{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/vh5cc0vf4p/manifest","type":"Manifest","label":{"en":["Blind Dates: The Flo \u0026 Eddie Story"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Matthew Barton (Presenter)","David N. Lewis (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2018-05-12 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eIn the 1970s, long before their names became synonymous with copyright battles, Flo \u0026amp; Eddie, aka Mark Volman and Howard Kaylan were rock and roll’s leading satirists, as well as columnists, recording artists, back-up singers, record producers and film and television personalities. This presentation will look at their unique and varied career starting with their surf band the Crossfires and their days leading the Turtles, but will focus primarily on their provocative, irreverent 1970s heyday. Their copyright lawsuits will NOT be a part of this presentation.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},{"label":{"en":["Video Editor"]},"value":{"en":["Nathan Georgitis"]}}],"summary":{"en":["\u003cp\u003eIn the 1970s, long before their names became synonymous with copyright battles, Flo \u0026amp; Eddie, aka Mark Volman and Howard Kaylan were rock and roll\u0026rsquo;s leading satirists, as well as columnists, recording artists, back-up singers, record producers and film and television personalities. This presentation will look at their unique and varied career starting with their surf band the Crossfires and their days leading the Turtles, but will focus primarily on their provocative, irreverent 1970s heyday. Their copyright lawsuits will NOT be a part of this presentation.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/509/small/open-uri20200922-6764-g33bdd_1600815911.jpg?1600801540","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20200922-6764-g33bdd.mp4"]},"duration":2020.39467,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/509/small/open-uri20200922-6764-g33bdd_1600815911.jpg?1600801540","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/509/original/open-uri20200922-6764-g33bdd.mp4?1600801495","type":"Video","format":"video/mp4","duration":2020.39467,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509","metadata":[]}]}],"annotations":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509/transcript/19125","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Blind Dates: The Flo \u0026 Eddie Story [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509/transcript/19125/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Oh, I do. And he is the as he is the sitting president of ask, though, anyone who has seen Matt in action and tell you that he doesn't spend much time sitting his regular day job at his as curator of the recorded sound division of the Library of Congress. And day in and day out, Matt is working to rescue and conserve the recorded sound heritage of America and much of the world before he joined the library in 2003. He edited the seven volume C.D. set of recordings drawn from the Alan Lomax collection, and his authority in that position was partly created as you work so closely with Lomax himself back in the 1980s. Ours is proud to have him. Please welcome Matthew Barton. Thank you very much. I forgot to submit a bio. So, honestly, I did not write the more florid parts of that. But I'm not going to throw them back. So thank you. I know we're running a bit late here. I'll try and get into the hurry up. I totally understand if you need to be somewhere. And believe me, I'm used to people walking out on me. It's. It's OK, though. I won't forget. So outbreak. We're on the screen. You'll notice the title has changed. I thought of that this morning and it just made me laugh. So I went with it. So long, Eddie. I know Joan Kravitz is a big floaty fan and I'm ready for him to truth squad me on this. The rest of you may not be so familiar with them, though. You may know them from the turtles. And that was the reason that I wanted to do this. They're best known to members of our skin, probably the general public, to an extent, for their copyright lawsuits.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509#t=16.39,143.83"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509/transcript/19125/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I'm not going to deal with that because although they'll be remembered for their hits with the turtles flown anywhere, a real presence in 70s rock. And they deserve to be remembered for the contributions that they made there, even though they never charted anything except with the turtles flowing. Eddie did several albums were did a number of high profile things. They were a genuine presence in the rock scene, the rock culture at that time. But it never added up to big sales for them. So our story begins in 1962 in Westchester High School in Los Angeles. We see here the back row the young men, Mark Volman, Al Niccolò, Howard, Kaylin, Chuck Portes, Mark Volman and Howard Kailin, respectively, Flo and Eddie much later. But the four of them would meet in this choir and would go on to collaborate for a number of years and the subsequent band and the turtles. So this was actually a very good choir. It was led by a Mr. Woods and Volman and Kailin still credit him for their singing skills and they got to interact with a number of well-known choral conductors and composers. The one I'm remembering right now is Chester Harriston. But I know there were others. Let's just hear a little bit because they got to make a record. Let's hear a little bit of their alma mater here. The. Hey, something's happened with slides. I just need to exit out here and check for a moment. OK, I'm going to re enter. Here we go. Great. So that's nineteen two. Nineteen seventy two. I have to do is low in any. OK, a lot can happen in 10 years, obviously. And but what do for like minded young men in an L.A. high school who meet up in an acapella choir? Do y.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509#t=144.55,361.55"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509/transcript/19125/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Of course they do. CROSSFIRE featuring more than a couple of. You get the idea there, in 1965, they have their first big hit cover of Dillons. It ain't me, Babe, and they subsequently do quite well in the pop charts in 1969, after a couple of years without major hits, in a time of great change in the music and changes in what the turtles and Development and Kaolin especially wanted to do, they recorded this album, The Turtles Present The Battle of the Bands. The Beatles created one phony band for Sgt. Pepper's Lonely Hearts Club Band. The Turtles went them 10 better. That's the back cover. This is the inner cover. These are all of the aliases. They assumed different styles. Just as an aside, I'm fairly sure this must have inspired Nick Lowe in 1978. That's the pure pop are now people and then the original British version, Jesus, a pool, similar take on popular music, got a run through the different bands and songs that are on the Battle of the Bands album here. The atomic enchilada. Next one. And. Eleanor, one of their biggest hits by Kaitlyn's as a parody and a return to their label White Whale. We're always looking for bubble hits. You thought you could write a song they wouldn't release? Well, they put it out as a single and it went up to the dichotomy is no dog any. My pride and joy don't write like that anymore. A little bit of country quiet city ramblers. You know. The L.A. bust, 66. They say that I. No. So. Out back to CROSSFIRE's first surfer, Dan, not an instrumental. Moving so fast, she. I know the royal macadamia nut. And the second top 10 hit from this album. Exactly. Amy. That's Malad, the fire.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509#t=362.12,741.91"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509/transcript/19125/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You have to be. And then finally here. The bands, I suppose, which is accurate. They were all. It would be a couple about that they were feuding with their labor, white male, eventually left the label, were unable to call themselves the turtles for a while and wanted to get as far away from that kind of music and that kind of scene as possible. Around that time, Frank Zappa was reorganizing his band. Flo and Eddie joined, giving Zappa a couple of first class singers. They did four albums together. That was the next one, 200 Motels, which is the soundtrack for that film. And then just another band from L.A. Two of those are live albums. The partnership didn't last that long because of two incidents. One was immortalized in the song Smoke on the Water when everything in Montu, Switzerland, got burned, including all the every every band's equipment. And then not long after that show, Zappa was attacked by a fan on stage and knocked down a considerable distance and landed on hard concrete and nearly died. So that was it for Zappa being on the road for a while. A lot of what they did with Zappa is not safe for work. To say the least, might not even be safe for ask. It's it's pornographic. It's scatological. It's. It is very satirical and very much of its time. A little play you a bit of something from this album, though. It's a track called Billy the Mountain The Outwits. It's been edited down to 24 minutes here. It was even longer in concert here, about three minutes of it. And this is a very surreal, absurdist take on California and American culture at the time. And I think also it may have been, you know, Zappa's response to the rock operas that were being written.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509#t=745.6,961.05"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509/transcript/19125/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So here's a little bit of Billy the Mountain. Lee. I believe was a mountain. Ethel was a tree growing on his shoulder. He had to beg for a job. Now, one day, I believe it was on a Tuesday. A man in a checkered double knit suit drove up in a large Elderado Cadillac leased from Bob's Supreme. Bolting the envelope right at the corner of Billy the Mountain. That was right where his foot was supposed to be. Now, the money, he couldn't believe it. All those postcards he posed for and for all of those years. Then finally now, at last, his royalty's. Sorry to cut that off, but there's another 20 minutes or more. So this is the first blow in any album. They're called the Fluorescent Leech. And Eddie, those were nicknames of a couple of roadies that they worked with. And somehow they got hung on Volman and Kaylin. And the label felt that their exposure with Zappa was sufficient to make stars out of them. Didn't happen, but there's some good songs on the album. But again, it brings back to the dichotomy. Let's hear a little bit of one time to think carefully. You think we're diving? Di Di. A more serious side. I've been warning, yes. Show me their. So in demand as backup singers and they admit mark a t rex while on tour in England with Zappa. And it is them that you hear on two, maybe three T rex albums, including Banging Down. They became close with over the next couple of years. But it was undone by a song in their second album called Another Pop Star's Life, which they acknowledge was about Bolaven. And his lifestyle is not complimentary at all. And Bohlen never forgave him for.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509#t=961.65,1329.0"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509/transcript/19125/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"They never apologized. And Bohlen died in 1977. And, you know, they regret it to this day. It's unfortunate around this time. Also, they started working as rock critics. This is Issue a phonograph record magazine from 1974. This is a very good paper that was published from about 70 to 78, distributed free in record stores. And in this issue, they started a column called Floating His Blind Date. Critic named Ken Barnes would pull together bunch of recordings and just spring them on Flo and Eddie and get their immediate response to things. And they did this until the end of the magazine in 1978. Is the original character they use only they kept that for very long. And I just point to one item in here, Bjorn and Benny, Rock and Roll Band, I guess, who Bjorn and Benny were, Bjorn Novellus and Benny Anderson of ABBA. This is one of the last known other things that they did and flown out. He didn't think much of it. I don't like anything with James in it. I don't like music. I hate records. That's my statement for your readers. We hate records. Get him out of here, OK. Now, they also contributed backing vocals to a David Cassidy album in this period 1975. Didn't sell and sell. A couple of years later, though, they hooked up on a, I believe, a Canadian television program. This was. Tempers are running short. You can find it on YouTube. Just enter David Cassidy, Flo and Eddie. You'll get it. They started doing a radio show around this time. They were well-connected, is as rock stars. And they are, as you'll see that that second album that was for a tour they did with Alice Cooper 1970 for the Billion Dollar Babies tour.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509#t=1329.78,1484.32"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509/transcript/19125/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So I love this shot of them with. We are. I didn't. Did my eyes on the left and Alice. Here's an interview with Alice. Use all the time. Alice Cooper is a theatrical group. I can play music. That's right. So we said, okay, let's do an album. That's music and. No, no. Yeah. Yeah. But yeah, there's always that. You know, but I mean, it was basically okay, let's just relax and play an album. It's, you know, of a sudden then all of a sudden it was worse. This isn't so bad. Good guy. Well, you got to think, Alice. Oh, we'll think about going back out there doing anything. They didn't do anything. I know. I just got here and got drunk music. All right. Let me just give this or we're just playing games in the studio. The next one, though, is a more serious and probing interview with David Bowie, probably from 77 or 78. Really good. Listen, there was a lot of people who really tried to put David Bowie in the Ziggy years in with the Alice Cooper thing. Yes, sir. Well, it was because of his thinking was inevitable. I don't know. It's not absurd. I was you were doing odd Kanagawa insensitive things like that. Yes. They do have a tune. I kind of expect that to happen. And I just trusted in my own concessions that eventually would split off and have separate identities. Alice and myself worked out OK. Yeah. I mean, just trusted in my own optimistic ideas and what I could do at this point. Germany was really a part of you at this time. And, you know, that happened when I left America as I was leaving America. I knew I had to get to an environment that was totally different to Los Angeles.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509#t=1485.13,1611.17"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509/transcript/19125/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So I thought of the most arduous city that I could think of. And it was West Berlin. And so I stuck myself just everything and just sort of took off. I left everything less than just once there. I left Bel Air and I left my millions of videos and then moving out of that to an area where I actually had to go down the road and buy food in a shop, actually learn how to buy a plane ticket that I need to rush through some things now. So I'm good to skip this clip, which is a pity. Their last album as a Flowing Eddie for several years. The movie targets from 1976. And this is a fairly serious album all the way through. And it's very much their reflections on, you know, being rock stars and their frustrations with the lack of success with their music. As Flo and Eddie, here's a track that was released as a single call. Keep it warm. And then the last track moving targets, which remember this is 1976 punk rock really hasn't happened yet. Yeah, this is, you know, just as angry as almost anything that came out at that time. Moving targets. Once more. There we are. So I think I'd better end it there. I'll just leave you to ponder that they made a lot of money in the early 80s with the Strawberry Shortcake and Care Bears albums. Their names don't appear anywhere but those albums, and they don't chart because they were sold in places like Woolworths and Toys R US. But that that was probably the closest they got to reproducing their commercial success with the turtles. So it's 12, 42 up here. I guess we can I can take a question or two.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509#t=1611.83,1842.61"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509/transcript/19125/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Oh, yes. OK. Help me get there. All right. Yeah. What did you have a sense that either what they were calling equals or one of them take the lead, either artistically or business wise? Yeah, I think it was. Some things are much more Kailin than an Volman. Almost everything is credited to the two of them with the occasional, you know, other musician. A certain point the turtles started taking group credits on everything. You know, the four albums most things are credited to Volman Kaylin Kaitlyn's written a book, Volman Hasn't. So you get his side of things. They don't sing to fight over it. You know, there's no it's not like Beatles songs being credited to Lennon and McCartney and McCartney and Lennon now, but they seem to be very like minded. You know, they've worked together all this time. They've, you know, feuded with other people, but not with each other, really. So, you know, it's it's a very good partnership. Any other questions? Come back with me. My mind. Oh, yes, yes, for exactly one year away from all that. Just as loud the end days of white whale dip, they have a connection to T. Rex through I think Tommy Boreland was on. Made some record on white whale. I know, but I think we have Barney. Yeah. John. Joe Johns. Children. You didn't think I guess white whale would have license that because they were. No. That was an English strictly an English band at that point. I don't know the particulars of it, but. Yeah. So there was that connection. Thanks. Right here. Just a brief comment. First off, I remember the music. I know. Grew up in L.A. and I had no idea I was at that job. Rose junior high in Fairfax, but especially in Fairfax in the 70s.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509#t=1843.45,1980.22"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509/transcript/19125/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And then at Georgetown and in the mid late 70s. All of this is like, oh, gosh, my roommates were playing these. But I just wanted to say to all of you sitting there sitting up front. What a great series of presentations. Thank you so much. Any other questions? Right. Huge. Thanks for.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509#t=1982.56,2004.76"}]},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509/transcript/19125","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/97509/transcript/19125/annotation/11","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/125/original/open-uri20200924-1405-4ju2n0?1600960397","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/125/original/open-uri20200924-1405-4ju2n0?1600960397"}]}]},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/256001","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2018_Barton_audio.mp3"]},"duration":2006.50775,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/256001/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/256001/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/256/001/original/ARSC_conf_2018_Barton_audio.mp3?1730770068","type":"Audio","format":"audio/mpeg","duration":2006.50775,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29693/file/256001","metadata":[]}]}],"annotations":[]}]}