Podcasts about anglophilia

Tune in for a visit with Angela Jaeger who will discuss her new book I Feel Famous. Here she recounts her years growing up in NYC as an inhabitant of 77-81 nascent punk culture, canoodling with its various in habitants and scene-makers, before her Anglophilia pulled her into the middle of London's scene as well.  Her diaries recount a wide-eyed, humorously sweet account of her pure fandom spilling into the post-punk era (where her sister Hilary booked the auspicious Tier 3 NYC venue), eventually leading Jaeger into performing and recording with the likes of Pigbag, The Monochrome Set, and David Cunningham. Tune in for some surely interesting first-hand remembrances. brianturnershow.com  eastvillageradio.comGASENETA - Ameagari No Ballad - ガセネタ (Full Contact, 2018)OSBO - FC - 7" (Blow Blood, 2024)SHINRA KNIVES - Plague Dogs - Those Kinds of Friends EP (BC, 2024)ABAZABA - Isolation - 7" (Vampire Blues, 2024)...AND THE NATIVE HIPSTERS - Hang Ten - V/A: Further Perspectives & Distortion: An Encyclopedia Of British Experimental And Avant-Garde Music 1976 - 1984 (Cherry Red, 2024)ART BEARS - Rats & Monkeys - V/A: Further Perspectives & Distortion: An Encyclopedia Of British Experimental And Avant-Garde Music 1976 - 1984 (Cherry Red, 2024)BILL DRUMMOND READS HIS OLD ADDRESS/PHONE BOOK FROM THE 80'sKOSMONAUTENTRAUM - Abschied - V/A: Als die Welt noch unterging (German Post Punk Underground 1979-1984) (Tapete, 2024)S.Y.P.H. - Maschine von Beruf - Pure Freude Singles 1979-1981 (Tapete, 2024)THE FRONTS - Mowin' the Lawn - Mamo Waves (Bulbous Monacle, 2024)EXHIBIT A - The Distance - 7" (Irrelevant Wombat, 1980)ERICA POMERANCE - Woodstock Verite - En Concert À La Commune Le P'tit Québec Libre  (Trésor National/Tour De Bras, 2021)ANGELA JAEGER CHATS ON HER NEW BOOK 'I FEEL FAMOUS: PUNK DIARIES 1977-81)DEAF SCHOOL - Don't Stop the World - Don't Stop the World (Warner Brothers, 1977)CHAT W/ANGELASTARE KITS - Strength Accumulate - Live at Tier 3 1979 (BC, 2021)ROYAL FAMILY - State of Mind (NL, 1980)THE DROWNING CRAZE - Storage Case - 7" (Situation Two, 1981)CHAT w/ANGELAPIGBAG - Hit the 'O' Deck - 12" (Y, 1983)

Reading Barbara Emerson's excellent The First Cold War: Anglo-Russian Relations in the 19th Century got me thinking more about the nature of British-Russian relations, which really date back to the 16th century, why we each loom so large in the other's geopolitical imagination, and why Russia is torn between extreme Anglophilia and Anglophobia.The podcast's corporate partner and sponsor is Conducttr, which provides software for innovative and immersive crisis exercises in hybrid warfare, counter-terrorism, civil affairs and similar situations.You can also follow my blog, In Moscow's Shadows, and become one of the podcast's supporting Patrons and gain question-asking rights and access to exclusive extra materials right here. Support the Show.

In this episode we welcome long-time RBP contributor Ira Robbins as he celebrates the 50th anniversary of the launch of his beloved Trouser Press. Ira tells us about the musical Anglophilia that began for him with the Beatles but surged with the 1968 release of The Who Sell Out.  He then recounts the beginning of his friendship with schoolmate Dave Schulps and explains how it led to a shared obsession with the British music press. The story of the 1974 launch of Anglophile fanzine Trans-Oceanic Trouser Press, in partnership with the late Karen Rose, is accompanied by quotes from a 2001 interview Ira gave to RockCritics.com. He talks about the years that followed the dropping of the "Trans-Oceanic" prefix, and about some of the contributors – more than a few female – who made Trouser Press such essential '70s reading. After playing a clip from a 1975 audio interview Ira did with Cockney Rebel's late frontman Steve Harley – who died after this episode was recorded – we turn our attention to his more recent encounter with the rather more genial Nick Lowe. Clips from this 2007 conversation prompt a general appreciation of the Jesus of Cool's career from Kippington Lodge to Little Village via Elvis Costello and Johnny Cash. After we've paid tribute to the departed Eric Carmen – with our guest disputing that (the) Raspberries were authentically "power pop" – Mark talks us out with quotes from the pieces he's most enjoyed adding to the RBP library over the preceding fortnight. Many thanks to special guest Ira Robbins. Zip It Up! The Best of Trouser Press Magazine 1974–1984 is published by Trouser Press Books and available now via trouserpressbooks.com.  Pieces discussed: Ira Robbins articles, The Story behind Trouser Press, Ira interviewed on RockCritics.com, Steve Harley audio, The New Wave Washes Out, Nick Lowe audio, Eric Carmen: Rock's Rejuvenated Raspberry, World Party, Charlie Watts, Was (Not Was), Rhythm and Blues and Kiss.

Put on your duffle coat and don't forget your marmalade sandwiches... for this episode we dive into 2017's Paddington 2, the First Paddington (cinematic) sequel. We discuss earnest ursines, CGI, Hugh Grant, Brendan Gleeson, Peter Capaldi, crying in movies, sincerity, and popping books! Plus, we get into the Garfbug Report and play some I See What You Did There.Email us! Have a comment? Want to dress us down publicly? Have a First for us? Just wanna try to convince Kelly to play a video game?  debutbuddies@gmail.comListen to Kelly and Chelsea's awesome horror movie podcast, Never Show the Monster.Get some sci-fi from Spaceboy Books.Get down with Michael J. O'Connor's music!Next time: First Jack-o'-Lantern

Join the Club Kid Tour in New York and Boston. Tix here: https://linktr.ee/cbcthepod Papa DO Preach! Open Your Heart and Get Into The Groove, we're Burning Up for the original Material Girl—Madonna—and her 2005 children's book "The English Roses." Listen as we go Deeper and Deeper into her Anglophilia, get Hung Up on her corset obsession, decide if her daughter's music career is in Vogue or should stay Frozen, and reveal which Madge songs we'll always Cherish. This episode is like a Holiday— a Ray of Light that you'll Live To Tell your chicas about! Don't Cry For Me, iHeart Radio! See omnystudio.com/listener for privacy information.

In this episode we discuss the sexiness of England. Episode Art: Portrait of John Wilmot, Jacob Huysmans, 1677Support the show

As the Nicks turn their attention towards the album many consider the band's critical peak, they discuss their own levels of Anglophilia and talk about the happenings in Canada & the world in October 1973 (Rush have begun to release singles!) before looking at Selling England by the Pound. They discuss the band's statement on old Britain being lost as well as the results of the the band's crunch for material and the pop hit track that gives the podcast its name! They also take a listen to strange the b-side of I Know What I Like, Twilight Alehouse.   00:00:00 Intro/Do you consider yourself an Anglophile? 00:06:25 Canada/History discussion/Rushwatch 00:21:47 Selling England by the Pound/Twilight Alehouse   Please send all feedback, questions & comments to ikwilpod@gmail.com On Twitter: The Podcast - @IKWILPod Nick G - @victorylime Nick Z - @NickSCZach

This week, Will and Kie discuss favourite pubs, Anglophilia, and reflect on the great British pastime of darts.

The end of the Elizabethan-era (part II) prompted us to reflect on how British pop culture has dominated GenX's imaginaries, from new wave and the new romantics, to Fawlty Towers and Monty Python, to iconoclasts like Bowie and the Sex Pistols up to and including contemporary favorites the Great British Bake Off and The Crown, to the British royal family itself as pop culture. Plus, it's a very Hulu week for us with Welcome to Wrexham and Reboot. We drop a nuo-lingo for new relationships and two songs from beloved icons from the 80s and now.

Thriller author J.P. Choquette writes atmospheric suspense novels with themes of nature, art, and folklore. She started writing "books" when she was old enough to hold a crayon. These were held together with staples and left some painful scratches.  When she's not working, you'll find her sipping a hot beverage, reading, or in the woods with her family. Today J.P. joined me to talk about the modern gothic thriller, “The Stranger Diaries,” a book that hit every one of my literary sweet spots. We talked Anglophilia, gothic literature, books that are thrilling but not scary, and the joys of letter writing.   Follow the Best Book Ever Podcast on Instagram or on the Best Book Ever Website   Host: Julie Strauss Website/Instagram   Guest: JP Choquette Website/Instagram   Want to be a guest on the Best Book Ever Podcast? Go here!   Discussed in this episode: The Stranger Diaries by Elly Griffiths Agatha Christie Inspector Poirot novels Monsters in the Green Mountains books by J.P. Choquette Every reference to Castle Rock in Stephen King books Crossing Places by Elly Griffiths (Book 1 in the Ruth Galloway Series) The Postscript Murders by Elly Griffiths (featuring DS Harbinder Kaur from The Stranger Diaries) The Yellow Room by Mary Roberts Rinehart (Interesting side note: when I researched Rinehart's books, I came across The Bat, a three act-play of hers that is the original inspiration for Bob Kane's Batman. Reading is AWESOME.) I've Got You Under My Skin by Mary Higgins Clark Let the Dead Rest by J.P. Choquette   (Note: Some of the above links are affiliate links. If you shop using my affiliate link on Bookshop, a portion of your purchase will go to me, at no extra expense to you. Thank you for supporting indie bookstores and for helping to keep the Best Book Ever Podcast in business!)

Episode one hundred and fifty-three of A History of Rock Music in Five Hundred Songs looks at “Heroes and Villains” by the Beach Boys, and the collapse of the Smile album. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a sixteen-minute bonus episode available, on "I Had Too Much to Dream Last Night" by the Electric Prunes. 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. As well as the books I referred to in all the Beach Boys episodes, listed below, I used Domenic Priore's book Smile: The Story of Brian Wilson's Lost Masterpiece and Richard Henderson's 33 1/3 book on Van Dyke Parks' Song Cycle. 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. Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson by Peter Ames Carlin is the best biography of Wilson. 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. 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, including the single version of “Heroes and Villains”. The box set The Smile Sessions  contains an attempt to create a finished album from the unfinished sessions, plus several CDs of outtakes and session material. Transcript [Opening -- "intro to the album" studio chatter into "Our Prayer"] Before I start, I'd just like to note that this episode contains some discussion of mental illness, including historical negative attitudes towards it, so you may want to check the transcript or skip this one if that might be upsetting. In November and December 1966, the filmmaker David Oppenheim and the conductor and composer Leonard Bernstein collaborated on a TV film called "Inside Pop: The Rock Revolution".  The film was an early attempt at some of the kinds of things this podcast is doing, looking at how music and social events interact and evolve, though it was dealing with its present rather than the past. The film tried to cast as wide a net as possible in its fifty-one minutes. It looked at two bands from Manchester -- the Hollies and Herman's Hermits -- and how the people identified as their leaders, "Herman" (or Peter Noone) and Graham Nash, differed on the issue of preventing war: [Excerpt: Inside Pop, the Rock Revolution] And it made a star of East Coast teenage singer-songwriter Janis Ian with her song about interracial relationships, "Society's Child": [Excerpt: Janis Ian, "Society's Child"] And Bernstein spends a significant time, as one would expect, analysing the music of the Beatles and to a lesser extent the Stones, though they don't appear in the show. Bernstein does a lot to legitimise the music just by taking it seriously as a subject for analysis, at a time when most wouldn't: [Excerpt: Leonard Bernstein talking about "She Said She Said"] You can't see it, obviously, but in the clip that's from, as the Beatles recording is playing, Bernstein is conducting along with the music, as he would a symphony orchestra, showing where the beats are falling. But of course, given that this was filmed in the last two months of 1966, the vast majority of the episode is taken up with musicians from the centre of the music world at that time, LA. The film starts with Bernstein interviewing Tandyn Almer,  a jazz-influenced songwriter who had recently written the big hit "Along Comes Mary" for The Association: [Excerpt: Inside Pop: The Rock Revolution] It featured interviews with Roger McGuinn, and with the protestors at the Sunset Strip riots which were happening contemporaneously with the filming: [Excerpt: Inside Pop: The Rock Revolution] Along with Frank Zappa's rather acerbic assessment of the potential of the youth revolutionaries: [Excerpt: Inside Pop: The Rock Revolution] And ended (other than a brief post-commercial performance over the credits by the Hollies) with a performance by Tim Buckley, whose debut album, as we heard in the last episode, had featured Van Dyke Parks and future members of the Mothers of Invention and Buffalo Springfield: [Excerpt: Inside Pop: The Rock Revolution] But for many people the highlight of the film was the performance that came right before Buckley's, film of Brian Wilson playing a new song from the album he was working on. One thing I should note -- many sources say that the voiceover here is Bernstein. My understanding is that Bernstein wrote and narrated the parts of the film he was himself in, and Oppenheim did all the other voiceover writing and narration, but that Oppenheim's voice is similar enough to Bernstein's that people got confused about this: [Excerpt: Inside Pop: The Rock Revolution] That particular piece of footage was filmed in December 1966, but it wasn't broadcast until April the twenty-fifth, 1967, an eternity in mid-sixties popular music. When it was broadcast, that album still hadn't come out. Precisely one week later, the Beach Boys' publicist Derek Taylor announced that it never would: [Excerpt: Brian Wilson, "Surf's Up"] One name who has showed up in a handful of episodes recently, but who we've not talked that much about, is Van Dyke Parks. And in a story with many, many, remarkable figures, Van Dyke Parks may be one of the most remarkable of all. Long before he did anything that impinges on the story of rock music, Parks had lived the kind of life that would be considered unbelievable were it to be told as fiction. Parks came from a family that mixed musical skill, political progressiveness, and achievement. His mother was a scholar of Hebrew, while his father was a neurologist, the first doctor to admit Black patients to a white Southern hospital, and had paid his way through college leading a dance band. Parks' father was also, according to the 33 1/3 book on Song Cycle, a member of "John Philip Sousa's Sixty Silver Trumpets", but literally every reference I can find to Sousa leading a band of that name goes back to that book, so I've no idea what he was actually a member of, but we can presume he was a reasonable musician. Young Van Dyke started playing the clarinet at four, and was also a singer from a very early age, as well as playing several other instruments. He went to the American Boychoir School in Princeton, to study singing, and while there he sang with Toscaninni, Thomas Beecham, and other immensely important conductors of the era. He also had a very special accompanist for one Christmas carolling session. The choir school was based in Princeton, and one of the doors he knocked on while carolling was that of Princeton's most famous resident, Albert Einstein, who heard the young boy singing "Silent Night", and came out with his violin and played along. Young Van Dyke was only interested in music, but he was also paying the bills for his music tuition himself -- he had a job. He was a TV star. From the age of ten, he started getting roles in TV shows -- he played the youngest son in the 1953 sitcom Bonino, about an opera singer, which flopped because it aired opposite the extremely popular Jackie Gleason Show. He would later also appear in that show, as one of several child actors who played the character of Little Tommy Manicotti, and he made a number of other TV appearances, as well as having a small role in Grace Kelly's last film, The Swan, with Alec Guinness and Louis Jourdain. But he never liked acting, and just did it to pay for his education. He gave it up when he moved on to the Carnegie Institute, where he majored in composition and performance. But then in his second year, his big brother Carson asked him to drop out and move to California. Carson Parks had been part of the folk scene in California for a few years at this point. He and a friend had formed a duo called the Steeltown Two, but then both of them had joined the folk group the Easy Riders, a group led by Terry Gilkyson. Before Carson Parks joined, the Easy Riders had had a big hit with their version of "Marianne", a calypso originally by the great calypsonian Roaring Lion: [Excerpt: The Easy Riders, "Marianne"] They hadn't had many other hits, but their songs became hits for other people -- Gilkyson wrote several big hits for Frankie Laine, and the Easy Riders were the backing vocalists on Dean Martin's recording of a song they wrote, "Memories are Made of This": [Excerpt: Dean Martin and the Easy Riders, "Memories are Made of This"] Carson Parks hadn't been in the group at that point -- he only joined after they'd stopped having success -- and eventually the group had split up. He wanted to revive his old duo, the Steeltown Two, and persuaded his family to let his little brother Van Dyke drop out of university and move to California to be the other half of the duo. He wanted Van Dyke to play guitar, while he played banjo. Van Dyke had never actually played guitar before, but as Carson Parks later said "in 90 days, he knew more than most folks know after many years!" Van Dyke moved into an apartment adjoining his brother's, owned by Norm Botnick, who had until recently been the principal viola player in a film studio orchestra, before the film studios all simultaneously dumped their in-house orchestras in the late fifties, so was a more understanding landlord than most when it came to the lifestyles of musicians. Botnick's sons, Doug and Bruce, later went into sound engineering -- we've already encountered Bruce Botnick in the episode on the Doors, and he will be coming up again in the future. The new Steeltown Two didn't make any records, but they developed a bit of a following in the coffeehouses, and they also got a fair bit of session work, mostly through Terry Gilkyson, who was by that point writing songs for Disney and would hire them to play on sessions for his songs. And it was Gilkyson who both brought Van Dyke Parks the worst news of his life to that point, and in doing so also had him make his first major mark on music. Gilkyson was the one who informed Van Dyke that another of his brothers, Benjamin Riley Parks, had died in what was apparently a car accident. I say it was apparently an accident because Benjamin Riley Parks was at the time working for the US State Department, and there is apparently also some evidence that he was assassinated in a Cold War plot. Gilkyson also knew that neither Van Dyke nor Carson Parks had much money, so in order to help them afford black suits and plane tickets to and from the funeral, Gilkyson hired Van Dyke to write the arrangement for a song he had written for an upcoming Disney film: [Excerpt: Jungle Book soundtrack, "The Bare Necessities"] The Steeltown Two continued performing, and soon became known as the Steeltown Three, with the addition of a singer named Pat Peyton. The Steeltown Three recorded two singles, "Rock Mountain", under that group name: [Excerpt: The Steeltown Three, "Rock Mountain"] And a version of "San Francisco Bay" under the name The South Coasters, which I've been unable to track down. Then the three of them, with the help of Terry Gilkyson, formed a larger group in the style of the New Christy Minstrels -- the Greenwood County Singers. Indeed, Carson Parks would later claim that  Gilkyson had had the idea first -- that he'd mentioned that he'd wanted to put together a group like that to Randy Sparks, and Sparks had taken the idea and done it first. The Greenwood County Singers had two minor hot one hundred hits, only one of them while Van Dyke was in the band -- "The New 'Frankie and Johnny' Song", a rewrite by Bob Gibson and Shel Silverstein of the old traditional song "Frankie and Johnny": [Excerpt: The Greenwood County Singers, "The New Frankie and Johnny Song"] They also recorded several albums together, which gave Van Dyke the opportunity to practice his arrangement skills, as on this version of  "Vera Cruz" which he arranged: [Excerpt: The Greenwood County Singers, "Vera Cruz"] Some time before their last album, in 1965, Van Dyke left the Greenwood County Singers, and was replaced by Rick Jarrard, who we'll also be hearing more about in future episodes. After that album, the group split up, but Carson Parks would go on to write two big hits in the next few years. The first and biggest was a song he originally wrote for a side project. His future wife Gaile Foote was also a Greenwood County Singer, and the two of them thought they might become folk's answer to Sonny and Cher or Nino Tempo and April Stevens: [Excerpt: Carson and Gaile, "Somethin' Stupid"] That obviously became a standard after it was covered by Frank and Nancy Sinatra. Carson Parks also wrote "Cab Driver", which in 1968 became the last top thirty hit for the Mills Brothers, the 1930s vocal group we talked about way way back in episode six: [Excerpt: The Mills Brothers, "Cab Driver"] Meanwhile Van Dyke Parks was becoming part of the Sunset Strip rock and roll world. Now, until we get to 1967, Parks has something of a tangled timeline. He worked with almost every band around LA in a short period, often working with multiple people simultaneously, and nobody was very interested in keeping detailed notes. So I'm going to tell this as a linear story, but be aware it's very much not -- things I say in five minutes might happen after, or in the same week as, things I say in half an hour. At some point in either 1965 or 1966 he joined the Mothers of Invention for a brief while. Nobody is entirely sure when this was, and whether it was before or after their first album. Some say it was in late 1965, others in August 1966, and even the kind of fans who put together detailed timelines are none the wiser, because no recordings have so far surfaced of Parks with the band. Either is plausible, and the Mothers went through a variety of keyboard players at this time -- Zappa had turned to his jazz friend Don Preston, but found Preston was too much of a jazzer and told him to come back when he could play "Louie Louie" convincingly, asked Mac Rebennack to be in the band but sacked him pretty much straight away for drug use, and eventually turned to Preston again once Preston had learned to rock and roll. Some time in that period, Van Dyke Parks was a Mother, playing electric harpsichord. He may even have had more than one stint in the group -- Zappa said "Van Dyke Parks played electric harpsichord in and out." It seems likely, though, that it was in summer of 1966, because in an interview published in Teen Beat Magazine in December 66, but presumably conducted a few months prior, Zappa was asked to describe the band members in one word each and replied: "Ray—Mahogany Roy—Asbestos Jim—Mucilage Del—Acetate Van Dyke—Pinocchio Billy—Boom I don't know about the rest of the group—I don't even know about these guys." Sources differ as to why Parks didn't remain in the band -- Parks has said that he quit after a short time because he didn't like being shouted at, while Zappa said "Van Dyke was not a reliable player. He didn't make it to rehearsal on time and things like that." Both may be true of course, though I've not heard anyone else ever criticise Parks for his reliability. But then also Zappa had much more disciplinarian standards than most rock band leaders. It's possibly either through Zappa that he met Tom Wilson, or through Tom Wilson that he met Frank Zappa, but either way Parks, like the Mothers of Invention, was signed to MGM records in 1966, where he released two solo singles co-produced by Wilson and an otherwise obscure figure named Tim Alvorado. The first was "Number Nine", which we heard last week, backed with "Do What You Wanta": [Excerpt: Van Dyke Parks, "Do What You Wanta"] At least one source I've read says that the lyrics to "Do What You Wanta" were written not by Parks but by his friend Danny Hutton, but it's credited as a Parks solo composition on the label. It was after that that the Van Dyke Parks band -- or as they were sometimes billed, just The Van Dyke Parks formed, as we discussed last episode, based around Parks, Steve Stills, and Steve Young, and they performed a handful of shows with bass player Bobby Rae and drummer Walt Sparman, playing a mix of original material, primarily Parks' songs, and covers of things like "Dancing in the Street". The one contemporaneous review of a live show I've seen talks about  the girls in the audience screaming and how "When rhythm guitarist Steve Stillman imitated the Barry McGuire emotional scene, they almost went wiggy". But The Van Dyke Parks soon split up, and Parks the individual recorded his second single, "Come to the Sunshine": [Excerpt: Van Dyke Parks, "Come to the Sunshine"] Around the time he left the Greenwood County Singers, Van Dyke Parks also met Brian Wilson for the first time, when David Crosby took him up to Wilson's house to hear an acetate of the as-yet-unreleased track "Sloop John B". Parks was impressed by Wilson's arrangement techniques, and in particular the way he was orchestrating instrumental combinations that you couldn't do with a standard live room setup, that required overdubbing and close-micing. He said later "The first stuff I heard indicated this kind of curiosity for the recording experience, and when I went up to see him in '65 I don't even think he had the voices on yet, but I heard that long rotational breathing, that long flute ostinato at the beginning... I knew this man was a great musician." [Excerpt: The Beach Boys, "Sloop John B (instrumental)"] In most of 1966, though, Parks was making his living as a session keyboard player and arranger, and much of the work he was getting was through Lenny Waronker. Waronker was a second-generation music industry professional. His father, Si Waronker, had been a violinist in the Twentieth Century Fox studio orchestra before founding Liberty Records (the label which indirectly led to him becoming immortalised in children's entertainment, when Liberty Records star David Seville named his Chipmunk characters after three Liberty executives, with Simon being Si Waronker's full forename). The first release on Liberty Records had been a version of "The Girl Upstairs", an instrumental piece from the Fox film The Seven-Year Itch. The original recording of that track, for the film, had been done by the Twentieth Century Fox Orchestra, written and conducted by Alfred Newman, the musical director for Fox: [Excerpt: Alfred Newman, "The Girl Upstairs"] Liberty's soundalike version was conducted by Newman's brother Lionel, a pianist at the studio who later became Fox's musical director for TV, just as his brother was for film, but who also wrote many film scores himself. Another Newman brother, Emil, was also a film composer, but the fourth brother, Irving, had gone into medicine instead. However, Irving's son Randy wanted to follow in the family business, and he and Lenny Waronker, who was similarly following his own father by working for Liberty Records' publishing subsidiary Metric Music, had been very close friends ever since High School. Waronker got Newman signed to Metric Music, where he wrote "They Tell Me It's Summer" for the Fleetwoods: [Excerpt: The Fleetwoods, "They Tell Me It's Summer"] Newman also wrote and recorded a single of his own in 1962, co-produced by Pat Boone: [Excerpt: Randy Newman, "Golden Gridiron Boy"] Before deciding he wasn't going to make it as a singer and had better just be a professional songwriter. But by 1966 Waronker had moved on from Metric to Warner Brothers, and become a junior A&R man. And he was put in charge of developing the artists that Warners had acquired when they had bought up a small label, Autumn Records. Autumn Records was a San Francisco-based label whose main producer, Sly Stone, had now moved on to other things after producing the hit record "Laugh Laugh" for the Beau Brummels: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Beau Brummels  had had another hit after that and were the main reason that Warners had bought the label, but their star was fading a little. Stone had also been mentoring several other groups, including the Tikis and the Mojo Men, who all had potential. Waronker gathered around himself a sort of brains trust of musicians who he trusted as songwriters, arrangers, and pianists -- Randy Newman, the session pianist Leon Russell, and Van Dyke Parks. Their job was to revitalise the career of the Beau Brummels, and to make both the Tikis and the Mojo Men into successes. The tactic they chose was, in Waronker's words, “Go in with a good song and weird it out.” The first good song they tried weirding out was in late 1966, when Leon Russell came up with a clarinet-led arrangement of Paul Simon's "59th Street Bridge Song (Feeling Groovy)" for the Tikis, who performed it but who thought that their existing fanbase wouldn't accept something so different, so it was put out under another name, suggested by Parks, Harpers Bizarre: [Excerpt: Harpers Bizarre, "Feeling Groovy"] Waronker said of Parks and Newman “They weren't old school guys. They were modern characters but they had old school values regarding certain records that needed to be made, certain artists who needed to be heard regardless. So there was still that going on. The fact that ‘Feeling Groovy' was a number 10 hit nationwide and ‘Sit Down, I Think I Love You'  made the Top 30 on Western regional radio, that gave us credibility within the company. One hit will do wonders, two allows you to take chances.” We heard "Sit Down, I Think I Love You" last episode -- that's the song by Parks' old friend Stephen Stills that Parks arranged for the Mojo Men: [Excerpt: The Mojo Men, "Sit Down, I Think I Love You"] During 1966 Parks also played on Tim Buckley's first album, as we also heard last episode: [Excerpt: Tim Buckley, "Aren't You the Girl?"] And he also bumped into Brian Wilson on occasion, as they were working a lot in the same studios and had mutual friends like Loren Daro and Danny Hutton, and he suggested the cello part on "Good Vibrations". Parks also played keyboards on "5D" by the Byrds: [Excerpt: The Byrds, "5D (Fifth Dimension)"] And on the Spirit of '67 album for Paul Revere and the Raiders, produced by the Byrds' old producer Terry Melcher. Parks played keyboards on much of the album, including the top five hit "Good Thing": [Excerpt: Paul Revere and the Raiders, "Good Thing"] But while all this was going on, Parks was also working on what would become the work for which he was best known. As I've said, he'd met Brian Wilson on a few occasions, but it wasn't until summer 1966 that the two were formally introduced by Terry Melcher, who knew that Wilson needed a new songwriting collaborator, now Tony Asher's sabbatical from his advertising job was coming to an end, and that Wilson wanted someone who could do work that was a bit more abstract than the emotional material that he had been writing with Asher. Melcher invited both of them to a party at his house on Cielo Drive -- a house which would a few years later become notorious -- which was also attended by many of the young Hollywood set of the time. Nobody can remember exactly who was at the party, but Parks thinks it was people like Jack Nicholson and Peter and Jane Fonda. Parks and Wilson hit it off, with Wilson saying later "He seemed like a really articulate guy, like he could write some good lyrics". Parks on the other hand was delighted to find that Wilson "liked Les Paul, Spike Jones, all of these sounds that I liked, and he was doing it in a proactive way." Brian suggested Parks write the finished lyrics for "Good Vibrations", which was still being recorded at this time, and still only had Tony Asher's dummy lyrics,  but Parks was uninterested. He said that it would be best if he and Brian collaborate together on something new from scratch, and Brian agreed. The first time Parks came to visit Brian at Brian's home, other than the visit accompanying Crosby the year before, he was riding a motorbike -- he couldn't afford a car -- and forgot to bring his driver's license with him. He was stopped by a police officer who thought he looked too poor to be in the area, but Parks persuaded the police officer that if he came to the door, Brian Wilson would vouch for him. Brian got Van Dyke out of any trouble because the cop's sister was a Beach Boys fan, so he autographed an album for her. Brian and Van Dyke talked for a while. Brian asked if Van Dyke needed anything to help his work go smoothly, and Van Dyke said he needed a car. Brian asked what kind. Van Dyke said that Volvos were supposed to be pretty safe. Brian asked how much they cost. Van Dyke said he thought they were about five thousand dollars. Brian called up his office and told them to get a cheque delivered to Van Dyke for five thousand dollars the next day, instantly earning Van Dyke's loyalty. After that, they got on with work. To start with, Brian played Van Dyke a melody he'd been working on, a melody based on a descending scale starting on the fourth: [Plays "Heroes and Villains" melody] Parks told Wilson that the melody reminded him vaguely of Marty Robbins' country hit "El Paso" from 1959, a song about a gunfighter, a cantina, and a dancing woman: [Excerpt: Marty Robbins, "El Paso"] Wilson said that he had been thinking along the same lines, a sort of old west story, and thought maybe it should be called "Heroes and Villains". Parks started writing, matching syllables to Wilson's pre-conceived melody -- "I've been in this town so long that back in the city I've been taken for lost and gone and unknown for a long, long time" [Excerpt: Brian Wilson and Van Dyke Parks, "Heroes and Villains demo"] As Parks put it "The engine had started. It was very much ad hoc. Seat of the pants. Extemporaneous values were enforced. Not too much precommitment to ideas. Or, if so, equally pursuing propinquity." Slowly, over the next several months, while the five other Beach Boys were touring, Brian and Van Dyke refined their ideas about what the album they were writing, initially called Dumb Angel but soon retitled Smile, should be. For Van Dyke Parks it was an attempt to make music about America and American mythology. He was disgusted, as a patriot, with the Anglophilia that had swept the music industry since the arrival of the Beatles in America two and a half years earlier, particularly since that had happened so soon after the deaths both of President Kennedy and of Parks' own brother who was working for the government at the time he died. So for him, the album was about America, about Plymouth Rock, the Old West, California, and Hawaii. It would be a generally positive version of the country's myth, though it would of course also acknowledge the bloodshed on which the country had been built: [Excerpt: The Beach Boys, "Bicycle Rider" section] As he put it later "I was dead set on centering my life on the patriotic ideal. I was a son of the American revolution, and there was blood on the tracks. Recent blood, and it was still drying. The whole record seemed like a real effort toward figuring out what Manifest Destiny was all about. We'd come as far as we could, as far as Horace Greeley told us to go. And so we looked back and tried to make sense of that great odyssey." Brian had some other ideas -- he had been studying the I Ching, and Subud, and he wanted to do something about the four classical elements, and something religious -- his ideas were generally rather unfocused at the time, and he had far more ideas than he knew what to usefully do with. But he was also happy with the idea of a piece about America, which fit in with his own interest in "Rhapsody in Blue", a piece that was about America in much the same way. "Rhapsody in Blue" was an inspiration for Brian primarily in how it weaved together variations on themes. And there are two themes that between them Brian was finding endless variations on. The first theme was a shuffling between two chords a fourth away from each other. [demonstrates G to C on guitar] Where these chords are both major, that's the sequence for "Fire": [Excerpt: The Beach Boys, "Mrs. O'Leary's Cow/Fire"] For the "Who ran the Iron Horse?" section of "Cabin Essence": [Excerpt: The Beach Boys, "Cabinessence"] For "Vegetables": [Excerpt: The Beach Boys, "Vegetables"] And more. Sometimes this would be the minor supertonic and dominant seventh of the key, so in C that would be Dm to G7: [Plays Dm to G7 fingerpicked] That's the "bicycle rider" chorus we heard earlier, which was part of a song known as "Roll Plymouth Rock" or "Do You Like Worms": [Excerpt: The Beach Boys, "Bicycle Rider"] But which later became a chorus for "Heroes and Villains": [Excerpt: The Beach Boys, "Heroes and Villains"] But that same sequence is also the beginning of "Wind Chimes": [Excerpt: The Beach Boys, "Wind Chimes"] The "wahalla loo lay" section of "Roll Plymouth Rock": [Excerpt: The Beach Boys, "Roll Plymouth Rock"] And others, but most interestingly, the minor-key rearrangement of "You Are My Sunshine" as "You Were My Sunshine": [Excerpt: The Beach Boys, "You Were My Sunshine"] I say that's most interesting, because that provides a link to another of the major themes which Brian was wringing every drop out of, a phrase known as "How Dry I Am", because of its use under those words in an Irving Berlin song, which was a popular barbershop quartet song but is now best known as a signifier of drunkenness in Looney Tunes cartoons: [Excerpt: Daffy Duck singing "How Dry I Am" https://www.youtube.com/watch?v=Ap4MMn7LpzA ] The phrase is a common one in early twentieth century music, especially folk and country, as it's made up of notes in the pentatonic scale -- it's the fifth, first, second, and third of the scale, in that order: [demonstrates "How Dry I Am"] And so it's in the melody to "This Land is Your Land", for example, a song which is very much in the same spirit of progressive Americana in which Van Dyke Parks was thinking: [Excerpt: Woody Guthrie, "This Land is Your Land"] It's also the start of the original melody of "You Are My Sunshine": [Excerpt: Jimmie Davis, "You Are My Sunshine" https://www.youtube.com/watch?v=yYvgNEU4Am8] Brian rearranged that melody when he stuck it into a minor key, so it's no longer "How Dry I Am" in the Beach Boys version, but if you play the "How Dry I Am" notes in a different rhythm, you get this: [Plays "He Gives Speeches" melody] Which is the start of the melody to "He Gives Speeches": [Excerpt: The Beach Boys, "He Gives Speeches"] Play those notes backwards, you get: [Plays "He Gives Speeches" melody backwards] Do that and add onto the end a passing sixth and then the tonic, and then you get: [Plays that] Which is the vocal *countermelody* in "He Gives Speeches": [Excerpt: The Beach Boys, "He Gives Speeches"] And also turns up in some versions of "Heroes and Villains": [Excerpt: The Beach Boys, "Heroes and Villains (alternate version)"] And so on. Smile was an intricate web of themes and variations, and it incorporated motifs from many sources, both the great American songbook and the R&B of Brian's youth spent listening to Johnny Otis' radio show. There were bits of "Gee" by the Crows, of "Twelfth Street Rag", and of course, given that this was Brian Wilson, bits of Phil Spector. The backing track to the verse of "Heroes and Villains": [Excerpt: The Beach Boys, "Heroes and Villains"] Owed more than a little to a version of "Save the Last Dance For Me" that Spector had produced for Ike and Tina Turner: [Excerpt: Ike and Tina Turner, "Save the Last Dance For Me"] While one version of the song “Wonderful” contained a rather out-of-place homage to Etta James and “The Wallflower”: [Excerpt: “Wonderful (Rock With Me Henry)”] As the recording continued, it became more and more obvious that the combination of these themes and variations was becoming a little too much for Brian.  Many of the songs he was working on were made up of individual modules that he was planning to splice together the way he had with "Good Vibrations", and some modules were getting moved between tracks, as he tried to structure the songs in the edit. He'd managed it with "Good Vibrations", but this was an entire album, not just a single, and it was becoming more and more difficult. David Anderle, who was heading up the record label the group were looking at starting, would talk about Brian playing him acetates with sections edited together one way, and thinking it was perfect, and obviously the correct way to put them together, the only possible way, and then hearing the same sections edited together in a different way, and thinking *that* was perfect, and obviously the correct way to put them together. But while a lot of the album was modular, there were also several complete songs with beginnings, middles, ends, and structures, even if they were in several movements. And those songs showed that if Brian could just get the other stuff right, the album could be very, very, special. There was "Heroes and Villains" itself, of course, which kept changing its structure but was still based around the same basic melody and story that Brian and Van Dyke had come up with on their first day working together. There was also "Wonderful", a beautiful, allusive, song about innocence lost and regained: [Excerpt: The Beach Boys, "Wonderful"] And there was CabinEssence, a song which referenced yet another classic song, this time "Home on the Range", to tell a story of idyllic rural life and of the industrialisation which came with westward expansion: [Excerpt: The Beach Boys, "CabinEssence"] The arrangement for that song inspired Van Dyke Parks to make a very astute assessment of Brian Wilson. He said later "He knew that he had to adhere to the counter-culture, and I knew that I had to. I think that he was about as estranged from it as I was.... At the same time, he didn't want to lose that kind of gauche sensibility that he had. He was doing stuff that nobody would dream of doing. You would never, for example, use one string on a banjo when you had five; it just wasn't done. But when I asked him to bring a banjo in, that's what he did. This old-style plectrum thing. One string. That's gauche." Both Parks and Wilson were both drawn to and alienated from the counterculture, but in very different ways, and their different ways of relating to the counterculture created the creative tension that makes the Smile project so interesting. Parks is fundamentally a New Deal Liberal, and was excited by the progresssive nature of the counterculture, but also rather worried about its tendency to throw the baby out with the bathwater, and to ignore the old in pursuit of the new. He was an erudite, cultured, sophisticated man who thought that there was value to be found in the works and attitudes of the past, even as one must look to the future. He was influenced by the beat poets and the avant garde art of the time, but also said of his folk music period "A harpist would bring his harp with him and he would play and recite a story which had been passed down the generations. This particular legacy continued through Arthurian legend, and then through the Middle Ages, and even into the nineteenth century. With all these songs, half of the story was the lyrics, and the folk songs were very interesting. They were tremendously thought-driven songs; there was nothing confusing about that. Even when the Kingston Trio came out -- and Brian has already admitted his debt to the Kingston Trio -- 'Tom Dooley', the story of a murder most foul 'MTA' an urban nightmare -- all of this thought-driven music was perfectly acceptable.  It was more than a teenage romantic crisis." Brian Wilson, on the other hand, was anything *but* sophisticated. He is a simple man in the best sense of the term -- he likes what he likes, doesn't like what he doesn't like, and has no pretensions whatsoever about it. He is, at heart, a middle-class middle-American brought up in suburbia, with a taste for steaks and hamburgers, broad physical comedy, baseball, and easy listening music. Where Van Dyke Parks was talking about "thought-driven music", Wilson's music, while thoughtful, has always been driven by feelings first and foremost. Where Parks is influenced by Romantic composers like Gottschalk but is fundamentally a craftsman, a traditionalist, a mason adding his work to a cathedral whose construction started before his birth and will continue after his death, Wilson's music has none of the stylistic hallmarks of Romantic music, but in its inspiration it is absolutely Romantic -- it is the immediate emotional expression of the individual, completely unfiltered. When writing his own lyrics in later years Wilson would come up with everything from almost haiku-like lyrics like "I'm a leaf on a windy day/pretty soon I'll be blown away/How long with the wind blow?/Until I die" to "He sits behind his microphone/Johnny Carson/He speaks in such a manly tone/Johnny Carson", depending on whether at the time his prime concern was existential meaninglessness or what was on the TV. Wilson found the new counterculture exciting, but was also very aware he didn't fit in. He was developing a new group of friends, the hippest of the hip in LA counterculture circles -- the singer Danny Hutton, Mark Volman of the Turtles, the writers Michael Vosse and Jules Siegel, scenester and record executive David Anderle -- but there was always the underlying implication that at least some of these people regarded him as, to use an ableist term but one which they would probably have used, an idiot savant. That they thought of him, as his former collaborator Tony Asher would later uncharitably put it, as "a genius musician but an amateur human being". So for example when Siegel brought the great postmodern novelist Thomas Pynchon to visit Brian, both men largely sat in silence, unable to speak to each other; Pynchon because he tended to be a reactive person in conversation and would wait for the other person to initiate topics of discussion, Brian because he was so intimidated by Pynchon's reputation as a great East Coast intellectual that he was largely silent for fear of making a fool of himself. It was this gaucheness, as Parks eventually put it, and Parks' understanding that this was actually a quality to be cherished and the key to Wilson's art, that eventually gave the title to the most ambitious of the complete songs the duo were working on. They had most of the song -- a song about the power of music, the concept of enlightenment, and the rise and fall of civilisations: [Excerpt: The Beach Boys, "Surf's Up"] But Parks hadn't yet quite finished the lyric. The Beach Boys had been off on tour for much of Brian and Van Dyke's collaboration, and had just got back from their first real tour of the UK, where Pet Sounds had been a smash hit, rather than the middling success it had been in the US, and "Good Vibrations" had just become their first number one single. Brian and Van Dyke played the song for Brian's brother Dennis, the Beach Boys' drummer, and the band member most in tune with Brian's musical ambitions at this time. Dennis started crying, and started talking about how the British audiences had loved their music, but had laughed at their on-stage striped-shirt uniforms. Parks couldn't tell if he was crying because of the beauty of the unfinished song, the humiliation he had suffered in Britain, or both. Dennis then asked what the name of the song was, and as Parks later put it "Although it was the most gauche factor, and although maybe Brian thought it was the most dispensable thing, I thought it was very important to continue to use the name and keep the elephant in the room -- to keep the surfing image but to sensitise it to new opportunities. One of these would be an eco-consciousness; it would be speaking about the greening of the Earth, aboriginal people, how we had treated the Indians, taking on those things and putting them into the thoughts that come with the music. That was a solution to the relevance of the group, and I wanted the group to be relevant." Van Dyke had decided on a title: "Surf's Up": [Excerpt: The Beach Boys, "Surf's Up"] As the group were now back from their tour, the focus for recording shifted from the instrumental sessions to vocal ones. Parks had often attended the instrumental sessions, as he was an accomplished musician and arranger himself, and would play on the sessions, but also wanted to learn from what Brian was doing -- he's stated later that some of his use of tuned percussion in the decades since, for example, has come from watching Brian's work. But while he was also a good singer, he was not a singer in the same style as the Beach Boys, and they certainly didn't need his presence at those sessions, so he continued to work on his lyrics, and to do his arrangement and session work for other artists, while they worked in the studio. He was also, though, starting to distance himself from Brian for other reasons. At the start of the summer, Brian's eccentricity and whimsy had seemed harmless -- indeed, the kind of thing he was doing, such as putting his piano in a sandbox so he could feel the sand with his feet while he wrote, seems very much on a par with Maureen Cleave's descriptions of John Lennon in the same period. They were two newly-rich, easily bored, young men with low attention spans and high intelligence who could become deeply depressed when understimulated and so would get new ideas into their heads, spend money on their new fads, and then quickly discard them. But as the summer wore on into autumn and winter, Brian's behaviour became more bizarre, and to Parks' eyes more distasteful. We now know that Brian was suffering a period of increasing mental ill-health, something that was probably not helped by the copious intake of cannabis and amphetamines he was using to spur his creativity, but at the time most people around him didn't realise this, and general knowledge of mental illness was even less than it is today. Brian was starting to do things like insist on holding business meetings in his swimming pool, partly because people wouldn't be able to spy on him, and partly because he thought people would be more honest if they were in the water. There were also events like the recording session where Wilson paid for several session musicians, not to play their instruments, but to be recorded while they sat in a pitch-black room and played the party game Lifeboat with Jules Siegel and several of Wilson's friends, most of whom were stoned and not really understanding what they were doing, while they got angrier and more frustrated. Alan Jardine -- who unlike the Wilson brothers, and even Mike Love to an extent, never indulged in illegal drugs -- has talked about not understanding why, in some vocal sessions, Brian would make the group crawl on their hands and knees while making noises like animals: [Excerpt: The Beach Boys, "Heroes and Villains Part 3 (Animals)"] As Parks delicately put it "I sensed all that was destructive, so I withdrew from those related social encounters." What this meant though was that he was unaware that not all the Beach Boys took the same attitude of complete support for the work he and Brian had been doing that Dennis Wilson -- the only other group member he'd met at this point -- took. In particular, Mike Love was not a fan of Parks' lyrics. As he said later "I called it acid alliteration. The [lyrics are] far out. But do they relate like 'Surfin' USA,' like 'Fun Fun Fun,' like 'California Girls,' like 'I Get Around'? Perhaps not! So that's the distinction. See, I'm into success. These words equal successful hit records; those words don't" Now, Love has taken a lot of heat for this over the years, and on an artistic level that's completely understandable. Parks' lyrics were, to my mind at least, the best the Beach Boys ever had -- thoughtful, intelligent, moving, at times profound, often funny, often beautiful. But, while I profoundly disagree with Love, I have a certain amount of sympathy for his position. From Love's perspective, first and foremost, this is his source of income. He was the only one of the Beach Boys to ever have had a day job -- he'd worked at his father's sheet metal company -- and didn't particularly relish the idea of going back to manual labour if the rock star gig dried up. It wasn't that he was *opposed* to art, of course -- he'd written the lyrics to "Good Vibrations", possibly the most arty rock single released to that point, hadn't he? -- but that had been *commercial* art. It had sold. Was this stuff going to sell? Was he still going to be able to feed his wife and kids? Also, up until a few months earlier he had been Brian's principal songwriting collaborator. He was *still* the most commercially successful collaborator Brian had had. From his perspective, this was a partnership, and it was being turned into a dictatorship without him having been consulted. Before, it had been "Mike, can you write some lyrics for this song about cars?", now it was "Mike, you're going to sing these lyrics about a crow uncovering a cornfield". And not only that, but Mike had not met Brian's new collaborator, but knew he was hanging round with Brian's new druggie friends. And Brian was behaving increasingly weirdly, which Mike put down to the influence of the drugs and these new friends. It can't have helped that at the same time the group's publicist, Derek Taylor, was heavily pushing the line "Brian Wilson is a genius". This was causing Brian some distress -- he didn't think of himself as a genius, and he saw the label as a burden, something it was impossible to live up to -- but was also causing friction in the group, as it seemed that their contributions were being dismissed. Again, I don't agree with Mike's position on any of this, but it is understandable. It's also the case that Mike Love is, by nature, a very assertive and gregarious person, while Brian Wilson, for all that he took control in the studio, is incredibly conflict-avoidant and sensitive. From what I know of the two men's personalities, and from things they've said, and from the session recordings that have leaked over the years, it seems entirely likely that Love will have seen himself as having reasonable criticisms, and putting them to Brian clearly with a bit of teasing to take the sting out of them; while Brian will have seen Love as mercilessly attacking and ridiculing the work that meant so much to him in a cruel and hurtful manner, and that neither will have understood at the time that that was how the other was seeing things. Love's criticisms intensified. Not of everything -- he's several times expressed admiration for "Heroes and Villains" and "Wonderful" -- but in general he was not a fan of Parks' lyrics. And his criticisms seemed to start to affect Brian. It's difficult to say what Brian thinks about Parks' lyrics, because he has a habit in interviews of saying what he thinks the interviewer wants to hear, and the whole subject of Smile became a touchy one for him for a long time, so in some interviews he has talked about how dazzlingly brilliant they are, while at other times he's seemed to agree with Love, saying they were "Van Dyke Parks lyrics", not "Beach Boys lyrics". He may well sincerely think both at the same time, or have thought both at different times. This came to a head with a session for the tag of "Cabinessence": [Excerpt: The Beach Boys, "Cabinessence"] Love insisted on having the line "over and over the crow flies uncover the cornfield" explained to him, and Brian eventually decided to call Van Dyke Parks and have him come to the studio. Up to this point, Parks had no idea that there was anything controversial, so when Brian phoned him up and very casually said that Mike had a few questions about the lyrics, could he come down to the studio? He went without a second thought. He later said "The only person I had had any interchange with before that was Dennis, who had responded very favorably to 'Heroes and Villains' and 'Surf's Up'. Based on that, I gathered that the work would be approved. But then, with no warning whatsoever, I got that phone call from Brian. And that's when the whole house of cards came tumbling down." Parks got to the studio, where he was confronted by an angry Mike Love, insisting he explain the lyrics. Now, as will be, I hope, clear from everything I've said, Parks and Love are very, very, *very* different people. Having met both men -- albeit only in formal fan-meeting situations where they're presenting their public face -- I actually find both men very likeable, but in very different ways. Love is gregarious, a charmer, the kind of man who would make a good salesman and who people use terms like "alpha male" about. He's tall, and has a casual confidence that can easily read as arrogance, and a straightforward sense of humour that can sometimes veer into the cruel. Parks, on the other hand, is small, meticulously well-mannered and well-spoken, has a high, precise, speaking voice which probably reads as effeminate to the kind of people who use terms like "alpha male", and the kind of devastating intelligence and Southern US attention to propriety which means that if he *wanted* to say something cruel about someone, the victim would believe themselves to have been complimented until a horrific realisation two days after the event. In every way, from their politics to their attitudes to art versus commerce to their mannerisms to their appearance, Mike Love and Van Dyke Parks are utterly different people, and were never going to mix well. And Brian Wilson, who was supposed to be the collaborator for both of them, was not mediating between them, not even expressing an opinion -- his own mental problems had reached the stage where he simply couldn't deal with the conflict. Parks felt ambushed and hurt, Love felt angry, especially when Parks could not explain the literal meaning of his lyrics. Eventually Parks just said "I have no excuse, sir", and left. Parks later said "That's when I lost interest. Because basically I was taught not to be where I wasn't wanted, and I could feel I wasn't wanted. It was like I had someone else's job, which was abhorrent to me, because I don't even want my own job. It was sad, so I decided to get away quick." Parks continued collaborating with Wilson, and continued attending instrumental sessions, but it was all wheelspinning -- no significant progress was made on any songs after that point, in early December. It was becoming clear that the album wasn't going to be ready for its planned Christmas release, and it was pushed back to January, but Brian's mental health was becoming worse and worse. One example that's often cited as giving an insight into Brian's mental state at the time is his reaction to going to the cinema to see John Frankenheimer's classic science fiction horror film Seconds. Brian came in late, and the way the story is always told, when he was sat down the screen was black and a voice said from the darkness, "Hello Mr. Wilson". That moment does not seem to correspond with anything in the actual film, but he probably came in around the twenty-four minute mark, where the main character walks down a corridor, filmed in a distorted, hallucinatory manner, to be greeted: [Excerpt: Seconds, 24:00] But as Brian watched the film, primed by this, he became distressed by a number of apparent similarities to his life. The main character was going through death and rebirth, just as he felt he was. Right after the moment I just excerpted, Mr. Wilson is shown a film, and of course Brian was himself watching a film. The character goes to the beach in California, just like Brian. The character has a breakdown on a plane, just like Brian, and has to take pills to cope, and the breakdown happens right after this: [Excerpt: Seconds, from about 44:22] A studio in California? Just like where Brian spent his working days? That kind of weird coincidence can be affecting enough in a work of art when one is relatively mentally stable, but Brian was not at all stable. By this point he was profoundly paranoid -- and he may have had good reason to be. Some of Brian's friends from this time period have insisted that Brian's semi-estranged abusive father and former manager, Murry, was having private detectives watch him and his brothers to find evidence that they were using drugs. If you're in the early stages of a severe mental illness *and* you're self-medicating with illegal drugs, *and* people are actually spying on you, then that kind of coincidence becomes a lot more distressing. Brian became convinced that the film was the work of mind gangsters, probably in the pay of Phil Spector, who were trying to drive him mad and were using telepathy to spy on him. He started to bar people who had until recently been his friends from coming to sessions -- he decided that Jules Siegel's girlfriend was a witch and so Siegel was no longer welcome -- and what had been a creative process in the studio degenerated into noodling and second-guessing himself. He also, with January having come and the album still not delivered, started doing side projects,  some of which, like his production of tracks for photographer Jasper Daily, seem evidence either of his bizarre sense of humour, or of his detachment from reality, or both: [Excerpt: Jasper Daily, "Teeter Totter Love"] As 1967 drew on, things got worse and worse. Brian was by this point concentrating on just one or two tracks, but endlessly reworking elements of them. He became convinced that the track "Fire" had caused some actual fires to break out in LA, and needed to be scrapped. The January deadline came and went with no sign of the album. To add to that, the group discovered that they were owed vast amounts of unpaid royalties by Capitol records, and legal action started which meant that even were the record to be finished it might become a pawn in the legal wrangling. Parks eventually became exasperated by Brian -- he said later "I was victimised by Brian Wilson's buffoonery" -- and he quit the project altogether in February after a row with Brian. He returned a couple of weeks later out of a sense of loyalty, but quit again in April. By April, he'd been working enough with Lenny Waronker that Waronker offered him a contract with Warner Brothers as a solo artist -- partly because Warners wanted some insight into Brian Wilson's techniques as a hit-making producer. To start with, Parks released a single, to dip a toe in the water, under the pseudonym "George Washington Brown". It was a largely-instrumental cover version of Donovan's song "Colours", which Parks chose because after seeing the film Don't Look Back, a documentary of Bob Dylan's 1965 British tour, he felt saddened at the way Dylan had treated Donovan: [Excerpt: George Washington Brown, "Donovan's Colours"] That was not a hit, but it got enough positive coverage, including an ecstatic review from Richard Goldstein in the Village Voice, that Parks was given carte blanche to create the album he wanted to create, with one of the largest budgets of any album released to that date. The result was a masterpiece, and very similar to the vision of Smile that Parks had had -- an album of clever, thoroughly American music which had more to do with Charles Ives than the British Invasion: [Excerpt: Van Dyke Parks, "The All Golden"] But Parks realised the album, titled Song Cycle, was doomed to failure when at a playback session, the head of Warner Brothers records said "Song Cycle? So where are the songs?" According to Parks, the album was only released because Jac Holzman of Elektra Records was also there, and took out his chequebook and said he'd release the album if Warners wouldn't, but it had little push, apart from some rather experimental magazine adverts which were, if anything, counterproductive. But Waronker recognised Parks' talent, and had even written into Parks' contract that Parks would be employed as a session player at scale on every session Waronker produced -- something that didn't actually happen, because Parks didn't insist on it, but which did mean Parks had a certain amount of job security. Over the next couple of years Parks and Waronker co-produced the first albums by two of their colleagues from Waronker's brains trust, with Parks arranging -- Randy Newman: [Excerpt: Randy Newman, "I Think It's Going to Rain Today"] And Ry Cooder: [Excerpt: Ry Cooder, "One Meat Ball"] Waronker would refer to himself, Parks, Cooder, and Newman as "the arts and crafts division" of Warners, and while these initial records weren't very successful, all of them would go on to bigger things. Parks would be a pioneer of music video, heading up Warners' music video department in the early seventies, and would also have a staggeringly varied career over the years, doing everything from teaming up again with the Beach Boys to play accordion on "Kokomo" to doing the string arrangements on Joanna Newsom's album Ys, collaborating with everyone from U2 to Skrillex,  discovering Rufus Wainwright, and even acting again, appearing in Twin Peaks. He also continued to make massively inventive solo albums, releasing roughly one every decade, each unique and yet all bearing the hallmarks of his idiosyncratic style. As you can imagine, he is very likely to come up again in future episodes, though we're leaving him for now. Meanwhile, the Beach Boys were floundering, and still had no album -- and now Parks was no longer working with Brian, the whole idea of Smile was scrapped. The priority was now to get a single done, and so work started on a new, finished, version of "Heroes and Villains", structured in a fairly conventional manner using elements of the Smile recordings. The group were suffering from numerous interlocking problems at this point, and everyone was stressed -- they were suing their record label, Dennis' wife had filed for divorce, Brian was having mental health problems, and Carl had been arrested for draft dodging -- though he was later able to mount a successful defence that he was a conscientious objector. Also, at some point around this time, Bruce Johnston seems to have temporarily quit the group, though this was never announced -- he doesn't seem to have been at any sessions from late May or early June through mid-September, and didn't attend the two shows they performed in that time. They were meant to have performed three shows, but even though Brian was on the board of the Monterey Pop Festival, they pulled out at the last minute, saying that they needed to deal with getting the new single finished and with Carl's draft problems. Some or all of these other issues almost certainly fed into that, but the end result was that the Beach Boys were seen to have admitted defeat, to have handed the crown of relevance off to the San Francisco groups. And even if Smile had been released, there were other releases stealing its thunder. If it had come out in December it would have been massively ahead of its time, but after the Beatles released Sgt Pepper it would have seemed like it was a cheap copy -- though Parks has always said he believes the Beatles heard some of the Smile tapes and copied elements of the recordings, though I don't hear much similarity myself. But I do hear a strong similarity in "My World Fell Down" by Sagittarius, which came out in June, and which was largely made by erstwhile collaborators of Brian -- Gary Usher produced, Glen Campbell sang lead, and Bruce Johnston sang backing vocals: [Excerpt: Sagittarius, "My World Fell Down"] Brian was very concerned after hearing that that someone *had* heard the Smile tapes, and one can understand why. When "Heroes and Villains" finally came out, it was a great single, but only made number twelve in the charts. It was fantastic, but out of step with the times, and nothing could have lived up to the hype that had built up around it: [Excerpt: The Beach Boys, "Heroes and Villains"] Instead of Smile, the group released an album called Smiley Smile, recorded in a couple of months in Brian's home studio, with no studio musicians and no involvement from Bruce, other than the previously released singles, and with the production credited to "the Beach Boys" rather than Brian. Smiley Smile has been unfairly dismissed over the years, but it's actually an album that was ahead of its time. It's a collection of stripped down versions of Smile songs and new fragments using some of the same motifs, recorded with minimal instrumentation. Some of it is on a par with the Smile material it's based on: [Excerpt: The Beach Boys, "Wonderful"] Some is, to my ears, far more beautiful than the Smile versions: [Excerpt: The Beach Boys, "Wind Chimes"] And some has a fun goofiness which relates back to one of Brian's discarded ideas for Smile, that it be a humour album: [Excerpt: The Beach Boys, "She's Going Bald"] The album was a commercial flop, by far the least successful thing the group had released to that point in the US, not even making the top forty when it came out in September, though it made the top ten in the UK, but interestingly it *wasn't* a critical flop, at least at first. While the scrapping of Smile had been mentioned, it still wasn't widely known, and so for example Richard Goldstein, the journalist whose glowing review of "Donovan's Colours" in the Village Voice had secured Van Dyke Parks the opportunity to make Song Cycle, gave it a review in the New York Times which is written as if Goldstein at least believes it *is* the album that had been promised all along, and he speaks of it very perceptively -- and here I'm going to quote quite extensively, because the narrative about this album has always been that it was panned from the start and made the group a laughing stock: "Smiley Smile hardly reads like a rock cantata. But there are moments in songs such as 'With Me Tonight' and 'Wonderful' that soar like sacred music. Even the songs that seem irrelevant to a rock-hymn are infused with stained-glass melodies. Wilson is a sound sculptor and his songs are all harmonious litanies to the gentle holiness of love — post-Christian, perhaps but still believing. 'Wind Chimes', the most important piece on the album, is a fine example of Brian Wilson's organic pop structure. It contains three movements. First, Wilson sets a lyric and melodic mood ("In the late afternoon, you're hung up on wind chimes"). Then he introduces a totally different scene, utilizing passages of pure, wordless harmony. His two-and-a-half minute hymn ends with a third movement in which the voices join together in an exquisite round, singing the words, "Whisperin' winds set my wind chimes a-tinklin'." The voices fade out slowly, like the bittersweet afternoon in question. The technique of montage is an important aspect of Wilson's rock cantata, since the entire album tends to flow as a single composition. Songs like 'Heroes and Villains', are fragmented by speeding up or slowing down their verses and refrains. The effect is like viewing the song through a spinning prism. Sometimes, as in 'Fall Breaks and Back to Winter' (subtitled "W. Woodpecker Symphony"), the music is tiered into contrapuntal variations on a sliver of melody. The listener is thrown into a vast musical machine of countless working gears, each spinning in its own orbit." That's a discussion of the album that I hear when I listen to Smiley Smile, and the group seem to have been artistically happy with it, at least at first. They travelled to Hawaii to record a live album (with Brian, as Bruce was still out of the picture), taking the Baldwin organ that Brian used all over Smiley Smile with them, and performed rearranged versions of their old hits in the Smiley Smile style. When the recordings proved unusable, they recreated them in the studio, with Bruce returning to the group, where he would remain, with the intention of overdubbing audience noise and releasing a faked live album: [Excerpt: The Beach Boys, "California Girls [Lei'd studio version]"] The idea of the live album, to be called Lei'd in Hawaii, was scrapped, but that's not the kind of radical reimagining of your sound that you do if you think you've made an artistic failure. Indeed, the group's next albu

My guest in this episode is David Wilner who was born in Dover, New Hampshire in 1963 on the day Dion was recording ‘Drip Drop'! His formative years were spent between New Hampshire and Washington State, but he has subsequently lived In Ohio, Tucson, Boston, and Minneapolis as well as spending four years in the UK, indulging his Anglophilia, in the Noughties. He now resides in Prague and is adamant that he won't be moving again. I have always believed that travel and living away from home gives you more of a world view and that comes across strongly in David's song choices and his reasons for making them. He also has a host of great stories including: ·        Elvis Costello providing a musical epiphany on Saturday Night Live on 17/12/77·        Breaking into the back door of a gig to see The Ramones ·        Having Jonathan Richman sing to him on the sidewalk before a show ·        His love of The Jam and a pilgrimage to Bracklesham Bay ·        Seeing Nirvana Live on the day ‘Nevermind' was released In David's own words ‘he may have spent his career in finance, but his inner punk was never far away ‘

In this episode we welcome the excellent Devon Powers — beamed in from Philadelphia — and ask her to talk about The Village Voice, Red Hot Chili Peppers, the White Stripes… and music journalism since the turn of the century.Devon begins by talking about the music she loved when growing up in her native Michigan — and her first awareness of "rock critics". We hear about her move to New York City in 1999, her early pieces for the PopMatters site, and the Anglophilia that led to umpteen pieces about the likes of Clinic, Starsailor, Badly Drawn Boy and, yes, even Ocean Colour Scene. Citing a great 2003 piece she wrote about Red Hot Chili Peppers, who released a new album the week of this recording, we ask Devon what those punk-funk Californicators meant to her in the '90s and noughties.After a brief discussion of Devon's 2004 thinkpiece 'Is Music Journalism Dead?', we turn our attention to Writing the Record: The Village Voice and the Birth of Rock Criticism, the 2013 book which came out of her doctoral dissertation at NYU. She talks about the vital New York weekly paper, and the "rock critics" who were such a key part of its arts coverage — particularly Richard Goldstein, several of whose '60s Voice pieces we have on RBP. We then pay tribute to another Voice contributor, John Swenson, lost to us a few days before this recording, as well as to Foo Fighter Taylor Hawkins and Mighty Diamonds frontman "Tabby" Shaw.Two clips from Ira Robbins' 2001 audio interview with the White Stripes prompt a general chinwag about Jack, Meg, blues etc., after which Mark zips through the most notable of the interviews & reviews he's just added to the RBP library, including pieces about the Kingston Trio, Paul Revere & the Raiders, Canned Heat and Teddy Pendergrass. Barney then rounds things off by flagging up pieces on Marc Bolan, the Prodigy, Tony Hatch, Jack Good and the Descendents.Many thanks to special guest Devon Powers; visit her website at devonpowers.com and find Writing the Record in all good bookshops.The Rock's Backpages podcast is proud to be part of the Pantheon podcast network.Pieces discussed: The Village Voice and the Birth of Rock Criticism, PJ Harvey, Is Music Journalism Dead?, Red Hot Chili Peppers audio, Blood Sugar Sex Magik, Rick Rubin, The White Stripes audio, Taylor Hawkins audio, Foo Fighters, Crawdaddy, The Mighty Diamonds, Alexis Korner, Paul Revere, Disco, Teddy Pendergrass, Little Richard, Steve Paul, Canned Heat, Curtis Mayfield, Oasis, Marc Bolan audio, The Prodigy, Tony Hatch, Jack Good and the Descendents.

In this episode we welcome the excellent Devon Powers — beamed in from Philadelphia — and ask her to talk about The Village Voice, Red Hot Chili Peppers, the White Stripes… and music journalism since the turn of the century. Devon begins by talking about the music she loved when growing up in her native Michigan — and her first awareness of "rock critics". We hear about her move to New York City in 1999, her early pieces for the PopMatters site, and the Anglophilia that led to umpteen pieces about the likes of Clinic, Starsailor, Badly Drawn Boy and, yes, even Ocean Colour Scene. Citing a great 2003 piece she wrote about Red Hot Chili Peppers, who released a new album the week of this recording, we ask Devon what those punk-funk Californicators meant to her in the '90s and noughties. After a brief discussion of Devon's 2004 thinkpiece 'Is Music Journalism Dead?', we turn our attention to Writing the Record: The Village Voice and the Birth of Rock Criticism, the 2013 book which came out of her doctoral dissertation at NYU. She talks about the vital New York weekly paper, and the "rock critics" who were such a key part of its arts coverage — particularly Richard Goldstein, several of whose '60s Voice pieces we have on RBP. We then pay tribute to another Voice contributor, John Swenson, lost to us a few days before this recording, as well as to Foo Fighter Taylor Hawkins and Mighty Diamonds frontman "Tabby" Shaw. Two clips from Ira Robbins' 2001 audio interview with the White Stripes prompt a general chinwag about Jack, Meg, blues etc., after which Mark zips through the most notable of the interviews & reviews he's just added to the RBP library, including pieces about the Kingston Trio, Paul Revere & the Raiders, Canned Heat and Teddy Pendergrass. Barney then rounds things off by flagging up pieces on Marc Bolan, the Prodigy, Tony Hatch, Jack Good and the Descendents. Many thanks to special guest Devon Powers; visit her website at devonpowers.com and find Writing the Record in all good bookshops. The Rock's Backpages podcast is proud to be part of the Pantheon podcast network. Pieces discussed: The Village Voice and the Birth of Rock Criticism, PJ Harvey, Is Music Journalism Dead?, Red Hot Chili Peppers audio, Blood Sugar Sex Magik, Rick Rubin, The White Stripes audio, Taylor Hawkins audio, Foo Fighters, Crawdaddy, The Mighty Diamonds, Alexis Korner, Paul Revere, Disco, Teddy Pendergrass, Little Richard, Steve Paul, Canned Heat, Curtis Mayfield, Oasis, Marc Bolan audio, The Prodigy, Tony Hatch, Jack Good and the Descendents. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode we welcome the excellent Devon Powers — beamed in from Philadelphia — and ask her to talk about The Village Voice, Red Hot Chili Peppers, the White Stripes… and music journalism since the turn of the century. Devon begins by talking about the music she loved when growing up in her native Michigan — and her first awareness of "rock critics". We hear about her move to New York City in 1999, her early pieces for the PopMatters site, and the Anglophilia that led to umpteen pieces about the likes of Clinic, Starsailor, Badly Drawn Boy and, yes, even Ocean Colour Scene. Citing a great 2003 piece she wrote about Red Hot Chili Peppers, who released a new album the week of this recording, we ask Devon what those punk-funk Californicators meant to her in the '90s and noughties. After a brief discussion of Devon's 2004 thinkpiece 'Is Music Journalism Dead?', we turn our attention to Writing the Record: The Village Voice and the Birth of Rock Criticism, the 2013 book which came out of her doctoral dissertation at NYU. She talks about the vital New York weekly paper, and the "rock critics" who were such a key part of its arts coverage — particularly Richard Goldstein, several of whose '60s Voice pieces we have on RBP. We then pay tribute to another Voice contributor, John Swenson, lost to us a few days before this recording, as well as to Foo Fighter Taylor Hawkins and Mighty Diamonds frontman "Tabby" Shaw. Two clips from Ira Robbins' 2001 audio interview with the White Stripes prompt a general chinwag about Jack, Meg, blues etc., after which Mark zips through the most notable of the interviews & reviews he's just added to the RBP library, including pieces about the Kingston Trio, Paul Revere & the Raiders, Canned Heat and Teddy Pendergrass. Barney then rounds things off by flagging up pieces on Marc Bolan, the Prodigy, Tony Hatch, Jack Good and the Descendents. Many thanks to special guest Devon Powers; visit her website at devonpowers.com and find Writing the Record in all good bookshops. The Rock's Backpages podcast is proud to be part of the Pantheon podcast network. Pieces discussed: The Village Voice and the Birth of Rock Criticism, PJ Harvey, Is Music Journalism Dead?, Red Hot Chili Peppers audio, Blood Sugar Sex Magik, Rick Rubin, The White Stripes audio, Taylor Hawkins audio, Foo Fighters, Crawdaddy, The Mighty Diamonds, Alexis Korner, Paul Revere, Disco, Teddy Pendergrass, Little Richard, Steve Paul, Canned Heat, Curtis Mayfield, Oasis, Marc Bolan audio, The Prodigy, Tony Hatch, Jack Good and the Descendents.

In this episode we welcome the excellent Devon Powers — beamed in from Philadelphia — and ask her to talk about The Village Voice, Red Hot Chili Peppers, the White Stripes… and music journalism since the turn of the century.Devon begins by talking about the music she loved when growing up in her native Michigan — and her first awareness of "rock critics". We hear about her move to New York City in 1999, her early pieces for the PopMatters site, and the Anglophilia that led to umpteen pieces about the likes of Clinic, Starsailor, Badly Drawn Boy and, yes, even Ocean Colour Scene. Citing a great 2003 piece she wrote about Red Hot Chili Peppers, who released a new album the week of this recording, we ask Devon what those punk-funk Californicators meant to her in the '90s and noughties.After a brief discussion of Devon's 2004 thinkpiece 'Is Music Journalism Dead?', we turn our attention to Writing the Record: The Village Voice and the Birth of Rock Criticism, the 2013 book which came out of her doctoral dissertation at NYU. She talks about the vital New York weekly paper, and the "rock critics" who were such a key part of its arts coverage — particularly Richard Goldstein, several of whose '60s Voice pieces we have on RBP. We then pay tribute to another Voice contributor, John Swenson, lost to us a few days before this recording, as well as to Foo Fighter Taylor Hawkins and Mighty Diamonds frontman "Tabby" Shaw.Two clips from Ira Robbins' 2001 audio interview with the White Stripes prompt a general chinwag about Jack, Meg, blues etc., after which Mark zips through the most notable of the interviews & reviews he's just added to the RBP library, including pieces about the Kingston Trio, Paul Revere & the Raiders, Canned Heat and Teddy Pendergrass. Barney then rounds things off by flagging up pieces on Marc Bolan, the Prodigy, Tony Hatch, Jack Good and the Descendents.Many thanks to special guest Devon Powers; visit her website at devonpowers.com and find Writing the Record in all good bookshops.The Rock's Backpages podcast is proud to be part of the Pantheon podcast network.Pieces discussed: The Village Voice and the Birth of Rock Criticism, PJ Harvey, Is Music Journalism Dead?, Red Hot Chili Peppers audio, Blood Sugar Sex Magik, Rick Rubin, The White Stripes audio, Taylor Hawkins audio, Foo Fighters, Crawdaddy, The Mighty Diamonds, Alexis Korner, Paul Revere, Disco, Teddy Pendergrass, Little Richard, Steve Paul, Canned Heat, Curtis Mayfield, Oasis, Marc Bolan audio, The Prodigy, Tony Hatch, Jack Good and the Descendents.

In this special holiday episode, we put on our rose-colored glasses and evoke the shopping malls of our youth to identify a saccharine, age-regressive genus of commodity fetishism hereby known as Sugar Cookie Consumerism. Strolling with a metaphorical Cinnabon in hand, we discuss pre-Stories Instagram, the epidemic of teen pregnancy in the 2000s — 2010s, dessert-scented bath and body products, financial illiteracy, One Direction-era Anglophilia, and Victoria's Secret PINK as the ultimate girlhood brand. Happy holidays and thank you for an amazing year!!

Sam Sparro and Crystal talk Rosie O'Donnell's koosh balls, moving at a tender age, Madonna's flop era, anglophilia, and why Crystal wasn't embarrassed when buying Sam's first album.

n this behind-the-scenes commentary, showrunner Edward Champion discusses "Marching Orders." Subjects discussed: foolish optimism, Anthony Powell's A Dance to the Music of Time, the vast historical plan for Season 3, the thrill and challenge of writing historical dialogue, how George Dangerfield's The Strange Death of Liberal England served as an influence, Rebecca West's The Return of the Soldier, PTSD and World War I, the literary style that might have been if modernism had never happened, approaching reputation as a theme, working against the "fast dialogue" style, dance and animals, inventing a character's political perspective from reading, writing too many British characters, Anglophilia, Leonard Rossiter, the amazing talents of Rob Garson, listening to hundreds of pop songs in 1911 to find the right one, frustrations about copyright, the difficulty of finding a horse carriage sound divorced from 2021 sounds, Captain Finney in Barry Lyndon, thieves and gentlemanly language, the failure of time travel stories to address cultural differences, the Terminator movies, writing letters to critics as a teenager, Joe Baltake, getting in trouble in high school because of a Terminator 2 script, the naivety of life before World War I, why memory injections are plausible, balancing gravitas and quirkiness, Gene Wolfe's influence, the references to Prince Keval, how an accident with a light fixture determined the sound design, Fugazi, deliberate references to Star Trek II: The Wrath of Khan, and efforts to mimic the Blakes 7 teleporter effect. (Running time: 19 minutes, 29 seconds.)

The quest for the library. Follow along with our transcripts at https://knovesstorytellingcollective.wordpress.com/murray-mysteries-transcripts/ Murray Mysteries was brought to you by Knoves Storytelling Collective. It is written, directed and produced by May Toudic. Original music by Sophie K. This episode features Tom Magennis as Jonathan Harker and Jonathan Tilley as Drac. Come and find us! Website: knovesstorytellingcollective.wordpress.com Patreon: www.patreon.com/knovesstorytelling Redbubble: www.redbubble.com/fr/people/KnovesMerch/shop Instagram: @knovesstorytelling Twitter: @KnovesStory Tumblr: www.knovesstorytelling.tumblr.com KoFi: ko-fi.com/knovesstorytelling ...or search for us on Spotify, Stitcher and Apple Music. Thank you for listening

The delightful Matt FX (music supervisor for Broad City, Detroiters & Difficult People, amongst others, along with being a DJ, producer, recording artist, co-founder & curator of Dubplate NYC & creator / host of In the Mix with Matt FX) & I discuss NYC returning to form, his first DJ gig since the pandemic began, his prophetic parents, making In the Mix, developing the chicken sandwich for Dubplate NYC, what he's listening to, our mutual Anglophilia, show recommendations & ever-so-much more. What a delight. www.twitter.com/mattfx www.instagram.com/mattfx www.instagram.com/dubplate.nyc www.taplink.cc/mattfx

In the hopes of recognizing some Asian and Asian-American picture books that don't, for a change, contain horrible stereotypes, Kate and Betsy wanted to look at a good book. Trouble is, they have a 20-year rule when it comes to books they consider. That means no Bee-Bim Bop and no Henry and the Kite Dragon. They're too recent! Betsy eschewed The Name Jar since it was a little too close to the content of last week's Chrysanthemum. But why not do the very first Grace Lin picture book? So she snagged the ten-year anniversary edition. We compare aspects of this to The Little Red Hen (eat yer posies, neighbors!) and speculate as to whether or not Grace Lin might want to become a vegetable seed supplier if this whole writing-award-winning-children's-books gig doesn't work out. Show Notes: - Not for the kiddos, here is a link to Amy Schumer's carrot. It is . . . far worse than you imagine: https://www.cheatsheet.com/entertainment/amy-schumers-hilarious-thanksgiving-carrot-has-2020-written-all-over-it.html/ - Here is where you can go to find the obscure stories that didn't make it into Wild Things: Acts of Mischief in Children's Literature. Just keep scrolling down and they will eventually reveal themselves to you: http://wildthings.blaine.org/ - Betsy Recommends: The Pop Culture Happy Hour episodes on the Muppets here: https://www.npr.org/2021/04/01/983488978/top-10-muppets-as-voted-by-listeners - Betsy Recommends: The podcast Anglophilia: https://www.anglophiliapodcast.com/ - Kate Recommends: Our dad's poem A Homily in the Church of Baseball: https://fetzer.org/blog/homily-church-baseball?fbclid=IwAR2Uaw4isUMKfneMk-ppTT7Lzs46CNznUkph4Xwevp9xDVFc7b9klwihWqc For the full Show Notes please visit: http://blogs.slj.com/afuse8production/2021/04/05/fuse-8-n-kate-the-ugly-vegetables-by-grace-lin/

Due to widespread Anglophilia, there is a benign image of Britain with memes like “the sceptr’d isle”, “home of Shakespeare, the Knights of the Round Table”, “Oh, to be in England now that spring is in the air!”, the Battle of Britain” and so on. But is the reality a little different? The experiences of three women there recently suggest that something is not right. Racism, bigotry, and vicious intolerance against women are common, especially if they are non-white. The three are Rashmi Samant, a young Indian graduate student at Oxford, who was bullied and canceled essentially because she’s a brown Hindu; Meghan Markle, an American who married into the British royal family and complains of intolerance and racism against her because of her part-black ancestry; and Sarah Everard, a 30-year-old Londoner who was abducted and murdered, possibly by a police officer, while walking home one night. Rashmi Samant, studying engineering, was elected by a record margin as the president of the Oxford student union: the first Indian woman to do so. What followed was vicious online trolling and bullying (in which, sadly, Indian-origin faculty took part) to humiliate her based on allegedly anti-Jew and anti-East Asian comments by her which they dug up from her social media accounts from years ago. To the impartial observer, these comments don’t seem nasty, only slightly tasteless: normal for a 17-year-old. The reality, though, was inadvertently exposed by Abhijit Sarkar, the post-doc faculty whose involvement in the lynch mob is inexcusable. He said, “Oxford student union is not ready for a ‘Sanatani’ president”. In other words, there was a religious bias behind the attack on her, and it was specifically because she is a Hindu. We can imagine what is behind this religious bigotry, but worryingly, Oxford and Sarkar have offered neither explanation nor apology. In the meantime, Rashmi felt forced to resign from her student union presidency, and, possibly fearing physical assaults on her, a lone young woman in an alien country, she has returned to her native Udipi in Karnataka. Let us remember that in 1976, a brown Pakistani Muslim woman, Benazir Bhutto, had been elected president of the same student union. A clear indication that racial and religious animosity has become far worse since then?The revered royal family of Britain has many skeletons in its closet, and it may be a dangerous place for women. We remember the sad, brutal, and mysterious death of Princess Diana (and her apparently miserable life too, and rumors of affairs). Her son, Prince Harry, is obviously dominated by his upwardly mobile, commoner wife, Meghan Markle, but her explanation that she was hounded and humiliated for her black ancestry may not be untrue. A Charlie Hebdo cartoon captured it perfectly, situating it in the context of the murder of George Floyd (black) by a policeman (white) choking him with his knee in Minneapolis last year. A rude (as usual for the magazine) but insightful perspective. Meghan too couldn’t breathe?Sarah Everard’s case is obviously the most tragic. Her disappearance and murder have provoked a national outcry in Britain. The police were also brutal in breaking up the protest by women: there were viral images of a red-headed woman, a student named Patsy Stevenson, being pinned to the ground roughly, according to her for doing nothing more than being a bystander.Britain’s police have a nice friendly image, with the unarmed bobby saying, “Now, now, what’s all this then?”, but maybe this is passe. There have been longstanding accusations of incompetence, for instance regarding the grooming cases of Rotherham, where hundreds of young white girls were turned into sex slaves and prostitutes by Pakistani-Britons.But the accusation of police involvement in Sarah’s abduction and murder is more serious. I think it’s time the BBC, which assumes the air of being the world’s conscience keeper, did a penetrating investigation into what ails Scotland Yard, the home of the British police. I suggest Israeli-British filmmaker Leslie Udwin be pressed into service to make an in-depth film “Britain's Daughters” to understand what ails women there. She was quick to make the accusatory “India’s Daughter” that blamed the Jyoti Singh Pandey murder on India’s religion, culture, and ethics: quite the hatchet job. I thought it was a vile, poisonous film then, and said as much. My hunch is that Sarah Everard’s murder (and the bullying of Meghan Markle and Rashmi Samant) has everything to with Abrahamic patriarchy, notions of the inferiority of women and non-whites, an old-boy culture that tolerates bigotry and insensitivity, and an insularity sharpened by Brexit. And that’s not all. Leicester University, which I understand is rather well-thought-of, has an official toolkit on student sex work. (h/t to Bimal Trivedi for finding this). As much as you spin it as benign recognition of diversity, and even if it is not gender-specific, this is a smoking gun: it suggests that young women are far more at risk in the leafy halls of academia than we assume. British Prime Minister Boris Johnson is due to visit India shortly. He’s a rather decent sort, but he should be grilled mercilessly about the Rashmi Samant case. He is coming as a supplicant, as post-Brexit Britain needs trade with India more badly than vice versa. Nothing less than the dismissal of Abhijit Sarkar, and the censuring of lax Oxford officials should be considered satisfactory. It is a legitimate expression of concern for Indian citizens and women and minority populations in Britain. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit rajeevsrinivasan.substack.com

Books, coziness, and Anglophilia: what die-hard Anglicans love about Christmas can also teach us about Advent. We talk with novelist H.S. Cross about her books, English boarding schools, suffering, and nostalgia as "edenic longing." Explore titles by H.S. Cross. To sponsor this podcast, visit here and click "Support." --- Support this podcast: https://anchor.fm/living-church/support

Kala asks about Tejas' quarantine, speaking about the value of local visits & comfort food, and the two discuss their shared Anglophilia.

Anglophilia's back with a 5th season! And if the hosts sound a little too carefree and coherent while covering the star-studded showbiz comedy Extras, it's because they recorded it before COVID-19 reached our shores and upended life as we know it. Ahh. Remember January? Good times. Er... neutral times. Well... not-quite-yet-fully-apocalyptic times. There we go.

The whole gang’s back together to recap a feast of Bon Appétit videos!  In this episode, Amanda, Lj, Justine, and Meg play a game of FMK with Gourmet Makes chips, get hype over Thanksgiving sides, and praise the Rick Hat Trick. Don’t miss our closing debate on what BA fans should be called. Bonheads? The BA Army? Will the fandom ever agree?! Discuss. Today’s Menu: (12:10) Recreating Guy Fieri's Trash Can Nachos From Taste: youtu.be/E3e20718ioY (18:33) Carla Makes Roasted Pork | From the Test Kitchen: youtu.be/qBGepey5_o4 (23:50) Every Way to Cook Salmon (43 Methods): youtu.be/AbxbOd_mtn8 (29:46) Pastry Chef Attempts to Make Gourmet Ruffles | Gourmet Makes: youtu.be/jhe4GjxrM_Q (36:57) Molly and Carla Try to Make the Perfect Mashed Potatoes & Gravy | Making Perfect: Thanksgiving Ep 2: youtu.be/zO5qtrG_ln4 (45:01) Brad Makes Ginger Beer | It's Alive: youtu.be/RXAEN8MP8N4 (51:22) Priya Makes Red Pepper and Potato Sabzi: youtu.be/nq9x9GtUuu4 (56:38) Andy Learns How to Cook Senegalese Food: youtu.be/MSgbPZOIBHk (1:03:02) Professional Chefs Blindly Taste Test Cured Meats | Test Kitchen Talks: youtu.be/P3rF5t7tegs (1:09:43) Chris and Rick Try to Make the Perfect Stuffing | Making Perfect: Thanksgiving Ep 3: youtu.be/0j9XYLsV5DM (1:17:15) Trying Everything on the Menu at a Famous NYC Taco Shop (Ft Rick Martinez): youtu.be/pSyCiMyQVgU (1:25:07) Rick Makes Pork Tamales | From the Test Kitchen: youtu.be/1kC51RAGef4 _ Find Pod Appétit: Website: podappetitpodcast.com Twitter: @pod_appetit Instagram: @pod_appetit Pinterest: @pod_appetit Facebook: podappetitpodcast Email: podappetitpodcast@gmail.com _ Logo by: Erik Sternberger: eriksternberger.com _ Shout-outs: Heidi from Vibrant Visionaries: vibrantvisionaries.com Jen from One Person's Trash Is Our Treasure: onepersonstrashisourtreasure.com The Thirst Podcast: soundcloud.com/thethirstpod Diana from Happily Ever Aftermath: heamcast.libsyn.com Steph from Anglophilia: anglophiliapodcast.com Mandi Kaye from Pop Culturally Deprived: eloquentgushing.com/show/pop-culturally-deprived Erica from Lez Represent: lezrepresentpodcast.podbean.com Meme Appétit: @memeappetit Alison from Re-Solved Mysteries Podcast: resolvedmysteriespodcast.com _ Promoted Podcast: Beyond 6 Seconds: beyond6seconds.com

October 26, 2019 UK WEEK! Feeling the FOMO? Fear not. You're invited to our party, where we talk all things LGBT and pop-culture (and then some)  It's the beginning of season two and we're getting into:  - Anglophilia vs Necrophelia - Drag Race UK- Kate Middleton, into the wild- New charges against Aunt Becky- Why London pubs are the best pubs- And a visit to Curry Curry Bang Bang Let's get into it.

I met with Jordan (and Elif joined too) to hear the story that made him be more picky about his swiping, we also talked about: when you should and should not go on fetlife, body fluid accidents, the best thing anyone ever told after sex and why it's good to ask for the reason people are on tinder before meeting themSupport the show (https://www.patreon.com/unmatchmenow)

John has released 17 albums and 5 EPs of guitar-based post-punk as the Black Watch since 1988. He's also an English professor who's published 5 books.   We discuss "Eustacia's Dream" from Magic Johnson (2019), "Emily, Are You Sleeping?" from Led Zeppelin Five (2011), "Inner City Garden" from The Hypnotizing Sea (2005), and premiere "Much of a Muchness" from the forthcoming Crying All the Time EP. For more, see johnandrewfredrick.com. Hear more Nakedly Examined Music. Like our Facebook page. Support us on Patreon.

John has released 17 albums and 5 EPs of guitar-based post-punk as the Black Watch since 1988. He's also an English professor who's published 5 books.   We discuss "Eustacia's Dream" from Magic Johnson (2019), "Emily, Are You Sleeping?" from Led Zeppelin Five (2011), "Inner City Garden" from The Hypnotizing Sea (2005), and premiere "Much of a Muchness" from the forthcoming Crying All the Time EP. For more, see johnandrewfredrick.com. Hear more Nakedly Examined Music. Like our Facebook page. Support us on Patreon.

People say we're the best podcast hosts. They go, y'know, "Oh, Kaley and Stephanie, you're brilliant, you're so funny, Anglophilia makes us laugh and cry, your season finale about the groundbreaking mockumentary masterpiece The Office was as hilarious and insightful as the show itself." And we go, you know, "C'est la vie." If that's true, excellent.

After what feels like 3 million years in stasis, Anglophilia's back! In this season opener dedicated to the long-running sci-fi comedy classic Red Dwarf, Kaley and Stephanie are anything but tongue-tied as they discuss the show's sneakily existential bent, the relatability of crushing on cartoon characters, and the most agonizingly difficult Shag-Marry-Kill to date.

Mina told me her thoughts about tinder boys in Berlin, how it's like coming from a conservative Muslim family background and her weird encounters with men through tinder.Support the show (https://www.patreon.com/unmatchmenow)

I met with Soledad (Artist and comedian@ https://www.facebook.com/ukfetishcomedy/) and she told me about how she makes dick pic badges as art and why she mostly dates English menSupport the show (https://www.patreon.com/unmatchmenow)

The girls talk pantywaists, Rhiannon's newfound Anglophilia, sexy animals, and the 1996 science fiction sports comedy Space Jam, starring Michael Jordan and Bill Murray. 

Amanda’s Picture Show A Go Go                        Episode 186: Clue     Amanda is joined by return guests Erik and Ariel to discuss the cult comedy, Clue. Erik will cut all Clue haters, Ariel is surprised to learn the film has multiple endings, and Amanda exposes a group of children at a church to cussing.   There are SPOILERS in this episode and adult language.     Website: https://www.amandaagogo.com/amandaspictureshowagogo/   Twitter: @AmandasPicShow   Facebook: www.facebook.com/AmandasPictureShowAGoGo/   Instagram: @AmandasPictureShowAGoGo   Email: AmandasPictureShowAGoGo@gmail.com   Threadless store: https://amandaagogo.threadless.com/   Artwork by Sam Kent: http://www.samkent.me/       Plugs and links: Erik’s Website http://eriksternberger.com/     Sketchy XXX-Mas at MadLab https://www.facebook.com/events/1948372782123203/      Culture Pop A Go Go    https://www.amandaagogo.com/culturepopagogo/     The Mafia Minute https://www.amandaagogo.com/themafiaminute/     TV Ate My Brain episodes hosted by Amanda https://www.amandaagogo.com/alsohostedbyamanda/     Anglophilia https://www.anglophiliapodcast.com/     6 Degrees of Wiki https://www.6degreesofwiki.com/  

Opening Monologues. Repelling the Migrant Caravan Invasion. Kudos to President Trump for keeping his word and closing the United States Border between San Diego and Tijuana, Mexico. After some hundreds in the "caravan" horde attempted to storm the American Border, throwing "projectiles" at members of the border patrol, Secretary of Homeland Security Kirstjen Nielsen announced the immediate closure of the San Ysidro crossing. Didn't they listen to what the man said? We review the inevitable political implications and outline our expectations for MSM portrayals of migrant "victimhood." Moving forward, if we are to sustain a country and a civilization, we must learn to overcome such propaganda. Meanwhile, the French government cracks down on the Gilets Jaunes "fuel tax" protesters in Paris. Tear gas and water cannons. Will the unpopular Macron be forced to reconsider his climate change crusade? Also, the Meddling British are said to be "horrified" at the prospect of "declassifying" documents pertaining to SpyGate. All the more reason, in our view, for Trump to make it happen forthwith. The bitter end of our Anglophilia. Plus, a Fox News host is booted off the air for comparing Hillary Clinton to "herpes." With Listener Calls & Music via Paul McCartney, Louane and Bobby Darin.See omnystudio.com/listener for privacy information.

It's A Matter of Leverage. An emotional time for DAG Rod Rosenstein. Allies in a tight spot. The end of Anglophilia. Pirates of the Caribbean. McConnell Speaks. Death threats for the Kavanaugh family. Our "body cam" future. With Listener Calls & Music via Air Supply and R.E.M. [Matt Dunn guest hosting the Steffan Tubbs Show]See omnystudio.com/listener for privacy information.

Blasting the British & Preventing Socialism in America. An important side-effect of the growing MAGA Economy is the keeping of collectivism at bay. A free and proud American Middle Class works wonders towards that end. However, the openly socialist Alexandria Ocasio-Cortez has now jumped into the leadership vacuum of the Democratic Party. How far can this phenomenon go? We consider French economist Thomas Piketty and his research on third-world resource distribution, an eventuality very much worth avoiding in America, but which remains the unconfessed goal of our Ruling Classes. Meanwhile, we vent some serious spleen against our British "allies" as they prepare for a cross-pond visit from President Trump. Will they fly their "Angry Baby Trump Blimp" in protest? We review the open borders globalist policies of PM Theresa May and London Mayor Sadiq Khan, as we trace the origins of SpyGate straight back to London. Shouldn't the Brits be apologizing for the despicable Christopher Steele and Stefan Halper? For their unconscionable meddling in our American election? We certainly think so, as we observe an intense waning of our formerly conspicuous Anglophilia. Special Relationship be damned. With Listener Calls & Music via Bill Monroe, Dwight Yoakam, SZA and Calvin Harris.  See omnystudio.com/listener for privacy information.

In the very episode first of Anglophilia, Kaley and Steff discuss everyone's favorite (mostly) silent weirdo, Mr. Bean. They also wonder what it must be like to be his girlfriend Irma, whether Bean is truly happy, and whether there is Mr. Bean-themed porn on the internet.

Actor and comedian, Toby Tropper stops by the podcast to talk about Seincast, The Early Edition Podcast, human Shazam, losing his parents' health insurance coverage, The Real World: Melodrama, Dungeons & Dragons, memorizing lines and the Ceremonial Flush, being the Real Tim Brady, The Great American Melodrama, having the most popular Harry Potter dub on YouTube, doing stand up comedy, being compared to Mr. Bean, the best episode of The Simpsons, only being Jewish for comedic purposes, his Anglophilia, breaking character, writing comedy, how to survive a car crash, being a Tropper, habitual punctuality, being a Toby, growing a beard, his great uncle Murray, "break a leg" texts from his mom, being awkward around celebrities, drawing a Cranston-a-day, his mom's version of The Lord's Prayer, relapsing on McDonald's, sonder, and the satisfaction of dissatisfaction.   Find him online at: http://tobytropper.com Or find The Great American Melodrama: http://www.americanmelodrama.com/

Clément Dessy examines the Anglophilia of literary and artistic symbolist groups in Brussels. Between 1880 and 1930, Belgium and Brussels began to be perceived as places where cosmopolitanism could take root. This paper analyses the Anglophile attitude of Belgian literary and artistic avant-gardes. Belgian symbolists targeted both Paris and London in order to lift Brussels from its status of a second-level cultural capital to the level of the French and British metropoles.

Today Ken welcomes singer/songwriter/author/all around talent Marshall Crenshaw to the show. Ken and Marshall discuss how the third time is the charm, seaside music venues, Club Passim, Marshall's book "Hollywood Rock", The MTV age, the hub of hitchiking, That Thing You Do, La Bamba, Buddy Holly, the early 60s, The Adventures of Pete & Pete reunion, Beatlemania, SCTV, being surprised by Robert Gordon doing your song on your favorite show, The Merv Griffin Show, Wayland Flowers and Madame, The David Letterman Show, Detroit Rock and Soul, The MC5, The Stooges, Jackie WIlson, Jack Scott, scored due to failure, growing up in the anonymous suburbs, watching shocking amounts of television, getting a classic cinema education via TV, showing your children Citizen Kane, realizing that the Pee Wee's Playhouse Christmas Special is 30 Years old, Gilligan's Island vs. The Monkees, Jack Parr, Anglophilia, Steptoe & Son, Malcolm Muggeridge, The Beverly Hillbillies, the variety of true classic top 40, Solid Gold, no dancers but a Beach Boys' studio backing track, your children revisiting your work, Wild Guitar with Arch Hall Jr., Ray Dennis Stecklar, Psychotronic Video, Johnny Cash in Five Minutes to Live aka Door to Door Maniac, Jonathan Ross' Incredibly Strange Film Show, Night Flight, Catalina Caper with Little Richard, That Tennessee Beat, the power of documentaries, Hail Hail Rock n Roll, Let the Goodtimes Roll, MC5: A True Testimonial, Standing in the Shadows of Motown, The Blacklist, Jon Stewart, Stephen Colbert, Larry Wilmore, John Oliver, and talking to Dr. Licks.

Colin Marshall sits down in Los Feliz with artist, filmmaker, and writer William E. Jones. They discuss what one learns by viewing a city through the prism of its gay porn; how Los Angeles gives away the least of itself in that form as in others; home he introduced Fred Halsted's "gay porn masterpiece" L.A. Plays Itself to Los Angeles Plays Itself maker Thom Andersen, and how the movie helped fund Chantal Akerman's first projects; Selma Avenue, once the "hustler central" of Los Angeles; the city as he came to know it in the movies before he came to know it in real life; the Los Angeles tendency to identify with specific neighborhoods; how truly coming to know the city somehow requires both driving and not driving; what made he and Thom Andersen decide to make a "useful" book of their conversations; his examination of the nonsexual elements of the gay porn, and the other work that got him a reputation for a time as "the porn guy"; his resolution not to create around any obvious unifying concept; why Morrissey's robust Latino fandom confounds people, and how it ties into Los Angeles' long strain of musical Anglophilia; the similarities between the industrial decay of northern England and the forlorn provinciality of Southern California suburbs; how city centers, to an extent excepting Los Angeles', have fallen to "fabulous wealth and enormous corporate power"; the way places never turn out quite as intended here, and what it means for civic pride, the force that begins a city's slide into decadence; what kind of a town Los Angeles has become for experimental film; the city's ability, now at stake, to nurture "something like a bohemia," which Glasgow has done where London hasn't; and what traces of Fred Halsted's Los Angeles survive today.

Joe, Nick, and Sean are joined by Megs from the famous PotterWatch outside of Diagon Alley. We discuss ride evacs, StarTrek, and then Megs' experience with PotterWatch and Diagon Alley

The boys offer some advice to a young listener, making a great transition into what makes them pretentious. Anglophilia, NPRonunciation,...

Follow Mike McShane on twitter: @ThisMikeMcShane Follow Eddie: @EddiePepitone Eddie Pepitone's album, A Great Stillness, is now on Vinyl! Go to www.eddiepepitone.com for more details!

In this episode of Geek This!, Mikey "Fizz" Fissel and his crew from Reel World Theology take over the show!

Colin Marshall sits down in Echo Park, Los Angeles with Roland Kelts, lecturer at the University of Tokyo, co-editor of the literary journal A Public Space, and author of the book Japanamerica: How Japanese Pop Culture Has Invaded the U.S. They discuss whether Japan has yet really figured out how to sell its pop culture abroad; the success of CrunchyRoll.com; his time growing up as a partial outsider in the white northeastern United States, and how anime and manga's focus on the outsider thus resonated with him; the commission he received from the Coppolas to write a story about Japan, which had him live in Osaka for a year; the subsequent offers that came his way to write about Murakami, Miyazaki, and Japanese youth culture; why the Wachowskis like anime so much;  what his youthful Anglophilia revealed to him about the parallels, especially aesthetic, between Britain and Japan; how we even have sushi in American convenience stores, yet nothing like Japanese street vending machines; whether he felt, as did novelist Todd Shimoda, a not-fully-foreign presence in Japan; how he splits his time between New York and Tokyo, and the importance of maintaining ties with his native land; how the geographical oscillation provides him perspective on both cities, and what escapes his attention (Lena Dunham, for example) when he's away from each; the relative lack of coded engagement and easier physical flow of New York; his understanding of American psychology coming through a cross-country drive of vast spaces and non-major cities; and the passing of Donald Richie, which raises questions of how best to write about Japan, a country which must now return to doing more with less.

We’re concentrating on misanthropes this week: Larry David, Rupert Murdoch & Ray Davies, and on top of that, a dash of Anglophilia. First off, it’s the return of Curb Your Enthusiasm, which leads to a deconstruction of the comedy of discomfort and a comparison of Larry David to Rickey Gervais, and of course, a look […]