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On this episode, we speak with Lisa Collins, founder and publisher of LA Focus, a monthly newspaper dedicated to highlighting news relevant to LA's African American community. A passionate Los Angeles native, Lisa aims to equip Black Angelenos with essential information and resources, emphasizing the church's role in community empowerment. Before founding LA Focus, she served as the gospel editor at Billboard Magazine for over a decade and established the renowned “The Gospel Music Industry Round-Up.” Her entertainment reporting career includes interviews with notable entertainers such as Richard Pryor, Michael Jackson, and Prince. With over 300 articles published in national outlets like Essence, Collins is a notable figure in both journalism and community advocacy.Resources:www.lafocusnews.comPhone: (310) 677-6011Community Announcements:Cool Spots LA The Climate Emergency Mobilization Office brings us 'Cool Spots LA,' a city resource for finding public facilities to cool down and escape the heat during the summer.Visit Climate4LA.org/CoolSpotsLASign up for NotifyLA extreme heat alerts at emergency.lacity.orgCrenshaw Farmers MarketEvery Saturday from 10am - 3pm (rain or shine)Located in the Historic Fire Station 54 parking lot at 5730 Crenshaw Blvd (off of Crenshaw and Slauson, adjacent to U.S. Bank)Link: foodaccessla.org/crenshaw-farmers-marketSitdown w/ a Staffer Resources:www.aging.lacity.govwww.ad.lacounty.gov
In this episode, Slauson Girl Speaks with podcaster and Hebrew Israelite @GRLAHEBREW about the infatuation of Los Angeles gang politics especially in the Youtube space, Kendrick Lamar's recent halftime performance at the Super Bowl and his beef with Drake, Kanye West's crusade against the "powers that be," Kamala Harris losing the election, how to strengthen Black and Brown relations and more. Follow @GRLAHEBREW
In an exclusive interview, newly elected Los Angeles District Attorney Nathan Hochman shares his vision for the future of the city's legal landscape, while addressing the pressing issues of juvenile justice, crime policy, and continuing George Gascon's review of wrongly convicted individuals.
Slauson Girl Speaks with April Showers, the CEO and Founder of Afro Unicorn, a brand that celebrates the beauty and power of Black girl magic. April grew up in South Central, Los Angeles and shares her journey of building Afro Unicorn from the ground up, the challenges she's faced, and the importance of representation in business. Tune in for an inspiring conversation about entrepreneurship, creativity, and the magic of believing in yourself. @gotAprilShowers @Afrounicorn_official
This week's Espresso covers news from Klar, Educbank, Fairplay, and more!Outline of this episode:[00:27] – Klar launches platinum credit card[00:37] – Educbank raises $14.5M through the issuance of corporate bonds[00:57] – Fairplay secures $35M credit line from BBVA Spark[01:19] – Ualá raises $300M Series E and reaches $2.75B valuation[01:38] – Tako raises $13.2M seed round from a16z and Ribbit Capital[01:58] – Cometa raises $12M Series A to optimize school administration[02:13] – Interview with Andrés Benavides CEO & Cofounder of Cometa[10:43] – Lerian raises $3.1M in a round led by MAYA Capital[11:00] – Influur raises $10M in series A round[11:11] – Pravaler raises $75M in FIDCs[11:24] – Tumoni raises $2.3M in pre-seed round[11:44] – Asia Shipping acquires Hórus Logística[12:00] – Blip raises $60M in series C round[12:20] – LatamList Roundup November 1st – 15thResources & people mentioned:Startups: Klar, Educbank, Fairplay, Ualá, Tako, Cometa, Lerian, Influur, Pravaler, Tumoni, Asia Shipping, Hórus Logística, BlipVCs: BBVA Spark, Allianz X, a16z, Ribbit Capital, Reach Capital, MAYA Capital, Point72 Ventures, HTwenty Capital, Slauson & Co, Counterview Capital, Warburg PincusPeople: Andrés Benavides
Vinny Dotolo is a Los Angeles-based chef and restaurateur, recognized for his contributions to the city's food scene. He is the chef and co-owner of Jon & Vinny's and Helen's Wines, with locations in Beverly Hills, Brentwood, Fairfax, Slauson, Studio City, and globally. He also operates Cookbook Market in Echo Park, Highland Park, and Larchmont Village, along with Carmelized Productions, a full-service catering company.Vinny has been accredited with several awards including Food & Wine's Best New Chef (2009) and James Beard (2016) for “Best Chef West” for animal restaurant, which closed in 2023. Beyond the kitchen, he is an active supporter of many charities including No Kid Hungry, Alex's Lemonade, and Baby2Baby.*The Founder Hour is brought to you by Outer. Outer makes the world's most beautiful, comfortable, innovative, and high-quality outdoor furniture - ALL from sustainable materials - and is the ONLY outdoor furniture with a patented built-in cover to make protecting it effortless. From teak chairs to fire pit tables, everything Outer makes has the look and feel of what you'd expect at a 5-star resort, for less than you'd pay at a big box store for something that won't last. For a limited time, get 10% off at www.liveouter.com/thefounderhour. Terms and conditions apply.Still using your personal phone number for your startup in 2024? OpenPhone makes it easy to get business phone numbers for your team with an app that works on both phone and computer. It integrates with CRMs like HubSpot and Salesforce, and offers AI-powered call transcripts and summaries. Plus, your whole team can access the same number. Start at $15/user/month, but The Founder Hour listeners get 20% off for 6 months. Visit https://www.openphone.com/founder to start your free trial!Stressed, sleepless, or need a health boost? Try Magnesium Breakthrough from BiOptimizers! It's the only supplement with 7 types of magnesium, each with unique benefits like muscle recovery, heart health, and energy production. All-natural, vegan, and gluten-free. Visit www.bioptimizers.com/founderhour and use code FOUNDERHOUR for 10% off. ***Follow The Founder Hour on:Instagram | www.instagram.com/thefounderhourTwitter/X | www.x.com/thefounderhourLinkedIn | www.linkedin.com/company/thefounderhourYouTube | www.youtube.com/@thefounderhour
Can Venture Investment into more diverse founders, in more diverse neighborhoods yield better ROI? Can a Venture Firm become “the” community resource for entrepreneurs in a City? In this episode, Rob and Miki Reynolds sit down to explore and answer these questions! Miki is an incomparable Los Angeles entrepreneurial thinker, and now Head of Programs at Slauson & Co, which is a dynamic young and very intentionally inclusive venture firm based in LA. These two friends explore the urgent need for diversity in the startup world and how the industry continues to evolve. Miki highlights how important “the Company We Keep” is to the founder journey. From breaking barriers for underrepresented founders to reimagining venture capital, Miki shares actionable insights on building a more inclusive ecosystem. Plus, don't miss the big, exciting announcement of Slauson & Co's latest Fund and the return of their expanded accelerator, Family & Friends program! Feel free to follow and engage with MIKI here: LinkedIn: https://www.linkedin.com/in/mikireynolds/ Instagram: https://www.instagram.com/mikster/?hl=es X: https://x.com/mikster Website: http://www.mikireynolds.com Website: https://www.slauson.co We're so grateful to you, our growing audience of entrepreneurs, investors and community leaders interested in the human stories of the Entrepreneurial Thinkers behind entrepreneurial economies worldwide. As always we hope you enjoy each episode and Like, Follow, Subscribe or share with your friends. You can find our shows here, and our new Video Podcast, at “Entrepreneurial Thinkers” channel on YouTube. Plug in, relax and enjoy inspiring, educational and empowering conversations between Rob and our guests. ¡Cheers y gracias!, Entrepreneurial Thinkers Team.
When WPA writer Sara B. Wrenn interviewed Miss Jean Slauson of Lake Grove in January 1939, Miss Slauson gave Ms. Wrenn a hand-written treatise to transcribe, written by her great-aunt, Harriet Scott Palmer; it was a description of Ms. Palmer's experience crossing the plains on the Oregon Trail with the party that included Abigail Scott Duniway and Harvey Scott. This is that document. (For the transcript, see https://www.loc.gov/item/wpalh001975/ )
On this episode, we speak with Lisa Collins, founder and publisher of LA Focus, a monthly newspaper dedicated to highlighting news relevant to LA's African American community. A passionate Los Angeles native, Lisa aims to equip Black Angelenos with essential information and resources, emphasizing the church's role in community empowerment. Before founding LA Focus, she served as the gospel editor at Billboard Magazine for over a decade and established the renowned “The Gospel Music Industry Round-Up.” Her entertainment reporting career includes interviews with notable entertainers such as Richard Pryor, Michael Jackson, and Prince. With over 300 articles published in national outlets like Essence, Collins is a notable figure in both journalism and community advocacy.Resources:www.lafocusnews.comPhone: (310) 677-6011Community Announcements:Cool Spots LA The Climate Emergency Mobilization Office brings us 'Cool Spots LA,' a city resource for finding public facilities to cool down and escape the heat during the summer.Visit Climate4LA.org/CoolSpotsLASign up for NotifyLA extreme heat alerts at emergency.lacity.orgCrenshaw Farmers MarketEvery Saturday from 10am - 3pm (rain or shine)Located in the Historic Fire Station 54 parking lot at 5730 Crenshaw Blvd (off of Crenshaw and Slauson, adjacent to U.S. Bank)Link: foodaccessla.org/crenshaw-farmers-marketSitdown w/ a Staffer Resources:www.aging.lacity.govwww.ad.lacounty.gov
WPA writer Sara B. Wrenn's oral history interview with Miss Jean Slauson of Oswego and two of her young cousins, sharing some of their family stories, oral and written. Part 1 of 3 parts. (For the transcript, see https://www.loc.gov/item/wpalh001975/ )
Jared and Brandon of Giti Thai join Neil to talk about the first and only black owned Thai restaurant. It's a beautiful story and some great food. Take a listen!
On this episode, we speak with Chris Young, co-founder of Air West, an elite basketball run + youth clinic based in Los Angeles. Currently, they host a free weekly basketball clinic in Exposition Park for youth ages 5 to 13. Here, kids can work with expert trainers to help them develop their skills. Chris has an extensive background in sports instruction and community engagement. He served as a basketball instructor for the City of Los Angeles, conducting clinics, evaluations, and coaching teams in the Junior Clippers League and the Clippers Late Night Hoops League. Chris also served as an Assistant Varsity Coach at Leuzinger High School, where he mentored NBA players Russell Westbrook, Dorell Wright, and Delon Wright, further showcasing his dedication to nurturing young talent. Through Air West, he aims to mentor the next generation of basketball stars, fostering their skills and personal development.Resources:www.airwestla.comCommunity Announcements:Metro Mobility WalletApplications for Phase II of the Mobility Wallet are now open. This prepaid debit card allows recipients to use various transportation services, including Metro Bus, Metro Rail, Metro Micro, bikeshare, e-scooters, taxis, ride-hailing (Uber/Lyft), regional transport (Greyhound, Amtrak, FlixBus), and even bike shop purchases. Participants can receive up to $1800 to spend on these shared transportation options.For more information and to apply, visit metro.net/mobilitywallet1 Crenshaw Farmers MarketEvery Saturday from 10am - 3pm (rain or shine)Located in the Historic Fire Station 54 parking lot at 5730 Crenshaw Blvd (off of Crenshaw and Slauson, adjacent to U.S. Bank)Link: foodaccessla.org/crenshaw-farmers-marketSitdown with a Staffer ResourcesWestern Our Way tinyurl.com/WesternOurWaytinyurl.com/WOWNotify
What do you get when a beatuiful young boy travels from Korea, to Colombia, before settling in the city of Los Angeles in the early 80's? In this case, a fun loving officiando of the writing on the wall, hip hop and all the incredible aspects of its culture, and culinary palette that transcends various continents. For season 2, episode 8, we introduce to yall OG CHINO. He says OG, but we'll say triple OG. Los Angeles is obvioulsy home base for us. It is super important that we take time to rap with the individuals that have helped shape the culture of this amazing city. So much of what Chino has contributed to is what has inspired us, and inspired the Standard Issue brand. From his pops work as a diplomat, and tae kwon do instructor. Being raised by his older sisters in 80's in K-Town, to opening record shops on Slauson, and working for Rick Rubin, Chino's career has touched alot of different people, places, and things. Soak it all in. After you listen, take a trip over to his Colombian/Korean hybrid restaurant, Escala in K-Town for some amazing food and amazing music..
For this episode MHD talks basketball, entrepreneurship, voting and more with Assemblymember Isaac Bryan, Social Entrepreneur Karim Webb and guest host Nick Hamilton of The Nick Hamilton Experience.Nick Hamilton is the founder of Nitecast Media, a platform created to address the perspectives and needs of Black communities and other communities of color. Born and raised in Los Angeles, Nick's passion for writing began in high school under the guidance of his teacher, Mr. Larry Strauss. Despite facing challenges and doubts, Nick's dedication to media led him to create a company that emphasizes authentic storytelling in sports, entertainment, and tech. Nick has worked in the media industry for over 15 years, with his work featured on SIRIUSXM, SB Nation, NBC, AXS.com, AP, iHeartMedia, BBC News, KCBS (Los Angeles), and Forbes. He holds an AA degree in Journalism and Communications from El Camino College. Nitecast Media has covered prestigious events such as The Oscars, ESPYs, BET Awards, and Super Bowls, providing a platform for voices often overlooked by mainstream media.www.instagram.com/nickhamiltonlapodcasts.apple.com/us/podcast/the-nh-experience/id1263300531Isaac G. Bryan represents California's 55th Assembly District, including Baldwin Hills, Culver City, and parts of South Los Angeles. He is Chair of the Committee on Natural Resources and the Select Committee on Poverty and Economic Inclusion and serves on several other committees, including Appropriations and Judiciary. Elected Secretary and Treasurer of the California Legislative Black Caucus in 2022, he is a founding member of the Renters Caucus. His legislative achievements include phasing out oil drilling near homes, ending prison gerrymandering, and protecting students from predatory insurance practices. Before his Assembly tenure, Bryan led initiatives addressing racial injustice, served as Director of Organizing for the Million Dollar Hoods project, and authored the first holistic report for Los Angeles on the needs of formerly incarcerated Angelenos.a55.asmdc.orgwww.instagram.com/ib2_realKarim Webb is an Entrepreneurial Activist and Principal at Webb Investments, focusing on economic opportunities in underserved areas. He co-founded Positive Cash Flow (PCF) Restaurant Management, a Buffalo Wild Wings franchisee in Los Angeles, and earned a spot on the 2021 NRN Power List for his industry leadership. Webb serves as President of the Board of Airport Commissioners for Los Angeles World Airports (LAWA) and holds various board positions, including the California Community Foundation and Everytable. He is also a Venture Partner at Slauson & Co., a Partner at Hilltop Coffee + Kitchen, and a spokesperson for BLOOM, a CCF initiative supporting young Black males in South Los Angeles.www.karimwebb.comwww.instagram.com/karimwebbCommunity Announcements:Friends of Hyde Park Book ClubMeetings take place every fourth Saturday of the month from 4 p.m. to 5 p.m. Location: Hyde Park Miriam Matthews Branch Library For more information, call (323)750-7241 or visit
On this episode, Chavonne Taylor speaks with the owners and founders of Word of Life Christian Bookstore. The bookstore was founded by Joseph and Evelyn Curtiss in 1961 following their move to South LA during the Great Migration. As the oldest operating Black Bookstore in Los Angeles, it has become a community pillar, managed and now owned by their son Jonathan Curtiss and his wife LaShalle, who celebrate 35 years of marriage. Alongside their two adult sons, they ensure the bookstore's growth and its mission to support the community through connections with over 500 churches and faith-based organizations. The Curtiss family's dedication extends through the United Gospel Outreach, a nonprofit offering essential services to South LA families, established by Joseph and Evelyn in 1968.Resources:www.shopwordoflife.com6321 West Blvd, Los Angeles, CA 90043323-295-8223Community AnnouncementsSCOPE Seeds of Unity FestSaturday, April 20th from 11am to 3pm at Harvard Park Located at 1535 W. 62nd StreetLink to register: https://secure.everyaction.com/grvfVypwikK9xqN1Co52kQ2Crenshaw Farmers MarketEvery Saturday from 10am - 3pm (rain or shine)Located in the Historic Fire Station 54 parking lot at 5730 Crenshaw Blvd (off of Crenshaw and Slauson, adjacent to U.S. Bank)Link: foodaccessla.org/crenshaw-farmers-marketSit Down with a Staffer Resources:Economic and Development Workforce Department (ewddlacity.com)Vermont Slauson Economic Development Corporation (vsedc.org)My LA 311 (myla311.lacity.org)
When we read that Eric Slauson (designer MonsDRAWsity, the upcoming Chucky game, and many more) likes to deal cards in a...very unique way, we knew we wanted to invite him on to discuss just how weird his board gaming habits are. Are we weirder? And how do YOU compare? Plus, gamers always talk about how some games aren't "worth" the price -- how do we value each game's worth? Timeline: 3:41 - Going Analog's game pick: Wyrmspan. 12:03 - Eric's game pick: Kinfire Chronicles. 19:25 - Going Analog's topic: Bizarre board gaming habits. 34:27 - Eric's topic: How do you value board games?
Prepare to delve into the transformative world of marketing efficiency with a minimalist approach—an attainable reality we're excited to explore. In this episode, we are honored to have Colton Slauson from Sendoso as our esteemed guest. Together, we navigate the nuanced art of simplification and optimization within marketing operations. Colton, who began his journey as an intern making memorable missteps with 'Marketo,' has ascended to the role of Senior Marketing Operations Manager, epitomizing the principle of achieving more with less. His trajectory offers invaluable insights into automating routine tasks, streamlining processes, and effectively integrating Sendoso and Alice, all while leading a lean yet impactful marketing operations team.Many professionals can relate to the challenge of managing competing priorities akin to a performer without a net. This episode offers a behind-the-scenes look at the delicate equilibrium between satisfying customer expectations and fulfilling internal objectives. Through our dialogue with Colton, we illuminate the importance of communication in maintaining alignment with sales teams and making decisive judgments on project priorities. Our discussion also includes a humorous anecdote about a VP's content notification request, illustrating how a simple query can unravel complex issues.Moreover, this episode goes beyond storytelling to provide actionable insights. Managing a diverse marketing technology stack is often compared to herding cats, yet we break down strategies for mastering this complexity with a streamlined team. Additionally, we redefine the allure of documentation, emphasizing its role not just in procedural accuracy but also in compliance with privacy regulations and enhancing team cohesion. We advocate for a culture of curiosity, underscoring how an inquisitive disposition and engagement with the broader marketing community can propel professional growth.Join us for an enlightening conversation that promises to elevate your approach to marketing operations. Tune in to this episode to revolutionize your marketing strategies and operations.Episode Brought to You By MO Pros The #1 Community for Marketing Operations ProfessionalsJoin Us at MOps-Apalooza, Nov 4-6 2024! Join us LIVE in November 2024 along with 400+ Marketing and Revenue Ops pros. Learn more here.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show
We're back on the plot today with Slauson Malone 1, formerly Slauson Malone, also known as Jasper Marsalis. Jasper is a painter, sculptor and musician who currently lives in Los Angeles. His work in music feels like a form of collage; of narratives, sounds and references.In this episode Flo and Jasper are appealing to Jasper's perfectionist qualities and planting out garlic. They discuss the music that Jasper is currently fake listening to; his respect and fear of cooking and appreciation of dumb but useful items, like the dibber - which is well used in this episode. Jasper is currently reading Cruel Optimism by Lauren Berlant, listening to Abdul Wadud, By Myself; and watching Winter adé as well as Fast X. Presenter & editor - Flo Dill, Producer - Lizzy King, Sound Recording - Fabrice Robinson, Audio production - Felix Stock. Special thanks to Dimitris Mylonas.Music - Cleaners from Venus - The Artichoke That Loved Me, courtesy of Martin Newell & Captured Tracks.Listen back to Jasper's shows and guest spots on NTS Hosted on Acast. See acast.com/privacy for more information.
Embark on a journey through the innovative soundscape of Jasper Marsalis, known artistically as Slauson Malone 1, in a conversation that transcends the conventional boundaries of music genres. As we sit down with Jasper, we uncover the multifaceted layers of his album "Excelsior," a fusion of the avant-garde, alt R&B, and lo-fi rock that defies easy categorization. He talks about his rich heritage, his father being Pulitzer Prize winning jazz legend Winton Marsalis, yet this ain't no nepo baby: Jasper is an acclaimed exhibiting visual artist and his music feels like the communication of a true outlier.In a broader exploration of artistic expression, we tackle the subjective nature of art evaluation and the complex dynamics of inspiration. Through discussions on alter egos in music to the legacy of 60s experimental composers, we navigate the interwoven themes of music, societal commentary, and the creative legacy that define our cultural landscape. Jasper's reflections on balancing the weight of a musical family name with his individual path provide a candid glimpse into the world where personal history and artistic aspiration converge. Join us for this compelling episode, where we dissect the essence of what makes music a timeless form of human connection and self-expression.Excelsior is out now on Warp RecordsPresented and produced by Paul Hanford Paul Hanford on InstagramLost and Sound is proudly sponsored by Audio-TechnicaPaul's debut book, Coming To Berlin: Global Journeys Into An Electronic Music And Club Culture Capital is out now on Velocity Press. Click here to find out more. Subscribe to the Lost and Sound Substack for fresh updates and writing.Lost and Sound title music by Thomas Giddins
An extremely ranging and fun conversation about all of the research and design ethos that go into Eric's games. The first couple timestamps cover Eric, what got him into gaming, his general research process, and thoughts behind designing. After that, the linked times are about specific research-related questions for specific games. As to not spoil those questions (and due to the fact that those sections are a little shorter), the times will just be linked!A Good & Plentiful Introduction (0:00)Getting to know EricCreating Lasting Social Experiences (20:30)In the intro, Eric offers a lot of great thoughts behind what makes his games meaningful to the people that play them, so this is just a follow-up with a couple more things that he integrates into the design process.Research Intro & MonsDRAWsity (30:05)Talking about everything Eric looks into when thinking about and creating his games.Tattoo Stories (51:48)Wacronyms (58:16)Pun of Your Business (1:03:17)Nerd Words: Science! (1:07.11)Chucky [and co-design] (1:12:07)Wrap-up Questions (1:23:16)Texts stuck on Eric's mind and what to look out for from him.Check out Eric's site, Twitter, and InstagramFinally, for the past few episodes, I've tried to make my own sound effects and such for transitions. With the games and wide range of content being discussed, that was so tough for me to pin down what it was here. Ultimately, I settled for a tattoo drill and retro monster combination, but neither were my creations. Both are CCO/common domain and don't "need" to be credited, but I will of course.Monster sounds (and a cool retro pack in general: (http://www.themotionmonkey.co.uk/free-resources/retro-arcade-sounds/)Tattoo drill: https://pixabay.com/sound-effects/tattoo-34946/Contact me at vodthepod@gmail.com or my Instagram with the same name. There's also now an Intertextual Cardboard Experience Twitter account.
Everything Remade episode 175. Thanks so much to Ryann for taking the time to chat with me. Intro/Outro track "The Dense Macabre" by Coma Regalia. Featured tracks: 1. Lake of Shells - Closer 2. Who Could See You And Forget - Sonagi-소나기 3. Gain - Scenario A hear more: closernyc.bandcamp.com sonagiphl.bandcamp.com If you are enjoying what you hear and would like to support the growth of this podcast directly you can do so by way of donation via paypal: middlemanrecords@gmail.com or vemo: @ediequinn or subscribe to our patreon: patreon.com/humanmachine
In and out of the club at unexpected moments on this week's Independent Music Podcast. Whilst Ecstatic-signed Cypriot producer Spivak brings stunning ambient sounds, Julek Ploski – a former signee to multiple ferocious Polish rave labels – brings us a cinematic masterpiece. What a time to be alive. Elsewhere, the first taste of Kazakh-British violinist Galya Bisengalieva is very, very exciting, there's a return of pod favourite Comité Hypnotisé, sludgy rock sounds from Vangas, acid house, trip hop, hip hop and more. You can listen to the first six tracks for free. To listen to the full episode, get a huge back catalogue of music, and access to our live shows and Discord group, please join our Patreon: patreon.com/independentmusicpodcast. The podcast only survives with Patron support TracklistingVangas – Every Day is the Same (Chunklet Industries, USA)Comité Hypnotisé – Blind Ear Boogie (Cortizona, Belgium)Julek Ploski – New York, Poland (Orange Milk Records, USA)Spivak – Mid Week Ritual (Ecstatic, UK)Neo Image – Fourth Finger (Mood Hut, Canada)Los Sara Fontan – Wall-E (Aloud Music, Spain)Montao – Costa Del Mersey (Def Pressé, UK)Slauson Malone 1 – Voyager (Warp, UK)Galya Bisengalieva – Balapan (One Little Independent, UK)Bonnacons of Doom – Facing (Rocket Recordings, UK) This week's episode is sponsored by the state51 Conspiracy, an independent music house. Go to state51.com to find out more about everything they do: state51 Factory sessions and events; hand-made Atelier products; a diverse roster of Label releases; Greedbag stores, pop-up and fanzine, and the Collective of distribution partner labels and artists Produced and edited by Nick McCorriston
Ajay Relan is an investor, entrepreneur, and community builder. With a keen focus on brand building and storytelling, Ajay's passion lies in identifying trends and engineering culturally aligned brands. A lifelong Angeleno, Ajay has established a business portfolio grounded in community. Relan is the head of Slauson & Co - a venture capital firm focused on investing in SMB Tech, tools that support the next generation, and culturally relevant consumer products. His is also a Co-Creator of Hilltop Coffee + Kitchen which has become a staple, facilitating productivity and collaboration in diverse neighborhoods across Los Angeles. In 2012, Ajay founded #HashtagLunchbag, a grassroots movement that has fed 1,000,000+ hungry and unhoused people in 150+ cities around the globe. Relan joins us today to share his work, his philosophy, and his manifestations toward creating change through working with like minds to establish creative philanthropic collaborations. Connect: @DeviBrown @AjayFresh Learn More: Hilltop Coffee + Kitchen Slauson & Co Subscribe: Devi Brown's YouTube ChannelSee omny.fm/listener for privacy information.
Look I'm comin straight out of Slauson, a crazy motherf****r name Nipsey!I'm turfed up cause I grew up in the Sixties!Caution! To you rap n****s try and diss me!I go hard that's why yo' b***h wanna flip meBig guns n****s turn rivals into rosariesExtended clips I give a f**k who you 'posed to beStraight off the block I sold dope to buy groceries --- Send in a voice message: https://podcasters.spotify.com/pod/show/88ec2/message
On this episode Slauson Girl Speaks With Akil West of Sole Folks about the historic purchase a multi-million dollar property in Leimert Park that houses several prominent Black L.A Businesses. We also touch on the future of the Crenshaw District/Leimert Park area and how Akil feels as a Black businessman in L.A who is set to benefit from the new developments in the area. Akil speaks on the importance of Black wealth building and how he has come to establish himself as a notable figure in L.A after being incarcerated for 15 years. West has shown committment to providing opportunities for Black people in his community as the CEO and co-founder of Leimert Park Village's @solefolks a nonprofit retail hub dedicated to cultivating Black entrepreneurship and creativity through innovative programming, mentorship, and financial support. Follow and support @SoleFolks Thank you to our Podcast Sponsor Los Angeles Realtor Agent Sunny Jones. Shot and Mixed By The Variety Group.
What does it take to not only see fitness gains, but also more life in your current and future years, as a Masters Athlete? How can you stay motivated for your longterm goals, while committing to your short term goals, that often don't seem to be in sync? This episode we talked with Dr. Jim Slauson in a deep-dive into how you can progress from being a Masters Athlete, to a Grand Master Athlete- one who not only has fitness and strength, but much more life, enjoyment, and balance, as you head towards Dr. Peter Attia's Centurian Decathlon. Sign up for Coach Brodie's Masterclass at the 2023 Science in Cycling Conference June 27, 2023 Join the FREE Facebook Community HVTraining's Strength Training for Cyclists & Triathletes Coach Brodie's Book “Strength Training for Cycling Performance” Learn all bout Strength Training for Cycling Strength Training for Cyclists Certification Insiders List Get Started with the Stronger After 50 Programs --- Support this podcast: https://podcasters.spotify.com/pod/show/menachem-brodie/support
About Ajay: Ajay Relan is an investor, entrepreneur, and community builder. Prior to Slauson & Co., Ajay was a founding Partner at Queensbridge Venture Partners. With a keen focus on brand building and storytelling, Ajay's passion lies in identifying trends and engineering culturally aligned brands. A lifelong Angeleno, Ajay has established a business portfolio grounded in community. His most recent collaboration, Hilltop Coffee + Kitchen, has become a staple, facilitating productivity and collaboration in diverse neighborhoods across Los Angeles. In 2012, Ajay founded #HashtagLunchbag, a grassroots movement that has fed 1,000,000+ hungry and unhoused people in 150+ cities around the globe. He went on to establish the Living Through Giving Foundation, a non-profit platform empowering the creation of programs engaging diverse groups of people to contribute to various causes in their local communities. Ajay is a graduate of UC Santa Barbara. Episode Highlights: The power in your lived experience and how it can be used as a competitive advantage. When looking for founders, look for people who are delusional with their vision but pragmatic with their execution. Meaning you want to look for founders who are big dreamers with big goals but who also have a game plan, are focused and are willing to put in the work. Life is overwhelming, especially in the VC world, so take some time to create quiet in your life.
On this episode Slauson Girl Speaks with Kamilah Moore, Chair of The California Reparations Task Force, about her current role helping to study and develop a plan of reparations for African-Americans in the state of California. Kamilah Moore is a scholar and an attorney with a specialization in entertainment and intellectual property. As a law student, Moore contributed to human rights reports related to domestic and international human rights issues. While studying abroad at the University of Amsterdam, Moore wrote a master thesis exploring the intersections between international law and reparatory justice for the trans-Atlantic slave trade, chattel slavery, and their legacies. She earned a Juris Doctorate from Columbia Law School in New York City, a Master of Law degree in International Criminal Law from the University of Amsterdam, and a Bachelor's degree from the University of California, Los Angeles (UCLA). We discuss the current proposals by the task force, their process of holding public hearings, how it will be determined who receives reparations, if and how reparations will ever be allocated to African-Americans, the history of slavery in California and so much more. Thank you to our episode sponsor. If you are in Los Angeles and need a home, call @Agentsunnyjones Mixed and shot by @Thevarietygroup
My story is like a modern day retelling of Don Quixote de la Mancha. But, it takes place in Los Angeles in the Crenshaw district. This is my screenplay set to podcast. I can't write a screenplay just yet, so I am just putting my ideas on tape for posterity. –––––––––––––––––––––––
Welcome to Slauson's Oasis! Join us as we discuss Tourist Trap (1979). We talk about the murky swimming hole, rampant cocaine use on set, the lack of nudity and MUCH MORE!
Frank Morano interviews Ted Slauson, an elementary school math teacher, a “Price is Right” expert and the star of the documentary “Perfect Bid: The Contestant Who Knew Too Much” about his history with “The Price is Right”; how a contestant ended up with the perfect bid. Learn more about your ad choices. Visit megaphone.fm/adchoices
Originally released September 13, 2021. In 2008, a man named Terry Kneiss won a double showcase on The Price is Right by making a perfect bid of $23,743 dollars. But there was more to it than luck. This is the crazy story of a gameshow going through changes and the man who helped Terry win: Ted Slauson. Then we chat with and play the quick quiz with game show fanatic Christian Carrion. Review this podcast at https://podcasts.apple.com/us/podcast/the-internet-says-it-s-true/id1530853589 Bonus episodes and content available at http://Patreon.com/MichaelKent To save time by using an AI Content Generator, visit our sponsor: http://phosphorAI.com For special discounts and links to our sponsors, visit http://theinternetsaysitstrue.com/deals
Slauson beating golf pros and fake chiropractors. This episode is brought to you by producer Scott's book Age is Your Edge How to find fulfillment and purpose in midlife. Everyone who purchases the book will get the audiobook for free. Buying options here
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We start season four of A History of Rock Music in Five Hundred Songs with an extra-long look at "San Francisco" by Scott McKenzie, and at the Monterey Pop Festival, and the careers of the Mamas and the Papas and P.F. Sloan. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Up, Up, and Away" by the 5th Dimension. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. Scott McKenzie's first album is available here. There are many compilations of the Mamas and the Papas' music, but sadly none that are in print in the UK have the original mono mixes. This set is about as good as you're going to find, though, for the stereo versions. Information on the Mamas and the Papas came from Go Where You Wanna Go: The Oral History of The Mamas and the Papas by Matthew Greenwald, California Dreamin': The True Story Of The Mamas and Papas by Michelle Phillips, and Papa John by John Phillips and Jim Jerome. Information on P.F. Sloan came from PF - TRAVELLING BAREFOOT ON A ROCKY ROAD by Stephen McParland and What's Exactly the Matter With Me? by P.F. Sloan and S.E. Feinberg. The film of the Monterey Pop Festival is available on this Criterion Blu-Ray set. Sadly the CD of the performances seems to be deleted. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to season four of A History of Rock Music in Five Hundred Songs. It's good to be back. Before we start this episode, I just want to say one thing. I get a lot of credit at times for the way I don't shy away from dealing with the more unsavoury elements of the people being covered in my podcast -- particularly the more awful men. But as I said very early on, I only cover those aspects of their life when they're relevant to the music, because this is a music podcast and not a true crime podcast. But also I worry that in some cases this might mean I'm giving a false impression of some people. In the case of this episode, one of the central figures is John Phillips of the Mamas and the Papas. Now, Phillips has posthumously been accused of some truly monstrous acts, the kind of thing that is truly unforgivable, and I believe those accusations. But those acts didn't take place during the time period covered by most of this episode, so I won't be covering them here -- but they're easily googlable if you want to know. I thought it best to get that out of the way at the start, so no-one's either anxiously waiting for the penny to drop or upset that I didn't acknowledge the elephant in the room. Separately, this episode will have some discussion of fatphobia and diet culture, and of a death that is at least in part attributable to those things. Those of you affected by that may want to skip this one or read the transcript. There are also some mentions of drug addiction and alcoholism. Anyway, on with the show. One of the things that causes problems with rock history is the tendency of people to have selective memories, and that's never more true than when it comes to the Summer of Love, summer of 1967. In the mythology that's built up around it, that was a golden time, the greatest time ever, a period of peace and love where everything was possible, and the world looked like it was going to just keep on getting better. But what that means, of course, is that the people remembering it that way do so because it was the best time of their lives. And what happens when the best time of your life is over in one summer? When you have one hit and never have a second, or when your band splits up after only eighteen months, and you have to cope with the reality that your best years are not only behind you, but they weren't even best years, but just best months? What stories would you tell about that time? Would you remember it as the eve of destruction, the last great moment before everything went to hell, or would you remember it as a golden summer, full of people with flowers in their hair? And would either really be true? [Excerpt: Scott McKenzie, "San Francisco"] Other than the city in which they worked, there are a few things that seem to characterise almost all the important figures on the LA music scene in the middle part of the 1960s. They almost all seem to be incredibly ambitious, as one might imagine. There seem to be a huge number of fantasists among them -- people who will not only choose the legend over reality when it suits them, but who will choose the legend over reality even when it doesn't suit them. And they almost all seem to have a story about being turned down in a rude and arrogant manner by Lou Adler, usually more or less the same story. To give an example, I'm going to read out a bit of Ray Manzarek's autobiography here. Now, Manzarek uses a few words that I can't use on this podcast and keep a clean rating, so I'm just going to do slight pauses when I get to them, but I'll leave the words in the transcript for those who aren't offended by them: "Sometimes Jim and Dorothy and I went alone. The three of us tried Dunhill Records. Lou Adler was the head man. He was shrewd and he was hip. He had the Mamas and the Papas and a big single with Barry McGuire's 'Eve of Destruction.' He was flush. We were ushered into his office. He looked cool. He was California casually disheveled and had the look of a stoner, but his eyes were as cold as a shark's. He took the twelve-inch acetate demo from me and we all sat down. He put the disc on his turntable and played each cut…for ten seconds. Ten seconds! You can't tell jack [shit] from ten seconds. At least listen to one of the songs all the way through. I wanted to rage at him. 'How dare you! We're the Doors! This is [fucking] Jim Morrison! He's going to be a [fucking] star! Can't you see that? Can't you see how [fucking] handsome he is? Can't you hear how groovy the music is? Don't you [fucking] get it? Listen to the words, man!' My brain was a boiling, lava-filled Jell-O mold of rage. I wanted to eviscerate that shark. The songs he so casually dismissed were 'Moonlight Drive,' 'Hello, I Love You,' 'Summer's Almost Gone,' 'End of the Night,' 'I Looked at You,' 'Go Insane.' He rejected the whole demo. Ten seconds on each song—maybe twenty seconds on 'Hello, I Love You' (I took that as an omen of potential airplay)—and we were dismissed out of hand. Just like that. He took the demo off the turntable and handed it back to me with an obsequious smile and said, 'Nothing here I can use.' We were shocked. We stood up, the three of us, and Jim, with a wry and knowing smile on his lips, cuttingly and coolly shot back at him, 'That's okay, man. We don't want to be *used*, anyway.'" Now, as you may have gathered from the episode on the Doors, Ray Manzarek was one of those print-the-legend types, and that's true of everyone who tells similar stories about Lou Alder. But... there are a *lot* of people who tell similar stories about Lou Adler. One of those was Phil Sloan. You can get an idea of Sloan's attitude to storytelling from a story he always used to tell. Shortly after he and his family moved to LA from New York, he got a job selling newspapers on a street corner on Hollywood Boulevard, just across from Schwab's Drug Store. One day James Dean drove up in his Porsche and made an unusual request. He wanted to buy every copy of the newspaper that Sloan had -- around a hundred and fifty copies in total. But he only wanted one article, something in the entertainment section. Sloan didn't remember what the article was, but he did remember that one of the headlines was on the final illness of Oliver Hardy, who died shortly afterwards, and thought it might have been something to do with that. Dean was going to just clip that article from every copy he bought, and then he was going to give all the newspapers back to Sloan to sell again, so Sloan ended up making a lot of extra money that day. There is one rather big problem with that story. Oliver Hardy died in August 1957, just after the Sloan family moved to LA. But James Dean died in September 1955, two years earlier. Sloan admitted that, and said he couldn't explain it, but he was insistent. He sold a hundred and fifty newspapers to James Dean two years after Dean's death. When not selling newspapers to dead celebrities, Sloan went to Fairfax High School, and developed an interest in music which was mostly oriented around the kind of white pop vocal groups that were popular at the time, groups like the Kingston Trio, the Four Lads, and the Four Aces. But the record that made Sloan decide he wanted to make music himself was "Just Goofed" by the Teen Queens: [Excerpt: The Teen Queens, "Just Goofed"] In 1959, when he was fourteen, he saw an advert for an open audition with Aladdin Records, a label he liked because of Thurston Harris. He went along to the audition, and was successful. His first single, released as by Flip Sloan -- Flip was a nickname, a corruption of "Philip" -- was produced by Bumps Blackwell and featured several of the musicians who played with Sam Cooke, plus Larry Knechtel on piano and Mike Deasey on guitar, but Aladdin shut down shortly after releasing it, and it may not even have had a general release, just promo copies. I've not been able to find a copy online anywhere. After that, he tried Arwin Records, the label that Jan and Arnie recorded for, which was owned by Marty Melcher (Doris Day's husband and Terry Melcher's stepfather). Melcher signed him, and put out a single, "She's My Girl", on Mart Records, a subsidiary of Arwin, on which Sloan was backed by a group of session players including Sandy Nelson and Bruce Johnston: [Excerpt: Philip Sloan, "She's My Girl"] That record didn't have any success, and Sloan was soon dropped by Mart Records. He went on to sign with Blue Bird Records, which was as far as can be ascertained essentially a scam organisation that would record demos for songwriters, but tell the performers that they were making a real record, so that they would record it for the royalties they would never get, rather than for a decent fee as a professional demo singer would get. But Steve Venet -- the brother of Nik Venet, and occasional songwriting collaborator with Tommy Boyce -- happened to come to Blue Bird one day, and hear one of Sloan's original songs. He thought Sloan would make a good songwriter, and took him to see Lou Adler at Columbia-Screen Gems music publishing. This was shortly after the merger between Columbia-Screen Gems and Aldon Music, and Adler was at this point the West Coast head of operations, subservient to Don Kirshner and Al Nevins, but largely left to do what he wanted. The way Sloan always told the story, Venet tried to get Adler to sign Sloan, but Adler said his songs stunk and had no commercial potential. But Sloan persisted in trying to get a contract there, and eventually Al Nevins happened to be in the office and overruled Adler, much to Adler's disgust. Sloan was signed to Columbia-Screen Gems as a songwriter, though he wasn't put on a salary like the Brill Building songwriters, just told that he could bring in songs and they would publish them. Shortly after this, Adler suggested to Sloan that he might want to form a writing team with another songwriter, Steve Barri, who had had a similar non-career non-trajectory, but was very slightly further ahead in his career, having done some work with Carol Connors, the former lead singer of the Teddy Bears. Barri had co-written a couple of flop singles for Connors, before the two of them had formed a vocal group, the Storytellers, with Connors' sister. The Storytellers had released a single, "When Two People (Are in Love)" , which was put out on a local independent label and which Adler had licensed to be released on Dimension Records, the label associated with Aldon Music: [Excerpt: The Storytellers "When Two People (Are in Love)"] That record didn't sell, but it was enough to get Barri into the Columbia-Screen Gems circle, and Adler set him and Sloan up as a songwriting team -- although the way Sloan told it, it wasn't so much a songwriting team as Sloan writing songs while Barri was also there. Sloan would later claim "it was mostly a collaboration of spirit, and it seemed that I was writing most of the music and the lyric, but it couldn't possibly have ever happened unless both of us were present at the same time". One suspects that Barri might have a different recollection of how it went... Sloan and Barri's first collaboration was a song that Sloan had half-written before they met, called "Kick That Little Foot Sally Ann", which was recorded by a West Coast Chubby Checker knockoff who went under the name Round Robin, and who had his own dance craze, the Slauson, which was much less successful than the Twist: [Excerpt: Round Robin, "Kick that Little Foot Sally Ann"] That track was produced and arranged by Jack Nitzsche, and Nitzsche asked Sloan to be one of the rhythm guitarists on the track, apparently liking Sloan's feel. Sloan would end up playing rhythm guitar or singing backing vocals on many of the records made of songs he and Barri wrote together. "Kick That Little Foot Sally Ann" only made number sixty-one nationally, but it was a regional hit, and it meant that Sloan and Barri soon became what Sloan later described as "the Goffin and King of the West Coast follow-ups." According to Sloan "We'd be given a list on Monday morning by Lou Adler with thirty names on it of the groups who needed follow-ups to their hit." They'd then write the songs to order, and they started to specialise in dance craze songs. For example, when the Swim looked like it might be the next big dance, they wrote "Swim Swim Swim", "She Only Wants to Swim", "Let's Swim Baby", "Big Boss Swimmer", "Swim Party" and "My Swimmin' Girl" (the last a collaboration with Jan Berry and Roger Christian). These songs were exactly as good as they needed to be, in order to provide album filler for mid-tier artists, and while Sloan and Barri weren't writing any massive hits, they were doing very well as mid-tier writers. According to Sloan's biographer Stephen McParland, there was a three-year period in the mid-sixties where at least one song written or co-written by Sloan was on the national charts at any given time. Most of these songs weren't for Columbia-Screen Gems though. In early 1964 Lou Adler had a falling out with Don Kirshner, and decided to start up his own company, Dunhill, which was equal parts production company, music publishers, and management -- doing for West Coast pop singers what Motown was doing for Detroit soul singers, and putting everything into one basket. Dunhill's early clients included Jan and Dean and the rockabilly singer Johnny Rivers, and Dunhill also signed Sloan and Barri as songwriters. Because of this connection, Sloan and Barri soon became an important part of Jan and Dean's hit-making process. The Matadors, the vocal group that had provided most of the backing vocals on the duo's hits, had started asking for more money than Jan Berry was willing to pay, and Jan and Dean couldn't do the vocals themselves -- as Bones Howe put it "As a singer, Dean is a wonderful graphic artist" -- and so Sloan and Barri stepped in, doing session vocals without payment in the hope that Jan and Dean would record a few of their songs. For example, on the big hit "The Little Old Lady From Pasadena", Dean Torrence is not present at all on the record -- Jan Berry sings the lead vocal, with Sloan doubling him for much of it, Sloan sings "Dean"'s falsetto, with the engineer Bones Howe helping out, and the rest of the backing vocals are sung by Sloan, Barri, and Howe: [Excerpt: Jan and Dean, "The Little Old Lady From Pasadena"] For these recordings, Sloan and Barri were known as The Fantastic Baggys, a name which came from the Rolling Stones' manager Andrew Oldham and Mick Jagger, when the two were visiting California. Oldham had been commenting on baggys, the kind of shorts worn by surfers, and had asked Jagger what he thought of The Baggys as a group name. Jagger had replied "Fantastic!" and so the Fantastic Baggys had been born. As part of this, Sloan and Barri moved hard into surf and hot-rod music from the dance songs they had been writing previously. The Fantastic Baggys recorded their own album, Tell 'Em I'm Surfin', as a quickie album suggested by Adler: [Excerpt: The Fantastic Baggys, "Tell 'Em I'm Surfin'"] And under the name The Rally Packs they recorded a version of Jan and Dean's "Move Out Little Mustang" which featured Berry's girlfriend Jill Gibson doing a spoken section: [Excerpt: The Rally Packs, "Move Out Little Mustang"] They also wrote several album tracks for Jan and Dean, and wrote "Summer Means Fun" for Bruce and Terry -- Bruce Johnston, later of the Beach Boys, and Terry Melcher: [Excerpt: Bruce and Terry, "Summer Means Fun"] And they wrote the very surf-flavoured "Secret Agent Man" for fellow Dunhill artist Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But of course, when you're chasing trends, you're chasing trends, and soon the craze for twangy guitars and falsetto harmonies had ended, replaced by a craze for jangly twelve-string guitars and closer harmonies. According to Sloan, he was in at the very beginning of the folk-rock trend -- the way he told the story, he was involved in the mastering of the Byrds' version of "Mr. Tambourine Man". He later talked about Terry Melcher getting him to help out, saying "He had produced a record called 'Mr. Tambourine Man', and had sent it into the head office, and it had been rejected. He called me up and said 'I've got three more hours in the studio before I'm being kicked out of Columbia. Can you come over and help me with this new record?' I did. I went over there. It was under lock and key. There were two guards outside the door. Terry asked me something about 'Summer Means Fun'. "He said 'Do you remember the guitar that we worked on with that? How we put in that double reverb?' "And I said 'yes' "And he said 'What do you think if we did something like that with the Byrds?' "And I said 'That sounds good. Let's see what it sounds like.' So we patched into all the reverb centres in Columbia Music, and mastered the record in three hours." Whether Sloan really was there at the birth of folk rock, he and Barri jumped on the folk-rock craze just as they had the surf and hot-rod craze, and wrote a string of jangly hits including "You Baby" for the Turtles: [Excerpt: The Turtles, "You Baby"] and "I Found a Girl" for Jan and Dean: [Excerpt: Jan and Dean, "I Found a Girl"] That song was later included on Jan and Dean's Folk 'n' Roll album, which also included... a song I'm not even going to name, but long-time listeners will know the one I mean. It was also notable in that "I Found a Girl" was the first song on which Sloan was credited not as Phil Sloan, but as P.F. Sloan -- he didn't have a middle name beginning with F, but rather the F stood for his nickname "Flip". Sloan would later talk of Phil Sloan and P.F. Sloan as almost being two different people, with P.F. being a far more serious, intense, songwriter. Folk 'n' Roll also contained another Sloan song, this one credited solely to Sloan. And that song is the one for which he became best known. There are two very different stories about how "Eve of Destruction" came to be written. To tell Sloan's version, I'm going to read a few paragraphs from his autobiography: "By late 1964, I had already written ‘Eve Of Destruction,' ‘The Sins Of A Family,' ‘This Mornin',' ‘Ain't No Way I'm Gonna Change My Mind,' and ‘What's Exactly The Matter With Me?' They all arrived on one cataclysmic evening, and nearly at the same time, as I worked on the lyrics almost simultaneously. ‘Eve Of Destruction' came about from hearing a voice, perhaps an angel's. The voice instructed me to place five pieces of paper and spread them out on my bed. I obeyed the voice. The voice told me that the first song would be called ‘Eve Of Destruction,' so I wrote the title at the top of the page. For the next few hours, the voice came and went as I was writing the lyric, as if this spirit—or whatever it was—stood over me like a teacher: ‘No, no … not think of all the hate there is in Red Russia … Red China!' I didn't understand. I thought the Soviet Union was the mortal threat to America, but the voice went on to reveal to me the future of the world until 2024. I was told the Soviet Union would fall, and that Red China would continue to be communist far into the future, but that communism was not going to be allowed to take over this Divine Planet—therefore, think of all the hate there is in Red China. I argued and wrestled with the voice for hours, until I was exhausted but satisfied inside with my plea to God to either take me out of the world, as I could not live in such a hypocritical society, or to show me a way to make things better. When I was writing ‘Eve,' I was on my hands and knees, pleading for an answer." Lou Adler's story is that he gave Phil Sloan a copy of Bob Dylan's Bringing it All Back Home album and told him to write a bunch of songs that sounded like that, and Sloan came back a week later as instructed with ten Dylan knock-offs. Adler said "It was a natural feel for him. He's a great mimic." As one other data point, both Steve Barri and Bones Howe, the engineer who worked on most of the sessions we're looking at today, have often talked in interviews about "Eve of Destruction" as being a Sloan/Barri collaboration, as if to them it's common knowledge that it wasn't written alone, although Sloan's is the only name on the credits. The song was given to a new signing to Dunhill Records, Barry McGuire. McGuire was someone who had been part of the folk scene for years, He'd been playing folk clubs in LA while also acting in a TV show from 1961. When the TV show had finished, he'd formed a duo, Barry and Barry, with Barry Kane, and they performed much the same repertoire as all the other early-sixties folkies: [Excerpt: Barry and Barry, "If I Had a Hammer"] After recording their one album, both Barrys joined the New Christy Minstrels. We've talked about the Christys before, but they were -- and are to this day -- an ultra-commercial folk group, led by Randy Sparks, with a revolving membership of usually eight or nine singers which included several other people who've come up in this podcast, like Gene Clark and Jerry Yester. McGuire became one of the principal lead singers of the Christys, singing lead on their version of the novelty cowboy song "Three Wheels on My Wagon", which was later released as a single in the UK and became a perennial children's favourite (though it has a problematic attitude towards Native Americans): [Excerpt: The New Christy Minstrels, "Three Wheels on My Wagon"] And he also sang lead on their big hit "Green Green", which he co-wrote with Randy Sparks: [Excerpt: The New Christy Minstrels, "Green Green"] But by 1965 McGuire had left the New Christy Minstrels. As he said later "I'd sung 'Green Green' a thousand times and I didn't want to sing it again. This is January of 1965. I went back to LA to meet some producers, and I was broke. Nobody had the time of day for me. I was walking down street one time to see Dr. Strangelove and I walked by the music store, and I heard "Green Green" comin' out of the store, ya know, on Hollywood Boulevard. And I heard my voice, and I thought, 'I got four dollars in my pocket!' I couldn't believe it, my voice is comin' out on Hollywood Boulevard, and I'm broke. And right at that moment, a car pulls up, and the radio is playing 'Chim Chim Cherie" also by the Minstrels. So I got my voice comin' at me in stereo, standin' on the sidewalk there, and I'm broke, and I can't get anyone to sign me!" But McGuire had a lot of friends who he'd met on the folk scene, some of whom were now in the new folk-rock scene that was just starting to spring up. One of them was Roger McGuinn, who told him that his band, the Byrds, were just about to put out a new single, "Mr. Tambourine Man", and that they were about to start a residency at Ciro's on Sunset Strip. McGuinn invited McGuire to the opening night of that residency, where a lot of other people from the scene were there to see the new group. Bob Dylan was there, as was Phil Sloan, and the actor Jack Nicholson, who was still at the time a minor bit-part player in low-budget films made by people like American International Pictures (the cinematographer on many of Nicholson's early films was Floyd Crosby, David Crosby's father, which may be why he was there). Someone else who was there was Lou Adler, who according to McGuire recognised him instantly. According to Adler, he actually asked Terry Melcher who the long-haired dancer wearing furs was, because "he looked like the leader of a movement", and Melcher told him that he was the former lead singer of the New Christy Minstrels. Either way, Adler approached McGuire and asked if he was currently signed -- Dunhill Records was just starting up, and getting someone like McGuire, who had a proven ability to sing lead on hit records, would be a good start for the label. As McGuire didn't have a contract, he was signed to Dunhill, and he was given some of Sloan's new songs to pick from, and chose "What's Exactly the Matter With Me?" as his single: [Excerpt: Barry McGuire, "What's Exactly the Matter With Me?"] McGuire described what happened next: "It was like, a three-hour session. We did two songs, and then the third one wasn't turning out. We only had about a half hour left in the session, so I said 'Let's do this tune', and I pulled 'Eve of Destruction' out of my pocket, and it just had Phil's words scrawled on a piece of paper, all wrinkled up. Phil worked the chords out with the musicians, who were Hal Blaine on drums and Larry Knechtel on bass." There were actually more musicians than that at the session -- apparently both Knechtel and Joe Osborn were there, so I'm not entirely sure who's playing bass -- Knechtel was a keyboard player as well as a bass player, but I don't hear any keyboards on the track. And Tommy Tedesco was playing lead guitar, and Steve Barri added percussion, along with Sloan on rhythm guitar and harmonica. The chords were apparently scribbled down for the musicians on bits of greasy paper that had been used to wrap some takeaway chicken, and they got through the track in a single take. According to McGuire "I'm reading the words off this piece of wrinkled paper, and I'm singing 'My blood's so mad, feels like coagulatin'", that part that goes 'Ahhh you can't twist the truth', and the reason I'm going 'Ahhh' is because I lost my place on the page. People said 'Man, you really sounded frustrated when you were singing.' I was. I couldn't see the words!" [Excerpt: Barry McGuire, "Eve of Destruction"] With a few overdubs -- the female backing singers in the chorus, and possibly the kettledrums, which I've seen differing claims about, with some saying that Hal Blaine played them during the basic track and others saying that Lou Adler suggested them as an overdub, the track was complete. McGuire wasn't happy with his vocal, and a session was scheduled for him to redo it, but then a record promoter working with Adler was DJing a birthday party for the head of programming at KFWB, the big top forty radio station in LA at the time, and he played a few acetates he'd picked up from Adler. Most went down OK with the crowd, but when he played "Eve of Destruction", the crowd went wild and insisted he play it three times in a row. The head of programming called Adler up and told him that "Eve of Destruction" was going to be put into rotation on the station from Monday, so he'd better get the record out. As McGuire was away for the weekend, Adler just released the track as it was, and what had been intended to be a B-side became Barry McGuire's first and only number one record: [Excerpt: Barry McGuire, "Eve of Destruction"] Sloan would later claim that that song was a major reason why the twenty-sixth amendment to the US Constitution was passed six years later, because the line "you're old enough to kill but not for votin'" shamed Congress into changing the constitution to allow eighteen-year-olds to vote. If so, that would make "Eve of Destruction" arguably the single most impactful rock record in history, though Sloan is the only person I've ever seen saying that As well as going to number one in McGuire's version, the song was also covered by the other artists who regularly performed Sloan and Barri songs, like the Turtles: [Excerpt: The Turtles, "Eve of Destruction"] And Jan and Dean, whose version on Folk & Roll used the same backing track as McGuire, but had a few lyrical changes to make it fit with Jan Berry's right-wing politics, most notably changing "Selma, Alabama" to "Watts, California", thus changing a reference to peaceful civil rights protestors being brutally attacked and murdered by white supremacist state troopers to a reference to what was seen, in the popular imaginary, as Black people rioting for no reason: [Excerpt: Jan and Dean, "Eve of Destruction"] According to Sloan, he worked on the Folk & Roll album as a favour to Berry, even though he thought Berry was being cynical and exploitative in making the record, but those changes caused a rift in their friendship. Sloan said in his autobiography "Where I was completely wrong was in helping him capitalize on something in which he didn't believe. Jan wanted the public to perceive him as a person who was deeply concerned and who embraced the values of the progressive politics of the day. But he wasn't that person. That's how I was being pulled. It was when he recorded my actual song ‘Eve Of Destruction' and changed a number of lines to reflect his own ideals that my principles demanded that I leave Folk City and never return." It's true that Sloan gave no more songs to Jan and Dean after that point -- but it's also true that the duo would record only one more album, the comedy concept album Jan and Dean Meet Batman, before Jan's accident. Incidentally, the reference to Selma, Alabama in the lyric might help people decide on which story about the writing of "Eve of Destruction" they think is more plausible. Remember that Lou Adler said that it was written after Adler gave Sloan a copy of Bringing it All Back Home and told him to write a bunch of knock-offs, while Sloan said it was written after a supernatural force gave him access to all the events that would happen in the world for the next sixty years. Sloan claimed the song was written in late 1964. Selma, Alabama, became national news in late February and early March 1965. Bringing it All Back Home was released in late March 1965. So either Adler was telling the truth, or Sloan really *was* given a supernatural insight into the events of the future. Now, as it turned out, while "Eve of Destruction" went to number one, that would be McGuire's only hit as a solo artist. His next couple of singles would reach the very low end of the Hot One Hundred, and that would be it -- he'd release several more albums, before appearing in the Broadway musical Hair, most famous for its nude scenes, and getting a small part in the cinematic masterpiece Werewolves on Wheels: [Excerpt: Werewolves on Wheels trailer] P.F. Sloan would later tell various stories about why McGuire never had another hit. Sometimes he would say that Dunhill Records had received death threats because of "Eve of Destruction" and so deliberately tried to bury McGuire's career, other times he would say that Lou Adler had told him that Billboard had said they were never going to put McGuire's records on the charts no matter how well they sold, because "Eve of Destruction" had just been too powerful and upset the advertisers. But of course at this time Dunhill were still trying for a follow-up to "Eve of Destruction", and they thought they might have one when Barry McGuire brought in a few friends of his to sing backing vocals on his second album. Now, we've covered some of the history of the Mamas and the Papas already, because they were intimately tied up with other groups like the Byrds and the Lovin' Spoonful, and with the folk scene that led to songs like "Hey Joe", so some of this will be more like a recap than a totally new story, but I'm going to recap those parts of the story anyway, so it's fresh in everyone's heads. John Phillips, Scott McKenzie, and Cass Elliot all grew up in Alexandria, Virginia, just a few miles south of Washington DC. Elliot was a few years younger than Phillips and McKenzie, and so as is the way with young men they never really noticed her, and as McKenzie later said "She lived like a quarter of a mile from me and I never met her until New York". While they didn't know who Elliot was, though, she was aware who they were, as Phillips and McKenzie sang together in a vocal group called The Smoothies. The Smoothies were a modern jazz harmony group, influenced by groups like the Modernaires, the Hi-Los, and the Four Freshmen. John Phillips later said "We were drawn to jazz, because we were sort of beatniks, really, rather than hippies, or whatever, flower children. So we used to sing modern harmonies, like Lambert, Hendricks, and Ross. Dave Lambert did a lot of our arrangements for us as a matter of fact." Now, I've not seen any evidence other than Phillips' claim that Dave Lambert ever arranged for the Smoothies, but that does tell you a lot about the kind of music that they were doing. Lambert, Hendricks, and Ross were a vocalese trio whose main star was Annie Ross, who had a career worthy of an episode in itself -- she sang with Paul Whiteman, appeared in a Little Rascals film when she was seven, had an affair with Lenny Bruce, dubbed Britt Ekland's voice in The Wicker Man, played the villain's sister in Superman III, and much more. Vocalese, you'll remember, was a style of jazz vocal where a singer would take a jazz instrumental, often an improvised one, and add lyrics which they would sing, like Lambert, Hendricks, and Ross' version of "Cloudburst": [Excerpt: Lambert, Hendricks, and Ross, "Cloudburst"] Whether Dave Lambert ever really did arrange for the Smoothies or not, it's very clear that the trio had a huge influence on John Phillips' ideas about vocal arrangement, as you can hear on Mamas and Papas records like "Once Was a Time I Thought": [Excerpt: The Mamas and the Papas, "Once Was a Time I Thought"] While the Smoothies thought of themselves as a jazz group, when they signed to Decca they started out making the standard teen pop of the era, with songs like "Softly": [Excerpt, The Smoothies, "Softly"] When the folk boom started, Phillips realised that this was music that he could do easily, because the level of musicianship among the pop-folk musicians was so much lower than in the jazz world. The Smoothies made some recordings in the style of the Kingston Trio, like "Ride Ride Ride": [Excerpt: The Smoothies, "Ride Ride Ride"] Then when the Smoothies split, Phillips and McKenzie formed a trio with a banjo player, Dick Weissman, who they met through Izzy Young's Folklore Centre in Greenwich Village after Phillips asked Young to name some musicians who could make a folk record with him. Weissman was often considered the best banjo player on the scene, and was a friend of Pete Seeger's, to whom Seeger sometimes turned for banjo tips. The trio, who called themselves the Journeymen, quickly established themselves on the folk scene. Weissman later said "we had this interesting balance. John had all of this charisma -- they didn't know about the writing thing yet -- John had the personality, Scott had the voice, and I could play. If you think about it, all of those bands like the Kingston Trio, the Brothers Four, nobody could really *sing* and nobody could really *play*, relatively speaking." This is the take that most people seemed to have about John Phillips, in any band he was ever in. Nobody thought he was a particularly good singer or instrumentalist -- he could sing on key and play adequate rhythm guitar, but nobody would actually pay money to listen to him do those things. Mark Volman of the Turtles, for example, said of him "John wasn't the kind of guy who was going to be able to go up on stage and sing his songs as a singer-songwriter. He had to put himself in the context of a group." But he was charismatic, he had presence, and he also had a great musical mind. He would surround himself with the best players and best singers he could, and then he would organise and arrange them in ways that made the most of their talents. He would work out the arrangements, in a manner that was far more professional than the quick head arrangements that other folk groups used, and he instigated a level of professionalism in his groups that was not at all common on the scene. Phillips' friend Jim Mason talked about the first time he saw the Journeymen -- "They were warming up backstage, and John had all of them doing vocal exercises; one thing in particular that's pretty famous called 'Seiber Syllables' -- it's a series of vocal exercises where you enunciate different vowel and consonant sounds. It had the effect of clearing your head, and it's something that really good operetta singers do." The group were soon signed by Frank Werber, the manager of the Kingston Trio, who signed them as an insurance policy. Dave Guard, the Kingston Trio's banjo player, was increasingly having trouble with the other members, and Werber knew it was only a matter of time before he left the group. Werber wanted the Journeymen as a sort of farm team -- he had the idea that when Guard left, Phillips would join the Kingston Trio in his place as the third singer. Weissman would become the Trio's accompanist on banjo, and Scott McKenzie, who everyone agreed had a remarkable voice, would be spun off as a solo artist. But until that happened, they might as well make records by themselves. The Journeymen signed to MGM records, but were dropped before they recorded anything. They instead signed to Capitol, for whom they recorded their first album: [Excerpt: The Journeymen, "500 Miles"] After recording that album, the Journeymen moved out to California, with Phillips' wife and children. But soon Phillips' marriage was to collapse, as he met and fell in love with Michelle Gilliam. Gilliam was nine years younger than him -- he was twenty-six and she was seventeen -- and she had the kind of appearance which meant that in every interview with an older heterosexual man who knew her, that man will spend half the interview talking about how attractive he found her. Phillips soon left his wife and children, but before he did, the group had a turntable hit with "River Come Down", the B-side to "500 Miles": [Excerpt: The Journeymen, "River Come Down"] Around the same time, Dave Guard *did* leave the Kingston Trio, but the plan to split the Journeymen never happened. Instead Phillips' friend John Stewart replaced Guard -- and this soon became a new source of income for Phillips. Both Phillips and Stewart were aspiring songwriters, and they collaborated together on several songs for the Trio, including "Chilly Winds": [Excerpt: The Kingston Trio, "Chilly Winds"] Phillips became particularly good at writing songs that sounded like they could be old traditional folk songs, sometimes taking odd lines from older songs to jump-start new ones, as in "Oh Miss Mary", which he and Stewart wrote after hearing someone sing the first line of a song she couldn't remember the rest of: [Excerpt: The Kingston Trio, "Oh Miss Mary"] Phillips and Stewart became so close that Phillips actually suggested to Stewart that he quit the Kingston Trio and replace Dick Weissman in the Journeymen. Stewart did quit the Trio -- but then the next day Phillips suggested that maybe it was a bad idea and he should stay where he was. Stewart went back to the Trio, claimed he had only pretended to quit because he wanted a pay-rise, and got his raise, so everyone ended up happy. The Journeymen moved back to New York with Michelle in place of Phillips' first wife (and Michelle's sister Russell also coming along, as she was dating Scott McKenzie) and on New Year's Eve 1962 John and Michelle married -- so from this point on I will refer to them by their first names, because they both had the surname Phillips. The group continued having success through 1963, including making appearances on "Hootenanny": [Excerpt: The Journeymen, "Stack O'Lee (live on Hootenanny)"] By the time of the Journeymen's third album, though, John and Scott McKenzie were on bad terms. Weissman said "They had been the closest of friends and now they were the worst of enemies. They talked through me like I was a medium. It got to the point where we'd be standing in the dressing room and John would say to me 'Tell Scott that his right sock doesn't match his left sock...' Things like that, when they were standing five feet away from each other." Eventually, the group split up. Weissman was always going to be able to find employment given his banjo ability, and he was about to get married and didn't need the hassle of dealing with the other two. McKenzie was planning on a solo career -- everyone was agreed that he had the vocal ability. But John was another matter. He needed to be in a group. And not only that, the Journeymen had bookings they needed to complete. He quickly pulled together a group he called the New Journeymen. The core of the lineup was himself, Michelle on vocals, and banjo player Marshall Brickman. Brickman had previously been a member of a folk group called the Tarriers, who had had a revolving lineup, and had played on most of their early-sixties recordings: [Excerpt: The Tarriers, "Quinto (My Little Pony)"] We've met the Tarriers before in the podcast -- they had been formed by Erik Darling, who later replaced Pete Seeger in the Weavers after Seeger's socialist principles wouldn't let him do advertising, and Alan Arkin, later to go on to be a film star, and had had hits with "Cindy, O Cindy", with lead vocals from Vince Martin, who would later go on to be a major performer in the Greenwich Village scene, and with "The Banana Boat Song". By the time Brickman had joined, though, Darling, Arkin, and Martin had all left the group to go on to bigger things, and while he played with them for several years, it was after their commercial peak. Brickman would, though, also go on to a surprising amount of success, but as a writer rather than a musician -- he had a successful collaboration with Woody Allen in the 1970s, co-writing four of Allen's most highly regarded films -- Sleeper, Annie Hall, Manhattan, and Manhattan Murder Mystery -- and with another collaborator he later co-wrote the books for the stage musicals Jersey Boys and The Addams Family. Both John and Michelle were decent singers, and both have their admirers as vocalists -- P.F. Sloan always said that Michelle was the best singer in the group they eventually formed, and that it was her voice that gave the group its sound -- but for the most part they were not considered as particularly astonishing lead vocalists. Certainly, neither had a voice that stood out the way that Scott McKenzie's had. They needed a strong lead singer, and they found one in Denny Doherty. Now, we covered Denny Doherty's early career in the episode on the Lovin' Spoonful, because he was intimately involved in the formation of that group, so I won't go into too much detail here, but I'll give a very abbreviated version of what I said there. Doherty was a Canadian performer who had been a member of the Halifax Three with Zal Yanovsky: [Excerpt: The Halifax Three, "When I First Came to This Land"] After the Halifax Three had split up, Doherty and Yanovsky had performed as a duo for a while, before joining up with Cass Elliot and her husband Jim Hendricks, who both had previously been in the Big Three with Tim Rose: [Excerpt: Cass Elliot and the Big 3, "The Banjo Song"] Elliot, Hendricks, Yanovsky, and Doherty had formed The Mugwumps, sometimes joined by John Sebastian, and had tried to go in more of a rock direction after seeing the Beatles on Ed Sullivan. They recorded one album together before splitting up: [Excerpt: The Mugwumps, "Searchin'"] Part of the reason they split up was that interpersonal relationships within the group were put under some strain -- Elliot and Hendricks split up, though they would remain friends and remain married for several years even though they were living apart, and Elliot had an unrequited crush on Doherty. But since they'd split up, and Yanovsky and Sebastian had gone off to form the Lovin' Spoonful, that meant that Doherty was free, and he was regarded as possibly the best male lead vocalist on the circuit, so the group snapped him up. The only problem was that the Journeymen still had gigs booked that needed to be played, one of them was in just three days, and Doherty didn't know the repertoire. This was a problem with an easy solution for people in their twenties though -- they took a huge amount of amphetamines, and stayed awake for three days straight rehearsing. They made the gig, and Doherty was now the lead singer of the New Journeymen: [Excerpt: The New Journeymen, "The Last Thing on My Mind"] But the New Journeymen didn't last in that form for very long, because even before joining the group, Denny Doherty had been going in a more folk-rock direction with the Mugwumps. At the time, John Phillips thought rock and roll was kids' music, and he was far more interested in folk and jazz, but he was also very interested in making money, and he soon decided it was an idea to start listening to the Beatles. There's some dispute as to who first played the Beatles for John in early 1965 -- some claim it was Doherty, others claim it was Cass Elliot, but everyone agrees it was after Denny Doherty had introduced Phillips to something else -- he brought round some LSD for John and Michelle, and Michelle's sister Rusty, to try. And then he told them he'd invited round a friend. Michelle Phillips later remembered, "I remember saying to the guys "I don't know about you guys, but this drug does nothing for me." At that point there was a knock on the door, and as I opened the door and saw Cass, the acid hit me *over the head*. I saw her standing there in a pleated skirt, a pink Angora sweater with great big eyelashes on and her hair in a flip. And all of a sudden I thought 'This is really *quite* a drug!' It was an image I will have securely fixed in my brain for the rest of my life. I said 'Hi, I'm Michelle. We just took some LSD-25, do you wanna join us?' And she said 'Sure...'" Rusty Gilliam's description matches this -- "It was mind-boggling. She had on a white pleated skirt, false eyelashes. These were the kind of eyelashes that when you put them on you were supposed to trim them to an appropriate length, which she didn't, and when she blinked she looked like a cow, or those dolls you get when you're little and the eyes open and close. And we're on acid. Oh my God! It was a sight! And everything she was wearing were things that you weren't supposed to be wearing if you were heavy -- white pleated skirt, mohair sweater. You know, until she became famous, she suffered so much, and was poked fun at." This gets to an important point about Elliot, and one which sadly affected everything about her life. Elliot was *very* fat -- I've seen her weight listed at about three hundred pounds, and she was only five foot five tall -- and she also didn't have the kind of face that gets thought of as conventionally attractive. Her appearance would be cruelly mocked by pretty much everyone for the rest of her life, in ways that it's genuinely hurtful to read about, and which I will avoid discussing in detail in order to avoid hurting fat listeners. But the two *other* things that defined Elliot in the minds of those who knew her were her voice -- every single person who knew her talks about what a wonderful singer she was -- and her personality. I've read a lot of things about Cass Elliot, and I have never read a single negative word about her as a person, but have read many people going into raptures about what a charming, loving, friendly, understanding person she was. Michelle later said of her "From the time I left Los Angeles, I hadn't had a friend, a buddy. I was married, and John and I did not hang out with women, we just hung out with men, and especially not with women my age. John was nine years older than I was. And here was a fun-loving, intelligent woman. She captivated me. I was as close to in love with Cass as I could be to any woman in my life at that point. She also represented something to me: freedom. Everything she did was because she wanted to do it. She was completely independent and I admired her and was in awe of her. And later on, Cass would be the one to tell me not to let John run my life. And John hated her for that." Either Elliot had brought round Meet The Beatles, the Beatles' first Capitol album, for everyone to listen to, or Denny Doherty already had it, but either way Elliot and Doherty were by this time already Beatles fans. Michelle, being younger than the rest and not part of the folk scene until she met John, was much more interested in rock and roll than any of them, but because she'd been married to John for a couple of years and been part of his musical world she hadn't really encountered the Beatles music, though she had a vague memory that she might have heard a track or two on the radio. John was hesitant -- he didn't want to listen to any rock and roll, but eventually he was persuaded, and the record was put on while he was on his first acid trip: [Excerpt: The Beatles, "I Want to Hold Your Hand"] Within a month, John Phillips had written thirty songs that he thought of as inspired by the Beatles. The New Journeymen were going to go rock and roll. By this time Marshall Brickman was out of the band, and instead John, Michelle, and Denny recruited a new lead guitarist, Eric Hord. Denny started playing bass, with John on rhythm guitar, and a violinist friend of theirs, Peter Pilafian, knew a bit of drums and took on that role. The new lineup of the group used the Journeymen's credit card, which hadn't been stopped even though the Journeymen were no more, to go down to St. Thomas in the Caribbean, along with Michelle's sister, John's daughter Mackenzie (from whose name Scott McKenzie had taken his stage name, as he was born Philip Blondheim), a pet dog, and sundry band members' girlfriends. They stayed there for several months, living in tents on the beach, taking acid, and rehearsing. While they were there, Michelle and Denny started an affair which would have important ramifications for the group later. They got a gig playing at a club called Duffy's, whose address was on Creeque Alley, and soon after they started playing there Cass Elliot travelled down as well -- she was in love with Denny, and wanted to be around him. She wasn't in the group, but she got a job working at Duffy's as a waitress, and she would often sing harmony with the group while waiting at tables. Depending on who was telling the story, either she didn't want to be in the group because she didn't want her appearance to be compared to Michelle's, or John wouldn't *let* her be in the group because she was so fat. Later a story would be made up to cover for this, saying that she hadn't been in the group at first because she couldn't sing the highest notes that were needed, until she got hit on the head with a metal pipe and discovered that it had increased her range by three notes, but that seems to be a lie. One of the songs the New Journeymen were performing at this time was "Mr. Tambourine Man". They'd heard that their old friend Roger McGuinn had recorded it with his new band, but they hadn't yet heard his version, and they'd come up with their own arrangement: [Excerpt: The New Journeymen, "Mr. Tambourine Man"] Denny later said "We were doing three-part harmony on 'Mr Tambourine Man', but a lot slower... like a polka or something! And I tell John, 'No John, we gotta slow it down and give it a backbeat.' Finally we get the Byrds 45 down here, and we put it on and turn it up to ten, and John says 'Oh, like that?' Well, as you can tell, it had already been done. So John goes 'Oh, ah... that's it...' a light went on. So we started doing Beatles stuff. We dropped 'Mr Tambourine Man' after hearing the Byrds version, because there was no point." Eventually they had to leave the island -- they had completely run out of money, and were down to fifty dollars. The credit card had been cut up, and the governor of the island had a personal vendetta against them because they gave his son acid, and they were likely to get arrested if they didn't leave the island. Elliot and her then-partner had round-trip tickets, so they just left, but the rest of them were in trouble. By this point they were unwashed, they were homeless, and they'd spent their last money on stage costumes. They got to the airport, and John Phillips tried to write a cheque for eight air fares back to the mainland, which the person at the check-in desk just laughed at. So they took their last fifty dollars and went to a casino. There Michelle played craps, and she rolled seventeen straight passes, something which should be statistically impossible. She turned their fifty dollars into six thousand dollars, which they scooped up, took to the airport, and paid for their flights out in cash. The New Journeymen arrived back in New York, but quickly decided that they were going to try their luck in California. They rented a car, using Scott McKenzie's credit card, and drove out to LA. There they met up with Hoyt Axton, who you may remember as the son of Mae Axton, the writer of "Heartbreak Hotel", and as the performer who had inspired Michael Nesmith to go into folk music: [Excerpt: Hoyt Axton, "Greenback Dollar"] Axton knew the group, and fed them and put them up for a night, but they needed somewhere else to stay. They went to stay with one of Michelle's friends, but after one night their rented car was stolen, with all their possessions in it. They needed somewhere else to stay, so they went to ask Jim Hendricks if they could crash at his place -- and they were surprised to find that Cass Elliot was there already. Hendricks had another partner -- though he and Elliot wouldn't have their marriage annulled until 1968 and were still technically married -- but he'd happily invited her to stay with them. And now all her friends had turned up, he invited them to stay as well, taking apart the beds in his one-bedroom apartment so he could put down a load of mattresses in the space for everyone to sleep on. The next part becomes difficult, because pretty much everyone in the LA music scene of the sixties was a liar who liked to embellish their own roles in things, so it's quite difficult to unpick what actually happened. What seems to have happened though is that first this new rock-oriented version of the New Journeymen went to see Frank Werber, on the recommendation of John Stewart. Werber was the manager of the Kingston Trio, and had also managed the Journeymen. He, however, was not interested -- not because he didn't think they had talent, but because he had experience of working with John Phillips previously. When Phillips came into his office Werber picked up a tape that he'd been given of the group, and said "I have not had a chance to listen to this tape. I believe that you are a most talented individual, and that's why we took you on in the first place. But I also believe that you're also a drag to work with. A pain in the ass. So I'll tell you what, before whatever you have on here sways me, I'm gonna give it back to you and say that we're not interested." Meanwhile -- and this part of the story comes from Kim Fowley, who was never one to let the truth get in the way of him taking claim for everything, but parts of it at least are corroborated by other people -- Cass Elliot had called Fowley, and told him that her friends' new group sounded pretty good and he should sign them. Fowley was at that time working as a talent scout for a label, but according to him the label wouldn't give the group the money they wanted. So instead, Fowley got in touch with Nik Venet, who had just produced the Leaves' hit version of "Hey Joe" on Mira Records: [Excerpt: The Leaves, "Hey Joe"] Fowley suggested to Venet that Venet should sign the group to Mira Records, and Fowley would sign them to a publishing contract, and they could both get rich. The trio went to audition for Venet, and Elliot drove them over -- and Venet thought the group had a great look as a quartet. He wanted to sign them to a record contract, but only if Elliot was in the group as well. They agreed, he gave them a one hundred and fifty dollar advance, and told them to come back the next day to see his boss at Mira. But Barry McGuire was also hanging round with Elliot and Hendricks, and decided that he wanted to have Lou Adler hear the four of them. He thought they might be useful both as backing vocalists on his second album and as a source of new songs. He got them to go and see Lou Adler, and according to McGuire Phillips didn't want Elliot to go with them, but as Elliot was the one who was friends with McGuire, Phillips worried that they'd lose the chance with Adler if she didn't. Adler was amazed, and decided to sign the group right then and there -- both Bones Howe and P.F. Sloan claimed to have been there when the group auditioned for him and have said "if you won't sign them, I will", though exactly what Sloan would have signed them to I'm not sure. Adler paid them three thousand dollars in cash and told them not to bother with Nik Venet, so they just didn't turn up for the Mira Records audition the next day. Instead, they went into the studio with McGuire and cut backing vocals on about half of his new album: [Excerpt: Barry McGuire with the Mamas and the Papas, "Hide Your Love Away"] While the group were excellent vocalists, there were two main reasons that Adler wanted to sign them. The first was that he found Michelle Phillips extremely attractive, and the second is a song that John and Michelle had written which he thought might be very suitable for McGuire's album. Most people who knew John Phillips think of "California Dreamin'" as a solo composition, and he would later claim that he gave Michelle fifty percent just for transcribing his lyric, saying he got inspired in the middle of the night, woke her up, and got her to write the song down as he came up with it. But Michelle, who is a credited co-writer on the song, has been very insistent that she wrote the lyrics to the second verse, and that it's about her own real experiences, saying that she would often go into churches and light candles even though she was "at best an agnostic, and possibly an atheist" in her words, and this would annoy John, who had also been raised Catholic, but who had become aggressively opposed to expressions of religion, rather than still having nostalgia for the aesthetics of the church as Michelle did. They were out walking on a particularly cold winter's day in 1963, and Michelle wanted to go into St Patrick's Cathedral and John very much did not want to. A couple of nights later, John woke her up, having written the first verse of the song, starting "All the leaves are brown and the sky is grey/I went for a walk on a winter's day", and insisting she collaborate with him. She liked the song, and came up with the lines "Stopped into a church, I passed along the way/I got down on my knees and I pretend to pray/The preacher likes the cold, he knows I'm going to stay", which John would later apparently dislike, but which stayed in the song. Most sources I've seen for the recording of "California Dreamin'" say that the lineup of musicians was the standard set of players who had played on McGuire's other records, with the addition of John Phillips on twelve-string guitar -- P.F. Sloan on guitar and harmonica, Joe Osborn on bass, Larry Knechtel on keyboards, and Hal Blaine on drums, but for some reason Stephen McParland's book on Sloan has Bones Howe down as playing drums on the track while engineering -- a detail so weird, and from such a respectable researcher, that I have to wonder if it might be true. In his autobiography, Sloan claims to have rewritten the chord sequence to "California Dreamin'". He says "Barry Mann had unintentionally showed me a suspended chord back at Screen Gems. I was so impressed by this beautiful, simple chord that I called Brian Wilson and played it for him over the phone. The next thing I knew, Brian had written ‘Don't Worry Baby,' which had within it a number suspended chords. And then the chord heard 'round the world, two months later, was the opening suspended chord of ‘A Hard Day's Night.' I used these chords throughout ‘California Dreamin',' and more specifically as a bridge to get back and forth from the verse to the chorus." Now, nobody else corroborates this story, and both Brian Wilson and John Phillips had the kind of background in modern harmony that means they would have been very aware of suspended chords before either ever encountered Sloan, but I thought I should mention it. Rather more plausible is Sloan's other claim, that he came up with the intro to the song. According to Sloan, he was inspired by "Walk Don't Run" by the Ventures: [Excerpt: The Ventures, "Walk Don't Run"] And you can easily see how this: [plays "Walk Don't Run"] Can lead to this: [plays "California Dreamin'"] And I'm fairly certain that if that was the inspiration, it was Sloan who was the one who thought it up. John Phillips had been paying no attention to the world of surf music when "Walk Don't Run" had been a hit -- that had been at the point when he was very firmly in the folk world, while Sloan of course had been recording "Tell 'Em I'm Surfin'", and it had been his job to know surf music intimately. So Sloan's intro became the start of what was intended to be Barry McGuire's next single: [Excerpt: Barry McGuire, "California Dreamin'"] Sloan also provided the harmonica solo on the track: [Excerpt: Barry McGuire, "California Dreamin'"] The Mamas and the Papas -- the new name that was now given to the former New Journeymen, now they were a quartet -- were also signed to Dunhill as an act on their own, and recorded their own first single, "Go Where You Wanna Go", a song apparently written by John about Michelle, in late 1963, after she had briefly left him to have an affair with Russ Titelman, the record producer and songwriter, before coming back to him: [Excerpt: The Mamas and the Papas, "Go Where You Wanna Go"] But while that was put out, they quickly decided to scrap it and go with another song. The "Go Where You Wanna Go" single was pulled after only selling a handful of copies, though its commercial potential was later proved when in 1967 a new vocal group, the 5th Dimension, released a soundalike version as their second single. The track was produced by Lou Adler's client Johnny Rivers, and used the exact same musicians as the Mamas and the Papas version, with the exception of Phillips. It became their first hit, reaching number sixteen on the charts: [Excerpt: The 5th Dimension, "Go Where You Wanna Go"] The reason the Mamas and the Papas version of "Go Where You Wanna Go" was pulled was because everyone became convinced that their first single should instead be their own version of "California Dreamin'". This is the exact same track as McGuire's track, with just two changes. The first is that McGuire's lead vocal was replaced with Denny Doherty: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Though if you listen to the stereo mix of the song and isolate the left channel, you can hear McGuire singing the lead on the first line, and occasional leakage from him elsewhere on the backing vocal track: [Excerpt: The Mamas and the Papas, "California Dreamin'"] The other change made was to replace Sloan's harmonica solo with an alto flute solo by Bud Shank, a jazz musician who we heard about in the episode on "Light My Fire", when he collaborated with Ravi Shankar on "Improvisations on the Theme From Pather Panchali": [Excerpt: Ravi Shankar, "Improvisation on the Theme From Pather Panchali"] Shank was working on another session in Western Studios, where they were recording the Mamas and Papas track, and Bones Howe approached him while he was packing his instrument and asked if he'd be interested in doing another session. Shank agreed, though the track caused problems for him. According to Shank "What had happened was that whe
After a car crash that killed six people and injured eight others, a 37-year-old nurse faces murder charges. As the Los Angeles County District Attorney's Office alleges, Nicole Linton crashed into several cars on Aug. 4, while speeding down La Brea Boulevard. According to KTLA-TV, Asherey Ryan, 23, her 11-month-old son Alonzo, and her fiancé, Reynold Lester, all died as a result. Linton allegedly crashed into Ryan's vehicle, causing it to explode into flames, as she was heading to a prenatal checkup with her unborn child, son, and fiancé. Besides the fatalities, six other vehicles were involved in the crash, and five people suffered minor injuries. KABC-TV reports that police are investigating whether drugs or alcohol were involved in the crash. Linton, who was working as a traveling nurse from Houston, Texas, was traveling at around 90 miles per hour in a Mercedes when she sped through a red light at the intersection of La Brea and Slauson avenues. According to KABC, Linton was hospitalized after the crash. Her bail was initially set at $2 million, but it was later raised to $9 million. Linton was charged Monday, Aug. 8, with six counts of murder and five counts of vehicular manslaughter. Linton faces 90 years to life in prison if convicted of all charges. Los Angeles County District Attorney George Gascón said, "This is a case that will always be remembered for the senseless loss of so many innocent lives." If you like TRUE CRIME TODAY - Be sure to search and subscribe wherever you download podcasts! Apple Podcasts https://podcasts.apple.com/us/podcast/true-crime-today-a-true-crime-podcast/id1504280230?uo=4 Spotify https://open.spotify.com/show/0GYshi6nJCf3O0aKEBTOPs Stitcher http://www.stitcher.com/podcast/real-ghost-stories-online-2/dark-side-of-wikipedia-true-crime-disturbing-stories iHeart https://www.iheart.com/podcast/270-Dark-Side-of-Wikipedia-Tru-60800715 Amazon https://music.amazon.com/podcasts/565dc51b-d214-4fab-b38b-ae7c723cb79a/Dark-Side-of-Wikipedia-True-Crime-Dark-History Google Podcasts https://www.google.com/podcasts?feed=aHR0cHM6Ly9hdWRpb2Jvb20uY29tL2NoYW5uZWxzLzUwMDEyNjAucnNz Or Search "True Crime Today" for the best in True Crime ANYWHERE you get podcasts! Support the show at http://www.patreon.com/truecrimetoday Update Description
All Gang sh*t no lame sh*t the girls catch up on all the events from the past week! Congrats to friend of the pod Roland for opening Revel Hollywood a restaurant, bar, and lounge in the heart of Hollywood with specialty nights like Jazz, Salsa, Throwback, and Afrobeats! Make sure you pull up and check out the hottest new spot in LA! fLexx pulled up to Chop Life this past weekend, Chef Ohi's mentioned the event his brother created on episode 134, fLexx said it lived up to all the hype great music, good people, and fantastic food. Shout out to the dancers especially NK because she ate and left no crumbs! Ashley got her hippie on at Groove Fest in Topanga Canyon. Original SSCO performed a dope set of unreleased dance music and Ash fell in love with an indie band TruckBox. Come Thru got so much love over at the House of Orange Fashionably Late event at peppermint club especially when the crew at VerySpecial co-hosted! Ash loved that it was a formal event; everyone showed up and showed out! Keep music in the school Ash + fLex talked about their lack of musical talent! Aye Caramba! Tyga apologized to the Mexican community for his “Ay Caramba” music video in an interview with American Cholo podcast host Gil Tejada on the LA Leakers radio show. The apology was taken down and has since sparked a protest of the radio station spearheaded by a friend of the pod DeJon from A Day in LA Magazine after a video surfaced of American Cholo calling Black people slurs. Ashley's takeaway The message, the delivery, and the messenger are very important! The song Energy on Beyonce's new album Renaissance uses an interpolation aka a sample of Kelis's Milkshake. This triggered Kelis to release a very heated iOS press release which caused Bey to just removed the sample from the album and keep it pushing. Rap Sh!t on HBOMax needs all the flowers and Ashley and Lexie fanned out during the TV and Film segment. Ashley has some predictions for P Valley and the last few episodes. Stay safe, stay hydrated, mind your business + remember… No Justice, No Peace until ALL BLACK LIVES MATTER! Stay connected:@ComeThruPod @FlexxLutherr @Ashlijaayy TV/FILM:Rap Sh!T on HBOMax P Valley on Starz Street Food (US) on NetflixDrink Champs ft Patty LaBelle BUSINESS HIGHLIGHT: Come Thru loves a self-made, inspirational, black queen from Los Angeles so shout out to Narissa aka the Boss Babe a talented artist, entrepreneur, and owner of The Lash Trap an eyelash studio in the heart of South Central LA on Slauson, that does Lash extensions and microblading. Tap in with Narissa on social media and streaming platforms: @narissaworld @thelashtrap thelashtrap.com HEAT SEEKERS:Lightskin Keisha: Believe thatKelis: Honey Sugar Ice TeaVibe to the Heat Seekers and follow the playlists: Apple Music/ iTunes: https://music.apple.com/us/playlist/heat-seekers/pl.u-55D6ZylugW2MDM Spotify: https://open.spotify.com/playlist/1BxWfYK7rJSPZhH4fBMJEt?si=9lFATMeBTDO1mvRMhbaxLQ Tidal: https://tidal.com/playlist/4eb24890-f738-4615-b98a-f68064149c27 *** Come Thru Media LLC does not own the rights to the music played.
This week Mandii B i shares her experience attending Earn Your Leisure's Invest Fest (20:00) and building for where you want to be vs. where you are right now. Bridget Kelly confesses feeling betrayed by her body after marathon training and learning how to overcome negative self talk (27:00). Later, the ladies talk about Drake thanking Lil' Wayne for changing his life with 30K (36:00), the current mental health climate in the media (Young Miami and Doja Cat), and the difference between fans being concerned or simply being judgmental. (58:00) Trigger warningBK and Mandii B send their condolences to the friends/families of the victims of the tragic car accident in Los Angeles on Slauson and La Brea. They share an update about the woman responsible and the reported cause of the accident (1:10:00). This incites them to explore some additional cases that are classified as “crimes of passion”. This is a reminder to prioritize your mental health, and to strive for healthy relationships. If you want to seek online therapy visit www.betterhelp.com/seethethingis and you'll get 10% off your first month.In this week's Slightly Toxic segment, the ladies speculate Irv Gotti's motives during his Drink Champs episode, Beyonce removing Kelis from her Renaissance album ( (1:20:00), and end with our fan favorite segment Freshly Squeezed (1:34:00). Songs played during this week's episode: “Woman No Cry” x Bob Marley “Staying Alive” x Drake DJ Khaled & Lil Baby“Twin Flame” x KAYTRANADA & Anderson .Paak “Love Jones” x Leon James & Ty Dolla $ign “She Will” x Lil Wayne & Drake “Only” Nicki Minaj, Drake and Chris“Up All Night”x Drake ft. Nicki Minaj Chris Brown Lil Wayne “Bed Rock” x Young Money“Massive Attack” x Nicki Minaj“Lookin Ass” x Nicki Minaj “Did It on'em” plays“BILLIE EILISH.” x Armani White “Happy” x Ashanti —-------------—-------------—-------------Sign up for the official “See The Thing Is…” PATREON for EXCLUSIVE access & additional content: www.patreon.com/seethethingispod NEW YOUTUBE CHANNEL : https://www.youtube.com/channel/UCDdNnbwgSEpZUj6fJNozz4wAdvertise with us on Gumball: https://gumball.fm/shows/see-the-thing-is/61781b15b8db6d491d3fSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
This week on The BlkPrint, J5 and Josh Peas try to stay grounded while living in a simulation in a crazy week so far! Tune in to hear fallout from last week's BlkPrint Radio w/ “Rap Shit” writer Chris Sanford and the support from Issa Rae, a conversation about last week's tragic crash on La Brea & Slauson, HBO's merger with Discovery and the need for social media breaks. Stay tuned after the episode for the full replay of 8/3's BlkPrint Radio, LIVE on Amp!- TIMESTAMPS -0:44 I Need My Diamond Miles Up1:42 We're Heartbroken3:48 Living Multiple Lives In Rap Shit4:22 Big Love To Issa6:58 Wrestling Circles Coming Back Around8:18 What Makes A Star?9:38 Black Goldberg11:50 The Crash On La Brea & Slauson14:24 Gonna Need An Electric Chair17:01 Get These Outta Towners Out20:52 Atlanta Is Sounding Like Hawaii24:26 Imagine What She Did Before That26:04 I Ain't No Bitch28:21 Newsom, President of What?32:22 Physical Appearance Is Important!33:23 The Next Generation's PTSD36:36 Sayonara To Scripted Programming40:00 40 Billion Dollars In Debt?43:13 The 90 Day Fiance Universe Is Boomin44:55 Don't Show The Public Investor Calls46:20 Desensitized Effects Online48:48 Living Off The Land Too Long53:32 Does Reddit Count?57:02 We'll Be Honorary Barbz1:00:14 We Don't Have To Lie
On this episode of Slauson Girl Speaks, I have a very personal conversation with Freeway Rick Ross, who is a notorious South Central, L.A kingpin from the 80's/90's crack era. We talk about FX's hit series Snowfall, life in South Central, Los Angeles through the decades for African-Americans, his life growing up and what led him to becoming a drug dealer. Although he has done countless interviews on his life and court cases, this conversation is a little different. The former crack dealer speaks with a "crack baby" about the impacts of the crack era on the inner city community of South Central.
Peter and Jim discuss aging, injury and the Nonagenarian Olympics as Jim shares how his experience being away from cycling due to injury. Download or find links in your favorite Podcast App (remember to rate and review!) https://directory.libsyn.com/shows/view/id/consummateathlete This episode is brought to you by 3 Month 100% Made for You Training Plans by Consummate athlete - These popular plans are made from scratch for you, your goals, your schedule, your gear, and your goals. https://consummateathlete.com/training-plans/ Show Notes Past Episodes with Dr. James Slauson Links to Our Article Archive & Services: ConsummateAthlete.com SUPPORT THE SHOW WHILE YOU SHOP: https://amzn.to/3Aej4jl to shop amazon Subscribe to our Newsletter -> It's free and brings the latest podcast, post and clinic/event information to you each Monday Book a Call to Discuss Your Training - https://calendly.com/smartathlete Books By Molly Hurford https://amzn.to/3bOztkN Get The Consummate Athlete Book - LINK Follow The Consummate Athlete on Twitter and Instagram and Facebook Follow Molly Hurford on Twitter and on Instagram Follow Peter Glassford Follow @PeterGlassford on Instagram and Twitter Past guests Include: Stacy Sims, Stephen Seiler, Simon Marshall, Frank Overton, Dean Golich, Joe Friel, Marco Altini Katerina Nash, Geoff Kabush, Ellen Noble, Phil Gaimon, David Roche, Matt Fitzgerald, Dr. Marc Bubbs, Christopher McDougall, Rebecca Rusch, Kate Courtney, David Epstein and many more
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HOW CAN I SUPPORT THE PODCAST? Tell Your Friends & Share Online! Subscribe & Review: Apple Podcasts | Spotify Partnerships: Contact Scott Papek scott@pfmmedia.com
HOW CAN I SUPPORT THE PODCAST? Tell Your Friends & Share Online! Subscribe & Review: Apple Podcasts | Spotify Partnerships: Contact Scott Papek scott@pfmmedia.com
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Remember that time I lost the game. HOW CAN I SUPPORT THE PODCAST? Tell Your Friends & Share Online! Subscribe & Review: Apple Podcasts | Spotify Partnerships: Contact Scott Papek scott@pfmmedia.com
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