Podcasts about Sid Caesar

Join Lionel on "The Other Side of Midnight" for a mind-bending ride through science, cinema, and the delightfully bizarre! In this episode, Lionel explores the eerie interstellar plasma "music" captured by Voyager probes and decodes the mystery of the Higgs Boson using a VIP party analogy. We also dive deep into Hollywood nostalgia, discussing the psychological terror of Psycho's soundtrack, the brilliant, clean comedy of Sid Caesar, and why Bing Crosby was the ultimate pop-culture superstar. Plus, expect riveting discussions on near-death portals and a caller's bizarre encounter with a tiny, camera-ready posing spider. Put down your gummy bears and prepare to have your mind blown by the universe! Learn more about your ad choices. Visit megaphone.fm/adchoices

Dr. Feelgood: The Shocking Story of the Doctor Who May Have Changed History by Treating and Drugging JFK, Marilyn, ElvisDoctor Max Jacobson, whom the Secret Service under President John F. Kennedy code-named “Dr. Feelgood,” developed a unique “energy formula” that altered the paths of some of the twentieth century's most iconic figures, including President and Jackie Kennedy, Marilyn Monroe, Frank Sinatra, and Elvis. JFK received his first injection (a special mix of “vitamins and hormones,” according to Jacobson) just before his first debate with Vice President Richard Nixon. The shot into JFK's throat not only cured his laryngitis, but also diminished the pain in his back, allowed him to stand up straighter, and invigorated the tired candidate. Kennedy demolished Nixon in that first debate and turned a tide of skepticism about Kennedy into an audience that appreciated his energy and crispness. What JFK didn't know then was that the injections were actually powerful doses of a combination of highly addictive liquid methamphetamine and steroids.Author and researcher Rick Lertzman and New York Times bestselling author Bill Birnes reveal heretofore unpublished material about the mysterious Dr. Feelgood. Through well-researched prose and interviews with celebrities including George Clooney, Jerry Lewis, Yogi Berra, and Sid Caesar, the authors reveal Jacobson's vast influence on events such as the assassination of JFK, the Cuban Missile Crisis, the Kennedy-Khrushchev Vienna Summit, the murder of Marilyn Monroe, the filming of the C. B. DeMille classic The Ten Commandments, and the work of many of the great artists of that era. Jacobson destroyed the lives of several famous patients in the entertainment industry and accidentally killed his own wife, Nina, with an overdose of his formula.https://amzn.to/4tIu6KjBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

TVC 723.4: Ed welcomes Barry Pearl, the award-winning actor, director, and producer known to musical lovers around the world as "Doody" in Paramount's iconic film Grease (1978), although Barry's association with Grease dates back to the early 1970s (and continues to this day). Barry is getting ready to direct a new stage production of I Love You, You're Perfect, Now Change, a witty, honest and affectionate look at modern love that is also the longest running revue in off-Broadway history. I Love You, You're Perfect, Now Change runs Wednesday, Feb. 18 through Sunday, Mar. 8 at the International City Theatre in Long Beach, CA. For tickets and more information, call (562) 436-4610 or go to InternationalCityTheatre.org. Topics this segment include how Barry learned the Viola Spolin method of improv while working with actor/director Howard Storm; why fearlessness is at the essence of all improvisational acting; and Barry's experience directing Sid Caesar in a stage production of Oliver! in the early 1970s. The International City Theatre is located at the Beverly O'Neill Theater at The Long Beach Convention & Entertainment Center 330 East Seaside Way, in Long Beach, CA 90802.

Gilbert and Frank visit the New York City apartment of “Roastmaster General” Jeff Ross to talk about some of his favorite roasts and roast jokes (he also couldn't resist the urge to roast his two interviewers). Jeff also recalls his friendships with showbiz icons Buddy Hackett, Bea Arthur, Sid Caesar and Milton Berle, including the time he was treated to a sneak peek of Uncle Miltie's legendarily large appendage. Also, Gilbert chimes in on his infamous performance at the Hugh Hefner roast and the “Aristocrats” joke that spawned a hit movie! Learn more about your ad choices. Visit megaphone.fm/adchoices

David Margolick is a journalist and author whose latest book is When Caesar Was King: How Sid Caesar Reinvented American Comedy.Co-hosts: Jonathan Friedmann & Joey Angel-Field Producer-engineer: Mike Tomren When Caesar Was Kinghttps://www.penguinrandomhouse.com/books/107565/when-caesar-was-king-by-david-margolick/ David's Wikipedia pagehttps://en.wikipedia.org/wiki/David_Margolick Amusing Jews Merch Storehttps://www.amusingjews.com/merch#!/ Subscribe to the Amusing Jews podcasthttps://www.spreaker.com/show/amusing-jews Adat Chaverim – Congregation for Humanistic Judaism, Los Angeleshttps://www.humanisticjudaismla.org/ Jewish Museum of the American Westhttps://www.jmaw.org/ Atheists United Studioshttps://www.atheistsunited.org/au-studios

Michele Lee joined me to discuss her podcast Knot Done Yet and her co-hosts Donna Mills and Joan Van Ark; her father being a makeup artist in the arts; watching early TV including Ed Sullivan & Sid Caesar; being on stage since age 17; having two careers pre (Herbie the Love Bug) and post Knots Landing; being on Broadway in Vintage 60; her dad said not to audition for How to Succeed in Business without Really Trying, she did and got the part; starring in The Comic with Dick Van Dyke and going to his 100th birthday party; Dick not understanding hate and still performing; a person's legacy; guesting on Laugh In, Love, American Style, The Love Boat, Hollywood Squares, Tattletales, and Alias Smith & Jones; loving Barry and being friends with Henry Winkler; Juie Harris; Knots Landing not intended to be a soap; her podcast not being political; realizing we're trying to form a More Perfect Union; Night of 100 Stars; seeing Hal Linden & Barbara Eden in Love Letters in their 90's; All Star Party for Joan Rivers; turning down Sinatra and their long friendship afterword

This conversation delves into the life and legacy of Sid Caesar, a pivotal figure in American comedy and television. David Margolick discusses his book, 'When Caesar Was King,' exploring how Caesar reinvented comedy while navigating personal and professional challenges. The discussion highlights Caesar's innovative contributions to television, his complex character, and the lasting impact he had on future generations of comedians.00:00Introduction to Sid Caesar's Legacy02:51The Evolution of Television Comedy05:47The Craft of Sid Caesar08:45A Balanced Portrait of Sid Caesar12:01Influence on Future Generations14:53Challenges and Changes in Comedy18:09Personal Struggles and Career Decline21:00Legacy and Lasting Impact ---------------------------Guest Information David Margolick Website Social Media: Instagram FacebookResources Mentioned in This Episode Book: When Caesar Was King Subscribe now to “Now I've Heard Everything” on Apple Podcasts, Spotify, or YouTube Leave a review and let us know your reactions Follow us on Tik Tok, Instagram. Blue Sky

Say hello to Imogene Coca, a mainstay of television's first golden age who delighted audiences over a career spanning four decades. Originally a Broadway actor and a headliner in Manhattan nightclubs, Imogene started her tv career with small roles before she was added to the cast of Your Show of Shows. Her work with co-star Sid Caesar is the stuff of legend, and it earned her both an Emmy in 1952 and a Peabody award in 1953. After that classic series wrapped, Imogene remained a popular guest star on variety shows and sitcoms, as well as an Emmy-winning reunion with the Your Show of Shows cast. She brought her career full circle in 1978 with a juicy (and Tony-nominated) role in the musical "On the Twentieth Century." As always, find extended clips below and thanks for sharing our shows. Want more Imogene Coca?   Some of the best comedy comes from the simplest of premises -- like the challenges of going out on Saturday night (the whole episode is great if you have time). https://youtu.be/MvZMP5d7_GA?si=8h7FkzwQnP_WqS3Y&t=330   Imogene's work with Sid Caesar was a big part of television's first golden age and this sketch about the circus shows why -- it's witty, fully developed, and shows off their comic chemistry.https://youtu.be/vNkO1uofb18?si=IarFnK_pW3yOONY9   Late in her career, Imogene found her way back to Broadway with a Tony-nominated performance in On the Twentieth Century, playing a religious zealot who just wants us to repent! https://youtu.be/B2My_BgcDfg?si=NA12vsONXQWoJenR

Meet celebrated NY Times columnist and author David Margolick whose latest project is a thorough and exceptional biography of one of the living legends of comedy.  David Margolick is the author of, “When Caesar Was King: How Sid Caesar Reinvented American Comedy.”  By the mid 1950's Sid Caesar and “Your Show of Shows” captivated millions of American TV watchers.  As he rose to super- stardom,  Sid fostered the careers of several larger-than-life comedy disciples including Carl Reiner, Mel Brooks, Larry Gelbart, and Neil Simon among others.  Sid's tumultuous personal life is examined closely.  Caesar was the quintessential sad clown whose climactic highs were often out done by crushing letdowns.  It's a fascinating look at genius, a book that I found impossible to put down!

How Sid Caesar Reinvented American Comedy. Get all the news you need by listening to WBZ - Boston's News Radio! We're here for you, 24/7. See omnystudio.com/listener for privacy information.

Doctor Max Jacobson, whom the Secret Service under President John F. Kennedy code-named “Dr. Feelgood,” developed a unique “energy formula” that altered the paths of some of the twentieth century's most iconic figures, including President and Jackie Kennedy, Marilyn Monroe, Frank Sinatra, and Elvis. JFK received his first injection (a special mix of “vitamins and hormones,” according to Jacobson) just before his first debate with Vice President Richard Nixon. The shot into JFK's throat not only cured his laryngitis, but also diminished the pain in his back, allowed him to stand up straighter, and invigorated the tired candidate. Kennedy demolished Nixon in that first debate and turned a tide of skepticism about Kennedy into an audience that appreciated his energy and crispness. What JFK didn't know then was that the injections were actually powerful doses of a combination of highly addictive liquid methamphetamine and steroids.Author and researcher Rick Lertzman and New York Times bestselling author Bill Birnes reveal heretofore unpublished material about the mysterious Dr. Feelgood. Through well-researched prose and interviews with celebrities including George Clooney, Jerry Lewis, Yogi Berra, and Sid Caesar, the authors reveal Jacobson's vast influence on events such as the assassination of JFK, the Cuban Missile Crisis, the Kennedy-Khrushchev Vienna Summit, the murder of Marilyn Monroe, the filming of the C. B. DeMille classic The Ten Commandments, and the work of many of the great artists of that era. Jacobson destroyed the lives of several famous patients in the entertainment industry and accidentally killed his own wife, Nina, with an overdose of his formula.https://amzn.to/4okPHoVBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

September marks the 50th anniversary of the debut of Mel Brooks' short-lived Robin Hood spoof "When Things Were Rotten," starring beloved character actors Dick Gautier and Bernie Kopell. Back in 2016, Bernie joined Gilbert and Frank to talk about that series, as well as his six decades in show business, working with legends Steve Allen, Jack Benny and Phil Silvers and his signature roles on "Get Smart" and "The Love Boat." Also, Charles Boyer apologizes, Raymond Burr takes a seat, Sid Caesar surrounds himself with comedy geniuses and Bernie "gifts" Harvey Korman with a bidet. PLUS: Jose' Jimenez! The world's slowest agent! Louis Armstrong hails a cab! Jonathan Winters lays down the law! In praise of Dick Van Dyke (and Mary Tyler Moore)! And a surprise guest calls in to the show! Learn more about your ad choices. Visit megaphone.fm/adchoices

My co-host is Carol Ann Kates.  Lets call her a food expert - Nationally award winning cookbook "Secret Recipes from the corner store". A lifetime of grocery store experience, has the book "Grocery shopping secrets, Reduce Your Food Budget with Grocery-Insider Wisdom".  And an excellent weekly blog, definitely check Carol out at https://www.carolannkates.com/National Star Trek day. Entertainment from 2022. Michelangel unveiled his statue of David, Scoth Tape invented, 1st recorded Beastiality in North America. Todays birthdays - Jimmie Rogers, Frank Cady, Sid Caesar, Peter Sellers, Patsy Cline, Benjamin Orr, Aimee Mann, David Arquette, Martin Feeman, Pink.. Queen Elizabeth 2 died.Intro - God did good - Dianna Corcoran    https://www.diannacorcoran.com/Star Trek TV themeYou are not alone - Michael JacksonSomeone else's star - Bryan WhiteBirthdays - In da club - 50 Cent    http://50cent.com/Waltzing Matilda - Jimmie rogersGrease movie sound trackCrazy - Patsy ClineJust what I needed - The CarsVoices carry - Til TuesdayRaise your glass - PinkExit - Love to try them on - Shane Owens    https://www.opry.com/artists/shane-owenscountryundergroundradio.comHistory and Factoids webpage

Tommy Ruben joined me to discuss the closed knit cast of CPO Sharkey; growing up in Larchont, NY and his dad working for Sgt. Bilko; his dad Aaron, writing for Fred Allen, Milton Berle, Sid Caesar, The Andy Griffith Show and creating Gomer Pyle USMC; Don Rickles getting booed on Comic Relief; Sharkey's scripts scripts had ad-libs written in; being a class clown; guest starring on MASH; going to the Oakwood School; his dad''s film, The Comic; his father liked to build sitcoms around someone; creating CPO Sharkey; Polish jokes got the most letters; his first scene; episodes focusing on his character; the Johnny Carson incident and how has dad was mad; NBC wasn't all in on Don; Bob Newhart; his brother writing the punk rock episode; appearing in More American Graffiti with Cindy Williams; the difference in Drew Barrymore and James garner's acting methods; appearing and writing and episodes of The Stockard Channing Show; Rhonda Bates; being in his brothers movies; almost getting The Hardy Boys Show; and studying photography at the School of Visual Arts.

Tread Perilously begins Summer Total Request Live -- the Patreon Subscriber request month -- by honoring Patron Peter and finally watching an episode of the short-lived NBC variety show Pink Lady and Jeff. Jeff welcomes special guests Lorne Green, Florence Henderson, Sid Caesar, and musical guest Blondie. Pink Lady performs a disco medley, "Yesterday," and more. Jim Varney joins Jeff and the comedy troop for a number of sketches meant to induce laughs. Caesar returns as Pink Lady's father in a shockingly unfunny sketch. The hot tub gag reveals a lot about the three stars and Blondie's musical contribution proves surprising. Justin once again doubts a genuine television show is real. He also continues to deny the existence of Randolph Mantooth. The pair are surprised to see comic book legend Mark Evanier listed as head writer. It leads to an exploration of his efforts as a TV writer. Sid and Marty Krofft make another appearance as executive producers. Both Erik and Justin try to recall how they first learned about Pink Lady's infamy. Erik claims it killed the prime time variety format. Sketches are dissected. Sid Caesar must pay for a crime. Johnny the Dog's short-lived celebrity surprises everyone and Florence Henderson proves to be the MVP once again.

Thursday, June 5th, would have been singer/actor Bill Hayes's 100th birthday. We are replaying the interview that I was privileged to record with Mr. Hayes nines years ago. Hayes's career included a stint on Sid Caesar's legendary series "Your Show of Shows," performances in the original Broadway cast of Rodgers & Hammerstein's "Me and Juliet," and half a century of performances on the soap opera "Days of our Lives."

GGACP continues its celebration of Jewish American Heritage Month with this ENCORE of an interview with “Roastmaster General” Jeffrey Ross (Lifschultz) from way back in 2014. In this episode, Jeff talks about some of his favorite roasts -- and roast jokes -- and recalls his friendships with showbiz icons Buddy Hackett, Bea Arthur and Sid Caesar. PLUS: "The Aristocats"! Jeff sees Uncle Miltie's "son"! And Gilbert chimes in on his infamous performance at the Hugh Hefner roast! Learn more about your ad choices. Visit megaphone.fm/adchoices

Today on part one of the Rarified Heir Podcast we are talking to Howard Murray, son of comedian and actor Jan Murray. Our conversation with Howard was wide ranging and fun with a few poignant moments we did not see coming. Howard was an effusive and eager guest who really seemed to enjoy talking about his parents and how wonderful they were. This is something we already knew and we get to that when host Josh Mills tells a story about Howard's mother, Toni Murray that we've never told before. Our conversation often harkens back to Howard's beloved early years in Rye, New York when his father was known for his Borscht Belt years in the Catskills mountains entertaining Jewish vacationers, his years on radio and the early years on television in New York City, not far from his hometown of the Bronx. We talk game shows Jan Murray hosted and sometimes created, meeting ‘uncle' Jerry Lewis at his MDA telethon on stage and hearing first hand tales about comics like Sid Caesar, Shecky Greene, Harry Ritz, Buddy Hackett and more. This is the Rarified Heir Podcast and there is nothing like hearing about growing up a child of a celebrity, when your father is as terrific as Jan Murray clearly was. (And Toni Murray wasn't chopped liver either)….and this is just part one.

TVC 683.5: Ed, Tony, and Donna welcome back Hank Garrett, the actor known around the world as Officer Nicholson on Car 54, Where Are You? and one of the most accomplished voice artists in the entertainment industry. Topics this segment include how Hank first developed his skill for dialects after watching Sid Caesar rehearse for Your Show of Shows. Hank's memoir, From Harlem Hoodlum to Hollywood Heavyweight, is available through Briton Publishing, Amazon.com, and other online retailers.

Dwayne Epstein is the author of the N.Y. Times bestselling biography, “Lee Marvin: Point Blank,” which was also a finalist in ForeWord magazine Book of the Year competitions. He is the author of the current Amazon bestseller "Killin Generals: The Making of The Dirty Dozen", The Most Iconic World War II Film of All Time.” "Killin Generals" delves into the behind-the-scenes journey of creating "The Dirty Dozen" which became a groundbreaking film due to its unconventional approach to the genre, blending dark humor with action-packed drama. The book and this interview, my second with Epstein, provides an in-depth exploration of the casting process, highlighting the unique selection of actors, including Lee Marvin, Charles Bronson, and Jim Brown, who would come to define the film's success. Epstein tells us about the challenges faced during production, such as the film's anti-authoritarian themes. "Killin Generals" offers a comprehensive look at how the filmmakers and cast transformed a gritty, unorthodox script into a cinematic phenomenon that would influence generations of action films to come.

Dwayne Epstein is the author of the N.Y. Times bestselling biography, “Lee Marvin: Point Blank,” which was also a finalist in ForeWord magazine Book of the Year competitions. He is the author of the current Amazon bestseller "Killin Generals: The Making of The Dirty Dozen", The Most Iconic World War II Film of All Time.” "Killin Generals" delves into the behind-the-scenes journey of creating "The Dirty Dozen" which became a groundbreaking film due to its unconventional approach to the genre, blending dark humor with action-packed drama. The book and this interview, my second with Epstein, provides an in-depth exploration of the casting process, highlighting the unique selection of actors, including Lee Marvin, Charles Bronson, and Jim Brown, who would come to define the film's success. Epstein tells us about the challenges faced during production, such as the film's anti-authoritarian themes. "Killin Generals" offers a comprehensive look at how the filmmakers and cast transformed a gritty, unorthodox script into a cinematic phenomenon that would influence generations of action films to come.

Join us as we delve into the greatest, most epic comedy of all time: It's a Mad, Mad, Mad, Mad World, from Stanley Kramer, starring dozens of the greatest comedians of all time: Spencer Tracy, Milton Berle, Sid Caesar, Buddy Hackett, Ethel Merman, Mickey Rooney, Dick Shawn, Phil Silvers, Terry-Thomas, Jonathan Winters, Edie Adams, and Dorothy Provine. Including an insane amount of cameos and guest stars in the epic 197-minute run time. It's 60 years old, but is still one of the funniest movies ever made. --- Support this podcast: https://podcasters.spotify.com/pod/show/thegenxfiles/support

An absolute titan of 20th century comedy, Carl Reiner also was one of the most beloved writers/actors/producers/directors that Hollywood has ever produced beginning with his work on Sid Caesar's Your Show of Shows, then creating The Dick Van Dyke Show, then directing Steve Martin in The Jerk and George Burns in Oh God! And, oh yeah, he also created The 2000 Year Old Man routine with his best friend Mel Brooks. It was a simply amazing comedy career and, as always, you can find extra cuts below and thanks for sharing our shows! Want more Carl Reiner? With The Dick Van Dyke show, Carl created one of the greatest sitcoms of all time and he got in on the acting fun playing the egotistical boss Alan Brady. Here's some Alan's best. https://youtu.be/bHUfCA9EcE4?si=CJin7dTU-Ab5aG28 With Mel Brooks, Carl created one of the greatest two man bits ever, the 2000 Year Old Man. Carl supplied the questions, Mel supplied the answers, and comedy gold was spun. https://youtu.be/XOTKDgrdvdg?si=coNPQPn1iEYfteoA Later in life, Carl was seen as a wise elder to comedy writers and performers so it's no surprise that Jerry Seinfeld featured him on his great show Comedians in Cars Getting Coffee. https://youtu.be/grUEiFY1XUg?si=hbEv6LReCj1OcLkj

GGACP celebrates the birthday of veteran character actor Hank Garrett (b. October 26th) by revisiting this 2016 interview with the man who played Officer Ed Nicholson on Gilbert's beloved “Car 54, Where Are You?". In this episode, Hank reminisces about working with Robert Redford, Sophia Loren, Al Pacino and Kirk Douglas (to name a few) and tells the boys about his unlikely journey from street tough to award-winning actor. Also, Hank remembers Al Lewis, emulates Sid Caesar, wrestles with Luca Brasi and shares a bill with Tony Bennett. PLUS: Gorgeous George! The Great Ballantine! The legend of Joe E. Ross! Gilbert meets Nipsey Russell! The genius of Nat Hiken! And Hank reveals how Sammy Davis Jr. changed his life! Learn more about your ad choices. Visit megaphone.fm/adchoices

National Star Trek day. Entertainment from 2022. Michelangel unveiled his statue of David, Scoth Tape invented, 1st recorded Beastiality in North America. Todays birthdays - Jimmie Rogers, Frank Cady, Sid Caesar, Peter Sellers, Patsy Cline, Benjamin Orr, Aimee Mann, David Arquette, Martin Feeman, Pink.. Queen Elizabeth 2 died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/Star Trek TV themeAsit it was - Harry StylesLast night lonely - Jon PardiBirthdays - In da club - 50 Cent http://50cent.com/Waltzing Matilda - Jimmie rogersGrease movie sound trackCrazy - Patsy ClineJust what I needed - The CarsVoices carry - Til TuesdayRaise your glass - PinkExit - In my dreams - Dokken http://dokken.net/Follow Jeff Stampka on facebook and cooolmedia.com

Adam welcomes actor Jon Voight for a very special 1-on-1 to discuss his new film, Reagan, and his legendary acting career. They talk about how he decided to be an actor while in college, his childhood appreciation for Sid Caesar, what it was like growing up in Yonkers, NY and losing his father in a fatal car accident. Next, Jon talks about Dr. Ben Carson's book The Perilous Fight and the predictions of Yuri Bezmenov in the ‘80s, which he discovered while researching his role in Reagan. Then they discuss how Jon navigates a career in Hollywood despite his political leanings. For more with Jon Voight: ● New Film: Reagan - in theaters August 30th Thank you for supporting our sponsors: ● RosettaStone.com/Adam ● http://Stamps.com, enter code: Adam ● http://TommyJohn.com/Adam ● http://OReillyAuto.com/Adam

GGACP looks back at an entertaining (and educational!) episode from Sept 2, 2019 with this ENCORE presentation of an interview with author-historian Jeff Abraham and filmmaker Burt Kearns about their book, "The Show Won't Go On." In this episode, Jeff and Burt share fascinating backstories on the untimely (and unusual) passings of Dick Shawn, Joe E. Ross, Al Kelly, Parkyakarkus and Karl Wallenda (among others). Also, Moe Howard wears a dress, Burt Reynolds gets a paint job, Sid Caesar packs heat and Paul Anka tears down Wayne Newton. PLUS: Carmen Miranda's final bow! The poetry of Buddy Hackett! The history of the "bullet catch"! The strange death of Washington Irving Bishop! And Jeff and Burt attend the Jerry Lewis auction! Learn more about your ad choices. Visit megaphone.fm/adchoices

EPISODE 50 - “Birthday Tribute to Classic Film star Vera Miles” - 08/26/2024 ** This episode is sponsored brought to you by BetterHelp. Give online therapy a try at betterhelp.com/BENEATH and get on your way to being your best self.” ** After placing 3rd runner up to Miss America in 1948 as Miss Kansas, VERA MILES soon embarked on a long and illustrious career in Hollywood and was soon working with great directors like ALFRED HITCHCOCK (“Psycho” and “The Wrong Man”) and JOHN FORD (“The Searchers” and “The Man Who Shot Liberty Valance”). This week, we pay tribute to Miles as she turns 95 on August 23rd. Listen as we celebrate this beautiful, talented, and somewhat underrated star.  SHOW NOTES:  Sources: Hitchcock's Heroines (2018), by Caroline Young; Women In The Films of John Ford (2014), by David Mevel; “Vera Miles: Country Girl in Hollywood,” May 13, 1956, by J.D. Spiro, Los Angeles, Times; “Vera Miles: She's Alfred Hitchcock's Newest Acting Find,” January 13, 1957, Parade Magazine; “Vera Miles Says: I'm Glad I Was Poor,” May 1959, by Amy Francis, Screenland Magazine; “Vera Miles: Official Biography,” September 1961, Paramount Pictures; “The Loser Who Became A Star,” May 15, 1973, by Earl Wilson, The New York Post; “Fighting Trim Vera Miles Still A Doer,” February 20, 1981, by Mark Hemeter, The Times-Picayne (New Orleans); “Psycho Actress Defends Hitchcock,” June 25, 1983, by Richard Freedman, The Spokesman-Review, Newhouse News Service; “Vera Miles: Hollywood Walk of Fame,” June 29, 2010, by Carina MacKenzie, Los Angeles Times; TCM.com; IMDBPro.com; Wikipedia.com; Movies Mentioned:  For Men Only (1952), starring Paul Henried; The Rose Bowl Story (1952), starring Marshall Thompson; The Charge At Feather River (1953), starring Guy Madison and Helen Westcott; Pride of the Blue Grass (1954), starring Lloyd Bridges; Tarzan's Hidden Jungle (1955), starring Gordon Scott; Wichita (1955), starring Joel McCrea; The Searchers (1956), starring John Wayne and Jeffrey Hunter; The Wrong Man (1956), starring Henry Fonda; Beau James (1957), starring Bob Hope; Web Of Evidence (1959), starring Van Johnson; The FBI Story (1959), starring James Stewart; A Touch Of Larceny (1960), starring James Mason and George Sanders; 5 Banded Women (1960), starring Jeanne Moreau; Psycho (1960), starring Anthony Perkins, Janey Leigh, and John Gavin;  Back Street (1961), starring Susan Hayward and John Gavin; The Man Who Shot Liberty Valance (1962), starring John Wayne and James Stewart; A Tiger Walks (1964), starring Brian Keith; Those Calloways (1965), starring Brian Keith, Brandon De Wilde, and Linda Evans; Follow Me Boys! (1966), starring Fred MacMurray; The Spirit Is Willing (1967), starring Sid Caesar; Gentle Giant (1967), starring Dennis Weaver and Ralph Meeker; Hellfighters (1968), starring John Wayne and Katharine Ross; The Wild Country (1970), starring Steve Forrest; One Little Indian (1973), starring James Garner; The Castaway Cowboy (1974), starring James Garner; Run For The Roses (1977), starring Stuart Whitman; Smash Up On Interstate 5 (1976), starring Robert Conrad, Buddy Ebson, Sue Lyon, Terry Moore, and Tommy Lee Jones; Psycho II (1983), starring Anthony Perkins; The Initiation (1984), starring Clu Galugar and Daphne Zuniga; Separate Lives (1995), starring Linda Hamilton and Jim Belushi; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Cue the rim-shot, because Jack Carter is in the house. Best known as the purveyor of rapid fire jokes in the best Vegas tradition, Jack was also a fine singer, dancer, and actor with numerous stage and screen credits to his name. Early on he claimed a bit of television history as an early host of both the Texaco Star Theater and the Cavalcade of Stars. Those gigs earned him his own show on NBC which was the lead in to Sid Caesar and Imogene Coca's Your Show of Shows. A tireless performer, Jack was a mainstay at the Dean Martin Celebrity Roasts and on game shows (Password, The Match Game), as well as continuing with stand up appearances well in to his 80s. A comedy historian once referred to Jack's style as 'slick, fast, and furious" -- an apt description and one worthy of a 21 rim shot salute! As always, find extra clips below and thanks for sharing our shows. Want more Carter? This is a treat -- Jack's full routine on the Ed Sullivan Show from back in the days when television was in glorious black and white. This is a good intro to Jack's style. https://dai.ly/x2w04mb With a rapid fire style, it's no wonder that Jack was a favorite at the Dean Martin Celebrity Roasts -- here he ostensibly roasts Monty Hall, but it's the other panelists who take most of the fire, https://www.bilibili.com/video/BV1kx411e7aK/ Jack was a television pioneer and for a while his own variety show was the lead in to Sid Caesar and Imogene Coca's legendary "Your Show of Shows". At a school reunion Jack was called on for some memories those times and he sure delivered. https://youtu.be/DqIbXfTF708?si=Oprzg0A0MBN-D6ke

GGACP celebrates ten (10!) years since its debut on June 1, 2014 by revisiting the very first episode of the podcast, featuring a memorable interview with comedian, author and talk show legend Dick Cavett. In this episode, Dick shares personal stories about Jack Benny, Johnny Carson, Katharine Hepburn, John Lennon and Groucho Marx (among others) and talks about the time a guest dropped dead on his set (yes, it happened). Also, Dick recalls writing for Jack Paar and Jerry Lewis and favors Gilbert and Frank with uncanny impressions of obscure character actors. PLUS: "Rashomon: The Sitcom"! The genius of Sid Caesar! The tragedy of Erin Fleming! Tarzan moves in! Dick plays The Bitter End! And Frank Nelson gets mistaken for Gale Gordon!  Learn more about your ad choices. Visit megaphone.fm/adchoices

rWotD Episode 2551: The Kids in the Hall Welcome to random Wiki of the Day where we read the summary of a random Wikipedia page every day.The random article for Sunday, 28 April 2024 is The Kids in the Hall.The Kids in the Hall is a Canadian sketch comedy troupe formed in 1984, consisting of comedians Dave Foley, Bruce McCulloch, Kevin McDonald, Mark McKinney, and Scott Thompson. Their eponymous television show ran from 1989 to 1995, on CBC, in Canada. It also appeared on CBS, HBO, and Comedy Central in the United States.The Kids made one film, Brain Candy, which was released in 1996. They reformed for various tours and comedy festivals in 2000. They later reunited for an eight-part miniseries, Death Comes to Town, in January 2010. An eight-episode revival season was released on May 13, 2022 on Amazon Prime Video. Their name came from 1950s TV comedian Sid Caesar, who would attribute a joke that did not go over well (or played worse than expected) to "the kids in the hall", referring to a group of young writers hanging around the studio.This recording reflects the Wikipedia text as of 00:29 UTC on Sunday, 28 April 2024.For the full current version of the article, see The Kids in the Hall on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Matthew Standard.

Ferris Butler and his biographer D.B. Frick joined me to discuss his garage band version of SNL "Waste Meet News"; his love for Sid Caesar and Ernie Kovacs; Brooklyn in the 50's and 60's; his pilot for the Vintage Seltzer Hour with Michael O'Donoghue and Garrett Morris; going to NYU film school and being taught by Martin Scorsese and classmates with Billy Crystal; creating Waste Meat News; having Radames Pera on; the budget; New York Magazine says Waste Meat is being copied by SNL; getting hired by Jean Doumanian; how the crew was excited for new season. but the press was already hostile; not getting anything on the premiere; getting Leather Weather on the Malcolm McDowell show; writing the tag to Eddie Murphy's first appearance; writing Tort-U-Matic and her monologue for Jamie Lee Curtis; co-writing Reagan Co for the Robert Hays episode; Howard Stern has beef about his Leather Weather Girl vs. Ferris' sketch; writing the Kung Fu prostitution sketch and slipping a watersports joke by the censors; the difference between head writers Mason Williams and Stevens and Moore; writing one joke for Weekend Update; Brian Doyle-Murray; Bill hosts; he was recommended by Letty Aronson; more Bill Murray stories; is Ferris Butler, Ferris Bueller - Del Close wanted to do a movie about him, Quentin Tarantino believes it; writing "Prison Confession" sketch for Ray Sharkey episode; writing a sketch that got cut at dress; writing the "Big Brother" sketch for Deborah Harry episode; the re-evaluation of season 6; Name That Sin; musical guests; saving his sketches; not being surprised Dick Ebersol didn't as him back; not getting credit for writing for SNL; not being invited to any anniversary; Waste Meat News is in the Paley Center for Media

Jeff Altman and I discuss growing up in Syracuse; his father, Arthur, teaching him slight of hand magic; learning more at Johns Hopkins; moving to LA and going to the Magic Castle; trying out at the Comedy Store; doing a comedy album with Denny Johnston; his Carson impression and two times he met him; doing his voice on Mary Hartman, Mary Hartman; doing voices on Norman Lear shows and Archie Bunker's Place; Celeste Holm, who his uncle discovered; his year living off income from being on Merv Griffin; Starland Vocal Band Show; guest appearances on Mork and Mindy and WKRP; playing Huey Hogg on Dukes of Hazard; getting the co-hosting job on Pink Lady; being told they spoke perfect English; working with Sid Caesar and Jim Varney; impressions; Rich Little; talking to Johnny right before he announced his retirement; his on-air prank calls to Letterman; Tim Thomerson; the origins of butt steak; being in the Israeli Candid Camera and almost getting arrested; his appearance on Night Court; his tough times being a cast member on Nurses; hosting Sunday Comics; Franklin Ajaye; doing an episode for the troops in the Gulf War; impersonating Bob Hope to Brooke Shields; his "dad" character; his album, I'll Flip You Like a Cheese Sandwich"; having Seinfeld ask him to be in The Bee Movie; retiring from comedy and going full time into sleight of hand; getting married to a girl he knew from high school and moving to Raleigh, NC; Max Alexander; Pink Lady covers and original songs

It's the final week of #MaxFunDrive! Thanks to everyone who has joined or upgraded so far; if you've been putting it off, now's thie time! maximumfun.org/joinIt's been a long time since comedian Jackie Kashian (co-host of MaxFun's own Jackie and Laurie Show) has been a industry newb like Benji (Mark Linn Baker) in 1982's MY FAVORITE YEAR. But she felt really seen by Benji's journey into the world of comedy -- the risks, the shifting identity, and the heartbreak. She and Jordan will get into all of that, plus learn why Jackie relates to A.X.L., the top-secret robotic dog from  2018's A.X.L.Then, Jordan has one quick thing about the...ahem...Poohniverse?***With Jordan Crucchiola and Jackie Kashian

This week we watched the 1981 comedy adventure film History of the World Part I. Written and directed by Mel Brooks the film tells the story of some of human history through comedy and gags. The large ensemble cast also features Sid Caesar, Shecky Greene, Gregory Hines, Charlie Callas, Dom DeLuise, Madeline Kahn and Cloris Leachman. Brooks also stars in the film, playing five roles: Moses, Comicus the stand-up philosopher, Tomás de Torquemada, King Louis XVI, and Jacques, le garçon de pisse. Come join us!!! Website : http://tortelliniatnoon.com/ Instagram: https://www.instagram.com/tortelliniatnoonpodcast/ Facebook: https://www.facebook.com/TortelliniAtNoon Twitter: https://twitter.com/PastaMoviePod                            

This is an interview recorded 8 years ago with singer and actor Bill Hayes.... who was a cast member on Sid Caesar's groundbreaking "Your Show of Shows" ..... sang a leading role in the original Broadway cast of Rodgers and Hammerstein's "Me and Juliet" .... recorded the #1 song in the country in 1955 with "The Ballad of Davy Crockett" .... and was a part of the soap opera "Days of our lives" for more than fifty years. Mr. Hayes passed away on January 12th of this year at the age of 98. The interview also includes some comments from his wife, actress Susan Seaforth Hayes.

GGACP celebrates the life and career of the late, legendary producer and showman Marty Krofft with this ENCORE presentation of a 2018 interview with Marty and his brother and longtime partner Sid Krofft. In this episode, Sid and Marty discuss their unusual creative process, the origins of “H.R. Pufnstuf” and “Land of the Lost” and the failure of their ambitious indoor theme park, “The World of Sid and Marty Krofft.” Also, Dean Martin drops the axe, Bette Davis drops an F-bomb, Walt Disney doles out advice and Liberace “dates” Sonja Henie. PLUS: "Pink Lady and Jeff"! Live, nude puppets! Sid Caesar to the rescue! Remembering Martha Raye! “The Brady Bunch Variety Hour”! And Sid and Marty sue McDonald's — and win! Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to another encore episode of the Rarified Heir Podcast – our Halloween edition – with part two of our interview w/ Janna Taninbaum and Michael Ritz, the children of comedian Harry Ritz of The Ritz Brothers. On this second half of our interview, we talk about some of the hijinks Harry got up to as a performer and as a father as well. Like what you ask? Janna tells us about life in Las Vegas growing up with her dad and his vanity plate in the 70s, we hear some terrific stories about gambling and the mob that Harry was part of and privy to, as well as Betty Grable's race horses & her aversion to the WC, stories about comic Jan Murray, how their father was ‘the guy in the middle' as well as more on Harry and his brothers fame on Broadway, movies, television and the stage in their later years. We loved hearing these tales about the man who influenced everyon from Sid Caesar, Milton Berle, Jerry Lewis and Mel Brooks. In fact, it was Mel Brooks who said, “As far as I'm concerned, Harry Ritz is the funniest man ever.” Take a listen. And a laugh, won't you to this episode of the Rarified Heir Podcast? Everyone has a story. 

In this episode, I spoke with Shelley Herman and her book "My Peacock Tale: Secrets of An NBC Page". My Peacock Tale: Secrets Of An NBC Page is a funny, sexy, gossipy, celebrity-filled memoir with real-life, never-before-told stories. Set against the backdrop of NBC Burbank in the mid-70s, the Pages had VIP access to stars ranging from Johnny Carson to Joan Rivers, Gilda Radner to Andy Kaufman, Freddie Prinze to Richard Pryor, Robin Williams, John Travolta, Paul McCartney, Ringo Starr, Donald Trump, Johnny Cash, Harry Chapin and iconic legends including Bob Hope, Betty White, Elvis Presley, Sid Caesar, Imogene Coca, Alfred Hitchcock and many more.

November 16-22, 1985 This week Ken welcomes former NBC Page, game show royalty, and writer of the new memoir "My Peacock Tale", the great Shelley Herman. Ken and Shelley discuss North Hollywood, Allee Willis, growing up in Calabasas, ideal childhoods, The Tonight Show, Johnny Carson's son, going to tapings of The Midnight Special, working at Sears, seeing Elvis in Vegas as a teenager, the unique role NBC Pages played, being mistaken as Erik Estrada's girlfriend, forced police uniform wearing, drunken celebrities, SNL, watching the East Coast feed, Gilda, the NY and LA TV production differences, The Not Ready for Prime Time Players, The Dating Game, chaperones, serial killers, Susan Elliot, stand up comedy, Off the Wall, replacing people in a syndicated package, reunions of shows nobody watched, sketch comedy, Mac and Jamie, voice over, The Colbys, movie stars on TV, meeting Charlton Heston, tall people, NBC tours, Vincent Price, Richard Pryor's variety show, putting attractive people up front, dealing with the sponsors, Ringo Star's ex wife, Saturdays on NBC, Golden Girls, Ed McMahon, 227, the greatest story ever about Jackee' Harry, being on The Love Boat, Dick Ebersol, taking Sid Caesar and Imogene Coca to the Emmys, Sally Rogers, Dick Van Dyke, meeting Hitchcock, Photoplay magazine, owning Shirley Temple's trousers, The Bad Seed, the evolution of women panelists on game shows, the structure of game shows, Dumbo, DUMBO!, Phoebe Cates, one of the top 5 greatest Kevin Kline stories, TV's Bloopers and Practical Jokes, Dick Clark's uniform, Eye Witness Video, We Are the World, Moonlighting, Heaven (High from) and Hell (town), Tello's Restaurant, Robert Blake, the mystery of Shadowchasers, Cheers, Regan's speech in the USSR, Made for TV movies, Bridge Across time starring David Hasselhoff and Stepfanie Kramer, taking a writing class from Rod Serling, and the secrets of Supermarket Sweep. 

Strap in and prepare for an electrifying ride of a show that will leave you exhilarated, astonished, and utterly amazed!  Our next guest was an NBC Page in Burbank, California, in the mid-70s. And she's the author of a new book entitled: "My Peacock Tale: Secrets Of An NBC Page." You'll hear a treasure trove of untold stories that will have you on the edge of your seat. Including tales about Richard Pryor, Sid Caesar, John Travolta, Chuck Barris, Joan Rivers, Freddie Prinze, Alfred Hitchcock, Andy Kaufman, The Bee Gees, Erik Estrada, and many, many more! Ladies and gentlemen, please enjoy this episode of "A Page in History" with the one and only Shelley Herman! 

Set sail on Episode 38, Season 2 of the Love Boat, the worlds greatest romantic comedy drama television series of all time! In this episode we follow an all star cast that includes Cyb Barnstable, Trish Barnstable, Ruth Buzzi, Sid Caesar, David Nelson, Tony Roberts and Fred Travelena as they deal with difficult decisions, problematic puppets, tricky twins, possible parenthood, mariachi marriage madness and chestnuts! So get your hanky and a fresh pack of double mint gum and enjoy this excellent episode. We also encourage everyone to find our Instagram page Lovin' The Love Boat to enjoy the super cool video messages from Isaac himself Mr. Ted Lange! And much more. Thanks for listening to the podcast and joining us on this voyage and by all means consider subscribing to the show as well as Paramount+ so you can watch the episode with us. We promise you'll be glad that you did. * Attention passengers! If you'd like to see the show continue please consider contributing to our ⁠⁠⁠⁠GoFundMe⁠⁠⁠⁠ so we can stay afloat and allow us to make good on our promise to have exciting new guests join us on future episodes. It means a lot and will also allow us to keep the show commercial free. Visit our page ⁠⁠⁠⁠HERE⁠⁠⁠⁠ and give whatever you can. Give any amount and help put us over the top.

What happens when one man, a criminal mastermind, who is desperate for immortality and will stop at nothing to achieve it, comes up against his greatest foe - a weary pensioner with a lawnmower fixation? As if out of a Trap, this week actors & comedians Paul Litchfield & Jeremy Limb join Tyler to hem and haw and (occasionally) howl at Peter Sellers' final film, The Fiendish Plot of Dr Fu Manchu from 1980. Released two weeks posthumously, Sellers plays both the title role and that of Nayland Smith, a dogged detective who has foiled many a Fu Manchu scheme over the years and who is called out of retirement for one last job. Assisted by a cast which includes Helen Mirren, David Tomlinson and Sid Caesar, Sellers oftentimes cannot help coming across as tired and jaded and the parallels between his real life health problems and Fu Manchu's desperation to cling onto life are too obvious to go unobserved. Jeremy and Paul have been fascinated by this film for many years and have a lot to say about it - Jeremy in particular delivers an impassioned argument in its defence! Carry On Stre@ming: https://pod.link/1641768797

Alice Lloyd: A serious woman In 1951 the Southern Association of Colleges, an accrediting agency, sent a committee to assess a small two-year institution in the mountains of eastern Kentucky named Caney Creek College. Their final report makes for interesting reading, which you can't always say about accreditation reports. “This institution charges no tuition,” they reported. “...The understanding is that students will offer to work in the mountain area, and 90% have done so. There are amazing examples of outstanding service…The President is aged and crippled but otherwise alert, diligent, and confident. She works seven days a week…The fact is, this committees has never seen an institution like this. One must visit to understand and to be able to interpret.” The President was Alice Lloyd, and she was also the founder of the college–as well as a network of charitable organizations. After her death, the college was renamed in her honor. Allison Holbrook Southard is Associate Vice President for Institutional Advancement at Alice Lloyd College. She's with us today to talk about this unique institution, explain what “institutional advancement” is, and the unique challenges that all college advancement officers face, as well as those specific to Alice Lloyd. For Further Information If you haven't, you should listen to Episode 311: Knowledge Towns; and give a listen to some other podcasts in our series "Higher Ed: A Guide for the Perplexed" The Work Colleges Consortium Having mentioned This is Your Life in the podcast, I am unable to resist linking to the great Sid Caesar spoofing the show with This is Your Story. Robert Browning, "Song from Pippa Passes"

GGACP celebrates the birthday (May 6) of TV personality and game show host Tom Bergeron by revisiting this entertaining conversation from 2017. In this episode, Tom weighs in on a variety of topics, including the unpredictability of live television, the genius of Marcel Marceau, the benefits of transcendental meditation and the rise and fall of the Jerry Lewis Telethon. Also, Tom interviews Moe Howard (and Larry Fine), Sid Caesar speaks German, Bob Hope moves down the couch and Mel Brooks mimics Bill Cullen. PLUS: Bob the Puppet! The Lawrence Welk singers! Arnold Schwarzenegger “brings funny!” Henry Winkler pulls a fast one! And Tom and Gilbert remember John Ritter!   Learn more about your ad choices. Visit megaphone.fm/adchoices

Doctor Max Jacobson, whom the Secret Service under President John F. Kennedy code-named “Dr. Feelgood,” developed a unique “energy formula” that altered the paths of some of the twentieth century's most iconic figures, including President and Jackie Kennedy, Marilyn Monroe, Frank Sinatra, and Elvis. JFK received his first injection (a special mix of “vitamins and hormones,” according to Jacobson) just before his first debate with Vice President Richard Nixon. The shot into JFK's throat not only cured his laryngitis, but also diminished the pain in his back, allowed him to stand up straighter, and invigorated the tired candidate. Kennedy demolished Nixon in that first debate and turned a tide of skepticism about Kennedy into an audience that appreciated his energy and crispness. What JFK didn't know then was that the injections were actually powerful doses of a combination of highly addictive liquid methamphetamine and steroids.Author and researcher Rick Lertzman and New York Times bestselling author Bill Birnes reveal heretofore unpublished material about the mysterious Dr. Feelgood. Through well-researched prose and interviews with celebrities including George Clooney, Jerry Lewis, Yogi Berra, and Sid Caesar, the authors reveal Jacobson's vast influence on events such as the assassination of JFK, the Cuban Missile Crisis, the Kennedy-Khrushchev Vienna Summit, the murder of Marilyn Monroe, the filming of the C. B. DeMille classic The Ten Commandments, and the work of many of the great artists of that era. Jacobson destroyed the lives of several famous patients in the entertainment industry and accidentally killed his own wife, Nina, with an overdose of his formula.

Comedian, star of "Curb Your Enthusiasm" and Friar Richard Lewis joins Joe Sibilia to talk about having the bathroom named for him in the Jerry Lewis Monastery, his run-in with his Friars sponsor Norman Fell (Mr. Roeper on "Three's Company") on his first day as a Friar, and brunching with Howard Cosell at the Friars Club. Plus, Richard explains the genius of Rodney Dangerfield, co-stars with Don Rickles on the short-lived sitcom "Daddy Dearest," misses the opportunity to drink with Frank Sinatra, and plays cards with the likes of Sid Caesar, Ed Asner, and James Garner! For more information on the Friars Club, please visit our website at https://www.friarsclub.com/ Follow the Friars Club on: Facebook: https://www.facebook.com/profile.php?id=100082240803132 Instagram: https://www.instagram.com/pcfriarsclub/?hl=en

On episode #2 of this SNL podcast, Nick is joined by comedian, writer, and actor Jon Rudnitsky, who was a cast member for one season of "Saturday Night Live," and it was a very memorable season indeed. Jon talks about how he was discovered at a comedy festival, what he did for his SNL audition, and what it was like to work those grueling, no-sleep-having hours at 30 Rock (without the cocaine they had in the 70s). They talk about his first moments on the show (Miley Cyrus licked him), the nightmare of working on the episode that Donald Trump hosted during the Presidential campaign (we're not sure if Trump can read), and the bond he had with cast members like Kate McKinnon, Bobby Moynihan and Kenan Thompson. Jon also talks about what it's like to work with George Clooney, be inspired by the Marx Brothers and Sid Caesar, and the joy of working with Larry David on "Curb Your Enthusiasm." A must listen for all SNL fans. [EP2]

Episode one hundred and fifty-four of A History of Rock Music in Five Hundred Songs is the last of our four-part mini-series on LA sunshine pop and folk-rock in summer 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Baby, Now That I've Found You" by the Foundations. 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 There is no Mixcloud this week, because there were too many Turtles songs in the episode. There's relatively little information available about the Turtles compared to other bands of their era, and so apart from the sources on the general LA scene referenced in all these podcasts, the information here comes from a small number of sources. This DVD is a decent short documentary on the band's career. Howard Kaylan's autobiography, Shell Shocked: My Life with the Turtles, Flo and Eddie, and Frank Zappa, Etc.,  is a fun read, if inevitably biased towards his own viewpoint. Jim Pons' Hard Core Love: Sex, Football, and Rock and Roll in the Kingdom of God is much less fun, being as it is largely organised around how his life led up to his latter-day religious beliefs, but is the only other book I'm aware of with a substantial amount of coverage of the Turtles. There are many compilations of the Turtles' material available, of which All The Singles is by far and away the best. The box set of all their albums with bonus tracks is now out of print on CD, but can still be bought as MP3s. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've spent a lot of time recently in the LA of summer 1967, at the point where the sunshine pop sound that was created when the surf harmonies of the Beach Boys collided with folk rock was at its apex, right before fashions changed and tight sunny pop songs with harmonies from LA became yesterday's news, and extended blues-rock improvisations from San Francisco became the latest in thing. This episode is the last part of this four-episode sequence, and is going to be shorter than those others. In many ways this one is a bridge between this sequence and next episode, where we travel back to London, because we're saying goodbye for a while to the LA scene, and when we do return to LA it will be, for the most part, to look at music that's a lot less sunshine and a lot more shadow. So this is a brief fade-out while we sing ba-ba-ba, a three-minute pop-song of an episode, a last bit of sunshine pop before we return to longer, more complicated, stories  in two weeks' time, at which point the sun will firmly set. Like many musicians associated with LA, Howard Kaylan was born elsewhere and migrated there as a child, and he seems to have regarded his move from upstate New York to LA as essentially a move to Disneyland itself. That impression can only have been made stronger by the fact that soon after his family moved there he got his first childhood girlfriend -- who happened to be a Mouseketeer on the TV. And TV was how young Howard filtered most of his perceptions -- particularly TV comedy. By the age of fourteen he was the president of the Soupy Sales Fan Club, and he was also obsessed with the works of Ernie Kovacs, Sid Caesar, and the great satirist and parodist Stan Freberg: [Excerpt: Stan Freberg, "St. George and the Dragonet"] Second only to his love of comedy, though, was his love of music, and it was on the trip from New York to LA that he saw a show that would eventually change his life. Along the way, his family had gone to Las Vegas, and while there they had seen Louis Prima and Keeley Smith do their nightclub act. Prima is someone I would have liked to do a full podcast episode on when I was covering the fifties, and who I did do a Patreon bonus episode on. He's now probably best known for doing the voice of King Louis in the Jungle Book: [Excerpt: Louis Prima, "I Wanna Be Like You (the Monkey Song)"] But he was also a jump blues musician who made some very good records in a similar style to Louis Jordan, like "Jump, Jive, an' Wail" [Excerpt: Louis Prima, "Jump, Jive, an' Wail"] But like Jordan, Prima dealt at least as much in comedy as in music -- usually comedy involving stereotypes about his Italian-American ethnic origins. At the time young Howard Kaylan saw him, he was working a double act with his then-wife Keeley Smith. The act would consist of Smith trying to sing a song straight, while Prima would clown around, interject, and act like a fool, as Smith grew more and more exasperated, and would eventually start contemptuously mocking Prima. [Excerpt: Louis Prima and Keeley Smith, "Embraceable You/I've Got It Bad and That Ain't Good"] This is of course a fairly standard double-act format, as anyone who has suffered through an episode of The Little and Large Show will be all too painfully aware, but Prima and Smith did it better than most, and to young Howard Kaylan, this was the greatest entertainment imaginable. But while comedy was the closest thing to Kaylan's heart, music was a close second. He was a regular listener to Art Laboe's radio show, and in a brief period as a teenage shoplifter he obtained records like Ray Charles' album Genius + Soul = Jazz: [Excerpt: Ray Charles, "One Mint Julep"] and the single "Tossin' and Turnin'" by Bobby Lewis: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] "Tossin' and Turnin'" made a deep impression on Kaylan, because of the saxophone solo, which was actually a saxophone duet. On the record, baritone sax player Frank Henry played a solo, and it was doubled by the great tenor sax player King Curtis, who was just playing a mouthpiece rather than a full instrument, making a high-pitched squeaking sound: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] Curtis was of course also responsible for another great saxophone part a couple of years earlier, on a record that Kaylan loved because it combined comedy and rock and roll, "Yakety Yak": [Excerpt: The Coasters, "Yakety Yak"] Those two saxophone parts inspired Kaylan to become a rock and roller. He was already learning the clarinet and playing part time in an amateur Dixieland band, and it was easy enough to switch to saxophone, which has the same fingering. Within a matter of weeks of starting to play sax, he was invited to join a band called the Nightriders, who consisted of Chuck Portz on bass, Al Nichol on guitar, and Glen Wilson on drums. The Nightriders became locally popular, and would perform sets largely made up of Johnny and the Hurricanes and Ventures material. While he was becoming a budding King Curtis, Kaylan was still a schoolkid, and one of the classes he found most enjoyable was choir class. There was another kid in choir who Kaylan got on with, and one day that kid, Mark Volman came up to him, and had a conversation that Kaylan would recollect decades later in his autobiography: “So I hear you're in a rock 'n' roll band.” “Yep.” “Um, do you think I could join it?” “Well, what do you do?” “Nothing.” “Nothing?” “Nope.” “Sounds good to me. I'll ask Al.” Volman initially became the group's roadie and occasional tambourine player, and would also get on stage to sing a bit during their very occasional vocal numbers, but was mostly "in the band" in name only at first -- he didn't get a share of the group's money, but he was allowed to say he was in the group because that meant that his friends would come to the Nightriders' shows, and he was popular among the surfing crowd. Eventually, Volman's father started to complain that his son wasn't getting any money from being in the band, while the rest of the group were, and they explained to him that Volman was just carrying the instruments while they were all playing them. Volman's father said "if Mark plays an instrument, will you give him equal shares?" and they said that that was fair, so Volman got an alto sax to play along with Kaylan's tenor. Volman had also been taking clarinet lessons, and the two soon became a tight horn section for the group, which went through a few lineup changes and soon settled on a lineup of Volman and Kaylan on saxes, Nichol on lead guitar, Jim Tucker on rhythm guitar, Portz on bass, and Don Murray on drums. That new lineup became known as the Crossfires, presumably after the Johnny and the Hurricanes song of the same name: [Excerpt: Johnny and the Hurricanes, "Crossfire"] Volman and Kaylan worked out choreographed dance steps to do while playing their saxes, and the group even developed a group of obsessive fans who called themselves the Chunky Club, named after one of the group's originals: [Excerpt: The Crossfires, "Chunky"] At this point the group were pretty much only playing instrumentals, though they would do occasional vocals on R&B songs like "Money" or their version of Don and Dewey's "Justine", songs which required more enthusiasm than vocal ability. But their first single, released on a tiny label, was another surf instrumental, a song called "Dr. Jekyll and Mr. Hyde": [Excerpt: The Crossfires, "Dr. Jekyll and Mr Hyde"] The group became popular enough locally that they became the house band at the Revelaire Club in Redondo Beach. There as well as playing their own sets, they would also be the backing band for any touring acts that came through without their own band, quickly gaining the kind of performing ability that comes from having to learn a new artist's entire repertoire in a few days and be able to perform it with them live with little or no rehearsal. They backed artists like the Coasters, the Drifters, Bobby Vee, the Rivingtons, and dozens of other major acts, and as part of that Volman and Kaylan would, on songs that required backing vocals, sing harmonies rather than playing saxophone. And that harmony-singing ability became important when the British Invasion happened, and suddenly people didn't want to hear surf instrumentals, but vocals along the lines of the new British groups. The Crossfires' next attempt at a single was another original, this one an attempt at sounding like one of their favourite new British groups, the Kinks: [Excerpt: The Crossfires, "One Potato, Two Potato"] This change to vocals necessitated a change in the group dynamic. Volman and Kaylan ditched the saxophones, and discovered that between them they made one great frontman. The two have never been excessively close on a personal level, but both have always known that the other has qualities they needed. Frank Zappa would later rather dismissively say "I regard Howard as a fine singer, and Mark as a great tambourine player and fat person", and it's definitely true that Kaylan is one of the truly great vocalists to come out of the LA scene in this period, while Volman is merely a good harmony singer, not anything particularly special -- though he *is* a good harmony singer -- but it undersells Volman's contribution. There's a reason the two men performed together for nearly sixty years. Kaylan is a great singer, but also by nature rather reserved, and he always looked uncomfortable on stage, as well as, frankly, not exactly looking like a rock star (Kaylan describes himself not inaccurately as looking like a potato several times in his autobiography). Volman, on the other hand, is a merely good singer, but he has a naturally outgoing personality, and while he's also not the most conventionally good-looking of people he has a *memorable* appearance in a way that Kaylan doesn't. Volman could do all the normal frontman stuff, the stuff that makes a show an actual show -- the jokes, the dancing, the between-song patter, the getting the crowd going, while Kaylan could concentrate on the singing. They started doing a variation on the routine that had so enthralled Howard Kaylan when he'd seen Louis Prima and Keeley Smith do it as a child. Kaylan would stand more or less stock still, looking rather awkward, but singing like an angel, while Volman would dance around, clown, act the fool, and generally do everything he could to disrupt the performance -- short of actually disrupting it in reality. It worked, and Volman became one of that small but illustrious group of people -- the band member who makes the least contribution to the sound of the music but the biggest contribution to the feel of the band itself, and without whom they wouldn't be the same. After "One Potato, Two Potato" was a flop, the Crossfires were signed to their third label. This label, White Whale, was just starting out, and the Crossfires were to become their only real hit act. Or rather, the Turtles were. The owners of White Whale knew that they didn't have much promotional budget and that their label was not a known quantity -- it was a tiny label with no track record. But they thought of a way they could turn that to their advantage. Everyone knew that the Beatles, before Capitol had picked up their contracts, had had their records released on a bunch of obscure labels like Swan and Tollie. People *might* look for records on tiny independent labels if they thought it might be another British act who were unknown in the US but could be as good as the Beatles. So they chose a name for the group that they thought sounded as English as possible -- an animal name that started with "the", and ended in "les", just like the Beatles. The group, all teenagers at the time, were desperate enough that they agreed to change their name, and from that point on they became the Turtles. In order to try and jump on as many bandwagons as possible, the label wanted to position them as a folk-rock band, so their first single under the Turtles name was a cover of a Bob Dylan song, from Another Side of Bob Dylan: [Excerpt: Bob Dylan, "It Ain't Me Babe"] That song's hit potential had already been seen by Johnny Cash, who'd had a country hit with it a few months before. But the Turtles took the song in a different direction, inspired by Kaylan's *other* great influence, along with Prima and Smith. Kaylan was a big fan of the Zombies, one of the more interesting of the British Invasion groups, and particularly of their singer Colin Blunstone. Kaylan imitated Blunstone on the group's hit single, "She's Not There", on which Blunstone sang in a breathy, hushed, voice on the verses: [Excerpt: The Zombies, "She's Not There"] before the song went into a more stomping chorus on which Blunstone sang in a fuller voice: [Excerpt: The Zombies, "She's Not There"] Kaylan did this on the Turtles' version of "It Ain't Me Babe", starting off with a quiet verse: [Excerpt: The Turtles, "It Ain't Me Babe"] Before, like the Zombies, going into a foursquare, more uptempo, louder chorus: [Excerpt: The Turtles, "It Ain't Me Babe"] The single became a national top ten hit, and even sort of got the approval of Bob Dylan. On the group's first national tour, Dylan was at one club show, which they ended with "It Ain't Me Babe", and after the show the group were introduced to the great songwriter, who was somewhat the worse for wear. Dylan said “Hey, that was a great song you just played, man. That should be your single", and then passed out into his food. With the group's first single becoming a top ten hit, Volman and Kaylan got themselves a house in Laurel Canyon, which was not yet the rock star Mecca it was soon to become, but which was starting to get a few interesting residents. They would soon count Henry Diltz of the Modern Folk Quartet, Danny Hutton, and Frank Zappa among their neighbours. Soon Richie Furay would move in with them, and the house would be used by the future members of the Buffalo Springfield as their rehearsal space. The Turtles were rapidly becoming part of the in crowd. But they needed a follow-up single, and so Bones Howe, who was producing their records, brought in P.F. Sloan to play them a few of his new songs. They liked "Eve of Destruction" enough to earmark it as a possible album track, but they didn't think they would do it justice, and so it was passed on to Barry McGuire. But Sloan did have something for them -- a pseudo-protest song called "Let Me Be" that was very clearly patterned after their version of "It Ain't Me Babe", and which was just rebellious enough to make them seem a little bit daring, but which was far more teenage angst than political manifesto: [Excerpt: The Turtles, "Let Me Be"] That did relatively well, making the top thirty -- well enough for the group to rush out an album which was padded out with some sloppy cover versions of other Dylan songs, a version of "Eve of Destruction", and a few originals written by Kaylan. But the group weren't happy with the idea of being protest singers. They were a bunch of young men who were more motivated by having a good time than by politics, and they didn't think that it made sense for them to be posing as angry politicised rebels. Not only that, but there was a significant drop-off between "It Ain't Me Babe" and "Let Me Be". They needed to do better. They got the clue for their new direction while they were in New York. There they saw their friends in the Mothers of Invention playing their legendary residency at the Garrick Theatre, but they also saw a new band, the Lovin' Spoonful, who were playing music that was clearly related to the music the Turtles were doing -- full of harmonies and melody, and inspired by folk music -- but with no sense of rebelliousness at all. They called it "Good Time Music": [Excerpt: The Lovin' Spoonful, "Good Time Music"] As soon as they got back to LA, they told Bones Howe and the executives at White Whale that they weren't going to be a folk-rock group any more, they were going to be "good time music", just like the Lovin' Spoonful. They were expecting some resistance, but they were told that that was fine, and that PF Sloan had some good time music songs too. "You Baby" made the top twenty: [Excerpt: The Turtles, "You Baby"] The Turtles were important enough in the hierarchy of LA stars that Kaylan and Tucker were even invited by David Crosby to meet the Beatles at Derek Taylor's house when they were in LA on their last tour -- this may be the same day that the Beatles met Brian and Carl Wilson, as I talked about in the episode on "All You Need is Love", though Howard Kaylan describes this as being a party and that sounded like more of an intimate gathering. If it was that day, there was nearly a third Beach Boy there. The Turtles knew David Marks, the Beach Boys' former rhythm guitarist, because they'd played a lot in Inglewood where he'd grown up, and Marks asked if he could tag along with Kaylan and Tucker to meet the Beatles. They agreed, and drove up to the house, and actually saw George Harrison through the window, but that was as close as they got to the Beatles that day. There was a heavy police presence around the house because it was known that the Beatles were there, and one of the police officers asked them to drive back and park somewhere else and walk up, because there had been complaints from neighbours about the number of cars around. They were about to do just that, when Marks started yelling obscenities and making pig noises at the police, so they were all arrested, and the police claimed to find a single cannabis seed in the car. Charges were dropped, but now Kaylan was on the police's radar, and so he moved out of the Laurel Canyon home to avoid bringing police attention to Buffalo Springfield, so that Neil Young and Bruce Palmer wouldn't get deported. But generally the group were doing well. But there was a problem. And that problem was their record label. They rushed out another album to cash in on the success of "You Baby", one that was done so quickly that it had "Let Me Be" on it again, just as the previous album had, and which included a version of the old standard "All My Trials", with the songwriting credited to the two owners of White Whale records. And they pumped out a lot of singles. A LOT of singles, ranging from a song written for them by new songwriter Warren Zevon, to cover versions of Frank Sinatra's "It Was a Very Good Year" and the old standard "We'll Meet Again". Of the five singles after "You Baby", the one that charted highest was a song actually written by a couple of the band members. But for some reason a song with verses in 5/4 time and choruses in 6/4 with lyrics like "killing the living and living to kill, the grim reaper of love thrives on pain" didn't appeal to the group's good-time music pop audience and only reached number eighty-one: [Excerpt: The Turtles, "Grim Reaper of Love"] The group started falling apart. Don Murray became convinced that  the rest of the band were conspiring against him and wanted him out, so he walked out of the group in the middle of a rehearsal for a TV show. They got Joel Larson of the Grass Roots -- the group who had a number of hits with Sloan and Barri songs -- to sub for a few gigs before getting in a permanent replacement, Johnny Barbata, who came to them on the recommendation of Gene Clark, and who was one of the best drummers on the scene -- someone who was not only a great drummer but a great showman, who would twirl his drumsticks between his fingers with every beat, and who would regularly engage in drum battles with Buddy Rich. By the time they hit their fifth flop single in a row, they lost their bass player as well -- Chuck Portz decided he was going to quit music and become a fisherman instead. They replaced him with Chip Douglas of the Modern Folk Quartet. Then they very nearly lost their singers. Volman and Kaylan both got their draft notices at the same time, and it seemed likely they would end up having to go and fight in the Vietnam war. Kaylan was distraught, but his mother told him "Speak to your cousin Herb". Cousin Herb was Herb Cohen, the manager of the Mothers of Invention and numerous other LA acts, including the Modern Folk Quartet, and Kaylan only vaguely knew him at this time, but he agreed to meet up with them, and told them “Stop worrying! I got Zappa out, I got Tim Buckley out, and I'll get you out.” Cohen told Volman and Kaylan to not wash for a week before their induction, to take every drug of every different kind they could find right before going in, to deliberately disobey every order, to fail the logic tests, and to sexually proposition the male officers dealing with the induction. They followed his orders to the letter, and got marked as 4-F, unfit for service. They still needed a hit though, and eventually they found something by going back to their good-time music idea. It was a song from the Koppelman-Rubin publishing company -- the same company that did the Lovin Spoonful's management and production. The song in question was by Alan Gordon and Gary Bonner, two former members of a group called the Magicians, who had had a minor success with a single called "An Invitation to Cry": [Excerpt: The Magicians, "An Invitation to Cry"] The Magicians had split up, and Bonner and Gordon were trying to make a go of things as professional songwriters, but had had little success to this point. The song on the demo had been passed over by everyone, and the demo was not at all impressive, just a scratchy acetate with Bonner singing off-key and playing acoustic rhythm guitar and Gordon slapping his knees to provide rhythm, but the group heard something in it. They played the song live for months, refining the arrangement, before taking it into the studio. There are arguments to this day as to who deserves the credit for the sound on "Happy Together" -- Chip Douglas apparently did the bulk of the arrangement work while they were on tour, but the group's new producer, Joe Wissert, a former staff engineer for Cameo-Parkway, also claimed credit for much of it. Either way, "Happy Together" is a small masterpiece of dynamics. The song is structured much like the songs that had made the Turtles' name, with the old Zombies idea of the soft verse and much louder chorus: [Excerpt: The Turtles, "Happy Together"] But the track is really made by the tiny details of the arrangement, the way instruments and vocal parts come in and out as the track builds up, dies down, and builds again. If you listen to the isolated tracks, there are fantastic touches like the juxtaposition of the bassoon and oboe (which I think is played on a mellotron): [Excerpt: The Turtles, "Happy Together", isolated tracks] And a similar level of care and attention was put into the vocal arrangement by Douglas, with some parts just Kaylan singing solo, other parts having Volman double him, and of course the famous "bah bah bah" massed vocals: [Excerpt: The Turtles, "Happy Together", isolated vocals] At the end of the track, thinking he was probably going to do another take, Kaylan decided to fool around and sing "How is the weather?", which Bonner and Gordon had jokingly done on the demo. But the group loved it, and insisted that was the take they were going to use: [Excerpt: The Turtles, "Happy Together"] "Happy Together" knocked "Penny Lane" by the Beatles off the number one spot in the US, but by that point the group had already had another lineup change. The Monkees had decided they wanted to make records without the hit factory that had been overseeing them, and had asked Chip Douglas if he wanted to produce their first recordings as a self-contained band. Given that the Monkees were the biggest thing in the American music industry at the time, Douglas had agreed, and so the group needed their third bass player in a year. The one they went for was Jim Pons. Pons had seen the Beatles play at the Hollywood Bowl in 1964, and decided he wanted to become a pop star. The next day he'd been in a car crash, which had paid out enough insurance money that he was able to buy two guitars, a bass, drums, and amps, and use them to start his own band. That band was originally called The Rockwells, but quickly changed their name to the Leaves, and became a regular fixture at Ciro's on Sunset Strip, first as customers, then after beating Love in the auditions, as the new resident band when the Byrds left. For a while the Leaves had occasionally had guest vocals from a singer called Richard Marin, but Pons eventually decided to get rid of him, because, as he put it "I wanted us to look like The Beatles. There were no Mexicans in The Beatles". He is at pains in his autobiography to assure us that he's not a bigot, and that Marin understood. I'm sure he did. Marin went on to be better known as Cheech Marin of Cheech and Chong. The Leaves were signed by Pat Boone to his production company, and through that company they got signed to Mira Records. Their first single, produced by Nik Venet, had been a version of "Love Minus Zero (No Limit)", a song by Bob Dylan: [Excerpt: The Leaves, "Love Minus Zero (No Limit)"] That had become a local hit, though not a national one, and the Leaves had become one of the biggest bands on the Sunset Strip scene, hanging out with all the other bands. They had become friendly with the Doors before the Doors got a record deal, and Pat Boone had even asked for an introduction, as he was thinking of signing them, but unfortunately when he met Jim Morrison, Morrison had drunk a lot of vodka, and given that Morrison was an obnoxious drunk Boone had second thoughts, and so the world missed out on the chance of a collaboration between the Doors and Pat Boone. Their second single was "Hey Joe" -- as was their third and fourth, as we discussed in that episode: [Excerpt: The Leaves, "Hey Joe"] Their third version of "Hey Joe" had become a top forty hit, but they didn't have a follow-up, and their second album, All The Good That's Happening, while it's a good album, sold poorly. Various band members quit or fell out, and when Johnny Barbata knocked on Jim Pons' door it was an easy decision to quit and join a band that had a current number one hit. When Pons joined, the group had already recorded the Happy Together album. That album included the follow-up to "Happy Together", another Bonner and Gordon song, "She'd Rather Be With Me": [Excerpt: The Turtles, "She'd Rather Be With Me"] None of the group were tremendously impressed with that song, but it did very well, becoming the group's second-biggest hit in the US, reaching number three, and actually becoming a bigger hit than "Happy Together" in parts of Europe. Before "Happy Together" the group hadn't really made much impact outside the US. In the UK, their early singles had been released by Pye, the smallish label that had the Kinks and Donovan, but which didn't have much promotional budget, and they'd sunk without trace. For "You Baby" they'd switched to Immediate, the indie label that Andrew Oldham had set up, and it had done a little better but still not charted. But from "Happy Together" they were on Decca, a much bigger label, and "Happy Together" had made number twelve in the charts in the UK, and "She'd Rather Be With Me" reached number four. So the new lineup of the group went on a UK tour. As soon as they got to the hotel, they found they had a message from Graham Nash of the Hollies, saying he would like to meet up with them. They all went round to Nash's house, and found Donovan was also there, and Nash played them a tape he'd just been given of Sgt Pepper, which wouldn't come out for a few more days. At this point they were living every dream a bunch of Anglophile American musicians could possibly have. Jim Tucker mentioned that he would love to meet the Beatles, and Nash suggested they do just that. On their way out the door, Donovan said to them, "beware of Lennon". It was when they got to the Speakeasy club that the first faux-pas of the evening happened. Nash introduced them to Justin Hayward and John Lodge of the Moody Blues, and Volman said how much he loved their record "Go Now": [Excerpt: The Moody Blues, "Go Now"] The problem was that Hayward and Lodge had joined the group after that record had come out, to replace its lead singer Denny Laine. Oh well, they were still going to meet the Beatles, right? They got to the table where John, Paul, and Ringo were sat, at a tense moment -- Paul was having a row with Jane Asher, who stormed out just as the Turtles were getting there. But at first, everything seemed to go well. The Beatles all expressed their admiration for "Happy Together" and sang the "ba ba ba" parts at them, and Paul and Kaylan bonded over their shared love for "Justine" by Don and Dewey, a song which the Crossfires had performed in their club sets, and started singing it together: [Excerpt: Don and Dewey, "Justine"] But John Lennon was often a mean drunk, and he noticed that Jim Tucker seemed to be the weak link in the group, and soon started bullying him, mocking his clothes, his name, and everything he said. This devastated Tucker, who had idolised Lennon up to that point, and blurted out "I'm sorry I ever met you", to which Lennon just responded "You never did, son, you never did". The group walked out, hurt and confused -- and according to Kaylan in his autobiography, Tucker was so demoralised by Lennon's abuse that he quit music forever shortly afterwards, though Tucker says that this wasn't the reason he quit. From their return to LA on, the Turtles would be down to just a five-piece band. After leaving the club, the group went off in different directions, but then Kaylan (and this is according to Kaylan's autobiography, there are no other sources for this) was approached by Brian Jones, asking for his autograph because he loved the Turtles so much. Jones introduced Kaylan to the friend he was with, Jimi Hendrix, and they went out for dinner, but Jones soon disappeared with a girl he'd met. and left Kaylan and Hendrix alone. They were drinking a lot -- more than Kaylan was used to -- and he was tired, and the omelette that Hendrix had ordered for Kaylan was creamier than he was expecting... and Kaylan capped what had been a night full of unimaginable highs and lows by vomiting all over Jimi Hendrix's expensive red velvet suit. Rather amazingly after all this, the Moody Blues, the Beatles, and Hendrix, all showed up to the Turtles' London gig and apparently enjoyed it. After "She'd Rather Be With Me", the next single to be released wasn't really a proper single, it was a theme song they'd been asked to record for a dire sex comedy titled "Guide for the Married Man", and is mostly notable for being composed by John Williams, the man who would later go on to compose the music for Star Wars. That didn't chart, but the group followed it with two more top twenty hits written by Bonner and Gordon, "You Know What I Mean" and "She's My Girl". But then the group decided that Bonner and Gordon weren't giving them their best material, and started turning down their submissions, like a song called "Celebrity Ball" which they thought had no commercial potential, at least until the song was picked up by their friends Three Dog Night, retitled "Celebrate", and made the top twenty: [Excerpt: Three Dog Night, "Celebrate"] Instead, the group decided to start recording more of their own material. They were worried that in the fast-changing rock world bands that did other songwriters' material were losing credibility. But "Sound Asleep", their first effort in this new plan, only made number forty-seven on the charts. Clearly they needed a different plan. They called in their old bass player Chip Douglas, who was now an experienced hitmaker as a producer. He called in *his* friend Harry Nilsson, who wrote "The Story of Rock & Roll" for the group, but that didn't do much better, only making number forty-eight. But the group persevered, starting work on a new album produced by Douglas, The Turtles Present The Battle of the Bands, the conceit of which was that every track would be presented as being by a different band. So there were tracks by  Chief Kamanawanalea and his Royal Macadamia Nuts,  Fats Mallard and the Bluegrass Fireball, The Atomic Enchilada, and so on, all done in the styles suggested by those band names. There was even a track by "The Cross Fires": [Excerpt: The Cross Fires, "Surfer Dan"] It was the first time the group had conceived of an album as a piece, and nine of the twelve tracks were originals by the band -- there was a track written by their friend Bill Martin, and the opening track, by "The US Teens Featuring Raoul", was co-written by Chip Douglas and Harry Nilsson. But for the most part the songs were written by the band members themselves, and jointly credited to all of them. This was the democratic decision, but one that Howard Kaylan would later regret, because of the song for which the band name was just "Howie, Mark, Johnny, Jim & Al". Where all the other songs were parodies of other types of music, that one was, as the name suggests, a parody of the Turtles themselves. It was written by Kaylan in disgust at the record label, who kept pestering the group to "give us another 'Happy Together'". Kaylan got more and more angry at this badgering, and eventually thought "OK, you want another 'Happy Together'? I'll give you another 'Happy Together'" and in a few minutes wrote a song that was intended as an utterly vicious parody of that kind of song, with lyrics that nobody could possibly take seriously, and with music that was just mocking the whole structure of "Happy Together" specifically. He played it to the rest of the group, expecting them to fall about laughing, but instead they all insisted it was the group's next single. "Elenore" went to number six on the charts, becoming their biggest hit since "She'd Rather Be With Me": [Excerpt: The Turtles, "Elenore"] And because everything was credited to the group, Kaylan's songwriting royalties were split five ways. For the follow-up, they chose the one actual cover version on the album. "You Showed Me" is a song that Roger McGuinn and Gene Clark had written together in the very early days of the Byrds, and they'd recorded it as a jangly folk-rock tune in 1964: [Excerpt: The Byrds, "You Showed Me"] They'd never released that track, but Gene Clark had performed it solo after leaving the Byrds, and Douglas had been in Clark's band at the time, and liked the song. He played it for the Turtles, but when he played it for them the only instrument he had to hand was a pump organ with one of its bellows broken. Because of this, he had to play it slowly, and while he kept insisting that the song needed to be faster, the group were equally insistent that what he was playing them was the big ballad hit they wanted, and they recorded it at that tempo. "You Showed Me" became the Turtles' final top ten hit: [Excerpt: The Turtles, "You Showed Me"] But once again there were problems in the group. Johnny Barbata was the greatest drummer any of them had ever played with, but he didn't fit as a personality -- he didn't like hanging round with the rest of them when not on stage, and while there were no hard feelings, it was clear he could get a gig with pretty much anyone and didn't need to play with a group he wasn't entirely happy in. By mutual agreement, he left to go and play with Crosby, Stills, Nash, and Young, and was replaced by John Seiter from Spanky and Our Gang -- a good drummer, but not the best of the best like Barbata had been. On top of this, there were a whole host of legal problems to deal with. The Turtles were the only big act on White Whale records, though White Whale did put out some other records. For example, they'd released the single "Desdemona" by John's Children in the US: [Excerpt: John's Children, "Desdemona"] The group, being the Anglophiles they were, had loved that record, and were also among the very small number of Americans to like the music made by John's Children's guitarist's new folk duo, Tyrannosaurus Rex: [Excerpt: Tyrannosaurus Rex, "Debora"] When Tyrannosaurus Rex supported the Turtles, indeed, Volman and Kaylan became very close to Marc Bolan, and told him that the next time they were in England they'd have to get together, maybe even record together. That would happen not that many years later, with results we'll be getting to in... episode 201, by my current calculations. But John's Children hadn't had a hit, and indeed nobody on White Whale other than the Turtles had. So White Whale desperately wanted to stop the Turtles having any independence, and to make sure they continued to be their hit factory. They worked with the group's roadie, Dave Krambeck, to undermine the group's faith in their manager, Bill Utley, who supported the group in their desire for independence. Soon, Krambeck and White Whale had ousted Utley, and Krambeck had paid Utley fifty thousand dollars for their management contract, with the promise of another two hundred thousand later. That fifty thousand dollars had been taken by Krambeck as an advance against the Turtles' royalties, so they were really buying themselves out. Except that Krambeck then sold the management contract on to a New York management firm, without telling the group. He then embezzled as much of the group's ready cash as he could and ran off to Mexico, without paying Utley his two hundred thousand dollars. The Turtles were out of money, and they were being sued by Utley because he hadn't had the money he should have had, and by the big New York firm, because  since the Turtles hadn't known they were now legally their managers they were in breach of contract. They needed money quickly, and so they signed with another big management company, this one co-owned by Bill Cosby, in the belief that Cosby's star power might be able to get them some better bookings. It did -- one of the group's first gigs after signing with the new company was at the White House. It turned out they were Tricia Nixon's favourite group, and so they and the Temptations were booked at her request for a White House party. The group at first refused to play for a President they rightly thought of as a monster, but their managers insisted. That destroyed their reputation among the cool antiestablishment youth, of course, but it did start getting them well-paid corporate gigs. Right up until the point where Kaylan became sick at his own hypocrisy at playing these events, drank too much of the complimentary champagne at an event for the president of US Steel, went into a drunken rant about how sick the audience made him, and then about how his bandmates were a bunch of sellouts, threw his mic into a swimming pool, and quit while still on stage. He was out of the band for two months, during which time they worked on new material without him, before they made up and decided to work on a new album. This new album, though, was going to be more democratic. As well as being all original material, they weren't having any of this nonsense about the lead singer singing lead. This time, whoever wrote the song was going to sing lead, so Kaylan only ended up singing lead on six of the twelve songs on what turned out to be their final album, Turtle Soup. They wanted a truly great producer for the new album, and they all made lists of who they might call. The lists included a few big names like George Martin and Phil Spector, but one name kept turning up -- Ray Davies. As we'll hear in the next episode, the Kinks had been making some astonishing music since "You Really Got Me", but most of it had not been heard in the US. But the Turtles all loved the Kinks' 1968 album The Kinks Are The Village Green Preservation Society, which they considered the best album ever made: [Excerpt: The Kinks, "Animal Farm"] They got in touch with Davies, and he agreed to produce the album -- the first time he did any serious outside production work -- and eventually they were able to persuade White Whale, who had no idea who he was, to allow him to produce it. The resulting album is by far the group's strongest album-length work, though there were problems -- Davies' original mix of the album was dominated by the orchestral parts written by Wrecking Crew musician Ray Pohlman, while the group thought that their own instruments should be more audible, since they were trying to prove that they were a proper band. They remixed it themselves, annoying Davies, though reissues since the eighties have reverted to a mix closer to Davies' intentions. Some of the music, like Pons' "Dance This Dance With Me", perhaps has the group trying a little *too* hard to sound like the Kinks: [Excerpt: The Turtles, "Dance This Dance With Me"] But on the other hand, Kaylan's "You Don't Have to Walk in the Rain" is the group's last great pop single, and has one of the best lines of any single from the sixties -- "I look at your face, I love you anyway": [Excerpt: The Turtles, "You Don't Have to Walk in the Rain"] But the album produced no hits, and the group were getting more and more problems from their label. White Whale tried to get Volman and Kaylan to go to Memphis without the other band members to record with Chips Moman, but they refused -- the Turtles were a band, and they were proud of not having session players play their parts on the records. Instead, they started work with Jerry Yester producing on a new album, to be called Shell Shock. They did, though bow to pressure and record a terrible country track called "Who Would Ever Think That I Would Marry Margaret" backed by session players, at White Whale's insistence, but managed to persuade the label not to release it. They audited White Whale and discovered that in the first six months of 1969 alone -- a period where they hadn't sold that many records -- they'd been underpaid by a staggering six hundred and fifty thousand dollars. They sued the label for several million, and in retaliation, the label locked them out of the recording studio, locking their equipment in there. They basically begged White Whale to let them record one last great single, one last throw of the dice. Jim Pons had, for years, known a keyboard player named Bob Harris, and had recently got to know Harris' wife, Judee Sill. Sill had a troubled life -- she was a heroin addict, and had at times turned to streetwalking to earn money, and had spent time in prison for armed robbery -- but she was also an astonishing songwriter, whose music was as inspired by Bach as by any pop or folk composer. Sill had been signed to Blimp, the Turtles' new production and publishing company, and Pons was co-producing some tracks on her first album, with Graham Nash producing others. Pons thought one song from that album, "Lady-O", would be perfect for the Turtles: [Excerpt: Judee Sill, "Lady-O"] (music continues under) The Turtles stuck closely to Sill's vision of the song. So closely that you haven't noticed that before I started talking, we'd already switched from Sill's record to the Turtles' version. [Excerpt: The Turtles, "Lady-O"] That track, with Sill on guitar backing Kaylan, Volman, and Nichol's vocals, was the last Turtles single to be released while the band were together. Despite “Lady O” being as gorgeous a melody as has ever been produced in the rock world, it sank without trace, as did a single from the Shell Shock sessions released under a pseudonym, The Dedications. White Whale followed that up, to the group's disgust, with "Who Would Ever Think That I Would Marry Margaret?", and then started putting out whatever they had in the vaults, trying to get the last few pennies, even releasing their 1965 album track version of "Eve of Destruction" as if it were a new single. The band were even more disgusted when they discovered that, thanks to the flurry of suits and countersuits, they not only could no longer perform as the Turtles, but White Whale were laying legal claim to their own names. They couldn't perform under those names -- Howard Kaylan, Mark Volman, and the rest were the intellectual property of White Whale, according to the lawyers. The group split up, and Kaylan and Volman did some session work, including singing on a demo for a couple of new songwriters: [Excerpt: Steely Dan, "Everyone's Gone to the Movies"] When that demo got the songwriters a contract, one of them actually phoned up to see if Kaylan wanted a permanent job in their new band, but they didn't want Volman as well, so Kaylan refused, and Steely Dan had to do without him. Volman and Kaylan were despondent, washed-up, has-been ex-rock stars. But when they went to see a gig by their old friend Frank Zappa, it turned out that he was looking for exactly that. Of course, they couldn't use their own names, but the story of the Phlorescent Leech and Eddie is a story for another time...

GGACP celebrates the birthday of legendary producer, showman and puppeteer Sid Krofft (July 30, 1929) by revisiting this classic episode from 2018 featuring Sid and his brother and longtime partner Marty Krofft. In this episode, Sid and Marty discuss their unusual creative process, the origins of “H.R. Pufnstuf” and “Land of the Lost” and the failure of their ambitious indoor theme park, “The World of Sid and Marty Krofft.” Also, Dean Martin drops the ax, Bette Davis drops an f-bomb, Walt Disney doles out advice and Liberace “dates” Sonja Henie. PLUS: Live, nude puppets! Sid Caesar to the rescue! Remembering Martha Raye! “The Brady Bunch Variety Hour”! And Sid and Marty sue McDonald's — and win! Learn more about your ad choices. Visit megaphone.fm/adchoices