Bush - Heinrich about the Nebraska Cattleman's Classic and all the fun things in store for this years event! https://cattlemens.org/ https://www.facebook.com/NCCinKearney/ Subscribe, rate, and review The Bull Pen wherever you get your podcasts so you don't miss an episode! Also follow up on Facebook or their website. A Hurrdat Media Production. Hurrdat Media is a digital media and commercial video production company based in Omaha, NE. Find more podcasts on the Hurrdat Media Network and learn more about our other services today on HurrdatMedia.com. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
In the 4th episode of CPA to CFO, Mike sits down with Ronette Kite, an excellent CFO that helps start-ups create process and organization in their financial departments when they do not have the full-time resources to do so. Great talk with Ronette.
Ben Betterby hangs out with Ronette Lasin!!! Ronette is an accomplished teacher, a super beautiful Filipino woman, and Ben Betterby's friend.Ronette and Ben talk about the Philippines, getting along with people from different cultures, and modern dating techniques!!! WARNING: There is a lot of DRAMA in this episode.
Volvemos con el segundo volumen dedicado al compositor Alan Menken, completando su etapa inicial de la que ya nos ocupamos en el podcast anterior y que ahora abarcaremos desde el año 1997 a la actualidad, arrancando con "Hércules" y terminando con algunas curiosidades y temas rechazados para que os hagáis una idea de la capacidad de este músico que quería ser un cantante como sus idolatrados Billy Joel o Elton John, hasta que descubrió las enormes posibilidades que le ofrecía el teatro musical. En este volumen conoceremos otros trabajos no tan conocidos pero cuya calidad no admite duda y ahí tenéis para demostrarlo desde el oratorio de "King David", películas como "Encantada", "Enredados" o "Zafarrancho en el rancho" a musicales como "Sister act", "Leap of faith", " A Bronx tale" o "The apprenticeship of Duddy Kravitz" que compuso en 1987 y pudo estrenar por fin en 2015 en Canada. También hemos incluido una selección de las canciones para la serie televisiva "Galavant" y algunas curiosidades como temas que compuso para "Rocky V", musicales que no llegó a terminar como "Baby" o "The little princess" y cerramos el podcast con tres temas rechazados para "Little shop of horrors". Esta es la relación de trabajos con los letristas e intérpretes de las canciones incluidas 00h 00'00" Presentación 00h 01'29" Cabecera 1997 HERCULES (Stephen Schwartz) 00h 02'05" Go the distance (Roger Bart) 00h 04'22" Zero to hero (Lilias White & Muses) 00h 06'39" I won't say (I'm in love) (Susan Egan & Muses) 00h 08'54" A star is born (Lilias White & Muses) 1997 KING DAVID (Tim Rice) 00h 10'55" Saul has slain his thousands (Stephen Bogardus & Company) 00h 14'34" Never again (Judy Kuhn) 00h 17'40" Warm spring night (Marcus Lovett) 00h 21'00" The long, long day (Marcus Lovett) 00h 23'43" This New Jerusalem (Cast) 2004 HOME ON THE RANGE (Glenn Slater) 00h 25'09" Will the sun ever shine again? (Belinda Carlisle) 00h 27'40" Little patch of Heaven (kd lang) 00h 30'22" Anytime you need a friend (Alan Menken) 2007 ENCHANTED (Stephen Schwartz) 00h 32'48" True love's kiss (Amy Adams & James Marsden) 00h 35'32" Happy working song (Amy Adams) 00h 37'33" That's how you know (Amy Adams) 00h 41'19" Ever ever after (Carrie Underwood) 00h 44'40" So close (Jon McLaughlin) 2009 SISTER ACT (Glenn Slater) 00h 48'19" Take me to Heaven (Patina Miller, Debbie Kurup & Amy Both Steel) 00h 51'17" Fabulous, Baby (Patina Miller, Debbie Kurup & Amy Both Steel) 00h 54'50" Here within these walls (Sheila Hancock) 00h 58'47" Raise your voice (Patina Miller & Nuns) 01h 05'06" Sunday morning fever (Cast) 2010 TANGLED (Glenn Slater) 01h 10'35" When will my life begin? (Mandy Moore) 01h 13'06" Mother knows best (Donna Murphy) 01h 16'09" I see the light (Mandy Moore & Zachary Levi) 2012 LEAP OF FAITH (Glenn Slater) 01h 19'46" Rise up (Kecia Lewis-Evans, Krystal Joy Brown, Raúl Esparza) 01h 26'30" Lost (Kecia Lewis-Evans & Angels of Mercy) 01h 29'12" Are you on the bus? (Krystal Joy Brown, Kendra Kassebaum & Kecia Lewis-Evans) 2015 GALAVANT (Glenn Slater) 01h 35'24" Galavant (Ben Presley) 01h 37'33" The happiest day of your life (Robert Lindsay) 01h 39'54" As good as it gets (Darren Evans & Sophie McShera) 01h 41'55" Serenade (Joshua Sasse, Timothy Clare Foster) 01h 44'02" Goodnight my friend (Timothy Omundson) 2015 THE APPRENTICESHIP OF DUDDY KRAVITZ (David Spencer) 01h 45'46" I'm gonna buy this lake (Danny Burstein & Jenny Glering) 01h 51'17" Welcome home (Jenny Glering & Danny Burstein) 2016 A BRONX TALE (Glenn Slater) 01h 55'20" Bellmont Avenue (Bobby Conte & Cast) 02h 00'31" Look to your heart (Richard H. Blake & Hudson Loverro) 02h 03'13" I like it (Hudson Loverro & Ensemble) 02h 05'43" One of the great ones (Nick Cordero) RAREZAS (temas rechazados, proyectos inacabados, encargos para TV, etc) 02h 09'29" Growin boy (Debbie Gravite) - musical "Babe" 02h 12'30" Take care of my heart (Debbie Gravite) - película "The little princess" 02h 15'42" Howling at the moon (James Carrington) - "Jock, the hero dog" 02h 18'44" By your side (Keshia Knight Pullam) - "Polly" 02h 20'44" The measure of a man (Elton John) - "Rocky V" 02h 24'40" This only happen in the movies (Menken) - precuela para "Rogger Rabbit" 02h 26'35" Crystal, Ronette and Chiffon (Debbie Gavite) - "Little shop of Horrors" 02h 29'26" We'll have tomorrow (Debbie Gravite) - "Little shop of Horrors" 02h 32'36" Bad (Ron Taylor, Howard Ashman & Menken) - "Little shop of Horrors" Espero os haya gustado
Volvemos con el segundo volumen dedicado al compositor Alan Menken, completando su etapa inicial de la que ya nos ocupamos en el podcast anterior y que ahora abarcaremos desde el año 1997 a la actualidad, arrancando con "Hércules" y terminando con algunas curiosidades y temas rechazados para que os hagáis una idea de la capacidad de este músico que quería ser un cantante como sus idolatrados Billy Joel o Elton John, hasta que descubrió las enormes posibilidades que le ofrecía el teatro musical. En este volumen conoceremos otros trabajos no tan conocidos pero cuya calidad no admite duda y ahí tenéis para demostrarlo desde el oratorio de "King David", películas como "Encantada", "Enredados" o "Zafarrancho en el rancho" a musicales como "Sister act", "Leap of faith", " A Bronx tale" o "The apprenticeship of Duddy Kravitz" que compuso en 1987 y pudo estrenar por fin en 2015 en Canada. También hemos incluido una selección de las canciones para la serie televisiva "Galavant" y algunas curiosidades como temas que compuso para "Rocky V", musicales que no llegó a terminar como "Baby" o "The little princess" y cerramos el podcast con tres temas rechazados para "Little shop of horrors". Esta es la relación de trabajos con los letristas e intérpretes de las canciones incluidas 00h 00'00" Presentación 00h 01'29" Cabecera 1997 HERCULES (Stephen Schwartz) 00h 02'05" Go the distance (Roger Bart) 00h 04'22" Zero to hero (Lilias White & Muses) 00h 06'39" I won't say (I'm in love) (Susan Egan & Muses) 00h 08'54" A star is born (Lilias White & Muses) 1997 KING DAVID (Tim Rice) 00h 10'55" Saul has slain his thousands (Stephen Bogardus & Company) 00h 14'34" Never again (Judy Kuhn) 00h 17'40" Warm spring night (Marcus Lovett) 00h 21'00" The long, long day (Marcus Lovett) 00h 23'43" This New Jerusalem (Cast) 2004 HOME ON THE RANGE (Glenn Slater) 00h 25'09" Will the sun ever shine again? (Belinda Carlisle) 00h 27'40" Little patch of Heaven (kd lang) 00h 30'22" Anytime you need a friend (Alan Menken) 2007 ENCHANTED (Stephen Schwartz) 00h 32'48" True love's kiss (Amy Adams & James Marsden) 00h 35'32" Happy working song (Amy Adams) 00h 37'33" That's how you know (Amy Adams) 00h 41'19" Ever ever after (Carrie Underwood) 00h 44'40" So close (Jon McLaughlin) 2009 SISTER ACT (Glenn Slater) 00h 48'19" Take me to Heaven (Patina Miller, Debbie Kurup & Amy Both Steel) 00h 51'17" Fabulous, Baby (Patina Miller, Debbie Kurup & Amy Both Steel) 00h 54'50" Here within these walls (Sheila Hancock) 00h 58'47" Raise your voice (Patina Miller & Nuns) 01h 05'06" Sunday morning fever (Cast) 2010 TANGLED (Glenn Slater) 01h 10'35" When will my life begin? (Mandy Moore) 01h 13'06" Mother knows best (Donna Murphy) 01h 16'09" I see the light (Mandy Moore & Zachary Levi) 2012 LEAP OF FAITH (Glenn Slater) 01h 19'46" Rise up (Kecia Lewis-Evans, Krystal Joy Brown, Raúl Esparza) 01h 26'30" Lost (Kecia Lewis-Evans & Angels of Mercy) 01h 29'12" Are you on the bus? (Krystal Joy Brown, Kendra Kassebaum & Kecia Lewis-Evans) 2015 GALAVANT (Glenn Slater) 01h 35'24" Galavant (Ben Presley) 01h 37'33" The happiest day of your life (Robert Lindsay) 01h 39'54" As good as it gets (Darren Evans & Sophie McShera) 01h 41'55" Serenade (Joshua Sasse, Timothy Clare Foster) 01h 44'02" Goodnight my friend (Timothy Omundson) 2015 THE APPRENTICESHIP OF DUDDY KRAVITZ (David Spencer) 01h 45'46" I'm gonna buy this lake (Danny Burstein & Jenny Glering) 01h 51'17" Welcome home (Jenny Glering & Danny Burstein) 2016 A BRONX TALE (Glenn Slater) 01h 55'20" Bellmont Avenue (Bobby Conte & Cast) 02h 00'31" Look to your heart (Richard H. Blake & Hudson Loverro) 02h 03'13" I like it (Hudson Loverro & Ensemble) 02h 05'43" One of the great ones (Nick Cordero) RAREZAS (temas rechazados, proyectos inacabados, encargos para TV, etc) 02h 09'29" Growin boy (Debbie Gravite) - musical "Babe" 02h 12'30" Take care of my heart (Debbie Gravite) - película "The little princess" 02h 15'42" Howling at the moon (James Carrington) - "Jock, the hero dog" 02h 18'44" By your side (Keshia Knight Pullam) - "Polly" 02h 20'44" The measure of a man (Elton John) - "Rocky V" 02h 24'40" This only happen in the movies (Menken) - precuela para "Rogger Rabbit" 02h 26'35" Crystal, Ronette and Chiffon (Debbie Gavite) - "Little shop of Horrors" 02h 29'26" We'll have tomorrow (Debbie Gravite) - "Little shop of Horrors" 02h 32'36" Bad (Ron Taylor, Howard Ashman & Menken) - "Little shop of Horrors" Espero os haya gustado
Temporada 1 Episodio 5 País Estados Unidos Dirección David Lynch (Creator), Mark Frost (Creator), David Lynch, Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham Guion Mark Frost, David Lynch, Harley Peyton, Robert Engels, Barry Pullman, Tricia Brock, Scott Frost Música Angelo Badalamenti, David Slusser Fotografía Frank Byers Reparto Kyle MacLachlan, Lara Flynn Boyle, Michael Ontkean, James Marshall, Sherilyn Fenn, Dana Ashbrook, Mädchen Amick, Richard Beymer, Ray Wise, Peggy Lipton, Joan Chen, Harry Goaz, Eric DaRe, Kimmy Robertson Productora ABC; Lynch/Frost Productions / Propaganda Films / Spelling Entertainment / Twin Peaks Production Sinopsis Después de hacer un retrato-robot e identificar al hombre manco que Cooper había visto en un sueño, éste logra interrogarle. Su nombre es Michael Gerard, vendedor de zapatos, amigo del veterinario Bob Lydecker, que está en coma. En los archivos del veterinario encuentran la ficha de Waldo, un pájaro propiedad de Jacques Renault. En el apartamento de éste encuentran la camisa manchada de sangre propiedad de Leo que Bobby ha escondido allí. Audrey investiga por su cuenta y descubre que Ronette y Laura trabajaban en la misma sección de perfumería de los almacenes de su padre. Finalmente Hank, el marido de Norma, sale de la cárcel, hecho del que se entera Josie el mismo día que descubre la relación entre Catherine y Ben y su plan de destruir el aserradero.
We are joined today by a good friend and one of our International Bestselling Authors, who is a certified ROCKSTAR both in life and business, Ronette Clarke-Williams. She will be talking to us about her workbook entitled Redefining "ROCKSTAR" Leadership: 7 Week Workbook (RRL 2) that she specifically created after the success of her bestselling book, REDEFINING "ROCKSTAR" LEADERSHIP: Making it work for you, not you for it! (RRL Book 1). “REDEFINING "ROCKSTAR" LEADERSHIP: Making it work for you, not you for it!” I received so much positive feedback from the readers that the book was great because it gave them action steps that they could engage in immediately. This workbook will take them to the next level by providing action items and in-depth worksheets where they really can dig deeper into the 7 Principles of ROCKSTAR Leadership that I speak about in the book. I’m really excited about this workbook because it will catapult them even further on their journey closer to their ultimate goal.” —Ronette Join Steve Kidd in this amazing interview with Ronette Clarke-Williams on Thriving Entrepreneur.
Ronette serves as a catalyst for Female Entrepreneurs to help them redefine their "RockStar," Optimize their Team, and Reengage their Momentum by boldly moving forward authentically and decisively with ease and confidence! Resulting in the 4p's: Profitability, Productivity, People Management and Peace of Mind within their organization and lives.
In this short read, Ronette shares the insights and lessons that she learned when the bright light of her ever climbing “ROCKSTAR” and the immense darkness of her every growing inner misery, collided. For anyone who has been that trusted, sought after, get the job done, “go-to” Leader you know the highs of that “ROCKSTAR” Label. However, there are also the lows. At a point when she seemed to “have it all”, Ronette had to slow it down, put it on pause, reevaluate and shift her mindset, her priorities, her motivations and her “why”.
Show Note:https://www.wideawakeparenting.com/the-blog/2017/12/29/episode-8-interview-with-ronette-parker-aba
Chopping Wood Inside: The Twin Peaks Podcast for Conspiracy Theorists
Murph and Hawk plummet through the astral plane to search for more clues in a rewatch of Part 3: Did Laura really blow out the lights in the season finale? Is Sarah trapped in the Lodge now? Was Naido's house some kind of cosmic way station? Who tricked Cooper into that #3 portal ? Were Dougie's antics all just a Lodge trap? Is the American Girl trapped in the Lodge, too? And could Ronette have ultimately been the one who "'fell a victim" to Leland in that train car?
Ronette Roshag är nog den som åkt längst för att delta i SM i år (rätta oss gärna om vi har fel). Hon har rest från Gällivare med sin häst för att delta... 130 mil enkel väg.
© 2020-2025 Ivy Podcast Discovery LLC
