Podcasts about Teen Beat

I've been into magazines for what seems like most of my life. I started archiving and sharing my own collection back in 2022 but I want to expand and take it even further. So this episode is just a bit of my history collecting magazines, zine, and photo books. Check out the progress on Instagram and TikTok! More library content coming soon exclusively to the SubStack!---Get BONUS episodes on 90s TV and culture (Freaks & Geeks, My So Called Life, Buffy, 90s culture documentaries, and more...) and to support the show join the  Patreon! Host: Lauren @lauren_melanie Follow Fashion Grunge PodcastFind more Fashion Grunge on LinktreeJoin me on Substack:  The Lo Down: a Fashion Grunge blog/newsletter☕️ Support Fashion Grunge on Buy Me a Coffee: https://www.buymeacoffee.com/fashiongrunge

Spring is in the air—even for Alison in France! Hard to believe it's been over a year since the Simi Valley 50th Anniversary event. It feels like yesterday and a lifetime ago… and we're still recovering. HA! Today, we're diving into our first Season 7 episode recap: The In-Laws—a whirlwind of absurd hilarity starring our favorite duo, Dean Butler and Michael Landon. This episode serves up Pa/Almanzo tension in the silliest way possible, blending slapstick humor with some questionable frontier authenticity (mountains on the prairie, anyone?). Michael Landon's comedic brilliance shines, but let's be real—this episode asks us to completely suspend our belief in historical accuracy. And these days? That kind of creative license wouldn't fly in TV production, which makes us even more curious (and hopeful!) about the upcoming Netflix adaptation. Meanwhile, the 1800s patriarchy is alive and well, as bet-making seems to be totally fine with Ma and Laura. We also have Alison's infamous pickle-and-ice-cream moment, plus Percival and Doc Baker's utterly maddening reaction to her *gasp* gaining weight. Oh, the joys of period-accurate sexism… Other highlights include:Albert rocking some impressive peach fuzzGarvey's return (and a shirtless Andy for all you Teen Beat fans!)The telephone playing a surprisingly important roleAnd seriously—can someone take Mary out to a restaurant for once?!And of course, no chaotic trip to Sleepy Eye would be complete without the comedic genius of Eddie Quillan, who steals the show as Cavendish, Pa's latest nuisance. Dean and Alison also pull back the curtain on the technical side of Little House, dishing about the extensive voiceover work (aka "looping") that was a staple of the show—much to Dean's chagrin. And finally, the real question: Did Michael Landon wax his chest? We get to the bottom of it -- Only on The Little House 50 Podcast, where we discuss the truly important Prairieverse matters!Then join Pamela, Dean and Alison on Patreon! New episodes every week!Don't forget to subscribe, comment, leave a review, and share this episode with fellow Bonnetheads.Links and Resources:Haven't signed up for Patreon yet? Link is below!PATREON: https://www.patreon.com/LittleHousePodcastwww.LittleHouse50Podcast.com to connect with our hosts and link to their websites.The merch shop is under renovation - we will keep you posted on the status!www.LivinOnaPrairieTV.com  Check out the award-winning series created by Pamela Bob, with special guest stars Alison Arngrim and Charlotte Stewart.Prairie Legacy Productions - the place to go for info about all new Little House events!LITTLE HOUSE ON THE PRAIRIE CAST REUNION Columbia State Historic Park in California's Gold Country!June 6–8, 2025Secure your tickets now through TIXR athttps://plp.tixr.com/little-house-gold-countryTo learn more about Little House on the Prairie, Visit www.littlehouseontheprairie.comLittle House 50th Anniversary Bus Tours - www.SimiValleyChamber.org  select Little House 50th Anniversary and then Bus TicketsFacebook/Instagram/TikTok:Dean Butler @officialdeanbutlerAlison Arngrim @alisonarngrimPamela Bob @thepamelabob, @prairietvSocial Media Team: Joy Correa and Christine Nunez https://www.paclanticcreative.com/

“You're in acting class and you're studying Chekov or ‘Waiting for Godot' -- and then you end up doing 80s tits-and-a**… You caught on pretty quick what it was about and where the power lay.” -- Actress Heather ThomasWhat was it like to be an 80s poster icon and sex symbol? Susan and Sharon welcome The Fall Guy star and “80s Poster Lady” Heather Thomas. She's an actor, writer and activist -- but may be best known for her “Pink Bikini” poster, one of the best-selling pin-up posters of all time. Heather Thomas had leading roles in television shows like BJ and the Bear, The Love Boat and TJ Hooker -- as well as the movie Zapped! with Scott Baio, Willie Aames and Felice Schachter. But her most famous role was playing stuntwoman Jody Banks on the hit 80s television series The Fall Guy. Running for five seasons on ABC, The Fall Guy spawned board games, posters, a video game -- and just last year, a major feature film starring Ryan Gosling and Emily Blunt -- and Heather Thomas! Since her days as a TV star and pin-up queen, Heather Thomas has gone on to an extraordinary career as a novelist, political activist, organizer and fund-raiser.  NOTE: This episode was recorded Dec. 2024, before the LA Fires. Our thoughts are with Heather and her family, and all those impacted by the fires. Stay safe. Be well. THE CONVERSATIONWORKING WITH MONKEYS: Clyde, the orangutan from Every Which Way But Loose, was her co-star once: “He thought it was funny to keep grabbing my boob. I thought he was gonna rip it off!” And a stint on BJ and the Bear led to producer Glen Larsen tapping her for the co-starring role in The Fall Guy. WORKING WITH TV PRODUCERS: “All of them are crazy. You're not gonna find any normal ones, not in those days. Everyone was nuts. And they still are.”"Smile more": Early on, the ABC network executives were afraid that Heather Thomas wasn't likable. So they put her in a bikini. “I guess that made up for me not smiling enough.” STUNT WORK: “Lee Majors almost broke my nose once.” "I was good on rollerskates!"In preparation for a Fall Guy episode, Heather trained with the Los Angeles Thunderbirds roller-derby team: “They showed me how to ‘break my back' on the rail -- it was really fun!”Ted Lange -- Isaac, the bartender on The Love Boat -- was one of Heather's favorite directors on the Fall Guy.A GOOD DIRECTOR: For Heather, it was someone who brought her into the filmmaking process. For Lee Majors -- it was anyone who got him home by 5:00pm! THE POSTER: Once the show was a hit, a poster was the next big step: “It outsold Farrah Fawcett. I bought a house. I was thrilled.”DIS-LIKENESS: Heather's image has been hi-jacked and used for everything from lighters, to puzzles, to notebook covers -- to a pillow!ON HAVING A FAMOUS BODY: “My body was my living. That's how I saw it.  So I had to feed it, exercise it -- I couldn't have an ounce of cellulite. It was part of the gig. But I didn't care, I was grateful. I was making more money than I ever had in my life. I was a kid.”ZAPPED! -- Teen sex comedy -- or sexual harassment?  “They tried to get me topless, but my contract said uh-uh!  So, they used a body double. There's a big disclaimer at the end of the movie saying that it's not my tits.”Activism: “Ever since they said, ‘You can't climb the tree, the boys can' -- I was a feminist.”So join Susan and Sharon -- and Heather -- as they talk fly-fishing, Star Wars, David Letterman,Teen Beat, Shaun Cassidy & Parker Stevenson, “Gabor-lore”, Cliff Robertson's toupeé, organizing your phone by decade, not complying in advance -- and canoeing with Henry Winkler!AUDIO-OGRAPHYFind Heather Thomas on Twitter at Twitter.com/HeatherThomasAF And find Heather Thomas on BlueSky at HeatherThomasAF.bsky.social Watch Heather Thomas in The Fall Guy on Peacock, Amazon Prime or Flixfling!Check DontGetPurged.org to make sure your name has not been purged from voter rolls!Find out more about CREW at CitizensForEthics.orgVITAL READINGGet Handbook for A Post-Roe America by Robin Marty at Bookshop.org.Check out Men In Dark Times by Hannah Ahrendt at Bookshop.org.Read Democracy Awakening by Heather Cox Richardson at Bookshop.org.You can also follow Richardson's substack.SUPPORT FOR THE LA FIRESOnline at DisasterAssistance.gov On the FEMA App for mobile devices or Call the FEMA Helpline at 1-800-621-3362Calls are accepted every day from 4 a.m. to 10 p.m. PST.More resources at Eaton Canyon Community Relief.Google List of LA County Resources. AIRBNB is offering temporary free housing for those displaced by the fires. Start here. PLACES TO VOLUNTEERGoogle Doc for Wednesday and ongoing.Volunteer with the Red Cross.TALK TO SOMEONEReach out to friends and family. Take care of yourself:Pro Bono Therapy for LA Wildfires - Google Doc. More mental health resources at LARevive.DONATINGMaster GoFundMe List for LA Fire Victims Google Doc.Displaced Black families in Altadena Google Doc. Gofundme pages for EATON CANYON COMMUNITY RELIEFCONNECTVisit 80sTVLadies.com for transcripts.Join the conversation at Facebook.com/80sTVLadies.Sign up for the 80s TV Ladies mailing list.Support us and get ad-free episodes on PATREON. In Honor of President Carter and to learn more about his presidency: Get Susan's new play about him and his Crisis of Confidence speech: Confidence (and the Speech) at Broadway Licensing.

Remember how girls' rooms used to be back in the 90's? The walls were covered with posters of teen celebrities. Teen Beat magazines were scattered across desks. Boy band CDs playing from the boom box. This created an atmosphere completely surrounded by heartthrobs. The ladies of Splat Attack, Kiley and Megan, invite you to join our Girls Room to discuss these icons of the 90s! Who are some of your 90's heartthrobs? Join us in the studio to share your picks! Unlock Bonus Content on Patreon Shop at our Splat Attack Merch Store Email Us: SplatAttack2021@gmail.com   YouTube: Splat Attack! Podcast Instagram: @SplatAttackPodcast Please leave us a review in your podcast app! 

In this true crime story midweek mini episode of Love and Murder: Heartbreak to Homicide, Ky delves into the harrowing case of 14-year-old Sofia Koval, who stands accused of brutally beating her grandmother, Yevheniia Koval, to death. What drove this teenager to commit such a heinous act? Join us as we explore the tragic sequence of events that unfolded in Lauderdale Lakes, Florida, in May 2024.Question: Do you think Sofia's actions were a result of her traumatic past, or should she be held fully accountable for her grandmother's death?Share your thoughts on this case in the comments below.Support Love and Murder: Don't miss our November sale—50% off our highest Patreon tier! Gain access to exclusive content, ad-free episodes, and more for just $5 a month. Join us at patreon.com/loveandmurder.02:36 Sofia Koval charged with second degree murder over grandmother's death13:27 When she's done with her sentence...19:32 Your commentsDon't forget to share this episode with everyone you know and everyone you don't —spread the word and help us grow the Love and Murder community!Past cases mentioned in this episode:Midweek Mini | Trapped in Terror: Abuse of a Nonverbal Autistic Child | Mikki Dee Moody and Sean Moodyhttps://www.spreaker.com/episode/midweek-mini-trapped-in-terror-abuse-of-a-nonverbal-autistic-child-mikki-dee-moody-and-sean-moody--62891015Mother Murders Two Toddler Sons by Drowning Them | Update of Susan Smith Casehttps://www.spreaker.com/episode/mother-murders-two-toddler-sons-by-drowning-them-update-of-susan-smith-case--62959955Sources:The posts say:https://www.nbcmiami.com/news/local/14-year-old-sentenced-to-juvenile-program-in-killing-of-79-year-old-grandma/3458730/https://www.sun-sentinel.com/2024/10/24/ukrainian-teen-who-killed-grandmother-set-to-withdraw-not-guilty-plea/https://people.com/14-year-old-allegedly-used-walker-belt-to-kill-her-grandmother-police-8722920https://www.the-independent.com/news/world/americas/crime/florida-girl-beat-grandmother-ukraine-b2623465.htmlhttps://nypost.com/2024/06/06/us-news/baby-faced-14-year-old-accused-of-beating-her-grandma-to-death-prays-in-court-video/https://browardsao.com/teen-charged-as-adult-in-grandmother-death/https://lawandcrime.com/crime/14-year-old-girl-used-belt-walker-to-kill-80-year-old-grandmother-because-she-was-already-dying-deputies-say/https://www.courttv.com/news/14-year-old-pleads-no-contest-after-grandmother-fatally-beaten/https://browardsao.com/teen-manslaughter-in-death-of-her-grandmother/https://cbs12.com/news/local/broward-county-teen-sentenced-as-adult-for-manslaughter-in-death-of-grandmother-lauderdale-lakes-ukraine-wednesday-october-30-2024**********************************************************************************HOW TO SUPPORT LOVE AND MURDER:

The Corpse Vanishes offers Chris and Charlotte a corsage, which induces them to talk about orchids, Tiger Beat, Teen Beat, Wham-O, and tag. With the short, Radar Men from the Moon, part 3.

Sue has your Sue's News on why 1996 calenders are selling for a pretty penny online, a dog that ate $4,000, and the Random Fact of the Day on the first basketball.

It was casually mentioned on the podcast that Rider has some past trauma associated with cruises, and now it's finally time to find out why. We hear the tale of the high seas when a 16-year-old Rider Strong took part in the “Sail with the Stars” cruise, with handfuls of other teen heartthrobs, but it wasn't quite the enchanted voyage he had hoped for. But on the other hand, a 14-year-old Danielle was ALSO onboard this Teen Beat cruise ship and had a much different experience joining her ideal “fancy cult.” Dancing with hot guys and a buffet? Sign her up! These are the stories you can only hear from your very own port of call on Pod Meets World!See omnystudio.com/listener for privacy information.

Pinocchio Month continues as Tara & Ryan check out a weird movie with a great puppet and Teen Beat heartthrob!  Get out your Jonathan Taylor Thomas locker posters.  It's The Adventures of Pinocchio! T&R Hotline: (707) 968-7731 Email: TRPrincessDiaries@gmail.com Instagram: @TRPrincessDiariesFacebook: www.facebook.com/groups/trprincessdiaries/ Art by Carley McConnell https://www.instagram.com/ani.empire/ Theme Song: "Realm Daytime" by PeriTune Villians Ranking Theme: "Science Function" by Trey VanZandt   

Duran Duran's John Taylor and Rob Lowe definitely shared some Teen Beat magazine covers back in the day! In this episode, John Taylor joins Rob Lowe to discuss the spooky new Duran Duran album, “Danse Macabre,” what it's like to record a James Bond theme song, John's experience moving to Los Angeles, and much more. Got a question for Rob? Call our voicemail at (323) 570-4551. Your voicemail could get featured on the show!

From my earliest memories, I was never satisfied. No matter how much I got, I wanted more. I felt like everyone else had life's instruction manual, but I felt alone and awkward. In school I found my solace in food and Teen Beat magazine. After college, I decided a geographical cure would solve my problems, hoping that as soon as I crossed the border into Minnesota, I would be able to stop eating. Next, I tried Florida and Colorado, each time doing a round of souvenir eating before leaving. By then I was out of a job, had a multitude of health problems, and my relationships were a mess. I tried everything: acupuncture, therapy, coaching, wilderness retreats. I was completely stuck. Then my cousin introduced me to Food Addicts in Recovery Anonymous (FA), and from my first meeting, I saw hope. I always thought that if I loved myself, I would change how I ate. In FA, the reverse happened. I stopped eating addictively, and I started to love myself. In this program I became debt-free, I found the courage to date and marry my wonderful partner, and I learned to enjoy meaningful relationships.

Action Comics 382 and 383 bring us to different of romance comics.  Teen Beat eat your heart out. The two tale show their age but one holds up a little better in Ross opinion    #LegionofSuperHeroes #dccomics @Twomorrowspubs #LOSH #KarateKid #ChameleonBoy #UltraBoy #podcast #comicbooks

Rick Springfield and Rob Lowe are former Teen Beat heartthrobs! In this episode you'll hear them talk about top frontmen, the time Rick got mistaken for Rob, transcendental meditation, Rick's soap opera career, his new album Automatic, and more. Got a question for Rob? Call our voicemail at (323) 570-4551. Yours could get featured on the show! This episode was recorded on July 24, 2023. 

BASED: No Mike, just the J-BOYS so it is time to get motherfuckin' BASED! Corey Feldman's Funko Pop: Corey Feldman unveiled a huge announcement last week, A BRAND NEW FUNKO POP! Get excited people, thee is only 4,000 pieces available and the pricing is CRAZY! Instagram Live: The Feld-Dawg fun continues as we check in on Corey's live as he gets a mold of his face for some sort of upcoming secret project. LETS JUST TALK!, BOOGIE NIGHTS!, J BOYZ!, BASED!, KEK!, NO MIKE!, WHITE GUYS IN COMMERCIALS!, NSPOSTINGFS!, TAKING LS!, ANTHONY CUMIA!, ALT RIGHT CIA HONEYPOT!, LIL B!, WOKE!, DOG WHISTLE!, 4CHAN!, ISRAELIS POURING CEMENT!, WATER SPRINGS!, THE JS!, BIS!, RFK JR!, 14!, 88!, SECRET SERVICE!, JOE ROGAN!, ANTI VAX!, ROBERT DENIRO!, THE SHIELD!, AUTISTIC!, COOKED BRAIN!, BOTTOM MENU!, BOTTOMING!, SPICY!, FAST FOOD!, TEASING!, COMIC CON!, SDCC!, COREY FELDMAN!, FILM!, TV!, PROMOTION!, ACTORS STRIKE!, ASCENSION MILLENIUM!, STANDARD!, GLITTER VERSION!, PRICING!, HAIRCUT!, STEVE!, STRANGER THINGS!, AUTOGRAPHED!, UNSIGNED!, PERSONALIZED!, PACKAGE DEAL!, 7 BUCKS A POP!, BUSINESS MIND!, CHALLENGING FANS!, SHIPPING!, PRICING!, DEAN SMITH!, FREE SHIPPING!, HACKED!, MICHAEL DEBARGE!, GOON CON!, THANKSGIVING!, SAND DOLLAR!, TICKETS!, VIP!, PHOTO!, AUTOGRAPH!, ANGELS!, COVID!, TIGER KING!, INSTAGRAM LIVE!, MOLD!, FACE!, NIGHTMARE ON ELM STREET 3!, EDGAR SCISSORBUTT!, 22 JUMP STREET!, DREAM A LITTLE DREAM!, BRAIN INJURY!, TEEN BEAT!, COVERED!, CAN'T BREATHE!, VISUAL EFFECTS!, BEHIND THE SCENES!, GOOP!, BALD CAP!, SCISSORS!, RICE PILAF!, NIGHTMARE!  You can find the videos from this episode at our Discord RIGHT HERE!

We're talking Pop and Rock Magazines! You know those Waldenbooks Newsstand classics you had to stock up on like Creem, YM, Sassy, Smash Hits and Tiger Beat? Join host Lyndsey Parker (Yahoo Music Entertainment Editor) and guests, esteemed music journalists and authors Dave DiMartino (Creem Editor in Chief 1979-1986) and Lori Majewski (Teen People co-founder), as they discuss all things '80s magazines: the artist access, the covers, the captions, the publicists and more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

LIVE from Malt and Mold! Meg investigates the cold case of neighbor Marie-Josée Saint-Antoine. Jessica ponders the wisdom of Teen Beat featuring 30-year-old heart throbs and swoons over Kevin Kline.Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

In this episode, guest co-host Debbie Smith-Clarke and me discuss The Bay City Rollers, that tartan-clad boy band from the 70s who induced a world-wide case of "Rollermania" to the music world at large.  We talk about the six albums that were released during the band's heyday, starting with the 1974 debut album Rollin' through their final album, 1978's Strangers In The Wind.Debbie and me shared our opinions about these teen-pop classics and we had so much fun talking about one of our favorite all-time bands!  And Miss Clarke was not shy sharing her opinions and which Roller gave her funny feelings back in the day!So dust off your old 16 and Teen Beat magazines, put on yer mad plaid, and dig this tetrospective on those tartan-clad titans of the 70s...The Bay City Rollers!Who's your fave rave???

What if those teen fan magazines from Elizabeth's youth – think Tiger Beat, Teen Beat & Bop – were updated to target where she's at today? Instead of winning a date with Shaun Cassidy, maybe now you could enter to win the opportunity to have a beer with Keanu - it doesn't have to be weird. Nostalgia is the order of the day on this week's episode. Join us. Radiant BadassChris Martin, Creativity Coach

The 80's called with one of their biggest heartthrobs on the line! Husband, father, actor and filmmaker, Kirk Cameron, joins Paula for a totally fun and genuine conversation about child stardom, finding faith and the inner prankster that leaves you wondering where the Growing Pains' Mike Seaver stops and this real life troublemaker big brother begins! With zero interest in acting and a love for biology and science, hear the coincidental story that led Kirk to star in one of television's most beloved shows at just 14. In the midst of navigating his own typical teen struggles, that iconic set would open some of the most important doors of Kirk's life, including to the church and to meeting Chelsea, his wife of 32 years. Kirk spills the worst prank he ever played on Chelsea, shares the real life reaction his kids had to finding his vintage Teen Beat covers and also gives Paula the scoop about his latest passion project that might just have him visiting a library near you. Learn more about Kirk's new picture book, “As You Grow” Keep up with Kirk on Facebook or over at his Website Learn more about his latest movie, “Lifemark” Paula's new book, “You Don't Have to Carry It All: Ditch the Mom Guilt and Find a Better Way Forward”, is almost here! Visit PaulaFarisOfficial.com to get all the info on her upcoming meet and greet book store tour! Don't miss Paula's biweekly newsletter where she shares facts, favorites, fun… and giveaways! Visit PaulaFarisOfficial.com and scroll to the bottom to add your email to the list. Learn everything about Paula's company CARRY Media and sign up for The CARRY ALL, THE essential weekly newsletter for the working mom that drops every Sunday! Follow along with CARRY Media on social media: @carry_media Connect with Paula & share what you are feeling called to in this season of your life: Instagram | Twitter | Facebook Subscribe & Listen to more episodes of the Podcast: Access More | Spotify | Apple

Another unofficial question because Heather did not like the list of topics in the plan so she called an official meeting...or just sent Vanessa a Marco Polo (the official meeting location of the podcast)...and provided a new topic about 4 hours before recording time. Yep. That happened.What Are Your Favorite Childhood Shows?After some serious and personal topics, it was time for something light, nostalgic, and good old fashioned fun. What better than discussing the shows that shaped our world views, consoled our teen angst, inspired Teen Beat posters, and taught us to be a boss! The 80s and 90s had some of the best shows of all time that were also the stepping stone for many of the most famous and talented movie starts of today. It's a ride through the memories of a time where you had to take commercial breaks, you couldn't binge watch a season in a weekend, and there was a regular evening schedule of shows for the family to watch. Grab your popcorn and let's discuss some television!Our Favorite Things:The list of shows to watch...it's below... Things We Refer To In This Episode:Thank you to our supporters:Orange (I Got A Lot To Say About That Theme Song) Original music by Marcel Camargo and Leo CostaBoth are Grammy nominated artists, please check out their music here:http://www.marcelcamargo.com/385194ztbi4uegaj53ypbd2m0w98sg  https://www.instagram.com/marcelcamargomusic/https://www.instagram.com/leocosta1010/?hl=en Website Sponsored by Alison Lindemann at WSI Internet Consulting - Digital Marketing Services (https://www.wsiworld.com/alison-lindemann)Support the show

The conversation with AJ McLean continues. AJ shares his parenthood journey and dealing with a life-changing decision by his daughter. Plus, a wild throwback as they read through an old interview AJ did with Teen Beat magazine!See omnystudio.com/listener for privacy information.

Diana: I need the reason. Don't say money. Why do this? Rob: Why not do it? Because yesterday I walked out of the conference after losing four hours of my life and you're cold-researching “Teen Beat” cover topics. Because the house always wins. Play long enough, you never change the contingencies, the house takes you. Unless, when that perfect article comes along, you bet behavior analysis podcast, and then you take the house. Diana: Been practicing that speech, have you? Rob: Little bit. Did I rush it? Felt like I rushed it. Diana: No, it was good, I liked it. “Teen Beat” thing was harsh. This episode is available for 1.0 LEARNING CEUs Articles discussed this episode: Capalbo, A., Miltenberger, R.G., & Cook, J.L. (2022). Training soccer goalkeeping skills: Is video modeling enough? Journal of Applied Behavior Analysis, 55, 958-970. doi: 10.1002/jaba.937 Strickland, M.A., & Kohn, C.S. (2021). Behavioral skills training to teach college students to free-pour standard servings of alcohol. Behavioral Interventions, 37, 673-689. doi: 10.1002/bin.1873 Normand, M. P. & Donohue, H.E., (2022). Behavior analytic jargon does not seem to influence treatment acceptability ratings. Journal of Applied Behavior Analysis., 55, 1294-1305. doi: 10.1002/jaba.953 If you're interested in ordering CEs for listening to this episode, click here to go to the store page. You'll need to enter your name, BCBA #, and the two episode secret code words to complete the purchase. Email us at abainsidetrack@gmail.com for further assistance.

Howdy ho, neighborinos! Alissa, Mike & Andrew are out of the woods! (Or the library I should say) But now, they're tasked to tail a troublesome teen. The Lady Castlevanders is worried her daughter may be mixed up in something bad.  Gone for hours at a time and behaving strangely, this teenybopper could be mixed up in some risky business! It's up to our heroes to find out what it is and why! All the while, Alissa's recurring visions vex her while still divulging very sparse information, but the picture is becoming clearer. Will our heroes save the day? Will they be able to put an end to these unscheduled adolescent outings? We'll put gumshoe in front of the other in this week's DUNGEON RADIO HOOOOURRRR!!!!::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::;Our DM is Dalton RiddleOur Players are Andrew Gehrlein, Michael Adair & Alissa AdairEditing by Alissa & Michael AdairTheme song (both old and new!!) by Dustin Hook (so talented)Please check out our Instagram, Twitter and Tiktok @dungeonradiohour to keep up with the latest DRH news! bye for now~

Who did you have hanging on your wall when you were younger? Teen Beat? --- Send in a voice message: https://anchor.fm/kimology411/message Support this podcast: https://anchor.fm/kimology411/support

Teen Beat from teen bands, UK & NZ cuts and a lot more! Back episodes via all good platforms - and join us on Insta and Facebook for episode details and track listings. [supported by NZ on Air]

More prime Nessie spotting real estate at the base of the Scottish Highlands, an update on a former president worshing cult, a fowl smelling town with a heart of gold, & you've heard of Teen Beat, but have you heard of teen stab? It's been a weird week... For folks concerned about audio quality, Kelly eventually turns on her mic. Apologies! Send us physical things: Frightday LLC PO Box 372 Lolo, MT 59847 Want even more? Join the Frightday Society, at http://society.frightday.com You'll have access to all Screamium content (Behind the Screams, It's Been a Weird Week, A Conversation With..., Toast to Toast PM with Wine Kelly, Cinema Autopsy, the Writers' Room, bonus episodes of Captain Kelly's Cryptids & Conspiracies, Byron's Serial Corner, and so much more!  You'll also be part of our interactive community dedicated to the advancement of horror, hauntings, cryptids, conspiracies, aliens, and true crime. All things frightening.  Keep our mini-fridges full of blood...I mean...not blood...normal things that people drink...by going to http://shop.frightday.com  Theme music by Cemeteries Produced by Byron McKoy Follow us in the shadows at the following places: @byronmckoy @samfrightday @kellyfrightday @frightday http://frightday.com  http://discord.frightday.com  http://facebook.com/groups/frightday  http://instagram.com/frightday

Episode one hundred and forty-two of A History of Rock Music in Five Hundred Songs looks at “God Only Knows" by the Beach Boys, and the creation of the Pet Sounds album. 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 "Sunny" by Bobby Hebb. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. I have also referred to Brian Wilson's autobiography, I Am Brian Wilson, and to Mike Love's, Good Vibrations: My Life as a Beach Boy. For material specific to Pet Sounds I have used Kingsley Abbot's The Beach Boys' Pet Sounds: The Greatest Album of the Twentieth Century and Charles L Granata's I Just Wasn't Made For These Times: Brian Wilson and the Making of Pet Sounds.  I also used the 126-page book The Making of Pet Sounds by David Leaf, which came as part of the The Pet Sounds Sessions box set, which also included the many alternate versions of songs from the album used here. Sadly both that box set and the 2016 updated reissue of it appear currently to be out of print, but either is well worth obtaining for anyone who is interested in how great records are made. Of the versions of Pet Sounds that are still in print, this double-CD version is the one I'd recommend. It has the original mono mix of the album, the more recent stereo remix, the instrumental backing tracks, and live versions of several songs. As a good starting point for the Beach Boys' music in general, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it. The YouTube drum tutorial I excerpted a few seconds of to show a shuffle beat is here. Transcript We're still in the run of episodes that deal with the LA pop music scene -- though next week we're going to move away from LA, while still dealing with a lot of the people who would play a part in that scene. But today we're hitting something that requires a bit of explanation. Most artists covered in this podcast get one or at the most two episodes. Some get slightly more -- the major artists who are present for many revolutions in music, or who have particularly important careers, like Fats Domino or the Supremes. And then there are a few very major artists who get a lot more. The Beatles, for example, are going to get eight in total, plus there will be episodes on some of their solo careers. Elvis has had six, and will get one more wrap-up episode. This is the third Beach Boys episode, and there are going to be three more after this, because the Beach Boys were one of the most important acts of the decade. But normally, I limit major acts to one episode per calendar year of their career. This means that they will average at most one episode every ten episodes, so while for example the episodes on "Mystery Train" and "Heartbreak Hotel" came close together, there was then a reasonable gap before another Elvis episode. This is not possible for the Beach Boys, because this episode and the next two Beach Boys ones all take place over an incredibly compressed timeline. In May 1966, they released an album that has consistently been voted the best album ever in polls of critics, and which is certainly one of the most influential even if one does not believe there is such a thing as a "best album ever". In October 1966 they released one of the most important singles ever -- a record that is again often considered the single best pop single of all time, and which again was massively influential. And then in July 1967 they released the single that was intended to be the lead-off single from their album Smile, an album that didn't get released until decades later, and which became a legend of rock music that was arguably more influential by *not* being released than most records that are released manage to be. And these are all very different stories, stories that need to be told separately. This means that episode one hundred and forty-two, episode one hundred and forty-six, and episode one hundred and fifty-three are all going to be about the Beach Boys. There will be one final later episode about them, too, but the next few months are going to be very dominated by them, so I apologise in advance for that if that's not something you're interested in. Though it also means that with luck some of these episodes will be closer to the shorter length of podcast I prefer rather than the ninety-minute mammoths we've had recently. Though I'm afraid this is another long one. When we left the Beach Boys, we'd just heard that Glen Campbell had temporarily replaced Brian Wilson on the road, after Wilson's mental health had finally been unable to take the strain of touring while also being the group's record producer, principal songwriter, and leader. To thank Campbell, who at this point was not at all well known in his own right, though he was a respected session guitarist and had released a few singles, Brian had co-written and produced "Guess I'm Dumb" for him, a track which prefigured the musical style that Wilson was going to use for the next year or so: [Excerpt: Glen Campbell, "Guess I'm Dumb"] It's worth looking at "Guess I'm Dumb" in a little detail, as it points the way forward to a lot of Wilson's songwriting over the next year. Firstly, of course, there are the lyrical themes of insecurity and of what might even be descriptions of mental illness in the first verse -- "the way I act don't seem like me, I'm not on top like I used to be". The lyrics are by Russ Titelman, but it's reasonable to assume that as with many of his collaborations, Brian brought in the initial idea. There's also a noticeable change in the melodic style compared to Wilson's earlier melodies. Up to this point, Wilson has mostly been writing what get called "horizontal" melody lines -- ones with very little movement, and small movements, often centred on a single note or two. There are exceptions of course, and plenty of them, but a typical Brian Wilson melody up to this point is the kind of thing where even I can hit the notes more or less OK -- [sings] "Well, she got her daddy's car and she cruised through the hamburger stand now". It's not quite a monotone, but it's within a tight range, and you don't have to move far from one note to another. But "Guess I'm Dumb" is incorporating the influence of Roy Orbison, and more obviously of Burt Bacharach, and it's *ludicrously* vertical, with gigantic leaps all over the place, in places that are not obvious. It requires the kind of precision that only a singer like Campbell can attain, to make it sound at all natural: [Excerpt: Glen Campbell, "Guess I'm Dumb"] Bacharach's influence is also noticeable in the way that the chord changes are very different from those that Wilson was using before. Up to this point, when Wilson wrote unusual chord changes, it was mostly patterns like "The Warmth of the Sun", which is wildly inventive, but mostly uses very simple triads and sevenths. Now he was starting to do things like the line "I guess I'm dumb but I don't care", which is sort of a tumbling set of inversions of the same chord that goes from a triad with the fifth in the bass, to a major sixth, to a minor eleventh, to a minor seventh. Part of the reason that Brian could start using these more complex voicings was that he was also moving away from using just the standard guitar/bass/drums lineup, sometimes with keyboards and saxophone, which had been used on almost every Beach Boys track to this point. Instead, as well as the influence of Bacharach, Wilson was also being influenced by Jack Nitzsche's arrangements for Phil Spector's records, and in particular by the way Nitzsche would double instruments, and have, say, a harpsichord and a piano play the same line, to create a timbre that was different from either individual instrument. But where Nitzsche and Spector used the technique along with a lot of reverb and overdubbing to create a wall of sound which was oppressive and overwhelming, and which obliterated the sounds of the individual instruments, Wilson used the same instrumentalists, the Wrecking Crew, to create something far more delicate: [Excerpt: Glen Campbell, "Guess I'm Dumb (instrumental and backing vocals)"] Campbell does such a good job on "Guess I'm Dumb" that one has to wonder what would  have happened if he'd remained with the Beach Boys. But Campbell had of course not been able to join the group permanently -- he had his own career to attend to, and that would soon take off in a big way, though he would keep playing on the Beach Boys' records for a while yet as a member of the Wrecking Crew. But Brian Wilson was still not well enough to tour. In fact, as he explained to the rest of the group, he never intended to tour again -- and he wouldn't be a regular live performer for another twelve years. At first the group were terrified -- they thought he was talking about quitting the group, or the group splitting up altogether. But Brian had a different plan. From that point on, there were two subtly different lineups of the group. In the studio, Brian would sing his parts as always, but the group would get a permanent replacement for him on tour -- someone who could replace him on stage. While the group was on tour, Brian would use the time to write songs and to record backing tracks. He'd already started using the Wrecking Crew to add a bit of additional musical colour to some of the group's records, but from this point on, he'd use them to record the whole track, maybe getting Carl to add a bit of guitar as well if he happened to be around, but otherwise just using the group to provide vocals. It's important to note that this *was* a big change. A lot of general music history sources will say things like "the Beach Boys never played on their own records", and this is taken as fact by people who haven't investigated further. In fact, the basic tracks for all their early hits were performed by the group themselves -- "Surfin'", "Surfin' Safari", "409", "Surfer Girl", "Little Deuce Coupe", "Don't Worry Baby" and many more were entirely performed by the Beach Boys, while others like "I Get Around" featured the group with a couple of additional musicians augmenting them. The idea that the group never played on their records comes entirely from their recordings from 1965 and 66, and even there often Carl would overdub a guitar part. And at this point, the Beach Boys were still playing on the majority of their recordings, even on sophisticated-sounding records like "She Knows Me Too Well", which is entirely a group performance other than Brian's friend, Russ Titelman, the co-writer of "Guess I'm Dumb", adding some percussion by hitting a microphone stand with a screwdriver: [Excerpt: The Beach Boys, "She Knows Me Too Well"] So the plan to replace the group's instrumental performances in the studio was actually a bigger change than it might seem. But an even bigger change was the live performances, which of course required the group bringing in a permanent live replacement for Brian. They'd already tried this once before, when he'd quit the road for a while and they'd brought Al Jardine back in, but David Marks quitting had forced him back on stage. Now they needed someone to take his place for good. They phoned up their friend Bruce Johnston to see if he knew anyone, and after suggesting a couple of names that didn't work out, he volunteered his own services, and as of this recording he's spent more than fifty years in the band (he quit for a few years in the mid-seventies, but came back). We've seen Johnston turn up several times already, most notably in the episode on "LSD-25", where he was one of the musicians on the track we looked at, but for those of you who don't remember those episodes, he was pretty much *everywhere* in California music in the late fifties and early sixties. He had been in a band at school with Phil Spector and Sandy Nelson, and another band with Jan and Dean, and he'd played on Nelson's "Teen Beat", produced by Art Laboe: [Excerpt: Sandy Nelson, "Teen Beat"] He'd been in the house band at those shows Laboe put on at El Monte stadium we talked about a couple of episodes back, he'd been a witness to John Dolphin's murder, he'd been a record producer for Bob Keane, where he'd written and produced songs for Ron Holden, the man who had introduced "Louie Louie" to Seattle: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] He'd written "The Tender Touch" for Richard Berry's backing group The Pharaos, with Berry singing backing vocals on this one: [Excerpt: The Pharaos, "The Tender Touch"] He'd helped Bob Keane compile Ritchie Valens' first posthumous album, he'd played on "LSD-25" and "Moon Dawg" by the Gamblers: [Excerpt: The Gamblers, "Moon Dawg"] He'd arranged and produced the top ten hit “Those Oldies but Goodies (Remind Me of You)” for Little Caesar and the Romans: [Excerpt Little Caesar and the Romans, "Those Oldies but Goodies (Remind Me of You)"] Basically, wherever you looked in the LA music scene in the early sixties, there was Bruce Johnston somewhere in the background. But in particular, he was suitable for the Beach Boys because he had a lot of experience in making music that sounded more than a little like theirs. He'd made cheap surf records as the Bruce Johnston Surfing Band: [Excerpt: Bruce Johnston, "The Hamptons"] And with his long-time friend and creative partner Terry Melcher he had, as well as working on several Paul Revere and the Raiders records, also recorded hit Beach Boys soundalikes both as their own duo, Bruce and Terry: [Excerpt: Bruce and Terry, "Summer Means Fun"] and under the name of a real group that Melcher had signed, but who don't seem to have sung much on their own big hit, the Rip Chords: [Excerpt: The Rip Chords, "Hey Little Cobra"] Johnston fit in well with the band, though he wasn't a bass player before joining, and had to be taught the parts by Carl and Al. But he's probably the technically strongest musician in the band, and while he would later switch to playing keyboards on stage, he was quickly able to get up to speed on the bass well enough to play the parts that were needed. He also wasn't quite as strong a falsetto singer as Brian Wilson, as can be heard by listening to this live recording of the group singing "I Get Around" in 1966: [Excerpt: The Beach Boys, "I Get Around (live 1966)"] Johnston is actually an excellent singer -- and can still hit the high notes today. He sings the extremely high falsetto part on "Fun Fun Fun" at the end of every Beach Boys show. But his falsetto was thinner than Wilson's, and he also has a distinctive voice which can be picked out from the blend in a way that none of the other Beach Boys' voices could -- the Wilson brothers and Mike Love all have a strong family resemblance, and Al Jardine always sounded spookily close to them. This meant that increasingly, the band would rearrange the vocal parts on stage, with Carl or Al taking the part that Brian had taken in the studio. Which meant that if, say, Al sang Brian's high part, Carl would have to move up to sing the part that Al had been singing, and then Bruce would slot in singing the part Carl had sung in the studio. This is a bigger difference than it sounds, and it meant that there was now a need for someone to work out live arrangements that were different from the arrangements on the records -- someone had to reassign the vocal parts, and also work out how to play songs that had been performed by maybe eighteen session musicians playing French horns and accordions and vibraphones with a standard rock-band lineup without it sounding too different from the record. Carl Wilson, still only eighteen when Brian retired from the road, stepped into that role, and would become the de facto musical director of the Beach Boys on stage for most of the next thirty years, to the point that many of the group's contracts for live performances at this point specified that the promoter was getting "Carl Wilson and four other musicians". This was a major change to the group's dynamics. Up to this point, they had been a group with a leader -- Brian -- and a frontman -- Mike, and three other members. Now they were a more democratic group on stage, and more of a dictatorship in the studio. This was, as you can imagine, not a stable situation, and was one that would not last long. But at first, this plan seemed to go very, very well. The first album to come out of this new hybrid way of working, The Beach Boys Today!, was started before Brian retired from touring, and some of the songs on it were still mostly or solely performed by the group, but as we heard with "She Knows Me Too Well" earlier, the music was still more sophisticated than on previous records, and this can be heard on songs like "When I Grow Up to Be a Man", where the only session musician is the harmonica player, with everything else played by the group: [Excerpt: The Beach Boys, "When I Grow Up to Be a Man"] But the newer sophistication really shows up on songs like "Kiss Me Baby", where most of the instrumentation is provided by the Wrecking Crew -- though Carl and Brian both play on the track -- and so there are saxophones, vibraphones, French horn, cor anglais, and multiple layers of twelve-string guitar: [Excerpt: The Beach Boys, "Kiss Me Baby"] Today had several hit singles on it -- "Dance, Dance, Dance", "When I Grow Up to be a Man", and their cover version of Bobby Freeman's "Do You Wanna Dance?" all charted -- but the big hit song on the album actually didn't become a hit in that version. "Help Me Ronda" was a piece of album filler with a harmonica part played by Billy Lee Riley, and was one of Al Jardine's first lead vocals on a Beach Boys record -- he'd only previously sung lead on the song "Christmas Day" on their Christmas album: [Excerpt: The Beach Boys, "Help Me Ronda"] While the song was only intended as album filler, other people saw the commercial potential in the song. Bruce Johnston was at this time still signed to Columbia records as an artist, and wasn't yet singing on Beach Boys records, and he recorded a version of the song with Terry Melcher as a potential single: [Excerpt: Bruce and Terry, "Help Me Rhonda"] But on seeing the reaction to the song, Brian decided to rerecord it as a single. Unfortunately, Murry Wilson turned up to the session. Murry had been fired as the group's manager by his sons the previous year, though he still owned the publishing company that published their songs. In the meantime, he'd decided to show his family who the real talent behind the group was by taking on another group of teenagers and managing and producing them. The Sunrays had a couple of minor hits, like "I Live for the Sun": [Excerpt: The Sunrays, "I Live for the Sun"] But nothing made the US top forty, and by this point it was clear, though not in the way that Murry hoped, who the real talent behind the group *actually* was. But he turned up to the recording session, with his wife in tow, and started trying to produce it: [Excerpt: Beach Boys and Murry Wilson "Help Me Rhonda" sessions] It ended up with Brian physically trying to move his drunk father away from the control panel in the studio, and having a heartbreaking conversation with him, where the twenty-two-year-old who is recovering from a nervous breakdown only a few months earlier sounds calmer, healthier, and more mature than his forty-seven-year-old father: [Excerpt: Beach Boys and Murry Wilson, "Help Me Rhonda" sessions] Knowing that this was the family dynamic helps make the comedy filler track on the next album, "I'm Bugged at My Old Man", seem rather less of a joke than it otherwise would: [Excerpt: The Beach Boys, "I'm Bugged at My Old Man"] But with Murry out of the way, the group did eventually complete recording "Help Me Rhonda" (and for those of you reading this as a blog post rather than listening to the podcast, yes they did spell it two different ways for the two different versions), and it became the group's second number one hit: [Excerpt: The Beach Boys, "Help Me, Rhonda"] As well as Murry Wilson, though, another figure was in the control room then -- Loren Daro (who at the time went by his birth surname, but I'm going to refer to him throughout by the name he chose).  You can hear, on the recording, Brian Wilson asking Daro if he could "turn him on" -- slang that was at that point not widespread enough for Wilson's parents to understand the meaning. Daro was an agent working for the William Morris Agency, and he was part of a circle of young, hip, people who were taking drugs, investigating mysticism, and exploring new spiritual ideas. His circle included the Byrds -- Daro, like Roger McGuinn, later became a follower of Subud and changed his name as a result -- as well as people like the songwriter and keyboard player Van Dyke Parks, who will become a big part of this story in subsequent episodes, and Stephen Stills, who will also be turning up again. Daro had introduced Brian to cannabis, in 1964, and in early 1965 he gave Brian acid for the first time -- one hundred and twenty-five micrograms of pure Owsley LSD-25. Now, we're going to be looking at acid culture quite a lot in the next few months, as we get through 1966 and 1967, and I'll have a lot more to say about it, but what I will say is that even the biggest proponents of psychedelic drug use tend not to suggest that it is a good idea to give large doses of LSD in an uncontrolled setting to young men recovering from a nervous breakdown. Daro later described Wilson's experience as "ego death" -- a topic we will come to in a future episode, and not considered entirely negative -- and "a beautiful thing". But he has also talked about how Wilson was so terrified by his hallucinations that he ran into the bedroom, locked the door, and hid his head under a pillow for two hours, which doesn't sound so beautiful to me. Apparently after those two hours, he came out of the bedroom, said "Well, that's enough of that", and was back to normal. After that first trip, Wilson wrote a piece of music inspired by his psychedelic experience. A piece which starts like this, with an orchestral introduction very different from anything else the group had released as a single: [Excerpt: The Beach Boys, "California Girls"] Of course, when Mike Love added the lyrics to the song, it became about far more earthly and sensual concerns: [Excerpt: The Beach Boys, "California Girls"] But leaving the lyrics aside for a second, it's interesting to look at "California Girls" musically to see what Wilson's idea of psychedelic music -- by which I mean specifically music inspired by the use of psychedelic drugs, since at this point there was no codified genre known as psychedelic music or psychedelia -- actually was. So, first, Wilson has said repeatedly that the song was specifically inspired by "Jesu, Joy of Man's Desiring" by Bach: [Excerpt: Bach, "Jesu, Joy of Man's Desiring"] And it's odd, because I see no real structural or musical resemblance between the two pieces that I can put my finger on, but at the same time I can totally see what he means. Normally at this point I'd say "this change here in this song relates to this change there in that song", but there's not much of that kind of thing here -- but I still. as soon as I read Wilson saying that for the first time, more than twenty years ago, thought "OK, that makes sense". There are a few similarities, though. Bach's piece is based around triplets, and they made Wilson think of a shuffle beat. If you remember *way* back in the second episode of the podcast, I talked about how one of the standard shuffle beats is to play triplets in four-four time. I'm going to excerpt a bit of recording from a YouTube drum tutorial (which I'll link in the liner notes) showing that kind of shuffle: [Excerpt: "3 Sweet Triplet Fills For Halftime Shuffles & Swung Grooves- Drum Lesson" , from https://www.youtube.com/watch?v=2CwlSaQZLkY ] Now, while Bach's piece is in waltz time, I hope you can hear how the DA-da-da DA-da-da in Bach's piece may have made Wilson think of that kind of shuffle rhythm. Bach's piece also has a lot of emphasis of the first, fifth, and sixth notes of the scale -- which is fairly common, and not something particularly distinctive about the piece -- and those are the notes that make up the bass riff that Wilson introduces early in the song: [Excerpt: The Beach Boys, "California Girls (track)"] That bass riff, of course, is a famous one. Those of you who were listening to the very earliest episodes of the podcast might remember it from the intros to many, many, Ink Spots records: [Excerpt: The Ink Spots, "We Three (My Echo, My Shadow, and Me)"] But the association of that bassline to most people's ears would be Western music, particularly the kind of music that was in Western films in the thirties and forties. You hear something similar in "The Trail of the Lonesome Pine", as performed by Laurel and Hardy in their 1937 film Way Out West: [Excerpt: Laurel and Hardy, "The Trail of the Lonesome Pine"] But it's most associated with the song "Tumbling Tumbleweeds", first recorded in 1934 by the Western group Sons of the Pioneers, but more famous in their 1946 rerecording, made after the Ink Spots' success, where the part becomes more prominent: [Excerpt: The Sons of the Pioneers, "Tumbling Tumbleweeds"] That song was a standard of the Western genre, and by 1965 had been covered by everyone from Gene Autry to the Supremes, Bob Wills to Johnnie Ray, and it would also end up covered by several musicians in the LA pop music scene over the next few years, including Michael Nesmith and Curt Boettcher, both people part of the same general scene as the Beach Boys. The other notable thing about "California Girls" is that it's one of the first times that Wilson was able to use multi-tracking to its full effect. The vocal parts were recorded on an eight-track machine, meaning that Wilson could triple-track both Mike Love's lead vocal and the group's backing vocals. With Johnston now in the group -- "California Girls" was his first recording session with them -- that meant that on the record there were eighteen voices singing, leading to some truly staggering harmonies: [Excerpt: The Beach Boys, "California Girls (Stack-O-Vocals)"] So, that's what the psychedelic experience meant to Brian Wilson, at least -- Bach, orchestral influences, using the recording studio to create thicker vocal harmony parts, and the old West. Keep that in the back of your mind for the present, but it'll be something to remember in eleven episodes' time. "California Girls" was, of course, another massive hit, reaching number three on the charts. And while some Beach Boys fans see the album it was included on, Summer Days... And Summer Nights!, as something of a step backward from the sophistication of Today!, this is a relative thing. It's very much of a part with the music on the earlier album, and has many wonderful moments, with songs like "Let Him Run Wild" among the group's very best. But it was their next studio album that would cement the group's artistic reputation, and which would regularly be acclaimed by polls of critics as the greatest album of all time -- a somewhat meaningless claim; even more than there is no "first" anything in music, there's no "best" anything. The impulse to make what became Pet Sounds came, as Wilson has always told the story, from hearing the Beatles album Rubber Soul. Now, we've not yet covered Rubber Soul -- we're going to look at that, and at the album that came after it, in three episodes' time -- but it is often regarded as a major artistic leap forward for the Beatles. The record Wilson heard, though, wasn't the same record that most people nowadays think of when they think of Rubber Soul. Since the mid-eighties, the CD versions of the Beatles albums have (with one exception, Magical Mystery Tour) followed the tracklistings of the original British albums, as the Beatles and George Martin intended. But in the sixties, Capitol Records were eager to make as much money out of the Beatles as they could. The Beatles' albums generally had fourteen songs on, and often didn't include their singles. Capitol thought that ten or twelve songs per album was plenty, and didn't have any aversion to putting singles on albums. They took the three British albums Help!, Rubber Soul, and Revolver, plus the non-album "Day Tripper"/"We Can Work It Out" single and Ken Thorne's orchestral score for the Help! film, and turned that into four American albums -- Help!, Rubber Soul, Yesterday and Today, and Revolver. In the case of Rubber Soul, that meant that they removed four tracks from the British album -- "Drive My Car", "Nowhere Man", "What Goes On" and "If I Needed Someone" -- and added two songs from the British version of Help!, "I've Just Seen a Face" and "It's Only Love". Now, I've seen some people claim that this made the American Rubber Soul more of a folk-rock album -- I may even have said that myself in the past -- but that's not really true. Indeed, "Nowhere Man" and "If I Needed Someone" are two of the Beatles' most overtly folk-rock tracks, and both clearly show the influence of the Byrds. But what it did do was remove several of the more electric songs from the album, and replace them with acoustic ones: [Excerpt: The Beatles, "I've Just Seen a Face"] This, completely inadvertently, gave the American Rubber Soul lineup a greater sense of cohesion than the British one. Wilson later said "I listened to Rubber Soul, and I said, 'How could they possibly make an album where the songs all sound like they come from the same place?'" At other times he's described his shock at hearing "a whole album of only good songs" and similar phrases. Because up to this point, Wilson had always included filler tracks on albums, as pretty much everyone did in the early sixties. In the American pop music market, up to the mid sixties, albums were compilations of singles plus whatever random tracks happened to be lying around. And so for example in late 1963 the Beach Boys had released two albums less than a month apart -- Surfer Girl and Little Deuce Coupe. Given that Brian Wilson wrote or co-wrote all the group's original material, it wasn't all that surprising that Little Deuce Coupe had to include four songs that had been released on previous albums, including two that were on Surfer Girl from the previous month. It was the only way the group could keep up with the demand for new product from a company that had no concept of popular music as art. Other Beach Boys albums had included padding such as generic surf instrumentals, comedy sketches like "Cassius" Love vs. "Sonny" Wilson, and in the case of The Beach Boys Today!, a track titled "Bull Session With the Big Daddy", consisting of two minutes of random chatter with the photographer Earl Leaf while they all ate burgers: [Excerpt: The Beach Boys and Earl Leaf, "Bull Session With the Big Daddy"] This is not to attack the Beach Boys. This was a simple response to the commercial pressures of the marketplace. Between October 1962 and November 1965, they released eleven albums. That's about an album every three months, as well as a few non-album singles. And on top of that Brian had also been writing songs during that time for Jan & Dean, the Honeys, the Survivors and others, and had collaborated with Gary Usher and Roger Christian on songs for Muscle Beach Party, one of American International Pictures' series of Beach Party films. It's unsurprising that not everything produced on this industrial scale was a masterpiece. Indeed, the album the Beach Boys released directly before Pet Sounds could be argued to be an entire filler album. Many biographies say that Beach Boys Party! was recorded to buy Brian time to make Pet Sounds, but the timelines don't really match up on closer investigation. Beach Boys Party! was released in November 1965, before Brian ever heard Rubber Soul, which came out later, and before he started writing the material that became Pet Sounds. Beach Boys Party! was a solution to a simple problem -- the group were meant to deliver three albums that year, and they didn't have three albums worth of material. Some shows had been recorded for a possible live album, but they'd released a live album in 1964 and hadn't really changed their setlist very much in the interim. So instead, they made a live-in-the-studio album, with the conceit that it was recorded at a party the group were holding. Rather than the lush Wrecking Crew instrumentation they'd been using in recent months, everything was played on acoustic guitars, plus some bongos provided by Wrecking Crew drummer Hal Blaine and some harmonica from Billy Hinsche of the boy band Dino, Desi, and Billy, whose sister Carl Wilson was shortly to marry. The album included jokes and false starts, and was overlaid with crowd noise, to give the impression that you were listening to an actual party where a few people were sitting round with guitars and having fun. The album consisted of songs that the group liked and could play without rehearsal -- novelty hits from a few years earlier like "Alley Oop" and "Hully Gully", a few Beatles songs, and old favourites like the Everly Brothers hit "Devoted to You" -- in a rather lovely version with two-part harmony by Mike and Brian, which sounds much better in a remixed version released later without the party-noise overdubs: [Excerpt: The Beach Boys, "Devoted to You (remix)"] But the song that defined the album, which became a massive hit, and which became an albatross around the band's neck about which some of them would complain for a long time to come, didn't even have one of the Beach Boys singing lead. As we discussed back in the episode on "Surf City", by this point Jan and Dean were recording their album "Folk 'n' Roll", their attempt at jumping on the folk-rock bandwagon, which included the truly awful "The Universal Coward", a right-wing answer song  to "The Universal Soldier" released as a Jan Berry solo single: [Excerpt: Jan Berry, "The Universal Coward"] Dean Torrence was by this point getting sick of working with Berry, and was also deeply unimpressed with the album they were making, so he popped out of the studio for a while to go and visit his friends in the Beach Boys, who were recording nearby. He came in during the Party sessions, and everyone was suggesting songs to perform, and asked Dean to suggest something. He remembered an old doo-wop song that Jan and Dean had recorded a cover version of, and suggested that. The group had Dean sing lead, and ran through a sloppy version of it, where none of them could remember the words properly: [Excerpt: The Beach Boys, "Barbara Ann"] And rather incredibly, that became one of the biggest hits the group ever had, making number two on the Billboard chart (and number one on other industry charts like Cashbox), number three in the UK, and becoming a song that the group had to perform at almost every live show they ever did, together or separately, for at least the next fifty-seven years. But meanwhile, Brian had been working on other material. He had not yet had his idea for an album made up entirely of good songs, but he had been experimenting in the studio. He'd worked on a handful of tracks which had pointed in new directions. One was a single, "The Little Girl I Once Knew": [Excerpt: The Beach Boys, "The Little Girl I Once Knew"] John Lennon gave that record a very favourable review, saying "This is the greatest! Turn it up, turn it right up. It's GOT to be a hit. It's the greatest record I've heard for weeks. It's fantastic." But the record only made number twenty -- a perfectly respectable chart placing, but nowhere near as good as the group's recent run of hits -- in part because its stop-start nature meant that the record had "dead air" -- moments of silence -- which made DJs avoid playing it, because they believed that dead air, even only a second of it here and there, would make people tune to another station. Another track that Brian had been working on was an old folk song suggested by Alan Jardine. Jardine had always been something of a folkie, of the Kingston Trio variety, and he had suggested that the group might record the old song "The Wreck of the John B", which the Kingston Trio had recorded. The Trio's version in turn had been inspired by the Weavers' version of the song from 1950: [Excerpt: The Weavers, "The Wreck of the John B"] Brian had at first not been impressed, but Jardine had fiddled with the chord sequence slightly, adding in a minor chord to make the song slightly more interesting, and Brian had agreed to record the track, though he left the instrumental without vocals for several months: [Excerpt: The Beach Boys, "Sloop John B (instrumental)"] The track was eventually finished and released as a single, and unlike "The Little Girl I Once Knew" it was a big enough hit that it was included on the next album, though several people have said it doesn't fit. Lyrically, it definitely doesn't, but musically, it's very much of a piece with the other songs on what became Pet Sounds: [Excerpt: The Beach Boys, "Sloop John B"] But while Wilson was able to create music by himself, he wasn't confident about his ability as a lyricist. Now, he's not a bad lyricist by any means -- he's written several extremely good lyrics by himself -- but Brian Wilson is not a particularly articulate or verbal person, and he wanted someone who could write lyrics as crafted as his music, but which would express the ideas he was trying to convey. He didn't think he could do it himself, and for whatever reason he didn't want to work with Mike Love, who had co-written the majority of his recent songs, or with any of his other collaborators. He did write one song with Terry Sachen, the Beach Boys' road manager at the time, which dealt obliquely with those acid-induced concepts of "ego death": [Excerpt: The Beach Boys, "Hang on to Your Ego"] But while the group recorded that song, Mike Love objected vociferously to the lyrics. While Love did try cannabis a few times in the late sixties and early seventies, he's always been generally opposed to the use of illegal drugs, and certainly didn't want the group to be making records that promoted their use -- though I would personally argue that "Hang on to Your Ego" is at best deeply ambiguous about the prospect of ego death.  Love rewrote some of the lyrics, changing the title to "I Know There's an Answer", though as with all such bowdlerisation efforts he inadvertently left in some of the drug references: [Excerpt: The Beach Boys, "I Know There's an Answer"] But Wilson wasn't going to rely on Sachen for all the lyrics. Instead he turned to Tony Asher. Asher was an advertising executive, who Wilson probably met through Loren Daro -- there is some confusion over the timeline of their meeting, with some sources saying they'd first met in 1963 and that Asher had introduced Wilson to Daro, but others saying that the introductions went the other way, and that Daro introduced Asher to Wilson in 1965. But Asher and Daro had been friends for a long time, and so Wilson and Asher were definitely orbiting in the same circles. The most common version of the story seems to be that Asher was working in Western Studios, where he was recording a jingle - the advertising agency had him writing jingles because he was an amateur songwriter, and as he later put it nobody else at the agency knew the difference between E flat and A flat. Wilson was also working in the studio complex, and Wilson dragged Asher in to listen to some of the demos he was recording -- at that time Wilson was in the habit of inviting anyone who was around to listen to his works in progress. Asher chatted with him for a while, and thought nothing of it, until he got a phone call at work a few weeks later from Brian Wilson, suggesting the two write together. Wilson was impressed with Asher, who he thought of as very verbal and very intelligent, but Asher was less impressed with Wilson. He has softened his statements in recent decades, but in the early seventies he would describe Wilson as "a genius musician but an amateur human being", and sharply criticise his taste in films and literature, and his relationship with his wife. This attitude seems at least in part to have been shared by a lot of the people that Wilson was meeting and becoming influenced by. One of the things that is very noticeable about Wilson is that he has no filters at all, and that makes his music some of the most honest music ever recorded. But that same honesty also meant that he could never be cool or hip. He was -- and remains -- enthusiastic about the things he likes, and he likes things that speak to the person he is, not things that fit some idea of what the in crowd like. And the person Brian Wilson is is a man born in 1942, brought up in a middle-class suburban white family in California, and his tastes are the tastes one would expect from that background. And those tastes were not the tastes of the hipsters and scenesters who were starting to become part of his circle at the time. And so there's a thinly-veiled contempt in the way a lot of those people talked about Wilson, particularly in the late sixties and early seventies. Wilson, meanwhile, was desperate for their approval, and trying hard to fit in, but not quite managing it. Again, Asher has softened his statements more recently, and I don't want to sound too harsh about Asher -- both men were in their twenties, and still  trying to find their place in the world, and I wouldn't want to hold anyone's opinions from their twenties against them decades later. But that was the dynamic that existed between them. Asher saw himself as something of a sophisticate, and Wilson as something of a hick in contrast, but a hick who unlike him had created a string of massive hit records. And Asher did, always, respect Wilson's musical abilities. And Wilson in turn looked up to Asher, even while remaining the dominant partner, because he respected Asher's verbal facility. Asher took a two-week sabbatical from his job at the advertising agency, and during those two weeks, he and Wilson collaborated on eight songs that would make up the backbone of the album that would become Pet Sounds. The first song the two worked on was a track that had originally been titled "In My Childhood". Wilson had already recorded the backing track for this, including the sounds of bicycle horns and bells to evoke the feel of being a child: [Excerpt: The Beach Boys, "You Still Believe in Me (instrumental track)"] The two men wrote a new lyric for the song, based around a theme that appears in many of Wilson's songs -- the inadequate man who is loved by a woman who is infinitely superior to him, who doesn't understand why he's loved, but is astonished by it. The song became "You Still Believe in Me": [Excerpt: The Beach Boys, "You Still Believe in Me"] That song also featured an instrumental contribution of sorts by Asher. Even though the main backing track had been recorded before the two started working together, Wilson came up with an idea for an intro for the song, which would require a particular piano sound. To get that sound, Wilson held down the keys on a piano, while Asher leaned into the piano and plucked the strings manually. The result, with Wilson singing over the top, sounds utterly lovely: [Excerpt: The Beach Boys, "You Still Believe in Me"] Note that I said that Wilson and Asher came up with new lyrics together. There has been some slight dispute about the way songwriting credits were apportioned to the songs. Generally the credits said that Wilson wrote all the music, while Asher and Wilson wrote the lyrics together, so Asher got twenty-five percent of the songwriting royalties and Wilson seventy-five percent. Asher, though, has said that there are some songs for which he wrote the whole lyric by himself, and that he also made some contributions to the music on some songs -- though he has always said that the majority of the musical contribution was Wilson's, and that most of the time the general theme of the lyric, at least, was suggested by Wilson. For the most part, Asher hasn't had a problem with that credit split, but he has often seemed aggrieved -- and to my mind justifiably -- about the song "Wouldn't it Be Nice". Asher wrote the whole lyric for the song, though inspired by conversations with Wilson, but accepted his customary fifty percent of the lyrical credit. The result became one of the big hits from the album: [Excerpt: The Beach Boys, "Wouldn't It Be Nice?"] But -- at least according to Mike Love, in the studio he added a single line to the song: [Excerpt: The Beach Boys, "Wouldn't it Be Nice?"] When Love sued Brian Wilson in 1994, over the credits to thirty-five songs, he included "Wouldn't it Be Nice" in the list because of that contribution. Love now gets a third of the songwriting royalties, taken proportionally from the other two writers. Which means that he gets a third of Wilson's share and a third of Asher's share. So Brian Wilson gets half the money, for writing all the music, Mike Love gets a third of the money, for writing "Good night baby, sleep tight baby", and Tony Asher gets a sixth of the money -- half as much as Love -- for writing all the rest of the lyric. Again, this is not any one individual doing anything wrong – most of the songs in the lawsuit were ones where Love wrote the entire lyric, or a substantial chunk of it, and because the lawsuit covered a lot of songs the same formula was applied to borderline cases like “Wouldn't it Be Nice” as it was to clearcut ones like “California Girls”, where nobody disputes Love's authorship of the whole lyric. It's just the result of a series of reasonable decisions, each one of which makes sense in isolation, but which has left Asher earning significantly less from one of the most successful songs he ever wrote in his career than he should have earned. The songs that Asher co-wrote with Wilson were all very much of a piece, both musically and lyrically. Pet Sounds really works as a whole album better than it does individual tracks, and while some of the claims made about it -- that it's a concept album, for example -- are clearly false, it does have a unity to it, with ideas coming back in different forms. For example, musically, almost every new song on the album contains a key change down a minor third at some point -- not the kind of thing where the listener consciously notices that an idea has been repeated, but definitely the kind of thing that makes a whole album hold together. It also differs from earlier Beach Boys albums in that the majority of the lead vocals are by Brian Wilson. Previously, Mike Love had been the dominant voice on Beach Boys records, with Brian as second lead and the other members taking few or none. Now Love only took two main lead vocals, and was the secondary lead on three more. Brian, on the other hand, took six primary lead vocals and two partial leads. The later claims by some people that this was a Brian Wilson solo album in all but name are exaggerations -- the group members did perform on almost all of the tracks -- but it is definitely much more of a personal, individual statement than the earlier albums had been. The epitome of this was "I Just Wasn't Made For These Times", which Asher wrote the lyrics for but which was definitely Brian's idea, rather than Asher's. [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] That track also featured the first use on a Beach Boys record of the electro-theremin, an electronic instrument invented by session musician Paul Tanner, a former trombone player with the Glenn Miller band, who had created it to approximate the sound of a Theremin while being easier to play: [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] That sound would turn up on future Beach Boys records... But the song that became the most lasting result of the Wilson/Asher collaboration was actually one that is nowhere near as personal as many of the other songs on the record, that didn't contain a lot of the musical hallmarks that unify the album, and that didn't have Brian Wilson singing lead. Of all the songs on the album, "God Only Knows" is the one that has the most of Tony Asher's fingerprints on it. Asher has spoken in the past about how when he and Wilson were writing, Asher's touchstones were old standards like "Stella By Starlight" and "How Deep is the Ocean?", and "God Only Knows" easily fits into that category. It's a crafted song rather than a deep personal expression, but the kind of craft that one would find in writers like the Gershwins, every note and syllable perfectly chosen: [Excerpt: The Beach Boys, "God Only Knows"] One of the things that is often wrongly said about the song is that it's the first pop song to have the word "God" in the title. It isn't, and indeed it isn't even the first pop song to be called "God Only Knows", as there was a song of that name recorded by the doo-wop group the Capris in 1954: [Excerpt: The Capris, "God Only Knows"] But what's definitely true is that Wilson, even though he was interested in creating spiritual music, and was holding prayer sessions with his brother Carl before vocal takes, was reluctant to include the word in the song at first, fearing it would harm radio play. He was probably justified in his fears -- a couple of years earlier he'd produced a record called "Pray for Surf" by the Honeys, a girl-group featuring his wife: [Excerpt: The Honeys, "Pray For Surf"] That record hadn't been played on the radio, in part because it was considered to be trivialising religion. But Asher eventually persuaded Wilson that it would be OK, saying "What do you think we should do instead? Say 'heck only knows'?" Asher's lyric was far more ambiguous than it may seem -- while it's on one level a straightforward love song, Asher has always pointed out that the protagonist never says that he loves the object of the song, just that he'll make her *believe* that he loves her. Coupled with the second verse, which could easily be read as a threat of suicide if the object leaves the singer, it would be very, very, easy to make the song into something that sounds like it was from the point of view of a narcissistic, manipulative, abuser. That ambiguity is also there in the music, which never settles in a strong sense of key. The song starts out with an A chord, which you'd expect to lead to the song being in A, but when the horn comes in, you get a D# note, which isn't in that key, and then when the verse starts, it starts on an inversion of a D chord, before giving you enough clues that by the end of the verse you're fairly sure you're in the key of E, but it never really confirms that: [Excerpt: The Beach Boys, "God Only Knows (instrumental)"] So this is an unsettling, ambiguous, song in many ways. But that's not how it sounds, nor how Brian at least intended it to sound. So why doesn't it sound that way? In large part it's down to the choice of lead vocalist. If Mike Love had sung this song, it might have sounded almost aggressive. Brian *did* sing it in early attempts at the track, and he doesn't sound quite right either -- his vocal attitude is just... not right: [Excerpt: The Beach Boys, "God Only Knows (Brian Wilson vocal)"] But eventually Brian hit on getting his younger brother Carl to sing lead. At this point Carl had sung very few leads on record -- there has been some dispute about who sang what, exactly,  because of the family resemblance which meant all the core band members could sound a little like each other, but it's generally considered that he had sung full leads on two album tracks -- "Pom Pom Play Girl" and "Girl Don't Tell Me" -- and partial leads on two other tracks, covers of "Louie Louie" and "Summertime Blues". At this point he wasn't really thought of as anything other than a backing vocalist, but his soft, gentle, performance on "God Only Knows" is one of the great performances: [Excerpt: The Beach Boys, "God Only Knows (vocals)"] The track was actually one of those that required a great deal of work in the studio to create the form which now seems inevitable. Early attempts at the recording included a quite awful saxophone solo: [Excerpt: The Beach Boys "God Only Knows (early version)"] And there were a lot of problems with the middle until session keyboard player Don Randi suggested the staccato break that would eventually be used: [Excerpt: The Beach Boys, "God Only Knows"] And similarly, the tag of the record was originally intended as a mass of harmony including all the Beach Boys, the Honeys, and Terry Melcher: [Excerpt: The Beach Boys, "God Only Knows (alternate version with a capella tag)"] Before Brian decided to strip it right back, and to have only three voices on the tag -- himself on the top and the bottom, and Bruce Johnston singing in the middle: [Excerpt: The Beach Boys, "God Only Knows"] When Pet Sounds came out, it was less successful in the US than hoped -- it became the first of the group's albums not to go gold on its release, and it only made number ten on the album charts. By any objective standards, this is still a success, but it was less successful than the record label had hoped, and was taken as a worrying sign. In the UK, though, it was a different matter. Up to this point, the Beach Boys had not had much commercial success in the UK, but recently Andrew Loog Oldham had become a fan, and had become the UK publisher of their original songs, and was interested in giving them the same kind of promotion that he'd given Phil Spector's records. Keith Moon of the Who was also a massive fan, and the Beach Boys had recently taken on Derek Taylor, with his strong British connections, as their publicist. Not only that, but Bruce Johnston's old friend Kim Fowley was now based in London and making waves there. So in May, in advance of a planned UK tour set for November that year, Bruce Johnston and Derek Taylor flew over to the UK to press the flesh and schmooze. Of all the group members, Johnston was the perfect choice to do this -- he's by far the most polished of them in terms of social interaction, and he was also the one who, other than Brian, had the least ambiguous feelings about the group's new direction, being wholeheartedly in favour of it. Johnston and Taylor met up with Keith Moon, Lennon and McCartney, and other pop luminaries, and played them the record. McCartney in particular was so impressed by Pet Sounds and especially "God Only Knows", that he wrote this, inspired by the song, and recorded it even before Pet Sounds' UK release at the end of June: [Excerpt: The Beatles, "Here, There, and Everywhere"] As a result of Johnston and Taylor's efforts, and the promotional work by Oldham and others, Pet Sounds reached number two on the UK album charts, and "God Only Knows" made number two on the singles charts. (In the US, it was the B-side to "Wouldn't it Be Nice", although it made the top forty on its own merits too). The Beach Boys displaced the Beatles in the readers' choice polls for best band in the NME in 1966, largely as a result of the album, and Melody Maker voted it joint best album of the year along with the Beatles' Revolver. The Beach Boys' commercial fortunes were slightly on the wane in the US, but they were becoming bigger than ever in the UK. But a big part of this was creating expectations around Brian Wilson in particular. Derek Taylor had picked up on a phrase that had been bandied around -- enough that Murry Wilson had used it to mock Brian in the awful "Help Me, Rhonda" sessions -- and was promoting it widely as a truism. Everyone was now agreed that Brian Wilson was a genius. And we'll see how that expectation plays out over the next few weeks.. [Excerpt: The Beach Boys, "Caroline, No"]

Get ready for some thunder from down under as we talk about the criminally under-seen #Ozploitation classic, 1982's NEXT OF KIN. Here to help us unpack all the gory details is Horror Queers co-host and “current #1” Returning Champion, Joe Lipsett! Along the way we talk about hillbilly revenge thrillers, introduce cream corn wrestling, running away in slow motion, Psycho homages, Euro-horror blood, and playful nipping between cousins. All this and a very Gena-centric edition of Choose Your Own Death-venture - plus, we pick apart one of the wildest 3rd acts ever covered on the show including an escape by butt! Put up your Teen Beat poster of John Jarrett and listen along with us today!! Check out all the new killer merch designs, including a brand new Choose Your Own Death-venture tee, at our TeePublic shop: https://www.teepublic.com/stores/kill-by-kill-podcast?utm_campaign=18042&utm_medium=affiliate&utm_source=Kill%2BBy%2BKill%2Bpodcast%2B Have something to say? Find us on Twitter @KillByKillPod Join the conversation about any episode on the Facebook Group! Follow us on IG @killbykillpodcast Check out the films we've covered & what might come soon on Letterboxd! Get even more episodes exclusively on Patreon!   Follow our station on vurbl: https://vurbl.com/station/2bdTISeI3X/ Artwork by Josh Hollis: joshhollis.com Kill By Kill theme by Revenge Body. For the full-length version and more great music, head to revengebodymemphis.bandcamp.com today!

Sean and Cody did not spend enough time on Arrakis for the bonus episode for their eyes to turn glowing blue, so now they're headed for the scummiest swamps of Florida—and the cinematic bargain basement—as they analyze this “classic” 1972 creature-feature horror film. In Frogs, well-endowed canoe pilot and ecology photographer Pickett (Sam Elliott) happens into a Southern fried family reunion from Hell as he winds up on a swampy Florida island owned by the cratchety Jason Crockett (Ray Milland). But when the hired help starts getting offed by geckos, snapping turtles and Spanish moss, the Crockett clan realizes they're at the epicenter of a full-on revolt of nature. Environmental issues discussed include DDT and its legacy, how the modern environmental movement started, Richard Nixon and the establishment of the EPA, and how effects of swampy environments played out in the post-slavery American South. What fears and fads were “eco-horror” films of this period really trying to tap into? How did Rachel Carson get the credit for starting the environmental movement when a bunch of Georgia women were trying to ban DDT more than a decade before she wrote Silent Spring? Can you pronounce the full names of the chemicals in DDT? Did Tricky Dick Nixon really care about the environment, or was he just grumpy over Vietnam and Kent State? Who's William Ruckleshaus and what does have to do with Watergate? Did you know that before he was a crusty cowboy, Sam Elliott was a legit Teen Beat heartthrob? Why do the characters in this movie act like slavery was never abolished? Are frogs and geckos considered cute? How can a snapping turtle kill a human being? To what depths was Ray Milland willing to sink to cash a paycheck at the end of his career? Is this the worst film ever covered on Green Screen? Whether it is or isn't, it's what we've got, so here we go. Frogs (1972) on IMDB: https://www.imdb.com/title/tt0068615/ Frogs (1972) on Letterboxd: https://letterboxd.com/film/frogs/ Next Movie Up: Tank Girl (1995) Additional Materials About This Episode

Teen BeatTiger BeatParasocial Relationships, meaningRadiant BadassChris Martin, Creativity Coach

Movie: Leon: The Professional (1994) Beers: Zero Gravity Madonna IIPA (VT) & Von Trapp Dunkel (VT) Crack a beer and enjoy this episode of Boozed Reviewz as CJ and Tyler become cleaners and discuss this weeks movie 1994's “Leon: The Professional” Tasting Notes: Fuzzy Tip, Sal's Pizzeria, You Killed Tonto?, Teen Beat, Fingers in the mouth, This time it's personal, Clean this shit up. Remember! You don't have to drink beer, but it would be a lot better if you did.  New Episodes every Wed! Don't forget to FOLLOW, RATE, AND REVIEW! Follow them on Instagram @boozedreviewz! Support them on Patreon: patreon.com/boozedreviewz Buy Merch: https://my-store-11718456.creator-spring.com/ ALL LINKS https://linktr.ee/boozedreviewz

This week Melissa brings Bryan Unrest! A band Bryan would most definitely have liked and gone to see FOR SURE...had he known they existed before today. None-the-less Melissa highlights some of Unrest's best! From pop to noise back to pop again rapping it all up with some noise. We think this band is great and you should too! Please listen to the mix linked below. NOTE: we recommend the YouTube Music mix because it has more of their music. Spotify is well, a bit spotty...and check out the link to Teen Beat records. Unrest Mix - YouTube Music / Spotify Teen Beat - Unrest website 

The Osmonds “The Plan" (1973) The platitudes are vague enough, the admonishments placid enough, the complaints about society inoffensive enough. Kolob was/is a Mormon magical land with...never mind. Look it up. Kolob Records was the exclusive domain of the Osmond family (Jimmy, too--in fact he was making records in Japan as early as 1969 and his hit in the US, "Long-Haired Lover From Liverpool" featured The Mike Curb Congregation, which we have played on this show many times) and in 1973 Kolob released this. It's very professionally done. There's instrumental virtuosity in many styles. Makes for a pretty good listen once or twice, but I think it ruined their credibility in the younger market. Both "Goin' Home" and "Let Me In" reached #36 on the Billboard chart. This album didn't reach #50.  POACA might recall that at one time The Osmonds roamed the teeny-bopper landscape free of predators, and actually charted 4 Top 10 hits. I thought it was more. And my sister bought every Tiger Beat and Teen Beat magazine she could find. Always Donny's toothy grin. And she also bought a few Osmond albums, including this one. I want the one they released ONLY in Japan, The Wonderful World Of The Osmonds. Because I love that shit. My birthday is coming up in 10 months. Might as well? Both Donny and Marie would try to change their images down the road, but when this came out, it was really the beginning of the end for any question of artistic integrity.  War In Heaven Traffic In My Mind Before The Beginning Movie Man Let Me In One Way Ticket To Anywhere Are You Up There It's Alright Mirror, Mirror Darlin' The Last Days Goin' Home Lou Christie Selections from "Paint America Love" (1971) I came across this album when I was heavy into Q Magazine out of England. They did an article about it and I tried to find my own copy. And I like it. I find that Lou Christie is just a little different, a little more daring than his contemporaries. He tried and failed at much, but what hit, I really love. I will never not be fascinated by Paint America Love.  Look Out The Window Wood Child Paint America Love Buddy and Cathy Rich - The Beat Goes On (1967) Dyke and the Blazers - Let a Woman Be a Woman, Let A Man Be A Man (1969)  Funk band formed in 1965 in Phoenix, Arizona. Best known for their 1966 hit single Funky Broadway, later even more successfully covered by Wilson Pickett. The band was disbanded when bandleader "Dyke" Arlester Christian was shot to death in 1971. Eddie and Dutch - My Wife The Dancer (1970) G. C. Cameron - If You Don't Love Me (1974) Written by Stevie Wonder. G. C. sang both lead parts on The Spinners' big hit, 1970's "It's a Shame", co-written and produced by Stevie, and remained with Motown as a solo artist when The Spinners left Motown in 1971. Although Cameron was not a major-seller for the label, he did have a hit with "It's So Hard to Say Goodbye to Yesterday", the theme song of the 1975 film Cooley High, which was later covered to great success by Boyz II Men. Gene Vincent - Be Bop A Lula '69 (1969) Produced by our friend Kim Fowley.  Lou Christie - Genesis and the Third Verse (1968) I love Lou's collabs with his Gypsy pal, Twyla Herbert. Herbert was born in Riverside, California. Christie was 15 years old when he met Herbert, a "bohemian gypsy, psychic, and former concert pianist," at an audition in a church basement in his hometown, Glenwillard, Pennsylvania. She was over 20 years older than him, with flaming red hair, a self-described clairvoyant and mystic who allegedly predicted which of their songs would become hits. They co-wrote "Lightning Strikes".  The Jackson Five - Doctor My Eyes (1973) Yes, The Jackson Five covered Jackson Browne.  John Travolta - Razzamatazz (1976) Julie London - Louie Louie (1969) King Crimson - Cirkus (1971) Renaissance - Can You Understand (1973) 

Welcome to the fifth episode of season two of Holly Jolly X'masu! This month, I look at a pair of early 70s boy bands, Juke Box and Finger 5. I grew up listening to our old 45 of the Jacksons singing “Rockin’ Robin,” watching the Osmonds on TV, and seeing people like Leif Garret, Shaun Cassidy and the Bay City Rollers in Teen Beat, Tiger Beat and the other magazines sharing the newsstands with my comic books each month, so I’ve really been looking forward to discussing them. I’ve been plagued with PC issues over the last several weeks, so I’m far behind where I’d like to be. I was hoping to get a bonus episode out this month, although I may have to push it off until early next month. I also haven’t been able to get scans of the interior of the Juke Box record, so I’ll have to post those on Instagram once I get the chance. One of the things that fascinated me about these two bands was how they came along at the dawn of the modern Idol culture in Japan. Their careers weren’t quite as regimented as today’s Idols, but they really helped to shape what came after them, for better or worse. I also enjoyed reading about Finger 5. While their dad took his inspiration from the Partridge Family, I personally saw more of the Jacksons in their experience, as the dad formed and managed the band at first. They were also an actual family and not just musicians hired to play the part. Even when the older brothers decided to go on hiatus, they remained a family act, bringing in cousins to take their place. And just like sitcoms of the era taught me, once you bring in a cute, younger cousin, things are never quite the same. Thanks for listening, and I hope you enjoyed these two records as much as I did. Next month, I’ll be discussing Ryoko Moriyama’s 1969 album, “Ryoko’s Christmas.” It’s a great album by a wonderful singer who is quite possibly the most prolific Japanese singer, at least when it comes to Christmas music. Be sure to listen in. As always, any feedback on this episode would be appreciated. If have any suggestions, or if you’d like to recommend a song or album for a future episode, drop me a line and let me know. Remember, I've added a button to my Ko-fi page. If you'd like to support me one cup of coffee at a time, a donation is only $3. Any donations received will be put towards purchasing new Japanese Christmas music to review for future episodes. You can also find me on Facebook, Instagram and Twitter. And if you get a chance, leave me a review on iTunes. Thanks!

Santina Muha is a comedian, actress, writer, producer and disability activist. Her many roles in film and television include appearances opposite Joaquin Phoenix in the Gus Van Zant film “Don't Worry, He Won't Get Far on Foot” and the role of Beth on “One Day at a Time.” She recently wrote, recorded and shot a music video called “Ass Level.” Learn more about Santina on her Instagram feed. Learn more about The Passionistas Project. Full Transcript: Passionistas: Hi, and welcome to the Passionistas Project podcast, where we talk with women who are following their passions to inspire you to do the same. We're Amy and Nancy Harrington and today we're talking with Santina Muha, a comedian actress, writer, producer, and disability activist. Santina's many roles in film and television include appearances opposite Joaquin Phoenix in the Gus Van Sant film "Don't Worry, He Won't Get Far on Foot" and the role of Beth on "One Day at a Time." She recently wrote, recorded and shot a music video called "Ass Level." So please welcome to the show. Santina Muha. Santina Muha: Hello, how are you? Passionistas: We're good. We're so glad to have you here. What are you most passionate about? Santina: I'm very passionate about TV and pop culture and all of that. I'm also very passionate about food, particularly Italian food and Italian culture. And I'm very passionate about dogs and animals and tea. I drink tea every day. I drink black tea in the morning. I drink green tea in the afternoon. I drink herbal tea at night, so I do drink more tea than anyone I know. Passionistas: So let's go back to your childhood and when did you first become interested in pop culture and what was your childhood like and what role did pop culture play in that? Santina: I was in a car accident when I was almost six years old. Any memories I have walking, I know I was at least five or younger. Right. And I can remember walking every time, like certain commercials would come on, I would jump up and position myself. Like where would I be in this commercial? Okay. It's Zach, the legal maniac. I'm his little backup girlfriend and dancer, you know, like. And I was in dance when I was little and Oh, and then MTV. So I lived with, I lived in what I like to call an Italian full house because my mom and I moved back in with her parents after my parents got divorced and my two uncles lived in the house and they were young, my mom was 20 and they were her two younger brothers. So they were still in high school. And I had so much fun living with these cool young uncles. We would watch MTV. I would dress up like Bon Jovi. I mean, cause I'm a Jersey girl. So of course Bon Jovi. It just was always in the background. And then when I got in the accident, I watched beetle juice every day. They only had two movies on my floor, "Beetlejuice", and "Ernest Goes to Camp", which, so I watched the "Beetlejuice" every day and I played Super Mario Brothers. You could rent the Nintendo for like blocks of time and I would play that. So, I mean, it also kind of got me through some of those hard times where I couldn't leave my hospital room for essentially a year. And so it got me through those tough times, too. I remember watching PeeWee Herman during my sponge bath every Saturday, it was like PeeWee's Playhouse during the sponge bath, you know? So it, it, it really got me through would watch golden girls with my non that that was my mom's mom and they were Italian off the boat. So I spoke Italian as much as I spoke, if not more than English growing up. And my Nona who didn't really speak a lot of English and me who was four years old, we would watch golden girls together. So we, we didn't really understand the jokes. But we did know that when Dorothy made a face, the audience laughed right. I learned some of my comedic timing from Dorothy Zbornak and Sophia on "The Golden Girls", you know, and all of that sort of translated to when I got out of the hospital. And now here I was this little girl in a wheelchair, the saddest thing anyone ever saw, you know, in our society. And they would look at me like, How you doing? And I'm like, Oh God, I am depressing. So I would have to cut the tension. And I learned from golden girls and one day at a time, which I later got to be on the reboot. All of these shows, I learned like, Hey, make a joke, make a face, do it thing. And then it will ease the tension. It really has helped me just make it through, you know, life. Passionistas: That seems like a common thread with the women that we've interviewed, who were in the comedy show, that we did that feeling of it's your responsibility to make everybody else feel comfortable. Santina: Yeah. At six years old, I'm like telling adults. No, it's okay. We're I'm fine. I'm happy. I I'm in school. I have a boyfriend, whatever a boyfriend was at seven years, I held hands with a boy, whatever. I mean, I had to convince everybody that I lose. Okay. All the time. I'm still doing it. Passionistas: Did you consciously feel that at six years old where you were aware you were doing it? I was adjusting, no, but it's an automatic thing. Santina: Automatic. I didn't realize it until I was older. That that's what I had been doing. When you're younger, it's really the adults that you have to make feel better because the kids are like, cool. What is that? Can I try? Can I push, can I sit by you? Can I go on your special bus? And then once, once those kids start turning into adults, middle school, high school, that's when you're like, Oh no. Now they're sad about me or think it's weird or think it's different. And now I had to start dealing with my peers in the same way that I was dealing with the adults, you know, cause kids don't care. First I was crawling, then I was walking. Nobody told me that change. Wasn't tragic. So then all of a sudden I was walking now I'm willing. So I was like, Oh, that's wrong? Okay. Sorry. I didn't know. You know, as far as I knew, I was just on the trajectory. I didn't know. It was quote, wrong thing until everybody was like, that's not what we all do. And I'm like, Oh, sorry. I don't know. I'm just trying to get from point a to point B. Like you. Passionistas: You had this love of pop culture, you kind of integrated comedy into your daily life to get through the reactions you were having from other people. When did that love of comedy and acting become like a real thing for you? Like, I want to do this when I grow up. Santina: The whole time. I mean, like I said, I would jump up and be in the commercials or, you know, I would watch "The Mickey Mouse Club" after school and put myself off of basically an order and say, Santa Ana, you know, wherever I thought I would fit, I wanted to be on saved by the bell. I wanted it to be on nine Oh one. Oh. When I was little, I did my mom. I lived in New Jersey, so my mom would take me to audition. Sometimes I had an agent like commercial auditions and stuff like that. But in the end, a lot of times they would say, it's just too sad. You know, we can't sell fabric softener if the girl's in a wheelchair. And it's like, why do you think. That the fab. Do you think people are so stupid? They're going to think this fabric softener, it's going to paralyze their children. Like what? We don't give people any credit. And then I'm like my poor mother who they have to hit to hand me backdoor and say, sorry, it's too sad to have a daughter in a wheelchair. My mom's like, okay, well, great. Cause that's what I have. You know, it's like that right. It's up right when I was little, I just thought, Oh, that person stupid. I didn't realize wow. Society is kind of stupid. Sorry to say. No, it's getting better, but I'm talking about, it's just slowly starting to get better now. And that fabric softener commercial. I was seven. So I mean, w come on six glacial pace here. I was a dancer before the accident and that I still dance like here and there, but I don't know, like comedy was always. Acting, it just always, I went right into the school plays in summer summer theater programs. And I didn't think there was any reason why I couldn't do it. I just felt like, all right, I got to keep convincing people. I could do this. Just look I convinced them that I could be in the regular class in school and not in the special ed class. So God, there's something wrong with being a special ed, but if you need it, I didn't need it. I just had to prove to everybody I could be among my peers. At all times, and not now, I'm still doing that in the acting world, but it was just always something I wanted to do. I just felt drawn to the entertainment industry. And in college, I didn't major in theater or anything, but I did major in communication. So I did a lot of interviewing. And then my first job out of college was I had two jobs. I worked for the national spinal cord injury association and I worked for tiger beat magazine. It's like, I can't escape either one of these, because it's funny in the intro, you called me a disability activist and I'm like, God, am I? I mean, it's like, I didn't mean to be, but you kind of can't help it because if you're doing anything normal, like in high school, I was a cheerleader and I thought, great, I'm gonna just going to be a cheerleader because everybody wants to, to do wheelchair basketball and wheelchair this and wheelchair that. And I don't want to, I just want to be a cheerleader and I'm going to buck the system and I'm not going to be an advocate for anything. I'm just going to be asleep there. Meanwhile, I was the only cheerleader in a wheelchair. You can't help, but be an advocate because just because of the fact that people are looking at me. Passionistas: Tell us a little bit about your work with them National Spinal Cord Injury Association. What did you do for them? Santina: I was there communication director and also media point person I wrote for their publication, sci life spinal cord injury life. I interviewed a lot of bull, like different athletes, Paralympians. I worked with the spinal cord injury hall of fame. I worked with putting that together. And things like that, but it was just all disabilities talk all the time. For me, it was just a little bit of an overload. I wanted to do comedy and it'd be more of a creative. And so eventually I had to leave there and move to Los Angeles and start working in comedy, but taking everything that I learned in all of those connections. And now I have a show called "Rollin' with My Homies", where I interview other people with disabilities. And when we, when it was on the stage, we did improv off of those interviews, which was really fun, but I'm able to still keep in touch with all of the coaches, the texts that I made at the national spinal cord injury association. And I know who these people are and what they're done, and I can sort of help bring them into the mainstream, which is my overarching goal is to help normalize the disability and. Where, you know, where if you see someone with a disability on stage, you're not like waiting to see like, Ooh, where's the joke. I can't wait to see why she's in a wheelchair. You know? It's like, that's not funny. It's not, that's not the joke. Sometimes it's part of the joke, but it is the joke. Passionistas:  Before we go to LA. So what did you do at Teen Beat? Santina: We all had those posters on our walls growing up. Right? I mean, if you're pop culture, people, you I'm sure you did. I did too. You know, Jonathan Taylor, Thomas, right. And Luke Perry is my number one love of my life forever. Everybody knows that. I had a friend who was working there and she got promoted to the LA offices and they moved her out to LA and she, they needed someone to replace her as their East coast correspondent. And she was like, I have a friend who is very jealous of my job. She would love to do this. I had an interview. And then the very next day from that interview, I was in Manhattan at the opening of Dylan's Candy Shop interviewing Jesse McCartney. Oh. Was so fun. That's good at MTV music awards and movie awards, all these red carpet events, and I was freaking out. It was so fun. So cool. I got to interview the Backstreet boys and the Jonas brothers and just whoever was hot at the time. Kelly Clarkson, LMF, FAO. You know, he was just really fun. I really loved being able to do that. And sometimes it was hard. Like one time I showed up somewhere and I had to interview someone who was doing Broadway show while they were getting their hair and makeup done. And it was up a flight of stairs and there was no elevator in that building. And luckily I had my boyfriend at the time had driven me to Manhattan and he was going to go like, have a drink or something while I did my interview. And instead he ends up having to carry me up and down. So there were times where I had to navigate around being in a wheelchair, but I ultimately, I love that that was a job that I was doing that had absolutely nothing to do with the fact that I was in a wheelchair. And then once I moved to LA, I started working with hello giggles, which I also really loved because I was writing more pop culture stuff. And again, when I applied for that, when I sent in my samples and I got the job, it was not based nothing to do with being in a wheelchair. Again, it was just based on my love of pop culture. And that was another like nice win for me because sometimes you never know, like, Are they giving me an extra edge because sometimes it works in my favor. And then also it's like, wait, did I not get the job? Because I'm in a wilderness. Sometimes it works against me. So you just, it's nice when I don't have to think either way about it. Have you always been a writer? Yes, I remember in third grade they sent me as the ambassador to represent our school to the young author's club meeting. Every Friday was creative writing day. And then on Monday they would read the best ones. And it was like weird. If, if mine didn't get read on that day, it was like, Whoa, I wonder what happened to Santina on Friday. And I was, I was a big reader growing up. I went through a hiatus of reading, like once I discovered. Hot to be honest in middle school and high school, not middle school, high school. I started smoking a little, like having partying and then I was like, really? It's not cool. And then when I got older, I was like, Oh yeah, that's right. I like reading. And now I'm back to reading again and now I can do both. Now I can read what I'm gonna look, you know, smoke a joint and read on a Sunday. Hey, why not? Passionistas: You created the Ask a Woman in a Wheelchair series for Buzzfeed, and it was hugely popular, got 10 million hits and counting. So how'd that come about and why do you think it was so popular? Santina: They had a few, right. I think they had like an ask a lesbian one or something. And then someone there was like, I want to do a wheelchair one and co contacted me. And, um, and I was like, yes, let's, let's put this together. It's more about addressing the fact that people are asking these questions than it is about answering these questions, because there's a time and a place to answer those questions. But I think that's why they do well, because I think people see themselves in it. You can't help, but be like, Oh God, I've definitely used the handicap stall before. Or I've for sure. Stared at someone or even gone up and asked somebody what happened. I can't blame people for their curiosity, but think about it. If you've asked one person what happened. Think about how many times that person has had to answer that question, you know, it's like harmless to ask. That means I've had to answer it. Literally thousands of times I'm writing a book right now where I talk a lot about different things. And it's like, I just want to answer these questions from people because I understand the curiosity. And by the way, if a child ever asks me, it's like, okay, great. Let's talk about it. But when it's an adult, I'm like, Do you really want to know how I Santina have sex? You want to know what I enjoy personally me? Or are you asking how people in wheelchairs that's like, what are you asking me right now in the middle of the supermarket? What are we talking? I don't even know you. I get it. But also I'm like, come on. I try to think, like, if I see somebody with an impairment or something, do I want to just go up to them? What up? And it's like, no, I don't. So I don't know. It's a weird, weird line. It's like, we're just not doing a good enough job in. The representation of people with disabilities in pop culture and in media. And it's always like so dramatic and they want to kill themselves at the end. And then the actor that portrayed them gets an Oscar. Meanwhile, I can't even book a commercial for a fabric softener knowing you're giving him an Oscar it's like, come on. Passionistas: Absolutely. And, and I think what you said earlier is really important. Like we have to normalize the concept so that people will stop approaching you and asking that question. Santina: For example, I'm dating, right? I mean, I'm single and dating, right. So sure. Of course, if I'm dating a guy, who's going to want to know like, what's going on, what happened at some point. Right. But if that's like out the gate, I'm like, I don't know. Do you really want to get to know me? Or like what's, if your profile said you're divorced, it's not like I come at you, like what happened? Who blew it? Who, you know, who was the cause of that divorce? It's like, we'll get to those conversations. We'll get to them. It's important to know. Everything about the person that you're with, but it is not important to know everything about the person who's sitting next to you at a show or whatever. And then also it's like weird puts like a weird pressure on me where I'm like, okay, I'll answer. I can answer. But I'm only answering on my behalf because I don't know what XYZ other people do. You know how they drive, how they swim, how they, whatever. I don't know. I can only tell you what I do. So I don't want to answer this question. And then you go off in the world thinking now, you know everything about spinal cord injury, you know, you know what I mean? I don't even know. I mean, that's part of my, what I love about my. "Rollin' with My Homies" is when I interviewed these other people in wheelchairs, I learned so much and I'm like, Oh, what a great idea I could do that? Or I should be doing that. Or, or like, Oh God, I would never do that. You know, it's, it's interesting to me to see the differences among the community, as well as the similarities. Passionistas: How did you start that show? Santina: I went to Italy and I, and I hadn't gone to Italy for. The whole beginning of my life, even though I really wanted to, like I said, I grew up speaking Italian. It is my motherland Sicily in particular, I'm Sicilian. And I just want it to go so badly, but everybody always said, Oh, it's going to be hard. It's not really accessible. So old. And kind of, I let that get in my head for too long. And ultimately, you know, in my early thirties, I think was when I went and I said to my, my best friend, I was like, Please can we go? And she was going through some marital stuff at the time. So she was like, yeah, let's just go. So we went, I trust her. I've known her since seventh grade and she's just like a great friend who has always had my best interest in mind. Like when she got her first car, she made sure it was a hatchback cause she could fit my wheelchair in the trunk, you know, and she doesn't even need that. So it was just, I knew she was the right person to go with. We went to this town in Sicily where my Nona grew up, my grandmother grew up and I was like, pleasantly surprised by how accessible it was. And I said to my cousin, there are so many ramps here. What is going on? It's just an old fishing town in, in Sicily. And she said, Oh yeah, well, you know, if you, years ago we had a mayor or whatever, they call their person there. And Sicily who decided to spend a day in a wheelchair. And roll around the city in a wheelchair and see what needs to be done. Um, and then he did it and then he put ramps here and there. And I was like, Oh my God. Yes. And it's like, not the exact same thing, but a day in the life can be helpful. We live in a world where people are obsessed with celebrity, right? So let me, I have some access to some celebrities, some comedians through UCB, let me put them in wheelchairs and see what they learn and then how they can take what they learn now and bring it to the. Grips that they're writing and the shows that are show running and the shows they're directing, that's how it started. And I did the first one was a fundraiser called don't, just stand there and then it's spun off their slot of wheelchair puns. People it's been off into Berlin with my homies. So I had a show at UCB called that girl in the wheelchair. It was a solo show. And I learned that when people came to see the show, they knew what they were in for. They knew they were coming to see some disability humor and they could laugh. But when I did, uh, Piece of the show in like a variety or best of show at UCB and people didn't know what to expect or didn't know a girl was going to come out and start making fun of disability life in any way. The audience was like, Oh my God, are we, can we laugh at this? I don't. What's she doing? She making fun of disability. Wait, is she really in a wheelchair? Like they didn't. Right. And so I learned that. I had to again, make my audience comfortable with disability before I could even start making these jokes. And so I found that if we first made fun of the episode of saved by the bell redacted thrill on the wheelchair, right? The episode of "90210", their cousin Bobby comes to town and he's in a wheelchair. If we first made fun of that, then I could get my improvisors on board. Cause even the improvisers didn't want to touch. The wheelchair humor. I had been the monologist for as cat, you know, UCBs like flagship show four times. And I would tell great stories about being in a wheelchair. And they would even the most seasoned improvisers would often take the wheelchair element out of the story. And I'm like, Nope, that's why it was funny. But they were like, I know, but we can't do that. So I said, okay, here's what we're gonna do. We're gonna spend the first half of the show making fun of Zack Morris and NBC and the eighties. Then I'm going to bring up a person in a wheelchair. The second half of the show, I'm going to interview them. And by then, you're going to feel comfortable doing the wheelchair humor. And it worked, it really worked, but it took me a long time to sort of like figure out how to disarm people and get there. And it works for the audience as well. So I think that's some of the things I've like honed over the years is how to incorporate disability and with comedy and make it okay. Cause you can't just come at people with a joke and they're like, are we allowed to laugh at that? You have to make, unfortunately. Make them comfortable first it's annoying, but it is what it is. Passionistas: I imagine nowadays people are even more overly sensitive towards not laughing at things because they're trying to do the correct thing. And so even though it's becoming more of an awareness for people, is it, is it in somehow in some ways, a little bit harder now or is it getting easier? Santina: It's both, it's harder, but in a way that it just makes you work a little smarter work a little harder. You didn't have to figure it out. Yeah. It's hard, right? Because you don't want to insult anybody. And that's really hard because there are people out there who are looking and to be insulted. There's a quote. I love that. I try to remind myself constantly, which is you could be the juiciest, ripest peach, and there will still be people who don't like peaches. If I make my jokes, like if I try to make them too inclusive, I'm, I'm always going to be leaving somebody behind and then I don't want to hurt anybody's feelings. You can't please everybody with every single joke with every single thing with her. And I'm writing this book of essays right now, and there are times where I'm like, Oh God, this is going to piss somebody off. I know it. No pun intended paralyzes me as a writer of like, then maybe I just won't. But it's like, no, you've got to put the book out because you're going to help more people than you're going to hurt. But I don't want to hurt anybody, but, uh, it's a lot. We're all, you know, we're all as content creators, we're all dealing with this. Right. But it is scary because we are at a time right now where you don't know even something that's okay to say today might not be okay to say next year. And you're like, Oh shit. Now it's in print. Once it's published, it's that it's done. You know? And even if I changed my mind or my point of view, which is. Something that has already happened to me, even from drafts that I've written, you know, before COVID times. And I'm like, Oh wait, this is, I gotta change this. You know? So it happens once it's out there, you know, good luck to us all. Yeah. You have these open conversations with people and it's like, okay, you know what? That's true. That's sorry. I didn't realize that's messed up. So as well, I just, I want to be aware and. I try to give people the same courtesy. Like if someone says something that I feel like is sort of abelist, which is a term that even, I only learned in the past few years, I mean, people were being able as to me all my life, but I didn't know that's what it was called or what it was, but I try to educate before I cut people down or out, it depends on my mood. I said early in the beginning, you know, if you get me on a compassionate day, great. But if you get me like on a day where I'm just like, I've had it, I don't know. Passionistas: We're Amy and Nancy Harrington. And you're listening to the Passionistas Project Podcast and our interview with Santina Muha. To keep up with her projects, follow her on Instagram @SantinaMuha. If you are enjoying this interview and would like to help us continue creating inspiring content, please consider becoming a patron by visiting the Passionistas Project.com/Podcast and clicking on the patron button. Even $1 a month can help us continue our mission of inspiring women to follow their passions. Now here's more of our interview with Santina. Passionistas: Was it through UCB that you hooked up with Amy Poehler to do the conversation on disability and comedy? Can you tell us about that? Santina: I love her so much. Yes. I met Amy Poehler at UCB in the hallway one time and I was just like, woo. Oh my gosh. It was like, because she's, you know, she found it she's one of the four founders of UCB. Uh, and so she's like the queen and it would be like running into Dave Thomas, right. His daughter at Wendy's. Right. So it's like, and, and I, I introduced myself to her. I was just a student at the time. And then I kind of came up through the ranks of UCB and became a performer. And then, you know, when they opened up. The sunset location, which we were also excited about was just recently as closed now, which we're also sad about. We had a big opening party, you know, and I was on a house team at the time. So we got to like decorate and Amy was there. All the, everyone was there. Everybody was at that party and dance and just together, all of us dancing. And it wasn't like we were there to watch Amy perform. We were all, all performance together. It was like, amazing. Oh my God dreams just coming true left and right for me, And then we kept in touch and then, you know, she did that. She directed that film wine country on Netflix. And she sent me an email that was like, I need a voice of a receptionist and she's from the East coast, too. And she's like, and I feel like receptionists are always, they always sound like a little sweet, but a little bitchy. And I feel like that's how you sound. So could you come be the boy? I'm like, yup. I just like, felt so seen I'm like, that is what I am that's me. She nailed it. So I'm like, she got me. And then after COVID and there was a lot of issues with, you know, UCB in the way they handled diversity and inclusion and stuff like that. And they made a lot of mistakes and they, you know, they're working on those mistakes. So a few of us started this group called Project rethink, where we addressed a lot of those issues. And Amy and Matt Bester, I met Walsh, Indian Roberts or the other founders, and they were all involved. We had a bunch of zoom meetings with them to tell them here's what we as marginalized. Comedians feel, you know, we have all different types of marginalized comedians in Project rethink. So Amy and I got to talk over zoom that way over quarantine. And then through emails, we were like, Hey, why don't we do something like take this time that we have, that you see these not running right now that we have this sort of extra accessible platform accessible, meaning we can reach more people than just the people that can come to the LA location and do this thing we did. And Amy is very passionate about giving a voice to comedians. That wouldn't otherwise, you know, or, or trying to do that, whether it's women, she has her smart girls thing and just UCB in general was created for that purpose to give comedians a platform. Passionistas: Tell us about your experience working on the film “Don't Worry, He Won't Get Far on Foot.” Santina: That was amazing. That was also through. UCB because they came, you know, Gus Van Sant, who directed that film. It's a very serious film, but he wanted it to have some levity. So he thought, well, I know what I'll do. I'll hire comedians to play the doctor, to play the journalist, to play them. So that even though the topic is serious, there'll be some level of levity within. I think that, you know, there was like a smart move by Gus. So he came to UCB. It's based on a book written by a humorous too is quadriplegic. And he had a friend. In rehab, who was a spunky brown haired girl in a wheelchair. So they came in, they're like, Hey, do you have this? And they were like, actually we do have one of those. They called me in for this audition. And then I got the call back and the callback was with gusta and sad and Francine Maisler, who's cast it, all these great things that, you know, when you're an actress, like the casting people are celebrities stress, right? So I'm like, Oh my God, I'm going to be friends. I went in and did the call back. And I knew like, you know, sometimes you just know like, Oh my God, you know, you just can tell. A lot of people who have spinal cord injuries, what we do is we celebrate the day of our injury. It's like, because you could either mourn the loss of your legs or whatever, or you can celebrate the fact that you survived on this day. When I was in high school, I locked myself in my room and I was very email about it. And then somewhere in college, on it's my anniversary is March ninth. I decided I it's. So when I had my accident, I was. At Robert Wood Johnson hospital in new Brunswick, New Jersey. So I always have like a bad connotation attached to new Brunswick. Then when I went to college, I went to Rutgers, which was also in new Brunswick, New Jersey, and also the four most fun years of my life. So it kind of switched, you know, the way I thought about new Brunswick and being so close to Robert Wood Johnson. I said, one March night, I said, you know what, let's go bring flowers to the adolescent ward where I stayed. There were two nurses sitting at the desk. One was sitting a little further off and one was sitting up front and I went up to the one sitting up front. I said, hi, I just want to give you flowers and thank you for everything you've done and everything you do as a nurse, you know, I was here many, many years ago. I had a car accident and I was here and the nurse at the far end of the station goes Santina. And I was like, Oh my God. And she came over and she goes, Oh my God, you look the same, whatever she's telling the other nurse, this is Santina and this is San Antonio. And they're just like, Oh my God, you're saying, so it was like such, you know, I had made already an impact here and I thought, okay, this is what I need. This is the universe telling me, this is the way to go. Now you do something like this every year on this day, because you've made an impact and you've got to keep doing that. So then every year on my anniversary, I would do something nice. And this one. Other things I've done is one year I had a roller skating party and I rented out the roller skating rink. And I put all, because I said, we're all my friends were all on wheels today. Right. We're all going to be on wheels. And that was nice. So anyway, it just so happened that my first shooting day of don't worry, it was on March 9th. So I got to spend that day, that year in a park, right with Joaquin Phoenix and Gus Van Sant, directing us, just dancing in the park with walking Phoenix, both of us in wheelchairs. I mean, it was amazing. That's when you know, those are the times the universe is telling you you're on the right track. Passionistas: So in 2018 you were cast as Beth on the TV series, the reboot of "One Day at a Time." So how did that come about and tell us a little bit about your experience on that show. Santina: That was another thing where a friend of mine who I'd met through UCB was good friends with Gloria Calderon Kellett was the showrunner was the showrunner of "One Day at a Time." And she said, you gotta meet my friend Santina. I think she'd be a great addition to the show because one day at a time was great about inclusion and diversity and not making a big deal about things and just kind of normalizing them. And I think that she would be a great addition to the show and Gloria was like, Oh my God, I know Santina. And I've seen her perform at UCB. She would be great. And then they offered me this part. I do not do audition. So like we have the main character. Penelope is a veteran she's in the support group and the support group is run by Mackenzie Phillips, who was the original daughter on the show who, like I said, I used to watch with my nonna. So another full circle moment for me to be sitting there in this support group now with Mackenzie Phillips and my nonna used to wear this ring. And I remember like I would play with the ring while we watched TV together. And I would wear that ring on the show every, every time. Just to kind of like, I'm really big on all that stuff. I'm big on full circle moments and I'm big on like that happened then to get me to where I am now, you know, I pay attention to all this stuff. And what I loved about doing one day at a time is that it was like the best of, of all of my worlds here, because it was a multi-camera. And so for people who don't know multicam is like, when you're watching a show like full house or family matters or whatever, where the audience is laughing. Right. And it it's. So you get to shoot the show. In front of a live audience. So that's like the improv, but then also you get hair and makeup and craft services and you get to tell your family and friends what channel it's on. Right. Which is something you don't get from improv. So I got to do both things at the same time that I loved and feed off of the audience, but then also tell my family, you know, what time they could watch it and where, and when. And then I got to work with all of the, I mean like Rita Moreno. Are you kidding? Me and Jesse Machado, who I loved on "Six Feet Under". And I was just like in awe of everybody around me, Judy. Right. It just, I feel like now I have to, I'm not going to mention everybody because all of them, Oh, it was the best. It was the best. And I've been on like other sets. They're not all the best. That was great. Passionistas: You're not just a comedian. You're not just an actress. You're a creator. And I think that's really important to give you a chance to talk about that. Santina: I have two films that are actually at slam dance right now. And one is "Ass Level", which is a comedic, you know, parody, rap song type thing, where I talk about all the perks of being in a wheelchair, because I thought, God, everybody's always talking about how much it sucked all the time, but sometimes like it's a cut the line sometimes, you know, I get free parking. So I thought, Oh, you know, rack is like a fun way to like brag, you know? And it's like, I, I grew up loving. Uh, Salt-N-Pepa and Missy Elliott and all this like will kill all was like really fun. Nineties raps. I wanted to paint, pay homage to that. I also did for the Easter Seals disability film challenge this year, the, the street last year, the theme was the genre they gave us was documentary. And so the, my team that we decided we were going to do the spilled challenge, we were like, Oh, okay. Now we've got to make a documentary. All right. We're all coming to, you know, comedic creators. So we're like, well, What are we going to do? And I said, here's something cool. In COVID times I've been meeting all these people over zoom and they don't know I'm in a wheelchair until I tell them, which is very different because usually people see me, they see the wheelchair and right away that that's everything. Now that I tell them it's filtered or wow, she's in a wheelchair. And she did that. She was in a wheelchair and she did that. Right. So it was really like, this is interesting. I get to meet people. They get to know me first and then I can fold the wheelchair into the conversation. So we did a documentary and that's called full picture. It's doing really, really well getting great reviews. It's a short doc and I hope people check it out because I learned some stuff about myself too, in my own, like sort of implicit bias that I had internalized ableism that I have, you know, from whatever media and pop culture has put into my head. Right. And I'm really proud of that and proud of this book. And I'm also writing two movies right now, one by myself and one with two writing partners. And I'm just trying to create content, especially now that. In this time where I can't really, you know, go anywhere, do anything because the world is on pause. There's a great opportunity to, to write. And that's what I've been doing, just so I don't feel like lazy. Passionistas: What advice would you give to a young woman who is living with a disability? Santina: If you think you can't do something, then. And you probably aren't thinking of all of the ways that you could do it. You might not be able to do it like this, but I I'm sure that there's a version of the thing that you want to do that you can do. Or maybe that thing that you want to do is leading you to the next thing of whatever it is. Right. So just know that even if it doesn't look like. What you're imagining sometimes it's not about the experience of the circumstance, but the feeling that you, that you have. Right. And you can achieve that, feeling, doing something, doing something you'll get there. Right. You'll get to that feeling. Even if it doesn't look externally, like what you thought it would. Passionistas: Thanks for listening to our interview with Santina Muha. To keep up with her projects, follow her on Instagram @SantinaMuha. Please visit ThePassionistasProject.Com to learn more about our podcast and subscription box filled with products made by women-owned businesses and female artisans to inspire you to follow your passions. Sign up for our mailing list to get 10% off your first purchase. And be sure to subscribe to The Passionistas Project Podcast. So you don't miss any of our upcoming inspiring guests until next time. Stay well and stay passionate

Join Jess and Gary as they interview local Carpentry legend and burgeoning Teen Beat icon, Paul Johnson. Find out about his philosophies on carpentry, surfing, music, and his "no talking/no touching" policy on the jobsite. A MUST listen!

Dan wasn't buying the "magic card" that gets you on Air Force One during a nuclear war, and he was almost fully on board with Toby till he gets all insecure at the end. The debate about political advisors as Teen Beat cover boys also continues. Check it out! Segment Timecodes: Intelligence Briefing - 01:37 State of the Union - 02:49 Filibuster - 04:13 The Caucus - 21:32 On the Record - 26:27 Contact Us - 28:41 Don't forget about our quote game. Throughout the entire podcast, Mike will be inserting quotes from the episodes we are discussing. He attempts to say them in a way that the other host/s are unaware of. Sometimes he is sneaky and other times it is just awkward, but all the time it is a ton of fun! Come and play along. rerunretrospect@gmail.com @rerunretrospect - https://twitter.com/RerunRetrospect (https://twitter.com/RerunRetrospect) https://www.samuelmyers.org/ (Music by https://www.samuelmyers.org)

You knew he was inevitable for this series and we've finally gotten to the legend that is Johnny Depp for the WTF series. The once fresh-faced lad from 21 Jump Street has come a long way since his Teen Beat days, finding a unique partnership with director Tim Burton on films like Edward Scissorhands, Sleepy Hollow, Ed Wood and beyond, as well as venturing into some dark twisted territory for such hits as From Hell, Fear and Loathing in Las Vegas and The Ninth Gate. Depp has played gangsters and drug dealers in films like Donnie Brasco, Blow and Black Mass, has waved his wand as an evil wizard in the Fantastic Beasts series, lent his voice to animated features like Corpse Bride and Rango, but perhaps his greatest and most memorable role of his career has no doubt been as the bumbling, yet heroic anti-hero known as Jack Sparrow in the Pirates of the Caribbean series. However, they haven't all been hits and Depp's career and personal life have suffered many ups and downs. But, with so much talent to spare, nothing can keep Depp down for good and he continues to reinvent himself every few years to show why we love him so much. And that's WTF happened to Johnny Depp!

In this episode, Barney, Mark & Jasper welcome the great Loraine Alterman — live from New York City! — to reminisce about her journey from '60s "Teen Beat" reporter on the Detroit Free Press to co-producer of a new Broadway show about Motown stars the Temptations. Along the way we also hear about New York's Fillmore and Apollo theatres — and how John Lennon came to be Best Man at her wedding to actor Peter Boyle. Then we head back to the Motor City to discuss the genius of Stevie Wonder as he morphed from '60s Motown prodigy to '70s Moog magician.After paying their respects to the late Spencer Davis – the R&B "professor" who launched the superhuman lungs of 16-year-old Stevie Winwood on the world — your hosts and their guest hear the first of three clips from a compelling audio interview with Elvis Costello, mainly (but not exclusively) telling Adam Sweeting about his 1995 covers album Kojak Variety. Discussion of pop's own Mr. Eclectic ensues before Mr. Pringle talks us through his favourite new additions to the ever-expanding RBP library — including interviews with Brian Jones, Robert Wyatt, Grace Jones … and mall-pop princess Debbie Gibson. Barney cites a prescient 2014 interview about racism and Confederate flags with Lynyrd Skynyrd's Rickey Medlocke, and Jasper wraps matters up with reflections on Jason Donovan and D'Angelo…Many thanks to special guest Loraine Alterman. For more information about the International Myeloma Foundation's Annual Comedy Celebration, please visit comedy.myeloma.org.Pieces discussed: MC-5, Smokey Robinson, Apollo Theatre vs Fillmore East, John Lennon, Stevie Wonder, Stevie Wonderer, Stevie Wonderest, Spencer Davis Group, Spencerer Davis Group, Spencest Davis Group, Elvis Costello audio, Brian Jones, Soul, Soft Machine, Funkadelic, J. J. Cale, Grace Jones, Debbie Gibson, New Order, Lauryn Hill, Lynyrd Skynyrd, Jason Donovan, D'Angelo's Black Messiah and Parody in Popular Music.This show is part of the Pantheon Podcast Network.

In this episode, Barney, Mark & Jasper welcome the great Loraine Alterman — live from New York City! — to reminisce about her journey from '60s "Teen Beat" reporter on the Detroit Free Press to co-producer of a new Broadway show about Motown stars the Temptations. Along the way we also hear about New York's Fillmore and Apollo theatres — and how John Lennon came to be Best Man at her wedding to actor Peter Boyle. Then we head back to the Motor City to discuss the genius of Stevie Wonder as he morphed from '60s Motown prodigy to '70s Moog magician. After paying their respects to the late Spencer Davis – the R&B "professor" who launched the superhuman lungs of 16-year-old Stevie Winwood on the world — your hosts and their guest hear the first of three clips from a compelling audio interview with Elvis Costello, mainly (but not exclusively) telling Adam Sweeting about his 1995 covers album Kojak Variety. Discussion of pop's own Mr. Eclectic ensues before Mr. Pringle talks us through his favourite new additions to the ever-expanding RBP library — including interviews with Brian Jones, Robert Wyatt, Grace Jones … and mall-pop princess Debbie Gibson. Barney cites a prescient 2014 interview about racism and Confederate flags with Lynyrd Skynyrd's Rickey Medlocke, and Jasper wraps matters up with reflections on Jason Donovan and D'Angelo… Many thanks to special guest Loraine Alterman. For more information about the International Myeloma Foundation’s Annual Comedy Celebration, please visit comedy.myeloma.org. Pieces discussed: MC-5, Smokey Robinson, Apollo Theatre vs Fillmore East, John Lennon, Stevie Wonder, Stevie Wonderer, Stevie Wonderest, Spencer Davis Group, Spencerer Davis Group, Spencest Davis Group, Elvis Costello audio, Brian Jones, Soul, Soft Machine, Funkadelic, J. J. Cale, Grace Jones, Debbie Gibson, New Order, Lauryn Hill, Lynyrd Skynyrd, Jason Donovan, D'Angelo's Black Messiah and Parody in Popular Music. This show is part of the Pantheon Podcast Network.

In this episode, Barney, Mark & Jasper welcome the great Loraine Alterman — live from New York City! — to reminisce about her journey from '60s "Teen Beat" reporter on the Detroit Free Press to co-producer of a new Broadway show about Motown stars the Temptations. Along the way we also hear about New York's Fillmore and Apollo theatres — and how John Lennon came to be Best Man at her wedding to actor Peter Boyle. Then we head back to the Motor City to discuss the genius of Stevie Wonder as he morphed from '60s Motown prodigy to '70s Moog magician.After paying their respects to the late Spencer Davis – the R&B "professor" who launched the superhuman lungs of 16-year-old Stevie Winwood on the world — your hosts and their guest hear the first of three clips from a compelling audio interview with Elvis Costello, mainly (but not exclusively) telling Adam Sweeting about his 1995 covers album Kojak Variety. Discussion of pop's own Mr. Eclectic ensues before Mr. Pringle talks us through his favourite new additions to the ever-expanding RBP library — including interviews with Brian Jones, Robert Wyatt, Grace Jones … and mall-pop princess Debbie Gibson. Barney cites a prescient 2014 interview about racism and Confederate flags with Lynyrd Skynyrd's Rickey Medlocke, and Jasper wraps matters up with reflections on Jason Donovan and D'Angelo…Many thanks to special guest Loraine Alterman. For more information about the International Myeloma Foundation's Annual Comedy Celebration, please visit comedy.myeloma.org.Pieces discussed: MC-5, Smokey Robinson, Apollo Theatre vs Fillmore East, John Lennon, Stevie Wonder, Stevie Wonderer, Stevie Wonderest, Spencer Davis Group, Spencerer Davis Group, Spencest Davis Group, Elvis Costello audio, Brian Jones, Soul, Soft Machine, Funkadelic, J. J. Cale, Grace Jones, Debbie Gibson, New Order, Lauryn Hill, Lynyrd Skynyrd, Jason Donovan, D'Angelo's Black Messiah and Parody in Popular Music.This show is part of the Pantheon Podcast Network.

In this episode, Barney, Mark & Jasper welcome the great Loraine Alterman — live from New York City! — to reminisce about her journey from '60s "Teen Beat" reporter on the Detroit Free Press to co-producer of a new Broadway show about Motown stars the Temptations. Along the way we also hear about New York's Fillmore and Apollo theatres — and how John Lennon came to be Best Man at her wedding to actor Peter Boyle. Then we head back to the Motor City to discuss the genius of Stevie Wonder as he morphed from '60s Motown prodigy to '70s Moog magician. After paying their respects to the late Spencer Davis – the R&B "professor" who launched the superhuman lungs of 16-year-old Stevie Winwood on the world — your hosts and their guest hear the first of three clips from a compelling audio interview with Elvis Costello, mainly (but not exclusively) telling Adam Sweeting about his 1995 covers album Kojak Variety. Discussion of pop's own Mr. Eclectic ensues before Mr. Pringle talks us through his favourite new additions to the ever-expanding RBP library — including interviews with Brian Jones, Robert Wyatt, Grace Jones … and mall-pop princess Debbie Gibson. Barney cites a prescient 2014 interview about racism and Confederate flags with Lynyrd Skynyrd's Rickey Medlocke, and Jasper wraps matters up with reflections on Jason Donovan and D'Angelo… Many thanks to special guest Loraine Alterman. For more information about the International Myeloma Foundation’s Annual Comedy Celebration, please visit comedy.myeloma.org. Pieces discussed: MC-5, Smokey Robinson, Apollo Theatre vs Fillmore East, John Lennon, Stevie Wonder, Stevie Wonderer, Stevie Wonderest, Spencer Davis Group, Spencerer Davis Group, Spencest Davis Group, Elvis Costello audio, Brian Jones, Soul, Soft Machine, Funkadelic, J. J. Cale, Grace Jones, Debbie Gibson, New Order, Lauryn Hill, Lynyrd Skynyrd, Jason Donovan, D'Angelo's Black Messiah and Parody in Popular Music. This show is part of the Pantheon Podcast Network.

Hey, everyone!  Look!  We actually have competition to discuss!  Joel Godett stops by to help Sean and Tommy recap the teens competition that took place last weekend at the Pit Fitness Ranch in Michigan while the "Official Friend of the Show" Brian Friend helps preview next week's online portion of the CrossFit Games for the men.  Plus, Alec Smith and some familiar Russians highlight Crazy Things We Saw This Week and Tommy embraces his inner degenerate and hands out gambling advice for week 1 of the NFL season.

Our lives matter --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

A mysterious package arrived at the studio, and now we're the proud (?) owners of a Teen Beat 1981 Calendar magazine. You can read it like a magazine (and learn all about Gary Coleman) or hang it on the wall like a calendar (and spend an entire month staring at John Schneider). We flip through the whole thing, hoping at least one month would feature a chimpanzee, and we are not disappointed. (KISS fans, however, were disappointed by the departure of Peter Criss... but at least he's Teen Beat's Miss December.) So join us back in 1981, which was way less horrifying than 2020. Also: A Texas chicken makes the perfect escape, Kevin is talking about Archie, Kornflake is talking about Oliver & Company, Martha and Brittany are in the Geek Seat, and birthday girl Edie McClurg was a Snork. The Flopcast website! The ESO Network! The Flopcast on Facebook! The Flopcast on Instagram! The Flopcast on Twitter! Please rate and review The Flopcast on Apple Podcasts! Email: info@flopcast.net Our music is by The Sponge Awareness Foundation! This week's promo: Metal Geeks! Rewatching the Magic: A Disney Fan Podcast, with special guest Kornflake! American Sci-Fi Classics Quarantine Panel #14: To Riverdale and Back Again - Everything's Archie! The ESO Bored Silly podcast is available through ESO's Patreon! But First, Let's Talk Nerdy's Martha and Brittany in the Geek Seat on Earth Station One!

Megan and Michelle ponder love languages, back rubs, pronunciation challenges, Teen Beat, and grinding scissors.

National Catfish Day and National Handshake Day. On this Day in Country Music: 2007 - Tracy Lawrence -"Find Out Who Your Friends Are." Gotcha Gossip: Lady Gaga - Chromatica Holding Art Work Contest & Katy Perry Writes Song for daughter. Prop Us Up Beside the Jukebox! What do People Think When they First Meet You? People are Crazy: Perfectly Good Pizza - Wasted! The Day Michael Jackson Died. We Celebrate Birthdays! Country Music News: Eric Church Releases "Stick That In Your Country Song" & CMA Summer Stay Cay Line Up Announced! How much Money does the Tooth Fairy Give at Your House? Kelly Announces She Invented "Twerking" and has proof. Brandon Shows Us Where it All Began. What's on the Podcast and on TV tonight?

How do we trust in the Lord when life takes a turn? Today, Cristabelle welcomes multi-Platinum recording artist Jaci Velasquez. From the struggles of life in the spotlight after finding sudden fame at 16, to being a wife and mother of two boys, to navigating the waters of learning her oldest son was diagnosed with autism, Jaci has learned to trust in the Lord through it all. On today's episode, she shares her story, with valuable insight and wisdom that will encourage your heart. •CONNECT & MORE INFO• Hosted by Cristabelle Braden Instagram: @declarationlife Facebook: @declarationlife Website: http://cristabellebraden.com/declarationlife Email: declarationlife@gmail.com Intro/Outro Music: "Not Giving Up" by Cristabelle Braden •ABOUT JACI• Jaci Velasquez has attained three RIAA® certified Platinum® albums, three RIAA certified Gold® albums, sixteen No. 1 singles, six more singles in the top 10, seven Dove Awards, three Latin Grammy® Award nominations, and three Grammy Award nominations. She has also graced more than fifty magazine covers, including Teen People, Latin Girl, Teen Beat, Parade, and People and has as appeared in ads for Pepsi, Doritos, and Target. For nearly six years, she has co-hosted Salem Broadcasting Network's “The Family Friendly Morning Show with Doug and Jaci Velasquez” with more than 1.5 million daily listeners. In addition to writing, recording, touring, and serving as an advocate for autism awareness, Velasquez has been featured in five faith-based films since 2009, hosted the SESAC Christian Music Awards and the GMA IMMERSE conference, and has been internationally active in the music industry since her emergence as an award-winning artist at the age of sixteen. JACI'S BOOK: "When God Rescripts Your Life" Website: http://www.jacivelasquez.com •ABOUT CRISTABELLE• Cristabelle Braden is an award winning singer/songwriter, keynote speaker, author, and podcast host. After suffering a traumatic brain injury, she began to write music. Since then, she has surpassed medical expectations and thrived in her newfound gift of music; she has come from re-learning daily life tasks in brain injury rehabilitation to setting her feet firmly on the ground as a songwriter, speaker, and artist with a message of hope. Website: http://cristabellebraden.com

Episode eighty-six of A History of Rock Music in Five Hundred Songs looks at “LSD-25” by the Gamblers, the first rock song ever to namecheck acid, and a song by a band so obscure no photos exist of them. (The photo here is of the touring lineup of the Hollywood Argyles. Derry Weaver, the Gamblers’ lead guitarist, is top left). Patreon backers also have a fifteen-minute bonus episode, on “Papa Oom Mow Mow” by the Rivingtons. 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/  —-more—- Resources   As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. This episode, more than most, required tiny bits of information from dozens of sources. Among those I used were the one existing interview with Derry Weaver I have been able to find, Dean Torrence’s autobiography , a book about John Dolphin by his son, and He’s A Rebel, a biography of Phil Spector by Mark Ribkowsky.  But more than anything else, I used the self-published books by Stephen McParland,  who is the premier expert on surf music, and which you can buy in PDF form here. The ones I used the most were The Beach Boys: Inception and Conception, California Confidential, and Surf & Hot-Rod Music Chronicles: Bull Sessions With the Big Daddy. “LSD-25” is on numerous various-artists compilations of surf music, of which this two-CD set looks like the best value for the casual listener.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript On the sixteenth of April, 1943, Albert Hoffman, a research scientist in Zurich, had a curious experience after accidentally touching a tiny speck of the chemical he was experimenting with at the pharmaceutical lab in which he worked, and felt funny afterwards. Three days later, he decided to experiment on himself, and took a tiny dose of the chemical, to see if anything happened. He felt fine at first, but asked a colleague to escort him as he rode home on his bicycle. By the time he got home, he was convinced that his neighbour was a witch and that he had been poisoned. But a few hours later, he felt a little better, though still unusual. As he would later report, “Little by little I could begin to enjoy the unprecedented colors and plays of shapes that persisted behind my closed eyes. Kaleidoscopic, fantastic images surged in on me, alternating, variegated, opening and then closing themselves in circles and spirals, exploding in colored fountains, rearranging and hybridizing themselves in constant flux”. The chemical he had taken was a derivative of ergotamine that had been discovered about five years earlier and mostly ignored up until that time, a chemical called D-lysergic acid diethylamide tartrate. Sandoz, the company he worked for, were delighted with this unusual chemical and its effects. They came up with some variants of the molecule without those effects, but which still affected the brain, and marketed those as migraine treatments. The chemical itself, they decided to make available as an experimental drug for psychiatrists and psychologists who wanted to investigate unusual states of consciousness. It found some uptake, among experimenters who wished to experience psychotic symptoms in a controlled environment in order to get a better understanding of their patients, or who wanted to investigate neurochemistry, and it had some promise as a treatment for alcoholism and various other psychiatric illnesses, and throughout the 1950s it was the subject of much medical research, under the trade name Sandoz came up with for it, Delysid. But in the sixties, it became better known as LSD-25: [Excerpt: The Gamblers, “LSD-25”] There are some records that one can look back at retrospectively and see that while they seemed unimportant at the time, they signalled a huge change in the musical culture. The single “Moon Dawg”, backed by “LSD-25”, by the Gamblers, is one of those records. Unfortunately, everything about the Gamblers is shrouded in mystery. The story I am going to tell here is the one that I’ve been able to piece together from stray fragments of recollection from the main participants over the years, but it could very well be wrong. Put it this way, on the record, there are two guitarists, bass, drums, and keyboards. I have seen fifteen people credited as having been members of the group that recorded the track. Obviously, those credits can’t all be true, so I’m going to go here with the stories of the people who are most commonly credited, but with the caveat that the people I’m talking about could very easily not have been the people on the record. I have also made mistakes about this single before — there are a couple of errors in the piece on it in my book California Dreaming. Part of the problem is that almost everyone who has laid claim to being involved in the record is — or was, as many of them have died — a well-known credit thief, someone who will happily place themselves at the centre of the story, happily put their name on copyright forms for music with which they had no involvement, and then bitterly complain that they were the real unsung geniuses behind other records, but that some evil credit thief stole all their work. The other people involved — those who haven’t said that everything was them and they did everything — were for the most part jobbing musicians who, when asked about the record, would not even be sure if they’d played on it, because they played on so many records, and weren’t asked about them for decades later. Just as one example, Nik Venet, who is generally credited as the producer of this record, said for years that Derry Weaver, the credited co-composer of the song and the person who is generally considered to have played lead guitar on it, was a pseudonym for himself. Later, when confronted with evidence that Derry Weaver was a real person, he admitted that Weaver *had* been a real person, but claimed that it was still a pseudonym for himself. Venet claimed that Weaver had died in a car crash years earlier, and that as a result he had been able to use his social security number on forms to claim himself extra money he wasn’t entitled to as a staff producer. The only problem with that story is that Venet died in 1998, while the real Derry Weaver died in 2013, but Weaver only ever did one interview I’ve been able to track down, in 2001, so Venet’s lies went unchallenged, and many books still claim that Weaver never existed. So today, I’m going to tell the story of a music scene, and use a few people as a focus, with the understanding that they may not be the people on the record we’re talking about. I’m going to look at the birth of the surf and hot-rod studio scene in LA, and at Bruce Johnston, Kim Fowley, Derry Weaver, Nik Venet, Sandy Nelson, Elliot Ingber, Larry Taylor, Howard Hirsch, and Rod Schaffer, some or all of whom may or may not have been the Gamblers: [Excerpt: The Gamblers, “Moon Dawg”] Possibly the best place to start the story is at University High School, Los Angeles, in the late 1950s. University High had always had more than its fair share of star students over the years — Judy Garland, Marilyn Monroe, and Elizabeth Taylor had all attended in previous years, and over the succeeding decades members of Sonic Youth, the Doors, Black Flag, the Foo Fighters and the Partridge Family would all attend the school, among many others. But during the period in the late fifties, it had a huge number of students who would go on to define the California lifestyle in the pop culture of the next few years. There was Sandra Dee, who starred in Gidget, the first Beach Party film; Anette Funicello, who starred in most of the other Beach Party films; Randy Newman, who would document another side of California life a few years later; and Nancy Sinatra, who was then just her famous father’s daughter, but who would go on to make a series of magnificent records in the sixties with Lee Hazelwood. And there was a vocal group at the school called the Barons, one of the few interracial vocal groups around at the time. They had a black lead singer, Chuck Steele, a Japanese tenor, Wally Yagi, two Jewish boys, Arnie Ginsburg and John Saligman, and two white kids, Jan Berry — who was the leader of the group, and Dean Torrence, his friend who could sing a little falsetto. As they were all singers, they were backed by three instrumentalists who also went to the school — Berry’s neighbour Bruce Johnston on piano, Torrence’s neighbour Sandy Nelson on drums, and Nelson’s friend Dave Shostac on saxophone. This group played several gigs together, but slowly split apart as people’s mothers wanted them to concentrate on school, or they got cars that they wanted to fix up. In Sandy Nelson’s case he was sacked by Berry for playing his drums so loud — as he packed up his kit for the last time, he told Berry, “You’ll see, I’m going to have a hit record that’s *only* drums”. Slowly they were whittled down to three people — Berry, Torrence, and Ginsburg, with occasional help from Berry’s friend Don Altfeld. The Barons cut a demo tape of a song about a prominent local stripper, named Jennie Lee, but then Torrence decided to sign up with the Army. He’d discovered that if he did six months’ basic training and joined the Army Reserves, he would be able to avoid being drafted a short while later. He thought that six months sounded a lot better than two years, so signed up, and he was on basic training when he heard a very familiar sounding record on the radio: [Excerpt: Jan and Arnie, “Jennie Lee”] He was surprised to hear it, and also surprised to hear it credited to “Jan and Arnie” rather than “the Barons”. He called Berry, who told him that no, it was a completely new recording — though Torrence was absolutely certain that he could hear his own voice on there as well. What had happened, according to Jan, was that there’d been a problem with the tape, and he and Arnie had decided to rerecord it. He’d then gone into a professional studio to get the tape cut into an acetate, so he could play it at parties, and someone in the next room had happened to hear it — and that someone happened to be Joe Lubin. Lubin was the Vice President of Arwin Records, a label owned by Marty Melcher, Doris Day’s husband. He told Berry that he would make Jan and Arnie bigger than the Everly Brothers, but Jan didn’t believe him, though he let him have a copy of the disc. Jan took his copy to play at a friend’s party, where it went down well. That friend was Craig Bruderlin, who later changed his name to James Brolin and became a major film star. Presumably Bruderlin’s best friend Ryan O’Neal, who also went to University High, was there as well. I told you, University High School had a lot of future stars. And Jan and Arnie became two more of those stars. Joe Lubin overdubbed extra instruments on the track and released it. He didn’t quite make them bigger than the Everly Brothers, but for a while they were almost as big — at one point, the Everly Brothers were at number one in the charts, number two was Sheb Wooley with “The Purple People Eater”, and number three was Jan and Arnie with “Jennie Lee”. And Dean Torrence was off in the Army, regretting his choices. We’ll be picking up on what happened with those three in a few months’ time… But what of the other Barons? The instrumentalists, Bruce Johnston, Dave Shostac, and Sandy Nelson, formed their own band, the Sleepwalkers, with various guitarists sitting in, often a young blues player called Henry Vestine, who had already started taking LSD at this time, though none of the other band members indulged. They would often play parties organised by another University High student, Kim Fowley. Now, Fowley is the person who spoke most about this time on the record, but he was also possibly the least honest person involved in this episode (and, if the accusations made about him since his death are true, also one of the most despicable people in this episode, which is quite a high bar…), so take this with a grain of salt. But Fowley claimed in later years that these parties were his major source of income — that he would hire sex workers to take fellow University High students who had big houses off to a motel to have sex with them. While the students were otherwise occupied, Fowley would break into their house and move all the furniture, so people could dance, he’d get the band in, and he’d invite everyone to come to the party. Then dope dealers would sell dope to the partygoers, giving Fowley a cut, and meanwhile friends of Fowley’s would be outside breaking into the partygoers’ cars and stealing their stuff. But then Fowley got arrested — according to him, for stealing wine from a liquor store owned by a girlfriend who was twice his age, and selling it to other students at the school. He was given a choice of joining the Army or going to prison, and he chose the Army, on the same deal as Dean Torrence, who he ended up going through some of his training with. Meanwhile, Johnston, Shostac, and Nelson were trying to get signed as a band. They went to see John Dolphin on February the first, 1958. We’ve talked about Dolphin before, in the episodes on Gene and Eunice and the Penguins. Dolphin owned Dolphin’s of Hollywood, the biggest black-owned record store in the LA area, and was responsible for a large part of the success of many of the records we’ve covered, through getting them played on radio shows broadcast from his station. He also owned a series of small labels which would put out one or two singles by an artist before the artist was snapped up by a bigger label. For example, he owned Cash Records, which had put out “Walkin’ Stick Boogie”, by Jerry Capehart and Eddie and Hank Cochran: [Excerpt: Jerry Capehart and the Cochran Brothers, “Walkin’ Stick Boogie”] He also owned a publishing company, which owned the publishing on “Buzz Buzz Buzz” by the Hollywood Flames: [Excerpt: The Hollywood Flames, “Buzz Buzz Buzz”] Johnston, Shostac, and Nelson hoped that maybe they could get signed to one of Dolphin’s labels, but they chose the worst possible day to do it. While they were waiting to see Dolphin, they got talking to an older man, Percy Ivy, who started to tell them that Dolphin couldn’t be trusted and that he owed Ivy a lot of money. They were used to hearing this kind of thing about people in the music business, and decided they’d go in to see Dolphin anyway. When they did, Ivy came in with them. What happened next is told differently by different people. What’s definitely the case is that Ivy and Dolphin got into a heated row. Ivy claimed that Dolphin pulled a knife on him. Witness statements seem confused on the matter, but most say that all that Dolphin had in his hand was a cigar. Ivy pulled out a gun and shot Dolphin — one shot also hit Shostac in the leg. Sandy Nelson ran out of the room to get help. Johnston comforted the dying Dolphin, but by the time Nelson got back, he was busily negotiating with Ivy, talking about how they were going to make a record together when Ivy got out of jail. One presumes he was trying to humour Ivy, to make sure nobody else got shot. Obviously, with John Dolphin having died, he wasn’t going to be running a record company any more. The shop part of his business was, from then on, managed by his assistant, a failed singer called Rudy Ray Moore who later went on to become famous playing the comedy character Dolemite. Then the Sleepwalkers got a call from another acquaintance. Kip Tyler had a band called the Flips who had had some moderate success with rockabilly records produced by Milt Gabler. And this is one of the points where the conflicting narratives become most confusing. According to every one of the few articles I can find about Tyler, before forming the Flips he was the lead singer of the Sleepwalkers, the toughest rock and roll band in the school, when he was at Union High School. According to those same articles, he was born in 1929. So either there were two bands at Union High School, a decade apart, called the Sleepwalkers, one of which was a rock and roll band before the term had been coined; or Tyler was still at high school aged twenty-eight; or someone is deeply mistaken somewhere. Kip and the Flips didn’t have much recording success, and kept moving to smaller and smaller labels, but they were considered a hot band in LA — in particular, they were the house band at Art Laboe’s regular shows at El Monte stadium — the shows which would later be immortalised by the Penguins in “Memories of El Monte”. [Excerpt: The Penguins, “Memories of El Monte”] But then the group’s piano player, Larry Knechtel, saxophone player, Steve Douglas, and drummer, Mike Bermani, all left to join Duane Eddy’s group. Kim Fowley was by this point a roadie and general hanger-on for the Flips, and he happened to know a piano player, a saxophone player, and a drummer who were looking for a gig, and so the Sleepwalkers joined Kip Tyler and guitarist Mike Deasy in the Flips, and took over that role performing at El Monte, performing themselves but also backing other musicians, like Ritchie Valens, who played at these shows. Sandy Nelson didn’t stay long in the Flips, though — he was replaced by another drummer, Jim Troxel, and it was this lineup, with extra sax from Duane Eddy’s sax player Jim Horn, that recorded “Rumble Rock”: [Excerpt: Kip Tyler, “Rumble Rock”] Nelson’s departure from the group coincided with him starting to get a great deal of session work from people who had seen him play live. One of those people was a young man named Harvey Philip Spector, who went by his middle name. Spector went to Fairfax High, a school which had a strong rivalry with University High and produced a similarly ludicrous list of famous people, and he’d got his own little clique of people around him with whom he was making music. These included his best friend Marshall Leib, and sometimes also Leib’s girlfriend’s younger brother Russ Titelman. Spector and Leib had formed a vocal group, the Teddy Bears, with a girl they knew who then went by a different name but is now called Carol Connors. Their first single was called “To Know Him Is To Love Him”, inspired by the epitaph on Spector’s father’s grave: [Excerpt: The Teddy Bears, “To Know Him is to Love Him”] Sandy Nelson played the drums on that, and the track went to number one. I’ve also seen some credits say that Bruce Johnston played the bass on it, but at the time Johnston wasn’t a bass player, so this seems unlikely. Even though Nelson’s playing on the track is absolutely rudimentary, it gave him the cachet to get other gigs, for example playing on Gene Vincent’s “Crazy Times” LP: [Excerpt: Gene Vincent, “She She Little Sheila”] Another record Nelson played on reunited him with Bruce Johnston. Kim Fowley was by this point doing some work for American International Pictures, and was asked to come up with an instrumental for a film called Ghost of Dragstrip Hollow, a film about a drag-racing club that have a Halloween party inside a deserted mansion but then discover a real monster has shown up. It’s not as fun as it sounds. A songwriter friend of Fowley’s named Nik Venet is credited with writing “Geronimo”, although Richie Polodor, the guitarist and bass player on the session says he came up with it. Polodor said “There are three guys in the business who really have no scruples whatsoever. They are Bruce Johnston, Kim Fowley and Sandy Nelson. And I was Mr. Scruples… I wrote both Geronimo and Charge, but they were taken away from me. It was all my stuff, but between Nik Venet, Kim Fowley and Bruce Johnston I had no chance. It was cut in my studio. I did all the guitars. I wrote it all and Nik Venet walked away with the credit.” Venet did the howls on the track, Johnston played piano, Nelson drums, Polodor guitar and bass, and Fowley produced: [Excerpt: The Renegades, “Geronimo”] Meanwhile, Phil Spector had become disenchanted with being in the Teddy Bears, and had put together a solo instrumental single, under the name Phil Harvey: [Excerpt: Phil Harvey, “Bumbershoot”] Spector wanted a band to play a gig to promote that single, and he put together the Phil Harvey band from the members of another band that Marshall Leib had been in before joining the Teddy Bears. The Moon Dogs had consisted of a singer called Jett Power, guitarists Derry Weaver and Elliot Ingber, and bass player Larry Taylor, along with Leib. Taylor and Ingber joined the Phil Harvey band, along with keyboard player Howard Hirsch, and drummer Rod Schaffer. The Phil Harvey band only played one gig — the band’s concept was apparently a mix of Duane Eddy style rock guitar instrumentals and complex jazz, with the group all dressed as mobsters — but Kim Fowley happened to be there and liked what he saw, and made a note of some of those musicians as people to work with. Spector, meanwhile, had decided to use his connection with Lester Sill to go and work with Leiber and Stoller, and we’ll be picking up that story in a couple of months. Meanwhile, Derry Weaver from the Moon Dogs had started to date Mary Jo Sheeley, the sister of Sharon Sheeley, and Sharon started to take an interest in her little sister’s boyfriend and his friends. She suggested that Jett Power change his name to P.J. Proby, and she would regularly have him sing on the demos of her songs in the sixties: [Excerpt: P.J. Proby, “The Other Side of Town”] And she introduced Weaver to Eddie Cochran and Jerry Capehart. Cochran taught Weaver several of the guitar licks he used, and Capehart produced a session for Weaver with Cochran on guitar, Jim Stivers on piano, Guybo Smith on bass and Gene Riggio on drums: [Excerpt: Derry Weaver, “Bad Baby Doll”] That track was not released until decades later, but several other songs by Weaver, with no Cochran involvement, were released on Capehart’s own label (under the misspelled name Darry Weaver), and Capehart was Weaver’s manager for a little while. Weaver was actually living at the Sheeley residence when they received the phone call saying that Eddie had died and Sharon was in hospital, and it haunted him deeply for the rest of his life. Another record on which Guybo Smith played at this time was one by Sandy Nelson. The Flips had split up by this point — Mike Deasy had gone on to join Eddie Cochran’s backing band, and Bruce Johnston was playing on random sessions, so he was here for what was going to be Nelson’s “single that was only drums”. It wasn’t quite only drums — as well as Nelson on drums, there was Smith on bass, Johnston on piano, and Polodor on guitar. The musicians on the record have said they all deserved songwriting credit for it, but the writing credit went to Art Laboe and Nelson: [Excerpt: Sandy Nelson, “Teen Beat”] “Teen Beat” went to number four on the charts, and Nelson had a handful of other hits under his own name, including “Let There Be Drums”. Less successful was a ballad released under the name “Bruce and Jerry”, released on Arwin records after the owner’s son, Terry Melcher, had remembered seeing the Sleepwalkers, and was desperate for some more rock and roll success on the label like Jan and Arnie, even though Melcher was a student at Beverly High and, like Fairfax, everyone at Beverly hated people at University High. “Take This Pearl” was sung by Johnston and Jerry Cooper, with backing by Johnston, Shostac, Deasy, Nelson, and bass player Harper Cosby, who would later play for Sam Cooke: [Excerpt: Bruce and Jerry, “Take This Pearl”] “Take This Pearl” by Bruce and Jerry did nothing, but Terry Melcher did think that name sounded good, except maybe it should be Terry instead of Jerry… Meanwhile, Nik Venet had got a production role at World Pacific Records, and he wanted to put together yet another studio group. And this is where some of the confusion comes in. Because this record was important, and everyone later wanted a piece of the credit. According to Nik Venet, the Gamblers were originally going to be called Nik and the Gamblers, and consisted of himself, Bruce Johnston, Sandy Nelson, Larry Taylor, and the great guitarist James Burton, with Richie Polodor engineering, and Kim Fowley involved somehow. Meanwhile, Fowley says he was not involved at all — and given that this is about the only record in the history of the world that Fowley ever said he *wasn’t* on, I tend to believe him. Elliot Ingber said that the group was Ingber, Taylor, Derry Weaver, Howard Hirsch, and Rod Schaffer. Bruce Johnston says he has no memory of the record. I don’t know if anyone’s ever asked James Burton about it, but it doesn’t sound like him playing. Given that the A-side is called “Moon Dawg”, that Weaver and Taylor were in a band called The Moondogs that used to play a song called “Moon Dog”, and that Weaver is credited as the writer, I think we can assume that the lead guitar is Derry Weaver, and that Elliot Ingber’s list of credits is mostly correct. But on the other hand, one of the voices singing the wordless harmonies sounds *very* much like Bruce Johnston to me, and he has a very distinctive voice that I know extremely well. so my guess is that the Gamblers on this occasion were Derry Weaver, Larry Taylor, Elliot Ingber, Bruce Johnston, and either Rod Schaffer or Sandy Nelson — probably Schaffer, since no-one other than Venet has credited Nelson with being there. I suspect Ingber is understandably misremembering Howard Hirsch being there because Hirsch *did* play on the second Gamblers single. The B-side of the record is credited as written by Weaver and Taylor: [Excerpt: The Gamblers, “LSD-25”] That song is called “LSD-25”, and while we have said over and over that there is no first anything in rock music, this is an exception — that is, without any doubt whatsoever, the first rock and roll record to mention LSD, and so in its way a distant ancestor of psychedelic music. Weaver and Taylor have said in later years that neither of them knew anything about the drug (and it’s very clear that Johnston, who takes a very hardline anti-drugs stance, never indulged) — they’ve said they read a magazine article about acid and liked the name. On the other hand, Henry Vestine was part of the same circle and he was apparently already taking acid by then, though details are vague (every single article I can find about it uses the same phrasing that Wikipedia does, talking of having taken it with “a close musician friend” — who might have been one of the Gamblers, but who might not). So the B-side was a milestone in rock music history, and in a different way so was the A-side, just written by Weaver: [Excerpt: The Gamblers, “Moon Dawg”] “Moon Dawg” was a local hit, but sold nothing anywhere outside Southern California, and there were a couple of follow-ups by different lineups of Gamblers, featuring some but never all of the same musicians, along with other people we’ve mentioned like Fowley. The Gamblers stopped being a thing, and Derry Weaver went off to join another group. Kim Fowley and his friend Gary Paxton had put together a novelty record, “Alley Oop”, under the name The Hollywood Argyles, which featured Gaynel Hodge on piano and Sandy Nelson banging a bin lid: [Excerpt: The Hollywood Argyles, “Alley Oop”] That became a hit, and they had to put together a band to tour as the Hollywood Argyles, and Weaver became one of them, as did Marshall Leib. After that Weaver hooked up again with Nik Venet, who started getting him regular session work, as Venet had taken a job at Capitol Records. And Venet doing that suddenly meant that “Moon Dawg” became very important indeed. Even though it had been only a minor success, because Venet owned the rights to the master tape, and also the publishing rights, he got “Moon Dawg” stuck on a various-artists compilation album put out on Capitol, Golden Gassers, which featured big acts like Sam Cooke and the Four Preps, and which exposed the song to a wider audience. Cover versions of it started to sprout up, by people like the Ventures, the Surfaris, and the Beach Boys — Larry Taylor’s brother Mel was the drummer for the Ventures, which might have helped bring the track to their attention, while Nik Venet was the Beach Boys’ producer. Indeed, some have claimed that Derry Weaver played on the Beach Boys’ version — he’s credited on the session sheets, but nobody involved with the session has ever said if it was actually him, or whether that was just Venet putting down a friend’s name to claim some extra money: [Excerpt: The Beach Boys, “Moon Dawg”] While there had been twangy guitar instrumentals before “Moon Dawg”, and as I said, there’s never a first anything, historians of the surf music genre now generally point to it as the first surf music record ever, and it’s as good a choice as any. We won’t be seeing anything more from Derry Weaver, who fell into obscurity after a few years of session work, but Bruce Johnston, Larry Taylor, Elliot Ingber, Henry Vestine, Nik Venet, Kim Fowley, Phil Spector, Jan Berry, Terry Melcher, and Dean Torrence will be turning up throughout the sixties, and in some cases later. The records we looked at today were the start of a California music scene that would define American pop music in the sixties. As a final note, I mentioned Gaynel Hodge as the piano player on “Alley Oop”. As I was in the middle of writing this episode, I received word that Hodge had died earlier this week. As people who’ve listened to earlier episodes of this podcast will know, Gaynel Hodge was one of the most important people in the fifties LA vocal group scene, and without him there would have been no Platters, Penguins, or Jesse Belvin. He was also one of the few links between that fifties world of black R&B musicians and the white-dominated sixties LA pop music scene of surf, hot rods, folk rock, and sunshine. He’s unlikely to turn up again in more than minor roles in future episodes, but I’ve made this week’s Patreon episode be on another classic record he played on. As well as being an important musician in his own right, Hodge was someone without whom almost none of the music made in LA in the fifties or sixties would have happened. He’ll be missed.  

Episode with Brianne Fleming (Brand Builder, Marketing Instructor) about teaching social media in school. Is it possible? Brianne Fleming As a little girl, I'd spend every weekend consuming and admiring the pages of my favorite teeny bopper magazines: Tiger Beat, Teen Beat, Bop, Twist, and countless others I'd find at the newsstand. But it wasn't just the hunky heartthrobs and fun quizzes that made me love these magazines. I was fascinated with the ads, colors, layouts, photography, graphics, and copywriting. And this fascination was more than a childhood phase — it lasted beyond my teenage years and influenced my career. That fangirl grew up to earn a bachelor's in advertising and public relations and a master's in mass communication. I've spent more than a decade studying, teaching, and working in marketing and media. Today, I coach individuals and brands on how to use the power of content to turn ordinary customers into passionate superfans. The result is a dedicated audience who will grow your business and remain loyal for life! But my coaching style isn't rigid or something you can find out of a textbook. Nope, I find inspiration and takeaways from everyday moments in popular culture. Check out my podcast, Making the Brand, where I share marketing lessons with a pop culture twist. www.briannefleming.com

EPISODE 251 THE NERDLINGS: OUR GUEST SANDY NELSON DRUMMER April 15, 2017 EPISODE 251 THE NERDLINGS: OUR GUEST SANDY NELSON DRUMMER .. SANDY NELSON IS THE ONE OF THE GODFATHERS FROM THE BEGINIG OF THE ROCK AND ROLL ERA .. AND JOINS US FOR OVER AN HOUR ON OUR PODCAST .. AT THE END OF THE PODCAST YOU WILL HEAR HIS HIT SONGS IN ORDER .. LET THERE BE DRUMS .. TEEN BEAT .. DRUMS ARE MY BEAT .. .. BOUNCY ..  HIS SESSION WORK .. ALLEY OOP .. TO KNO WHIM I STO LOVE HIM .. A THOUSAND STARS .. YOU CAN BUY SOME OF HIS LATEST WORKS ..Sandy Nelson and the Sin City Termites .. https://www.amazon.com/Nelsonized-Sandy-Nelson-City-Termites/dp/B002PCKRLS .. AND ..  The Veebles by Sandy Nelson  .. https://sandynelson.bandcamp.com/releases .. .. FOLLOW US ON OUR INSTAGRAM ACCOUNTSSECRETPLACESLASVEGAS AND SHINYSQUIRRELPODCAST

Note: We recorded this gem of an episode before we entered quarantine! Enjoy the sound of real microphones and in-person contact - the next few episodes will be appropriately socially distanced via the interwebs. _____This week we're talking about fame. Getting it, living with it, bad behavior from it... we got it all. Just listen to "I Wanna Be Adored" by the Stone Roses, and you'll understand. Also in the episode, we're talking about Teen Beat, the worst jobs in show biz, and what Amy's first public meltdown will be like. _____Our picks this week: Novels:Amy: A Song for a New Day, Sarah PinskerErin: Kiss Me First, Lottie MoggachOther Books:Amy: Just Kids, Patti Smith(Memoir)Erin: Medallion Status, John Hodgman (Essays)Pop Culture:Amy: Boogie Nights (Movie) Erin: The Clearing(Podcast)

ROCK TALK WITH MITCH LAFON PRESENTS '70s pop icon, Leif Garrett. Leif discusses his new book Idol Truth: A Memoir, his band F8, our infamous evening in LA with Ron Jeremy & members of Pretty Boy Floyd, the VH1 Behind The Music narrative and secrets revealed, good looks versus ability, the girls, turning the book into a biopic, Celebrity Rehab with Dr. Drew and much more.  Quote: "I want to be Mick Jagger. I want to be Rod Stewart. I want to be Elton John. I didn't want to do the Deney Terrio dance moves... Lip-synching was normal." Subscribe to Rock Talk With Mitch Lafon for exclusive content and interviews. Twitter: @mitchlafon Instagram: @mitch_lafon Get your MITCH MERCH here: https://loudtrax.com/Mitch  VISIT: mitchlafon.com Support the show.

On episode 404 of CGP, Mary Houlihan returns with another episode of Enchanted Pumice. On this fan pod, Emily Pineapple and Forrest Keeper of the Canon share 15 highlights from Mary’s social media. || Links from the Show: 1.) Mary Does the I Love This Joke Challenge: http://bit.ly/MaryDoesTheILoveThisCrowdChallenge | 2.) Mary Houlihan on Seinfeld: http://bit.ly/MaryOnSeinfeld | 3.) Mary’s Beautiful Title Cards for Joe Pera Talks With You: http://bit.ly/MaryPaintsTitleCardsWithYou | 4.) Mary’s Top Female Cartoon Character Countdown: http://bit.ly/MaryTopFemaleCartoonCharacterCountdown | 5.) Mary’s Patreon: http://bit.ly/MaryHoulihanPatreon | 6.) Example of Mary’s Zine: http://bit.ly/MaryZineExample | 7.) Mary Speculates What Joe Rumrill is Up To: http://bit.ly/WhatsJoeRumrillUpTo | 8.) Teen Beat on the Teen Street: http://bit.ly/TeenBeatOnTheTeenStreet | 9.) Sami Whitewoman: http://bit.ly/SamiWhitewoman | 10.) Mary on birth control: http://bit.ly/MaryOnBirthControl | 11.) British Humor vs. American Humor: http://bit.ly/HumourVsHumor | 12.) Crystals for People in Their 30s: http://bit.ly/CrystalsForYour30s | 13.) Mary relates to country stars: http://bit.ly/MaryRelatesToCountryStars | 14.) Proof of income: http://bit.ly/MarysProofOfIncome | 15.) Mary Chooses the Movie: http://bit.ly/MaryChoosesAMovie | 16.) 1-877-Kars-4-Kids: http://bit.ly/MaryKars4Kids | 17.) Corn Cob: http://bit.ly/MaryTVVetting | 18.) Sebastian’s Birthday Celebration: http://bit.ly/SebastiansBDay

We've got JOSEPH STILWELL back again to talk to us about teens, tipping, and literally nothing else.

Dustin Plantholt’s “Life’s Tough—You Can Be Tougher” podcast this week features Jaci Velasquez, platinum-selling and three-time Grammy nominated artist, American actress, on-air personality and renowned Contemporary Christian and Latin pop singer/songwriter—performing in both English and Spanish. Velasquez was born in Houston, Texas on October 15, 1979 and is of Mexican, Spanish, French, Scottish, and Arab ancestry. She grew up in a lyrical environment where her parents were singers and pastors at an evangelical church. At the age of nine, she began traveling with her father—who by then was a full-time singing evangelist—first singing backup, and then singing solo, and releasing two independent records. It was while on the road that she was discovered by a representative of Myrrh Records. Jaci’s illustrious music career has earned her three Platinum albums, three Gold albums, sixteen No. 1 singles, six more singles in the top 10, seven Dove Awards, three Latin Grammy Award nominations, three Grammy Award nominations, and an American Music Award nomination. She has also graced more than fifty magazine covers, including Teen People, Latin Girl, Teen Beat, Parade, and People and has as appeared in ads for Pepsi, Doritos, and Target. In addition to her remarkable music success, Jaci is an actress and has been featured in five faith-based films since 2009. She has also co-hosted Salem Broadcasting Network’s “The Family Friendly Morning Show with Doug and Jaci Velasquez” with more than 1.5 million daily listeners. On October 8, 2019 Jaci released her memoir, When God Rescripts Your Life: Seeing Value, Beauty and Purpose When Life Is Interrupted, sharing how she overcame the challenges of early fame and a failed marriage and trusted God to turn her broken pieces into priceless treasures. After the release of her first album at the awkward age of sixteen, Jaci Velasquez found sudden fame. Five of the songs reached number one, and she became the first and fastest-selling solo artist in Christian music history to reach gold status with a debut album. Despite her initial success, however, her career stalled, and her young marriage ended quickly, leaving her feeling broken, used up, and sometimes useless. But God repurposed those experiences for a greater plan as her renewed faith carried her through a resurrected career, the adventures of a second marriage, and the ups-and-downs of being a wife and mother of two boys, including one diagnosed with autism. Through a blend of personal narrative, practical strategies, and the truth of God's word, Jaci invites readers to rewrite their own stories and dream new dreams for their lives. Her life-transforming insights will guide readers in not only overcoming challenges, wrong turns, and often painful circumstances, but also in growing from those experiences and becoming equipped and empowered to help others. In addition to writing, recording, touring and acting, Jaci serves as an advocate for autism awareness. Join Dustin and Jaci for a heartfelt conversation on life’s numerous twists and turns and hear how Jaci’s faith helped her navigate the curvy roads and grow stronger along the way. “I may not know what to do or what the future holds,” Jaci says, “but I trust that God does.”

Mark Robinson founded the indie band Unrest with Phil Krauth and Tim Moran while still attending Wakefield High in Arlington, VA. He started the label Teen Beat Records as a kind of lending library for the band's rehearsal tapes, as well as those of his friends' bands. Only one copy of each album existed and his classmates could borrow one for a few days.Their first public release was a compilation cassette called Extremism In the Defense of Liberty is No Vice on February 23, 1985. Bridget Cross joined Unrest on bass in 1990 and their sound evolved into a "minimalist but lively kind of pop." They released two full-length albums with this line up, 1992's Imperial f.f.r.r. and 1993's Perfect Teeth. The label uprooted to Cambridge, MA in 1999. Robinson and Cross also played together as Air Miami, and he joined Jenny Toomey, founder of the Simple Machines label, and Rob Christiansen of Eggs in Grenadine. He currently plays with his wife Evelyn Hurley (Blast Off Country Style) in Cotton Candy and also with D. Trevor Kampmann as Fang Wizard. He also directed the new film Amateur on Plastic about the outsider music of DC rock legend Butch Willis https://www.youtube.com/watch?v=V4W7Rac4Qf0&feature=youtu.be. Find more information Mark Robinson and Teen Beat's releases at https://www.teenbeatrecords.com/

Today on The VE Love to hear percussion? We'll turn the beat around and feature some great vinyl records that push the drums way up front...and we'll note the annual celebration this week of the rock drummer who became a pop superstar...plus some cool relics spun from 45's and even a drum-centric 78. I'm PC and this is the VE Peter Gabriel: Rhythn Of The Heat Joni Mitchell: The Jungle Line The VE with powerful drumming at the heart of Joni Mitchell's "The Jungle Line" from The Hissing Of Summer Lawns from 1975, and Peter Gabriel with "Rhythm Of The Heat," off Security in 1982. Rhythm, melody and harmony--that's what music is made of. But rhythm comes first...in life too...the beating of our mother's heart in the womb programs us to order our world with rhythm. Drummer Cozy Cole scored a late 50's hit with .... Cozy Cole: Topsy, Part 2 Cream: Toad The VE, drumming it into you this time around, with Ginger Baker bashing out "Toad" with Cream in 1966, and Cozy Cole, at the dawn of rock and roll, for "Topsy." Drummers have always been flamboyant, but before Keith Moon, Ringo Starr, or even Buddy Rich, the original wild-man drummer was Gene Krupa, who's jungle rhythm on Benny Goodman's "Sing SIng Sing" shook the rafters at Carnegie Hall in 1938. Around the same time, clarinet-competitor Woody Herman billed his orchestra as "The band that plays the blues," and his drummer, Frank Carlson, laid a hypnotic rhythm down for "The Golden Wedding." Woody Herman: The Golden Wedding Led Zeppelin: D'yer Maker The VE, Bonzo bashes the drums, and steals the show in "D'yer Maker," Led Zeppelin's warmest and wittiest record. Some legendary jazz drummers have passed inrecent years....Max Roach, Paul Motian...and just this year, Joe Morello, who played "Far More Drums" with The Dave Brubeck Quartet, a cool record not just for the grove, but for the pioneering way that Joe's drums were recorded in the early days of stereo. Dave Brubeck Quartet: Far More Drums side 2 The VE, with far more than just drums to keep time...Bongos rock--with Preston Epps and Chico Hamilton.... Preston Epps: Bongo Rock Tony Bennett/Chico Hamilton: Crazy Rhythm The VE with that crazy dope-smokin' beatnick---Tony Bennett? Together with Chico Hamilton, who appeared as himself in the New York-noir classic "The Sweet Smell Of Success." Sal Mineo starred in "The Gene Krupa Story," but the greatest matinee-idol drummer of all--Phil! This past Wednesday was once again, Phil Collins Day in Brooklyn, where the hipster parade in honor of the greatest pop-star drummer ever. The record that set Phil apart in his solo career...while still cranking out Genesis hits, was this deep, dark tune, ruined by radio overexposure through the years...but in spun fro the original vinyl, "In The Air Tonight, and still dramatic as ever. Phil Collins: In The Air Tonight Sandy Nelson Teen Beat The VE, drumming thorugh the library with relic, "Teen Beat" by Sandy Nelson...to a classic, from the debut by Santana... Santana: Soul Sacrifice The VE...latin rhythm to ...turn the beat around. Love to hear percussion? In the mid 70's, dance music reigned, and this hot 12 inch mix of Vicki Sue Robinson's disco anthem features a hot guitar solo by Steely Dan's Elliot Randall Vicki Sue Robinson: Turn The Beat Around And That's the VE...."Turn The Beat Around...a record that by doing just that, far outclasses the monotonous disco genre. Love to hear more percussion? Or past Vinyl Experience Shows?...Visit the archives at prn.fm. Please Like and Share The VE on Facebook, and follow me on twitter....I'm PC

Teen Magazines will tell you who to love, but will they tell you How!??! Also, who is that guy, anyway? Also, yes, I know about the Riverdale series. Please stop telling me there is a Riverdale series. I know you mean well. But no. No.

This week we are joined by Chanty from the Muses Podcast.   THANK YOU TO OUR SPONSORS POLE FITNESS STUDIO AND POLE EXPO! Catch up every Wednesday with MJ & Bree Welcome Chanty from the Muses Podcast, live from the Plaza hotel in downtown Las Vegas. Chanty came into town for Miss Pamela Des Barres' first ever International Doll Con!  Pamela Des Barres is the New York Times best selling author of I'm With The Band. She has since written 5 other books with her 6th expected to come out towards the end of this year.  We learn that Chanty and her cohost Lynx connected with Bree online because they loved and supported each other's podcasts AND they were all Miss Pamela's Dolls. The girls share their inspiration for starting a podcast. We learn a bit about some of our favorite muses: Marianne Faithfull, Pattie Boyd, Alice Carbone Tench, Roxana Shirazi, and Mary Forsberg Weiland.    MJ tells us how she lived with a man who was the bodyguard to a very famous rockstar! The girls talk about which Teen Beat posters they had on their walls.  We ask if you've ever embarrassed yourself in front of a rock star, if you haven't embarrassed yourself in front of a rock star have you embarrassed yourself in front of anyone famous? EMAIL US: FEEDBACK@KEEPINGITCASUALPODCAST.COM we would love to feature your response Share with us on TWITTER using #KeepingItCasualPodcast #SelfLoveChallenge @MJRadioDiva & @BreeMixed we will retweet, follow & share your response on the show! Join in on our hashtag conversations: #whydomen and #ruinadatein4words with us! Follow us on INSTAGRAM @KEEPINGITCASUALPODCAST for all the fun photo references from the show, and we follow back! PLUS CHANCES FOR OUR 'KEEPING IT CASUAL' SWAG POP-UP GIVEAWAYS just by putting us in your Instagram stories! ADD TO OUR COLLABERATIVE PLAYLIST ON SPOTIFY: KEEPING IT CASUAL PODCAST PLAYLIST PLEASE RATE & REVIEW US ON iTunes FOR A CHANCE AT OUR MONTHLY 'KEEPING IT CASUAL' SWAG GIVEAWAY LAST WEDNESDAY OF EVERY MONTH!

Movie Meltdown - Episode 466 This week we break away from our regular coverage of Louisville Supercon for a “very special episode” with actor and filmmaker Andre Gower. Listen as Andre talks about growing up in the entertainment industry. How he ended up in Monster Squad... with a role that should have changed his life (eventually- it did). And the amazing fan reaction and support over the years that lead him to direct his film Wolfman’s Got Nards: A Documentary. And while we get into a heated debate about which is better - The Towering Inferno or The Poseidon Adventure, we also cover… Fred Dekker, Tiger Beat, a shark-octopus, Mr. Holland's Opus, everybody’s toast, get off my interwebs, Alfonso Ribeiro, "reality" "stars", we saw It on opening weekend, Ashley Bank, I would never ask you to be in my movie, how many brands own all those outlets, T.J. Hooker’s son, that’s super unfair for a ten-year-old, I was sitting there eating lunch and he was across the street walking into a Trader Joe's with Stephen King Rules shirt on, Ernest R. Dickerson, Robocop 3, Maddie Corman, driving to go meet a manager and publicity shots, a dubbed VHS off of HBO, The Coogan Law, generational nostalgia, Shane Black, I was the… kid that did eight TV shows that went one season, instead of one show that went eight seasons - that everybody knows, Ryan Lambert, who George C. Scott subsequently banned from the stage, it's just unfair to the human mind, sibling rivalry, I've had some pretty cool TV dads, Ryan Seacrest, E.R., ripping the Japanese LaserDisc, we went to England twice, The Fresh Prince of Bel-Air, we sold out the Egyptian theater Beyond Fest, Teen Beat and go make something… you fools. “...but you know, you become such a part of that fabric of this story - with these people!” For more on the documentary, go to: https://thesquaddoc.com/ And follow the movie: https://twitter.com/thesquaddoc and https://www.instagram.com/thesquaddoc/ For more on Louisville Supercon, go to: https://louisvillesupercon.com

On this week's episode of Teen Beat, we chat about the 90s teen heartthrob movie, I Know What You Did Last Summer.

Derek interviews the Brian Austin Green of 1992 and 1993 as Steve joins in to play Family Feud. Also, Steve gets advice for a blind date from Brian, who finally admits he enjoys being mean to Derek. Special Guest: Steve Glosson.

Teen-Beat Records founder Mark Robinson discusses running the label, highlighting local music, and more.

Episode #96: In 1985, Mark Robinson sent a letter to Ian MacKaye asking about how to press vinyl records. The year earlier, he founded Teen-Beat Records in Arlington, Virginia. Initially, only one copy of each release existed. Now, the label has over 200 releases under its belt and has shaped the D.C. independent music scene alongside MacKaye's punk label Dischord. Both Mark and Ian join us on this episode to talk Teen-Beat, D.C., and more. Subscribe to The Future of What on iTunes: http://apple.co/1P4Apk0 Follow us: Twitter: http://bit.ly/2gOYMYM Facebook: https://www.facebook.com/thefutureofwhat/ Instagram: http://bit.ly/1L6T8fl

Step 19 - My So-Called Life Rewatch: Dancing in the Dark (Episode 2) - Join Brooke & Nikki as they rewatch and discuss My So-Called Life starting with the pilot. Watch before, after - or even during (if you want) for FREE on ABC Go: http://abc.go.com/shows/my-so-called-life View our "Show Notes" on our website: https://www.mysocalledwhatever.com/step-19 Want to Support Us? Here's our Patreon Page: www.patreon.com/mysocalledwhatever Special Thanks to Steven Palomino for our theme song! @steven_palomino We want to hear your 80's & 90's memories! Which teen heartthrob did you have plastered all over your walls? Which magazine was better, Tiger Beat, Teen Beat, 16 or Big Bopper? Send us your pictures, tell us your stories! EVERYONE has a story! Email us at mysocalledwhatever@gmail.com Website: www.mysocalledwhatever.com Twitter: www.twitter.com/socaledwhatev Facebook: facebook.com/mysocalledwhatever Instagram: www.instagram.com/mysocalledwhatever iTunes: bit.ly/mysocalledwhatever-itunes

Step 17 - My So-Called Life Rewatch: Pilot (Episode 1) - Join Brooke & Nikki as they rewatch and discuss My So-Called Life starting with the pilot.  Watch before, after - or even during (if you want) for FREE on ABC Go: http://abc.go.com/shows/my-so-called-life Things We Discussed: MSCL Website - https://www.mscl.com Melrose Podcast - https://themelroseplacepodcast.simplecast.fm/ Hillbilly Horror Stories - https://itunes.apple.com/us/podcast/hillbilly-horror-stories/id1146579746?mt=2 Large Marge Podcast: http://largemargesentus.libsyn.com/podcast And That's Why We Drink (Podcast): http://andthatswhywedrink.com/  Go Now Go (Podcast): https://itunes.apple.com/us/podcast/go-now-go/id931608693?mt=2 Want to Support Us?  Here's our Patreon Page www.patreon.com/mysocalledwhatever Special Thanks to Steven Palomino for our theme song! @steven_palomino We want to hear your 80's & 90's memories! Which teen heartthrob did you have plastered all over your walls? Which magazine was better, Tiger Beat, Teen Beat, 16 or Big Bopper? Send us your pictures, tell us your stories! EVERYONE has a story! Email us at mysocalledwhatever@gmail.com Website: www.mysocalledwhatever.com Twitter: www.twitter.com/socaledwhatev Facebook: facebook.com/mysocalledwhatever  Instagram: www.instagram.com/mysocalledwhatever iTunes: bit.ly/mysocalledwhatever-itunes

Step 15 - Back 2 School Cool - Join Brooke & Nikki as they discuss what back to school was like in the 80's & 90's - Trapper Keepers, lunch boxes, backpacks, and more. If you would like to support us, you can do so by becoming a patron on our Patreon page: https://www.patreon.com/mysocalledwhatever Special Thanks to Steven Palomino for our theme song! @steven_palomino We want to hear your 80's & 90's memories! Which teen heartthrob did you have plastered all over your walls? Which magazine was better, Tiger Beat, Teen Beat, 16 or Big Bopper? Send us your pictures, tell us your stories! EVERYONE has a story! Email us at mysocalledwhatever@gmail.com Website: www.mysocalledwhatever.com Twitter: www.twitter.com/socaledwhatev Facebook: facebook.com/mysocalledwhatever Instagram: www.instagram.com/mysocalledwhatever iTunes: bit.ly/mysocalledwhatever-itunes

Step 11 - My Totally 80's/90's Bedroom - Follow along with photos on our website: https://www.mysocalledwhatever.com/episodes/step-11-my-totally-80s-90s-bedroom Join Brooke & Nikki as they discuss their bedrooms (as well as their listeners' bedrooms) growing up in the 80's and 90's. In proper Brooke & Nikki fashion, we definitely go off track, but - what else would you expect? Special Thanks to Steven Palomino for our theme song! @steven_palomino We want to hear your 80's & 90's memories! Which teen heartthrob did you have plastered all over your walls? Which magazine was better, Tiger Beat, Teen Beat, 16 or Big Bopper? Send us your pictures, tell us your stories! EVERYONE has a story! Email us at mysocalledwhatever@gmail.com Website: www.mysocalledwhatever.com Twitter: www.twitter.com/socaledwhatev Facebook: facebook.com/mysocalledwhatever Instagram: www.instagram.com/mysocalledwhatever iTunes: bit.ly/mysocalledwhatever-itunes

Step 9 - The Middle School Chronicles - Brooke and Nikki take a step back in time to the early 90’s - Middle School (Junior High) style. Join us as we discuss first crushes, first kisses, and how O.J. Simpson possibly ruined a chance of 8th grade love in our latest episode. Just a warning - there’s a lot of back and forth in this episode so if you are listening to our podcast for the first time - turn around and start with episode one (or even possibly episode two). Special Thanks to Steven Palomino for our theme song! https://soundcloud.com/steven_palomino We want to hear your 80's & 90's memories! Which teen heartthrob did you have plastered all over your walls? Which magazine was better, Tiger Beat, Teen Beat, 16 or Big Bopper? Send us your pictures, tell us your stories! EVERYONE has a story! Email us at mysocalledwhatever@gmail.com Website: https://www.mysocalledwhatever.com Twitter: http://www.twitter.com/socaledwhatev Facebook: http://facebook.com/mysocalledwhatever Instagram: http://www.instagram.com/mysocalledwhatever iTunes: bit.ly/mysocalledwhatever-itunes

Step 1 - The First Episode: First episodes are hard. Join Nikki and Brooke as they fumble their way down memory lane in this first episode of My So Called Whatever, a new podcast for those who grew up in the 80's and 90's. We'll talk about New Kids on the Block, a totally 80's / 90's themed room, 80's & 90's toys, bangs, overalls, Cover Girl French Toast lipstick and more. We want to hear your 80's & 90's memories! Which teen heartthrob did you have plastered all over your walls? Which magazine was better, Tiger Beat, Teen Beat, 16 or Big Bopper? Send us your pictures, tell us your stories! Email us at mysocalledwhatever@gmail.com Special Thanks to Steven Palomino for our theme song! https://soundcloud.com/steven_palomino

We have an update on the Muslim teen who claimed she was attacked on the subway by men chanting Donald Trump’s name. Comedian Mark Dice is at it again, asking liberals if they would sign a petition to add SASQUATCH to the endangered species list. And we have a Trending Today USA roundtable. Guests: Jason Wert, Ellis Henican, Chris Agee, Tim Burg, Blake Stephens. Trending Today USA with Rusty Humphries 12-15-16 Part 2

Jackie and Dunlap on the civil war in the GOP, Breitbart vs. Paul Ryan, the second Trump vs. Clinton presidential debate in St. Louis, the next four years of trying to put Bill Clinton in jail, the Trump hot mic "grab 'em by the pussy" gross rape comments, should we empathize with Billy Bush, the death of the newspaper, the coming revolution after all the Hillary voter fraud, how to make Tic Tacs horrible, letters to the editor, mad Jeb Bush, which Republican primary candidates could have won against Hillary, and Obama wants to go to Mars.  Plus: Al Gore is Back! Hold the presses, Teen Beat! Sponsors: Dilly Mulerider's Nut Bonnets and Uncle Spiffy Marlin's Haircuts and Handshakes.    Thank you kindly for watching! Subscribe to us over on iTunes and YouTube (http://youtube.com/travisandjonathan). Rates and reviews!  Podcasting from a bunker underneath Jackie's Market in Murfreesboro, Tennessee, Jackie Broyles and Dunlap yell about Donald Trump and Hillary Clinton, liberals and conservatives, Democrats and Republicans, Never-Trumps and Bernie bros, Deplorables and RINOs, fake local sponsors, real national politics, pop culture and the 2016 presidential election. If you like sophisticated satire, nuanced political humor, and redneck shitkicking hillbilly country comedy Hee-Haw moonshine outhouse Blue Collar donkey cartoon face, this is the podcast for you. I mean "y'all."

Vatican and Trojan deal with the mounting crises.

Vatican and Trojan deal with the mounting crises.

Ryan and Jenna travel to Washington DC, home of Teen-Beat Records, for a brief history of the legendary indie label. Jenna mixes herself an amaretto margarita (?) while waiting for chicken parm delivery. Ryan spins tracks from Unrest, Tuscadero, Versus, HollAnd, Cotton Candy, Stick Insect, and Maybe it's Reno. The cherry blossoms may be gone, but we have songs-a-plenty. Order your favorite music from teenbeat.net

Beauty Pop hosted by Millena Gay  6:30 pm pst  Brought to you by Bee Ladies Design Beauty Pop is a live Fashion & Beauty related show hosted by actress and manners expert Millena Gay remembered for her role on Young & The Restless & Julie A. Smith On Air Host. Today on Beauty Pop! Today's guest is the uber-talented Mr. Stoney Jackson! He was featured in numerous teen magazines in the 1970s and 1980s, including Right On, Teen Beat, and Tiger Beat. Played a baseball player in the Disney film "Angels in the Outfield". He portrayed high school basketball player Jesse Mitchell on the ensemble series The White Shadow, and Travis Fillmore on the sitcom 227. He played Black Jack Savage in the pilot episode of The 100 Lives of Black Jack Savage. He also has made guest appearances on shows like Everybody Hates Chris. Are you enjoying the show? Join our group free - Beauty Pop Live   

Shrunken Head Lounge Surf Radio Show Running Time: 29 minutes 31 seconds Sandy Nelson Sandy Nelson was a prominent session drummer in the 50's and 60's and managed to put some instrumental hits of his own in the top ten.He was born Sander Nelson in 1938 in Santa Monica, California. He attended high school with Jan Berry, Dean Torrence Phil Spector, and others who went on to careers in rock-and-roll. Sandy became a proficient drummer and joined his firs group, Kip Tyler and the Flips. Another member of the group was future Beach Boy Bruce Johnston, who played piano. Ki Tyler and the Flips recorded some songs on the Ebb and Challenge labels.His services as a drummer were in demand. He played drums for Spector on the Teddy Bears' number one hit To Know Him, Is To Love Him in 1958, and the following year he sessioned for Gene Vincent on Crazy Times before striking out o his own. He recorded for the Original Sound label, and his fifth release Teen Beat made it all the way to number four i 1959. It was rather unusual in that it was an instrumental song featuring Sandy's pounding drums. Instrumentals did no generally sell very well, but this one certainly did.Sandy Nelson continued his work as a session drummer on many well known rock-and-roll songs in the early 60's, appearin on such top ten hits as Alley-Oop and A Thousand Stars. He signed a recording contract with Imperial and in 1961 release his second [and last] top ten hit, Let There Be Drums. Once again he had scored with an instrumental that featured hi driving drum beat. He had other minor hits in 1962, such as Drums Are MyBeat.In 1963 Sandy was involved in a vehicular accident and lost part of his leg. He recovered and returned to performing the following year, and eventually released Teen Beat '65 before fading away.

Well, I finally got my groove back and I have to say "it feels freaking fantabulous!"  While there are still issues with iTunes (which I just received another email from them to let me know they haven't forgotten about me)and now my Facebook Fan Page, which I've decided to leave well enough alone, things are going relatively well with me in general.  I'm still peddling away on the 'under the hood' issues for the sight, so I figure everything will hopefully fall into place in due time.  I'm actually getting better at this patience thing, just take a deep breath and walk away.  Come back in an hour or so and try again.  Works pretty well. Normally, I like to mix up the different styles and genres within my BPM mixes, but this time I decided to separate them out.  This first set is for all the mainstream electro-pop folks who like their radio favorites mixed for the dancefloor.  Nothing wrong with that at all.  As you skim down the track list, you may notice a couple of things.  First, Mariah Carey; yes I was critical of her remake of the Foreigner classic "I Want to Know What Love Is", but I have to admit her vocals are spot on and she hasn't sounded this good in a long time.  Sadly, Moto Blanco (who I would have tapped for the remix) sped the vocals up losing the actual flavor of the song.  This is a big ballad with some serious undertones that deserve better than the Mickey Mouse rendition they delivered.  That's not to say most of you won't like it, I just think something more dramatic is in order; maybe Tony Moran, Chris Cox; I'm just saying. The next thing you'll notice is my inclusion of Miley Cyrus' "Party in the U.S.A."  I haven't been particularly nice to Miley on this site, only because I guess I'm way over the whole bubblegum scene.  History has always manufactured huge stars targeting the Teen Beat crowd, so Miley's success comes as no surprise.  Certainly, I've had my fair share of favorites over the years (Debbie Gibson comes to mind), so it wouldn't be fair of me to deny anyone else their right to enjoy it now.  While I'm not ready to join Miley's fan club, I will admit that this song is sinfully delicious! While I generally enjoy all the songs in my mixes for one reason or another, as usual, there are a few diamonds that stand out and stick in my head like gum to the bottom of your shoe.  Cindy Gomez' "Again and Again" is pure pop bliss, while Priscilla Renea's "Dollhouse" takes on a familiar theme while making it all her own.  One of the biggest artists of the year, Agnes follows up "Release Me" with "I Need You" which is just as ear-pleasingly catchy.  I'm not sure what the huge appeal to Agnes' kind of meat and potatoes pop is, but she sure has one hell of a writing team, if she isn't writing these songs herself.  Taking the familiar piano riff used in "When Love Takes Over" by David Guetta and Kelly Rowland (another HUGE track from earlier this year) this is bound to be BIG. After the massive worldwide success of "In My Arms" from 2007, Plumb returns with a new album and single "Hang On" already destined for dancefloor glory.  Packed with fantastic mixes by Dave Aude and Digital Dog, it's the Pete Hammond mix that blows my socks off.  If you weren't fortunate enough to have lived through the second half of the 80s, Pete Hammond (who's been making the rounds on the circuit lately) was part of Stock, Aitken, and Waterman or better known as SAW.  They churned out dozens of hits for Bananarama, Dead or Alive, Rick Astley and even Donna Summer amongst many others.  Their signature sound could be heard not just on dancefloors but at Top 40 radio throughout the world.  I'm happy to say that Pete, who has already been featured in previous BPM Editions, is back and quite possibly even better than before.  He's taken the classic SAW sound and updated it for the today's dancefloors'.  Despite my obvious bias, it's refreshing to hear something dropped in between the usual Bimbo Jones,

Well, I finally got my groove back and I have to say "it feels freaking fantabulous!"  While there are still issues with iTunes (which I just received another email from them to let me know they haven't forgotten about me)and now my Facebook Fan Page, which I've decided to leave well enough alone, things are going relatively well with me in general.  I'm still peddling away on the 'under the hood' issues for the sight, so I figure everything will hopefully fall into place in due time.  I'm actually getting better at this patience thing, just take a deep breath and walk away.  Come back in an hour or so and try again.  Works pretty well. Normally, I like to mix up the different styles and genres within my BPM mixes, but this time I decided to separate them out.  This first set is for all the mainstream electro-pop folks who like their radio favorites mixed for the dancefloor.  Nothing wrong with that at all.  As you skim down the track list, you may notice a couple of things.  First, Mariah Carey; yes I was critical of her remake of the Foreigner classic "I Want to Know What Love Is", but I have to admit her vocals are spot on and she hasn't sounded this good in a long time.  Sadly, Moto Blanco (who I would have tapped for the remix) sped the vocals up losing the actual flavor of the song.  This is a big ballad with some serious undertones that deserve better than the Mickey Mouse rendition they delivered.  That's not to say most of you won't like it, I just think something more dramatic is in order; maybe Tony Moran, Chris Cox; I'm just saying. The next thing you'll notice is my inclusion of Miley Cyrus' "Party in the U.S.A."  I haven't been particularly nice to Miley on this site, only because I guess I'm way over the whole bubblegum scene.  History has always manufactured huge stars targeting the Teen Beat crowd, so Miley's success comes as no surprise.  Certainly, I've had my fair share of favorites over the years (Debbie Gibson comes to mind), so it wouldn't be fair of me to deny anyone else their right to enjoy it now.  While I'm not ready to join Miley's fan club, I will admit that this song is sinfully delicious! While I generally enjoy all the songs in my mixes for one reason or another, as usual, there are a few diamonds that stand out and stick in my head like gum to the bottom of your shoe.  Cindy Gomez' "Again and Again" is pure pop bliss, while Priscilla Renea's "Dollhouse" takes on a familiar theme while making it all her own.  One of the biggest artists of the year, Agnes follows up "Release Me" with "I Need You" which is just as ear-pleasingly catchy.  I'm not sure what the huge appeal to Agnes' kind of meat and potatoes pop is, but she sure has one hell of a writing team, if she isn't writing these songs herself.  Taking the familiar piano riff used in "When Love Takes Over" by David Guetta and Kelly Rowland (another HUGE track from earlier this year) this is bound to be BIG. After the massive worldwide success of "In My Arms" from 2007, Plumb returns with a new album and single "Hang On" already destined for dancefloor glory.  Packed with fantastic mixes by Dave Aude and Digital Dog, it's the Pete Hammond mix that blows my socks off.  If you weren't fortunate enough to have lived through the second half of the 80s, Pete Hammond (who's been making the rounds on the circuit lately) was part of Stock, Aitken, and Waterman or better known as SAW.  They churned out dozens of hits for Bananarama, Dead or Alive, Rick Astley and even Donna Summer amongst many others.  Their signature sound could be heard not just on dancefloors but at Top 40 radio throughout the world.  I'm happy to say that Pete, who has already been featured in previous BPM Editions, is back and quite possibly even better than before.  He's taken the classic SAW sound and updated it for the today's dancefloors'.  Despite my obvious bias, it's refreshing to hear something dropped in between the usual Bimbo Jones,