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When Denny Doherty died, in January, Michelle Phillips became the last of the Mamas and the Papas, the 60s foursome that made hippie sexy and topped the charts for almost two psychedelic years before breaking up.

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The Mamas and the Papas were cannon-shot onto the airwaves when the country was still shaking off its post-Camelot conventionality; girls were wearing go-go boots, and boys were growing out their early-Beatles haircuts.slip back,” Michelle says in that arch, bemused way of hers. Denny was about to undergo surgery for an abdominal aneurysm, and she’d called with moral support, her reliable compassion delivered with its usual frankness. Early on, their ranks had been thinned from four to three (in 1974, Cass Elliot died, at a tragically young 32, of a heart attack); then, much later, from three to two: in 2001, John Phillips, 65, finally succumbed, after decades of drinking and drugs, to heart failure.And so, by last January, only Denny, 66, and Michelle, then 62—like the little Indians in the children’s rhyme—remained standing, their old, red-hot affair, which had nearly torn the group apart, self-protectively excised from their frequent reminiscences.No group had ever looked like them—a magnetic fat girl, a pouty blonde beauty, two sexy Ichabod Cranes in funny hats—or sounded like them: Cass’s wry-beyond-her-years alto and Denny’s aching choirboy tenor lacing through that creamy, 1950s-prom-worthy close harmony, kissed with all those s.The Mamas and the Papas were the first rich hippies, stripping folk rock of its last vestiges of Pete Seeger earnestness and making it ironic and sensual.

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