Doherty, born in Halifax, Nova Scotia, co-founded a folk group called the Colonials in Montreal in 1960 and later drifted into the New York folk scene, where he met Elliot. He joined her in a band, the Mugwumps, along with another Canadian, Zal Yanovsky, later of the Luvin' Spoonful.
Doherty, Elliot and John and Michelle Philips formed the Mamas and the Papas in 1965 after signing a recording contract with Dunhill Records. Between 1965 and 1968 they were a big part of a California pop scene that included such bands as the Byrds and the Beach Boys.
In 1966 "California Dreamin"' became the first of a succession of hits that included "Monday, Monday," "Go Where You Wanna Go," and "Dedicated to the One I Love" that were characterized by soaring harmonies with Dohertry signing tenor.
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The Hall of Justice Forums has pics of some upcoming Justice League Unlimited figures, including this nifty version of Hour Man.
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New episodes of "Veronica Mars" return Tuesday but the show will take an 8-week break again following the February sweeps, according to USA Today. The show will round out its season with five stand-alone episodes. The CW hasn't announced if the series will be back for a fourth season.
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Warner Bros., the CW and Sprint have teamed to produce an animated spin-off focusing on the "Smallville" version of the Green Arrow. "Smallville Legends: The Oliver Queen Chronicles" will premiere on Sprint TV's mobile video service and will later be available on the CW Web site.
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People renting the second season of "Doctor Who" via Netflix may notice some glitches on disk 1 of the set, TV Shows on DVD reports. The problem is due to a manufacturing error and disk 1 has been pulled temporarily from the site until corrected disks are made available.
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A live-action film based on the anime flick "Ghost in the Shell" is in the works.
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The New York Times has a feature on the animated adaptation of Marjane Satrapi's graphic novel "Persepolis."
Ms. Satrapi has drawn herself thousands of times. But she found it initially overwhelming to watch her own vivid gestures animated on computer screens in the skylighted atelier that is the film’s headquarters in the 10th Arrondissement. Eventually, she said, she learned to put emotional distance between herself and her character.
“From the beginning I started to talk about ‘Marjane’ and ‘Marjane’s parents,’ ” she explained, “because you cannot do it otherwise. There are people, for example, drawing my grandmother. My grandmother is dead. Here not only is she moving, but I have to look at her, image by image. If I think, ‘This is my grandmother and my story,’ I would start crying all the time. And it’s not easy for the animators if I start talking about me, me, me. I will make them crazy, and they will be walking on eggshells. They won’t let themselves go.
“When my parents came to the studio, nobody breathed. Imagine you are drawing Mickey Mouse and Donald Duck, and suddenly a big mouse and a big duck walk in.”
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