Podcasts about round robin

This week's podcast is now LIVE. The Round Robin has returned and Tsuchi no Shogun is giving you the opportunity to get to know some of our panelists a little bit better with deep and intimate questions between the crew! We Do Not Own The Rights to the Music in the Episode!Check out the track and producer: TYLER THE CREATOR X KALI UCHIS X STEVE LACY TYPE BEAT "CLOCK" Music by: Roku beats https://youtu.be/JB0gEdGOZsc

The last time Aron Croft was here, he shared his story of his education and personal background meeting ADHD reality. But you know what else? He built a successful Fortune 500 career and a highly successful training business teaching his 8% Productivity Habit, which helps ADHDers complete what we like to call clogging tasks, those tasks you've put off for months, and need more than simple willpower to get them done.He's back with us this week to share how the ADHD reality meets the business world and how you might find success by pivoting a business school classic model for your own needs.We're talking about the 4PM model: Product, Promotion, Pricing, and Process come together to illuminate the M, Market Fit. But Aaron argues that ADHD business owners need a second M: the ME Fit. Listen in as we explore how to prioritize the Me Fit into your operations, how to figure out what your Me and Market Fit really is, and how to use this model to decide if your best business inspirtation is really a good fit for your hard work.Learn more about Aron at FreeADHDTraining.com and check out his TikTok summary of 4PM2 here! (00:00) - Welcome to The ADHD Podcast (03:42) - Introducing Aron Croft (07:56) - The Four Ps for ADHD (15:02) - The Round-Robin (35:23) - Prioritizing the Me-Fit (39:10) - What if you're not an entrepreneur (42:12) - Learn More ★ Support this podcast on Patreon ★

Chris, Cam, Drew, Oliver, Shawn, Rob, Jess and Lanci give their takes on what the Bruins did at the trade deadline, as well as other moves around the league. Gambling Problem? Call 877-8-HOPENY/text HOPENY (467369) (NY), If you or someone you know has a gambling problem, crisis counseling and referral services can be accessed by calling 1-800- GAMBLER (1-800-426-2537) (CO/IL/IN/LA/MD/MI/NJ/PA/TN/WV/WY), 1- 800-NEXT STEP (AZ), 1-800-522-4700 (KS/NH), 888-789-7777/visit ccpg.org (CT), 1-800-BETS OFF (IA), visit OPGR.org (OR), or 1-888- 532-3500 (VA). 21+ (18+ NH/WY). Physically present in AZ/CO/CT/IL/IN/IA/KS/LA(select parishes)/MD/MI /NJ/ NY/PA/TN/VA/WV/WY only. VOID IN OH/ONT. Eligibility restrictions apply. Free bets: Valid 1 per new customer. Min. $5 deposit. Min $5 bet. $200 issued as free bets that expire 7 days (168 hours) after being awarded. See terms at sportsbook.draftkings.com/basketballlterms. No Sweat: Valid 1 per customer. NBA same game parlay bets only. Min 3-leg. First bet after opting-in must lose. Paid as one Free Bet Token based on amount of initial losing bet. Max. wagering limits apply. Free Bets expire 7 days (168 hours) after being awarded. Ends at the start of the final NBA game each day when offered prior to 2/16/23 @ 10PM ET. See terms at sportsbook.draftkings.com/basketballterms Learn more about your ad choices. Visit megaphone.fm/adchoices

Chris, Cam, Drew, Oliver, Shawn, Rob, Jess and Lanci give their takes on what the Bruins did at the trade deadline, as well as other moves around the league. Gambling Problem? Call 877-8-HOPENY/text HOPENY (467369) (NY), If you or someone you know has a gambling problem, crisis counseling and referral services can be accessed by calling 1-800- GAMBLER (1-800-426-2537) (CO/IL/IN/LA/MD/MI/NJ/PA/TN/WV/WY), 1- 800-NEXT STEP (AZ), 1-800-522-4700 (KS/NH), 888-789-7777/visit ccpg.org (CT), 1-800-BETS OFF (IA), visit OPGR.org (OR), or 1-888- 532-3500 (VA). 21+ (18+ NH/WY). Physically present in AZ/CO/CT/IL/IN/IA/KS/LA(select parishes)/MD/MI /NJ/ NY/PA/TN/VA/WV/WY only. VOID IN OH/ONT. Eligibility restrictions apply. Free bets: Valid 1 per new customer. Min. $5 deposit. Min $5 bet. $200 issued as free bets that expire 7 days (168 hours) after being awarded. See terms at sportsbook.draftkings.com/basketballlterms. No Sweat: Valid 1 per customer. NBA same game parlay bets only. Min 3-leg. First bet after opting-in must lose. Paid as one Free Bet Token based on amount of initial losing bet. Max. wagering limits apply. Free Bets expire 7 days (168 hours) after being awarded. Ends at the start of the final NBA game each day when offered prior to 2/16/23 @ 10PM ET. See terms at sportsbook.draftkings.com/basketballterms Learn more about your ad choices. Visit megaphone.fm/adchoices

This morning on Am I Wrong, Chuck called in for Am I Wrong about buying his friends prized Jetski because of his financial situation.. Is he wrong for buying it instead of lending the money? We also had a missed connection that included flipping the bird and speaking of birds, Winner Winner Chicken Dinner was the topic for Round Robin!

Today we talk about preserving food, chemical spills, self defense, fitness, and more with Joel Ryals of FortressK9, Ed Hubbell of the Iridium Group, Stephen Boone of SHTF Fitness, and Angela Allard of Grumpy Acres Farm. Today's Sponsor: The Homestead Consultant TheHomesteadConsultant.com In today's chaotic world there is a major disconnect between our land, our food and our community. At The Homestead Consultant, we believe that the solution to bridging these gaps starts in the individual home. By taking practical steps toward food production, land restoration, independent education and rational preparedness we can begin to restore these disconnects. That is where The Homestead Consultant comes in. We will work closely with you to evaluate your property with your unique goals, vision and resources in mind. Using a restorative,  permaculture lens we will help you design a holistic and actionable gameplan to help make your homesteading dreams a reality. Our sincere desire is to see all of our clients become more connected and resilient! Find out more about our services by visiting our website at TheHomesteadConsultant.com  LFTN listeners get a special offer of a free 20 minute initial phone consultation.  Featured Event: The Self Reliance Festival, March 25 & 26 Show Resources Special Operations Equipment Living Free in Tennessee FortressK9 The Iridium Group SHTF Fitness Grumpy Acres Farm Main content of the show Original Video was recorded here: https://youtube.com/live/mIFh-hVnjto Make it a great week! GUYS! Don't forget about the cookbook, Cook With What You Have by Nicole Sauce and Mama Sauce.  Community FreeSteading Group: https://freesteading.com/groups/living-free-in-tennessee/ Mewe Group: https://mewe.com/join/lftn Telegram Group: https://t.me/LFTNGroup Odysee: https://odysee.com/$/invite/@livingfree:b Twitter: @nicolesauce IG: @nicolesauce Facebook: https://www.facebook.com/LivingFreeInTN  Resources Membership Sign Up Holler Roast Coffee Harvest Right Affiliate Link

List season has been in full swing on our site, as well as across the metal writing sphere, and we still have more fun to be had there. And yes, we love list season in case you were wondering. For this episode our maestro of the mic, Buke, pulls together Hera, Ian, Vincent, Angela, and two new members who have jumped in with both feet: Colin and Dan M., to discuss some of their favorites from 2022 and of course a lot of catching up was had since the last time these folks chatted together. The format “loosely” follows a round robin style of five picks with some honorable mentions thrown in for good measure. From there the conversation is all over the place as we do on these episodes of The Nine Circles Audio Thing. Be sure to pull up a chair and your favorite drink(s), this one is a bit longer than our norm.Big thank you's are in order to our excellent staff, PR folk, bands, labels, and our dear listeners and readers for a HUGE 2022! Keep an eye out for a few more Best of 2022 lists to come, I assure you there are several you'll want to take note of. See you here, and on the site, throughout 2023, cheers.9C LINKS:  Website  |  Facebook  |  Twitter  |  Instagram

Beim Sampling gibt es viele Fachbegriffe. So würde ich gefragt, was Round Robin bedeutet. Neben Velocity Layern ist das einer der wichtigsten Parametern. Warum das so ist, zeige ich anhand von einigen praktischen Beispielen. YouTube: https://youtu.be/4TglYhhOaxM Orchestra Guide - Perfekte Orchester-Mockup-Balance: https://www.sounth.de/orchestra-guide/ Hier das Episoden-Archiv als PDF runterladen: https://www.sounth.de/media/podcast/sounTHcast.pdf Facebook-Gruppe: https://www.facebook.com/groups/309751689699537/ Wenn ich Dir helfen konnte, freue ich mich über einen virtuellen Kaffee ;-) https://ko-fi.com/timheinrich Fragen und Anregungen an sounthcast@sounth.de Website Tim Heinrich: https://sounth.de

#raulvaldes #tigreslicey #lidomRaúl Valdés, veterano lanzador cubano-dominicano que está con Tigres del Licey en el Round Robin de la LIDOM, habló con Dayana Villalobos Dimare sobre las diferencias de esta temporada 2022-23. Además, volvió la revivir la Serie del Caribe 2022.Las redes sociales de nuestros locutores

Show Notes episode 93 2022 Round Robin Storytelling finale Co-hosts: Cheryl McNeil Fisher and Kathy King How could we end 2022 without another round robin? This is the last one for 2022 ! We're trying to incorporate some of the suggestions and insights we've learned across the past two years of round robin creativity and hilarity! But wait! There's more! Listen to discover what Cheryl and Kathy unleash as a new variety of Round Robbins in this episode 93! Yes this episode features one of our greatest hits — the Round Robin Storytelling episodes have become a phenomenon of their own. Not only do people enjoy participating, but also listening to these creek heat of improvisational storytelling events. are you ready for the newest innovation? Sure you are! Click and listen now. Writing Opportunities Writing prompts, contests, Open Mic events, and more from Writing Works Wonders!! All details available at our Contact Us Portal Contact Information: Website www.WritingWorksWonders.com Main Book Webpage https://writingworkswonders.com/book/ Podcast email info@WritingWorksWonders.com Phone or text 347-467-0221 (Not a toll-free number) Sign up for free writing prompts, Zoom links, contest and special events! Click to sign-up for our Email List Support this podcast through our Tip Jar or Patreon. Please Follow Us- We want to be social ;) Facebook @WritingWorksWonders Twitter @WritingWksPod Cheryl McNeil Fisher - Author, Keynote Speaker, Educator and Coach. Seminars and Workshops Adults and Children. https://www.cherylmcneilfisher.com/ Submit your work for publication on our site. Guest blogging, poetry, short stories at: https://www.livinginspiredfullyeveryday.com/ Dr. Kathleen P. King- Author, Author Coach, Speaker & Professor (Ret.). http://www.transformationed.com/ Interested in technology and adult learning? Check out Dr. King's newest book from Wiley: http://bit.ly/King2017 Streaming and Rebroadcasts We are proud to be hosted by ACB Community, streamed live on ACB MEDIA Channel 5, and rebroadcasted on 986TheMix.com Internet radio station and ACB Media. Find more resources and episodes for this podcast at https://writingworkswonders.com/ Support Writing Works Wonders: Advancing Beyond Barriers by contributing to their tip jar: https://tips.pinecast.com/jar/writing-works-wonders Find out more at https://writing-works-wonders.pinecast.co Check out our podcast host, Pinecast. Start your own podcast for free with no credit card required. If you decide to upgrade, use coupon code writing for 40% off for 4 months, and support Writing Works Wonders: Advancing Beyond Barriers.

#gigantescibao #tigreslicey #lidom Los Gigantes del Cibao y los Tigres del Licey se enfrentan en esta fecha del Round Robin de la LIDOM. Te traemos una previa donde analizamos las alineaciones, los lanzadores abridores y le damos un vistazo a lo que puede pasar en este choque de alta importancia para la liga de beisbol dominicana.

In this special episode of Gotham Outsiders, we interview writer of Hulking & Wiccan, Batman: Urban Legends, Batman: The Enemy Within, and more, JOSH TRUJILLO! We talk about Josh's currently-releasing BLUE BEETLE: GRADUATION DAY, DC's Round Robin competition, TimKon, Bluepulse, and other Bat-things.  Josh: @losthiskeysman; joshtrujillo.com  Chris: @themythofpsyche TJ: @troyfin2 Gotham Outsiders: @GothamOutsiders Music and edited by: Nick Oyler Logo: Aliza Layne

On this episode of The Wrestling Delorean Podcast, Mike Dinero starts a whole new journey! He goes all the way back to February 2002 to the very first Ring Of Honor show, The Era of Honor Begins!Hit That Download Button and Ride With The Wrestling Delorean! Watch Live On Youtube https://www.youtube.com/c/CircleOfDebate Follow On Twitter @W_DeloreanPod and @Circleofdebate Instagram @WrestlingDeloreanPod and @Circleofdebate Official Twitch https://www.twitch.tv/thewrestlingdelorean

La Concejalía de Deportes del Ayuntamiento de Rincón de la Victoria, a través de la Escuela Municipal de Ajedrez y el Club Ajedrez Victoria han organizado un Torneo Infantil de Navidad que se celebrará el próximo lunes 19 de diciembre. El evento deportivo tiene como finalidad “continuar fomentando la práctica de esta actividad entre nuestro alumnado, y que participen en un torneo en el que puedan poner en práctica todos los conocimientos adquiridos”, explica el edil de Deportes, Antonio José Martín (PP). “Estamos muy satisfechos con el funcionamiento de esta Escuela Municipal de Ajedrez que dispone de plazas sin límite de edad”, añade. Por su parte, el alcalde de Rincón de la Victoria, Francisco Salado (PP), ha destacado “el carácter intergeneracional de este deporte de larga tradición como es el ajedrez que impulsamos desde la escuela municipal durante todo el año y mediante nuevas iniciativas con torneos y otras actividades coincidiendo con la época de Navidad”. Sobre el torneo, el presidente del Club Ajedrez Victoria, Pablo Torrubia, ha explicado que “se trata de un torneo similar a cualquier otra convocatoria oficial que contará con la participación de una docena de jugadores con edades comprendidas entre los 4 y 12 años”. El torneo se establecerá por sistema suizo entre 4 y 5 rondas. Si el número de jugadores presentes fuera insuficiente para dichas rondas, los emparejamientos se realizarán por sorteo o aplicando sistema Round-Robin. El ritmo de juego es de 10 minutos más 5 segundos de incremento por jugada y jugador. Se establece un tiempo de demora a caída de bandera para los alumnos que hayan comunicado un retraso en la llegada al comienzo de la Ronda 1, después de ese tiempo perderá la partida el jugador ausente. Se realizará una clasificación inicial aplicando la lista de ELO FADA vigente a la fecha de comienzo del torneo y en caso de su carencia por orden alfabético del primer apellido. Habrá medallas para los tres primeros. La apertura de puertas, llegada y confirmación de jugadores está prevista a las 17:30 horas. Seguidamente se impartirá una charla técnica sobre el desarrollo de las partidas y normas de juego. Tras publicarse los emparejamientos dará comienzo la primera ronda, que podría llegar hasta cinco en caso de ser necesaria.

Read along to practice your English and to learn the English phrases ON THE FAST TRACK and FAST-FORWARDIn this English lesson, I wanted to help you learn the English phrase, on the fast track. Now, there's two ways to learn English. You can study at home on your own time or if you wanna be on the fast track, you can move to an English speaking country and live with an English speaking family, then you would definitely be on the fast track. So, this phrase then means to take a route that's faster. Sometimes someone starts working at a company and they do a really good job, and they work extra hours, and they just really want to get a promotion, you would say that they are on the fast track if they manage to do that. They impress their boss by working long days, doing things successfully and just making the company better. You would say, "Oh, they're on the fast track to getting a promotion." So, anytime you're on the fast track, it means you're going faster than other people.WANT FREE ENGLISH LESSONS? GO TO YOUTUBE AND SEARCH, "BOB THE CANADIAN"If you enjoy these lessons please consider supporting me at: http://www.patreon.com/bobthecanadianThe other phrase I wanted to teach you today is the phrase fast-forward. Now, this is a button that you use to speed up a video but we also use this when we talk about our lives. I could say this, five and a half years ago, I only had a few subscribers, but fast forward a few years and I had a hundred thousand subscribers. Fast forward again and a few years later, I had over a million. This is on my other channel, by the way not this channel, this channel is cool and small and that's the way I like it. So, you can use the word fast-forward to talk about events in your life as well.So to review, when you're on the fast track, it means you are progressing in a faster way than other people at something like learning English or getting a promotion at work. And when you use the phrase fast-forward, you can use this to talk about different parts of your life. When I was a kid, I didn't like pumpkin pie but fast forward a few years and it became one of my favorite kinds of pie. So you can just use the phrase to talk about an advancement in time.But hey, let's look at a comment from a previous video, this comment is from Giovanni. "Yeah, I'm pulling for Canada this year, since I was born, Canada hasn't been qualified and this year you guys did. Sure thing, I'm stuck to the sofa this afternoon to watch the match, and then I'm responding a little while later saying I was sad when we lost to Belgium yesterday, oh well, c'est la vie."So, thanks Giovanni for that. Yes, the World Cup is happening. Yes, I did actually watch a little bit of it yesterday. We watched it at school. So, we were able to get the match on the screen. We watched a little bit of the match between Canada and Belgium and we were sad when they scored a point on us and then we were sad at the end of the game when we lost. But hey, it's nice that, I think they're in Round Robin play right now, where you play a number of teams in your pool. So, hopefully when Canada plays its next game, we can have a little more success.So anyways, I don't have a lot more to talk about today but I will just reflect on my week. My week so far has been really busy, but as of today, I don't have as much to do. But the funny thing is, when I'm busy, I get more work done and when I don't have a lot to do, I get less done. I sat and talked to Jen this morning for half an hour instead of getting this video done right away. I kind of moseyed outside. In English when you say that you mosey somewhere, it means you go there really, really slowly. For some reason, on days where I have a million things to do, I get up, I get at it, I start early, I get as mSupport the show

Chris and Troy chat with Blue Beetle: Graduation Day writer Josh Trujillo--the writer discusses the inception and revival of the series after it lost out in DC's Round Robin. Trujillo also talks about the cultural significance of Jaime and how this story ushers in a new era for Jaime and his supporting cast.

Welcome to a mini-series of episodes on experiments that changed fire science. In the first episode, we cover the a prioiri and posteriori modelling task within the Dalmarnock Fire Experiments programme carried out by the BRE Centre for Fire Safety Engineering at the University of Edinburgh. The whole experimental programme was led by prof. Jose Torrero. In this episode, we focus on two modelling tasks within the programme, that lead to a major shift in how modern modelling tools are used in fire engineering.To learn more about the testing programme please visit the BRE Centre for Fire Safety Engineering and the proceedings of the FIRESEAT Symposium 2007 which covered the study in depth. Guillermo's blog article about blind vs open fire modelling can be found here. The major papers discussed within this episode are:Round-robin study of a priori modelling predictions of the Dalmarnock Fire Test OneModelling of the Growth Phase of Dalmarnock Fire Test OnePosteriori Modelling of Fire Test One

Hey, y'all! We are back with part four of the Huey Long Story: More Huey More Problems. In this episode we cover the only major thing that happened in Huey in 1929: his impeachment.

100: The jury is in! Round robin reading simply isn't effective. Try one of these alternatives, and watch your students' oral reading fluency grow!Click here for the show notes for this episode.

With the WTA Finals having reached the last four stage, David and Matt come together to wrap up the Round Robin action which saw some surprising results (Maria Sakkari finding her best form) and some unsurprising ones (Iga Swiatek serving up bagels). There's chat about Sakkari playing with freedom again, Swiatek dominating everyone, a gripping and dramatic match between Caroline Garcia and Daria Kasatkina with semi-final qualification on the line, and the fact that Jessica Pegula and Coco Gauff combined for a 0-9 win-loss record across singles and doubles. Did they just hit the wall? How will this week affect USA in the Billie Jean King Cup Finals next week? And do Pegula and Gauff need to reconsider the amount of doubles they play next year? We also preview the semi-finals and discuss the tricky situation which the WTA finds itself in regarding a host venue for this event after a week of disappointing crowds in Fort Worth. Friends of the Tennis Podcast help us to produce the show year-round, and receive exclusive access to bonus podcasts throughout the year, including Tennis Re-Lived, listener questions, and Grand Slam review shows. Become a FriendSign up to receive our Newsletter (daily at Slams and weekly the rest of the year, featuring Matt's Stat, mascot photos, predictions, and more) Follow us on TwitterFollow us on InstagramCheck out our ShopRead our profile in The New York Times Hosted on Acast. See acast.com/privacy for more information.

Let's use a round robin bet to capitalize on these NFL underdogs! #nfl #nflnews #roundrobin #nflbets #nflpicks #sportsbetting Here's how to support the show and follow me on social media: ?? Locals: https://gameon.locals.com/ ??Youtube Main Channel: https://www.youtube.com/channel/UCdw1... ?? Youtube Live Channel: https://www.youtube.com/channel/UCZCN... ?? Twitter: https://twitter.com/gameon_picks ?? PayPal: https://www.paypal.com/paypalme/gameo... ?? Instagram: https://www.instagram.com/gameonpodcast/ ?? Rumble: https://rumble.com/c/GameOnShow ?? Odysee: https://odysee.com/@gameon:50 ?? Gettr: https://gettr.com/user/gameon ?? Cash App: $williamyordy15 ?? Venmo: @William-Yordy Want to join a new bookie? Here's some referrals: ?? Betonline.ag: https://www.betonline.ag/?RAF=7BE5IAB... ?? MyBookie.ag: https://mybookie.ag/signup/?reff=MB85...

This Halloween we continue to howl at the moon with 5 more songs about those scary wolfmen (and wolfwomen)! We start the horrific cavalcade with "Rockin' Werewolf" by Robbie the Werewolf from 1964 (2:38). Just try and get the chorus of this fun strummin' folk number out of your head, but keep the crucifixes away while Robbie is rockin' ... wait, is that only for vampires? Our second song is a Shatnerian soliloquy on lycanthropic transformation: "Wolfman" by The Muleskinners (38:29). Listen in on your party line to the affecting monologue of a man trying to hold it together before he goes feral. The third terror is "I'm The Wolf Man", purportedly by Round Robin (1:03:47). The wolfman growls in this one have a distinctly Western flavour to them, but more importantly, there's FUZZ! And there's also FUZZ! in our fourth frightener, "I Was a Teenage Werewolf" by The Cramps (1:24:20). Lux Interior's psychobilly gasps, gross groans and blown gaskets make this tale of pubescent permutation abominally believable. The final act comes with the fifth song: "Killing the Wolfman" by The King Khan and BBQ Show (1:52:52). Weldon has some insider information on this tasty piece of twang, but the real question is ... will the Wolfman be resurrected in time for Halloween 2023? Stay tuned, Pastronauts ... (distant howls coming from the woods...)

The meaty, delicious center of the college football betting season is upon us, and with MACtion looming on the horizon Action Network experts Michael Calabrese and Mike Ianniello return to talk all things gambling in the Group of 5 conferences. Together they build their G5 Hi-5 Round Robin, and give a little love to our beloved UTEP Miner Nation. And for any listeners who haven't signed up yet at BetMGM, remember to use bonus code ACTION at sign-up to receive your $1,000 risk-free first bet.

Today I've got a room full of amazing women that are sure to inspire you.  I love being in community with them and I know you are going to love getting to know them.  What do we all have in common? We are co-authors in a new book called UNLEASH HER!    You might hear a lot of buzz around this book and these women, and I'm humbled and honored to be in their circle. My chapter is called Dig Deep.  It is about defining moments that I feel led me to start binge eating, overeating, secret eating, people pleasing and overall just using food to numb by emotions.   I could have written hundreds of them, but I felt led to choose a few.  It's been interesting how I've already seen confirmation that I picked the right few.   I hope that when you read our book, you'll be changed.  Either be set free, knowing you're not alone or gain strength to make the changes you need to make.  Most importantly you'll find the help or support that you need.   Each one of these women share from their heart in their chapters and in this interview. When we first get started… You can hear our nervousness and unsteadiness.  But just like every episode, it's real and just normal women learning, growing and helping others.   However, as these ladies start opening up, you literally hear the nervousness fall off and their passion just shines. Normally, my episodes are just 20 minutes, this one is is almost 60.  There was just no place to split it. So you may need to pause and come back to it, but don't miss a minute.   I know you will be as blessed by them as I have been!         Meet just a few of my co-authors!   Bella Bliss, California Chapter:  Be SEEN. Be HEARD. Be LIMITLESS @yoursoulpassion on social media Email: yoursoulpassion@gmail.com   Cheri Dixon, Houston, TX. Chapter: Not Crazy...Just Wanting It All! Cheri Dixon, A Girl and Her Dog Coaching and Consulting  Podcast - Strong: Inside and Out - Apple podcast and Spotify     CJ Boyd, Wisconsin Chapter: Pull the Damn Ripcord Already: No one else is coming to save you! Meet CJ FACEBOOK bit.ly/KangenConsciousWater bit.ly/CWCFBGrp bit.ly/Consciousbiz   Elissa Fucci,Las Vegas, NV Chapter:   My Scars and Wounds Don't Define Me Any More elisafucci.coaching@gmail.com Elisa Fucci Coaching INSTAGRAM   Megan Windhorst, Omaha NE Chapter:  Believe In You  INSTAGRAM Coachmegannicole.com FACEBOOK   Each of us would like to thank you for your support.  Whether you buy the eBook on Amazon for .99, leave us a book review or you get your signed book from each of the authors, you buy it at Walmart, Target or you meet one of us at a Barnes and Noble book signing, WE THANK YOU!   If you are interested in getting a personally signed book from me, order it by following this link. Make sure to include a note if it's gift so I'll know who to write a personal message to.     If an author's chapter speaks to you and you know someone, you'd love to send it to, reach out to any of us and we will get a special copy to you!   Here's how you grab your eBook version of  Unleash Her Copy TODAY for only $0.99!! Unleash Her Amazon ebook link:  USA: https://www.amazon.com/dp/B0BK2ND6MS    United Kingdom: https://www.amazon.co.uk/dp/B0BK2ND6MS    Germany: https://www.amazon.de/dp/B0BK2ND6MS    France: https://www.amazon.fr/dp/B0BK2ND6MS    Spain: https://www.amazon.es/dp/B0BK2ND6MS    Italy: https://www.amazon.it/dp/B0BK2ND6MS    Netherlands: https://www.amazon.nl/dp/B0BK2ND6MS    Japan: https://www.amazon.co.jp/dp/B0BK2ND6MS    Brazil: https://www.amazon.com.br/dp/B0BK2ND6MS    Canada: https://www.amazon.ca/dp/B0BK2ND6MS    Mexico: https://www.amazon.com.mx/dp/B0BK2ND6MS    Australia: https://www.amazon.com.au/dp/B0BK2ND6MS   India: https://www.amazon.in/dp/B0BK2ND6MS   As always you can reach me by email, Facebook messenger or by booking an appointment with me on coachkeatha.com   Until next time friends.....   It's never too late to lose weight and feel great!

With Kent State now officially banned from the G5 episodes for the rest of the season, Action Network hosts Michael Calabrese and Mike Ianniello can buckle down and focus their attention elsewhere. After their second sweep of the G5 Hi-5 Round Robin in the last 3 weeks, the boys are riding high as they give out another round of best bets, underdogs and another G5 round robin.

Welcome to The Knowledge of Nothing podcast! (S3:E13) In this week's show, the KONMen are lost without "The Maestro" Wayne guiding the ship. This mish mash of an episode has a little bit of everything. Some KONtakes and a Round Robin of Pop Quickies. Tony flip flops in spectacular fashion on She-Hulk! Brian's wife, the lovely Melda, also chimes in on the Disney+ series. The KONMen also chat about Blink-182's reunion and how K.E.V.I.N. is behind all the evil in the world right now. We follow that up with a Round Robin of Pop Quickies. Each of the remaining KONMen ask each other questions about life, love and Snickerdoodles. Please download and listen! Listen: https://the-knowledge-of-nothing.captivate.fm/listen Contact us at info@theknowledgeofnothing.com and follow us on our socials! https://www.facebook.com/theknowledgeofnothing/ https://www.instagram.com/theknowledgeofnothing/ https://twitter.com/TheKONMen1

Release Date: October 18, 2010A letter to Box 13 puts Dan Holiday in the middle of a complicated blackmail scheme.Original Air Date: December 22, 1948Support the show monthly at patreon.greatdetectives.netSupport the show on a one-time basis at http://support.greatdetectives.net.Mail a donation to: Adam Graham, PO Box 15913, Boise, Idaho 83715Take the listener survey at http://survey.greatdetectives.netGive us a call at 208-991-4783Follow us on Instagram at http://instagram.com/greatdetectivesFollow us on Twitter @radiodetectives

Today on Bo Snerdley's Rush Hour, it's a Round Robin conversation about The Heritage Foundation based out of Washington D.C, who's mission is to formulate and promote public policies based on the principles of free enterprise, limited government, individual freedom, traditional American values, and a strong national defense. In addition, Bo Spoke to Kevin Roberts who is the president of the foundation. Also Mike Howell who is the Director, Oversight Project ,and Derrick Morgan who is the Executive Vice President of the foundation. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today on Bo Snerdley's Rush Hour, it's a Round Robin conversation about The Heritage Foundation based out of Washington D.C, who's mission is to formulate and promote public policies based on the principles of free enterprise, limited government, individual freedom, traditional American values, and a strong national defense. In addition, Bo Spoke to Kevin Roberts who is the president of the foundation. Also Mike Howell who is the Director, Oversight Project ,and Derrick Morgan who is the Executive Vice President of the foundation. Learn more about your ad choices. Visit megaphone.fm/adchoices

Three big named players officially announced their retirements this morning. The Jets have stripped Wheeler of the C. Couturier injury, MacKinnon contract, PTOs, and more.Follow: @dropping_glovesSubscribe: youtube.com/johnscotthockeyMerch: https://violentgentlemen.com/products/dropping-the-gloves-tee Violent GentlemenDropping the Gloves TeeLive the Hockey lifestyle with the Dropping the Gloves Tee from our Men's T-Shirts collection! More available at violentgentlemen.com! Hosted on Acast. See acast.com/privacy for more information.

Programs from the Group of 5 conferences have lost 22 of 23 matchups straight up against Power 5 opponents so far this year. But for Action Network college football experts Michael Calabrese and Mike Ianniello, that's right where they want them to be! Value plays lurk in the shadows this week as the guys dive into their MAC teams to target, a cagey Houston Cougars team, their G5 Hi-5 Round Robin and so much more... all in under 30 minutes! 

Team Canada and Ohio State Forward, Emma Maltais joins Game Play to chat about looking up to Marie Philip-Poulin, her reaction to winning gold at the Women's World Championship, how Canada bounced back after their round-robin loss to the United States and more.

I've had all types of guests on this podcast. Friends Colleagues  Coaches Clients The list goes on. That's why today- I am so excited to add another category to that list. Students! That's right- this is the first of many student spotlight episodes where I invite my Fractional Freedom consulting students to come on the show and talk about their experience learning from me. Today, I was joined by Ana Micka, Founder of Round Robin Marketing Collective. We talked about: Her work consulting health and life coaches Why she joined my program  Where she sees herself in a couple of years Make sure to tune in to hear Ana talk about her new wool stand! Learn more about Ana here: https://roundrobinmarketing.com or on Instagram: https://www.instagram.com/ana.c.micka.  If you've been loving the Next Level Leap podcast, would you just stop what you're doing right now and give us a quick review? In the Library Tab under Shows, click on the podcast subscription and scroll down to Ratings & Reviews to give it a star rating. Click Write a Review, if you wish, then click Send when finished. We appreciate your review so much. Thank you!

On the rebirth edition of The Post It Notes we talk about the State Football rankings for both 11-man and 8-man, plus we run down day 1 of the City soccer Round Robin hear from Bishop LeBlond Senior Adan Seiter and Central coach Craig Vulgamott, plus we run down all the rest of the scores from around the area! This show is also sponsored by the fine folks at Tolly & Associates! --- Support this podcast: https://anchor.fm/cliffnotespod/support

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

Shannon Pable, Erik Lund, Ryan McCann, and John Hearne joined me for a panel discussion. --- Support this podcast: https://anchor.fm/lee-weems/support

Consider this: whenever something “negative” happens to us, there's a flip side that's potentially positive.So, if you're going through a tough time right now, take heart. Good things can come from it. This goes for the people you know and care about, as well.Today, to give you inspiration to persevere through your tough time, April shares her “Round Robin of Reframes”.If you are struggling now, listen to this episode of the Winning Mindset Mastery Podcast. It will give you a powerful pick me up!And it will open your mind as to what's truly possible when you win at reframing!

The guys close out the show talking everything from more offensive line questions to why Scott disagrees with Moe's take on In-N-Out Burger. Yes, more food takes from Mr. Moton along with what to watch for in Preseason Week 1 vs. the Vikings. Subscribe: link.chtbl.com/SNBToday Merchandise: https://www.teepublic.com/stores/silver-and-black-today To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

WHY IS IT WORTH IT? This really is a teaser episode, but I wanted you to hear this fresh off the presses...or out of the sound booth? What do you call it anyway?  You get to hear from four of my healthy friends that between the 5 of us, we have lost 330 POUNDS!  You'll hear all the details of each of their journeys in episode 12, but today in episode 10, I'm sharing the answer to the question  I asked them at the end of the interview.... Tell the one listener that has armlength list of excuses "WHY IT IS WORTH IT"       Are you that one listener? Sister you are worth it and you deserve to live this life as the absolute best version of you.   Are you ready to join us?  You can schedule a free appointment with me and let's see how I can help you get your health, happiness and confidence back! Head on over to FaceBook and see my healthaversary post!               In a clinical study, the group on the Optimal Weight 5 & 1 Plan® lost 10x more weight than the self-directed group. Average weight loss on the Optimal Weight 5 & 1 Plan is 12 pounds (5.4 kg).

Steve Kaufmann returns this week in place in Jack Farmer this week on "Draped in Gold." We got an update on the NXTUK Championship, and the Womens Division on both sides of the pond was front in center! --- Support this podcast: https://anchor.fm/drapedingold/support

Sean Green (@SeanTGreen) recaps his picks from last night and then give out his three favorite MLB picks for tonight. Plus it's 'Thirsty Thursday' so time to put together a three team round robin parlay. As always ‘The Juice' is brought to you by BetMGM promo code JUICE150.

Sean Green (@SeanTGreen) recaps yesterday's best bets and gets into his MLB picks for Thursday. Sean gives out his favorite three MLB bets and his 'Thirsty Thursday' round robin parlay. As always 'The Daily Juice' is brought to you by BetMGM promo code JUICE150.

In this episode of the "Chicken Dinner" podcast, Sam Panayotovich discusses The Bartender foaming at the mouth and NFL playoff parlay bets. Special guest Sean Green from the Sports Gambling Podcast joins the show to talk about the wide-open NFC East and a 10-to-1 divisional sleeper. SUBSCRIBE! "Chicken Dinner" on iTunes, Google Play, Spotify, Stitcher, TuneIn, and wherever else you listen to your podcastsFOLLOW! @chickenxdinner @spshoot

Holmberg's Morning Sickness - Thursday July 14, 2022

Sean Green (@SeanTGreen) gives out his best MLB picks, a WNBA pick and a Three Team Round Robin for 'Thirsty Thursday!' As always The Daily Juice is brought to you by BetMGM promo code Juice150.

We start the show will a good ol' fashioned Rudy's Round Robin then its off to discussing God of War Ragnarok coming this year! Later we get into - Valkyrie Elysium's release for September and November plus a bonus game?!? - Sea of Stars and Forspoken Delays - Phantasy Star Online 2: New Genesis heading to PlayStation - A big Bungie lead joining 343 to help with Halo and more!

On this episode full of winners, Dan and Jake interview the DC Mech writer, Kenny Porter, and and artist, Baldemar Rivas! They discuss the upcoming DC Mech coming July 26th, 2022. Jake gets to gush over Gundam as one of the inspirations for the series. We seriously recommend you check out this new six issue series after listening to this DC Mech interview. Also discussed is the DC Round Robin, a tournament that sees a new mini series chosen by fan voting. This contest been going on since 2021! Baldemar was on the first winning creative team as artist for the series Robins, with Tim Seeley, Robins is available now on the DC Universe Infinite app and in printed single issues. Kenny Porter is the winning writer for the 2022 Round Robin with his pitch for Superboy, art by Jahnoy Lindsey!. This series has not been published yet so keep your eyes on upcoming solicitations to know when its available! After both contests concluded in victories Jake supported he proudly admits to being smug and will continue to be smug when his top pick wins next year's Round Robin. Other titles you can pick up from our guests: Kenny Porter: Fearless from Scholastic, Yakuza comic from Sega, Barnstormers from Insight Kids, Dog Days of Summer, Batman Urban Legends, Comics Cursed Cavalcade, A Very Dc Halloween, New Year's Evil, The Doomed and the Damned, Superman Man of Tomorrow all out from DC Comics. Baldemar Rivas: Unearth out from Image comics, Robins DC Comics, and other projects visible at http://baldemarrivas.com Oh and to end this description on an important note. Sandwiches were unique choices and our guests should feel proud of that and their stellar first issue of DC Mech so check out the episode and the issue when it drops so we can talk about it!

Listen in to hear some fun questions asked, and our best answers given! Thank you for listening, sharing, rating, reviewing & as always sending in your topic requests!! xoxo --- Support this podcast: https://anchor.fm/entrepreneurial-juggernaut/support

This week the podcast was recorded in London and Chris & Rosie got a taste of office life! The pair discuss a recent photo shoot, an incident on a train and bad customer service. There's some Sandra gossip, the weekly beefs and outstanding QFTP's. Enjoy! See acast.com/privacy for privacy and opt-out information.