Podcasts about Beaver

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Episode #152—Beaver Goo in Your Food??!  This is how it goes down with a full house in The Rusted Nail Speakeasy!  #beavergoo #deliverence #echosinthecanyon     Join the guys for another episode of Cross The Line 1524! Recorded with a Live Audience at “The Rusted Nail Speakeasy”! Thank You for listening to Cross The Line1524 Check out our web site at: www.crosstheline1524.com Facebook: Cross The Line 15/24 You Tube: Cross The Line 1524 Email us : podcast@crosstheline1524.com Take a listen to one of America's fastest growing new podcasts! Please take time to leave us a 5 star rating to help us promote our podcast.      

Journalist Leila Philip first became interested in beavers when she saw a group of rodents building a pond near her house. Her fascination with what they were doing led her to research and report her new book, Beaverland, which takes a closer look at the animals' impact on North America, from the earliest transatlantic beaver fur trade to today's river restoration efforts. Philip spoke with NPR's Michel Martin about how learning their long history on our continent can highlight beavers' ongoing economic and environmental contributions, especially when it comes to water conservation.

My buddy Landon sent me a video from a recent hunting trip of what I thought was an Aligator or something...turns out it was a Beaver.  I had no idea beavers lived in Texas, so naturally, I had to learn about them and share the lessons. In this episode, we'll discuss: Looking out for others Building your Foundation to withstand the Storm Helping others through your gift

Episode 162 of A History of Rock Music in Five Hundred Songs looks at "Daydream Believer", and the later career of the Monkees, and how four Pinocchios became real boys. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Born to be Wild" by Steppenwolf. 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 No Mixcloud this time, as even after splitting it into multiple files, there are simply too many Monkees tracks excerpted. The best versions of the Monkees albums are the triple-CD super-deluxe versions that used to be available from monkees.com , and I've used Andrew Sandoval's liner notes for them extensively in this episode. Sadly, though, none of those are in print. However, at the time of writing there is a new four-CD super-deluxe box set of Headquarters (with a remixed version of the album rather than the original mixes I've excerpted here) available from that site, and I used the liner notes for that here. Monkees.com also currently has the intermittently-available BluRay box set of the entire Monkees TV series, which also has Head and 33 1/3 Revolutions Per Monkee. For those just getting into the group, my advice is to start with this five-CD set, which contains their first five albums along with bonus tracks. The single biggest source of information I used in this episode is the first edition of Andrew Sandoval's The Monkees; The Day-By-Day Story. Sadly that is now out of print and goes for hundreds of pounds. Sandoval released a second edition of the book in 2021, which I was unfortunately unable to obtain, but that too is now out of print. If you can find a copy of either, do get one. Other sources used were Monkee Business by Eric Lefcowitz, and the autobiographies of three of the band members and one of the songwriters — Infinite Tuesday by Michael Nesmith, They Made a Monkee Out of Me by Davy Jones, I'm a Believer by Micky Dolenz, and Psychedelic Bubble-Gum by Bobby Hart. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we left the Monkees, they were in a state of flux. To recap what we covered in that episode, the Monkees were originally cast as actors in a TV show, and consisted of two actors with some singing ability -- the former child stars Davy Jones and Micky Dolenz -- and two musicians who were also competent comic actors, Michael Nesmith and Peter Tork.  The show was about a fictional band whose characters shared names with their actors, and there had quickly been two big hit singles, and two hit albums, taken from the music recorded for the TV show's soundtrack. But this had caused problems for the actors. The records were being promoted as being by the fictional group in the TV series, blurring the line between the TV show and reality, though in fact for the most part they were being made by session musicians with only Dolenz or Jones adding lead vocals to pre-recorded backing tracks. Dolenz and Jones were fine with this, but Nesmith, who had been allowed to write and produce a few album tracks himself, wanted more creative input, and more importantly felt that he was being asked to be complicit in fraud because the records credited the four Monkees as the musicians when (other than a tiny bit of inaudible rhythm guitar by Tork on a couple of Nesmith's tracks) none of them played on them. Tork, meanwhile, believed he had been promised that the group would be an actual group -- that they would all be playing on the records together -- and felt hurt and annoyed that this wasn't the case. They were by now playing live together to promote the series and the records, with Dolenz turning out to be a perfectly competent drummer, so surely they could do the same in the studio? So in January 1967, things came to a head. It's actually quite difficult to sort out exactly what happened, because of conflicting recollections and opinions. What follows is my best attempt to harmonise the different versions of the story into one coherent narrative, but be aware that I could be wrong in some of the details. Nesmith and Tork, who disliked each other in most respects, were both agreed that this couldn't continue and that if there were going to be Monkees records released at all, they were going to have the Monkees playing on them. Dolenz, who seems to have been the one member of the group that everyone could get along with, didn't really care but went along with them for the sake of group harmony. And Bob Rafelson and Bert Schneider, the production team behind the series, also took Nesmith and Tork's side, through a general love of mischief. But on the other side was Don Kirshner, the music publisher who was in charge of supervising the music for the TV show. Kirshner was adamantly, angrily, opposed to the very idea of the group members having any input at all into how the records were made. He considered that they should be grateful for the huge pay cheques they were getting from records his staff writers and producers were making for them, and stop whinging. And Davy Jones was somewhere in the middle. He wanted to support his co-stars, who he genuinely liked, but also, he was a working actor, he'd had other roles before, he'd have other roles afterwards, and as a working actor you do what you're told if you don't want to lose the job you've got. Jones had grown up in very severe poverty, and had been his family's breadwinner from his early teens, and artistic integrity is all very nice, but not as nice as a cheque for a quarter of a million dollars. Although that might be slightly unfair -- it might be fairer to say that artistic integrity has a different meaning to someone like Jones, coming from musical theatre and a tradition of "the show must go on", than it does to people like Nesmith and Tork who had come up through the folk clubs. Jones' attitude may also have been affected by the fact that his character in the TV show didn't play an instrument other than the occasional tambourine or maracas. The other three were having to mime instrumental parts they hadn't played, and to reproduce them on stage, but Jones didn't have that particular disadvantage. Bert Schneider, one of the TV show's producers, encouraged the group to go into the recording studio themselves, with a producer of their choice, and cut a couple of tracks to prove what they could do. Michael Nesmith, who at this point was the one who was most adamant about taking control of the music, chose Chip Douglas to produce. Douglas was someone that Nesmith had known a little while, as they'd both played the folk circuit -- in Douglas' case as a member of the Modern Folk Quartet -- but Douglas had recently joined the Turtles as their new bass player. At this point, Douglas had never officially produced a record, but he was a gifted arranger, and had just arranged the Turtles' latest single, which had just been released and was starting to climb the charts: [Excerpt: The Turtles, "Happy Together"] Douglas quit the Turtles to work with the Monkees, and took the group into the studio to cut two demo backing tracks for a potential single as a proof of concept. These initial sessions didn't have any vocals, but featured Nesmith on guitar, Tork on piano, Dolenz on drums, Jones on tambourine, and an unknown bass player -- possibly Douglas himself, possibly Nesmith's friend John London, who he'd played with in Mike and John and Bill. They cut rough tracks of two songs, "All of Your Toys", by another friend of Nesmith's, Bill Martin, and Nesmith's "The Girl I Knew Somewhere": [Excerpt: The Monkees, "The Girl I Knew Somewhere (Gold Star Demo)"] Those tracks were very rough and ready -- they were garage-band tracks rather than the professional studio recordings that the Candy Store Prophets or Jeff Barry's New York session players had provided for the previous singles -- but they were competent in the studio, thanks largely to Chip Douglas' steadying influence. As Douglas later said "They could hardly play. Mike could play adequate rhythm guitar. Pete could play piano but he'd make mistakes, and Micky's time on drums was erratic. He'd speed up or slow down." But the takes they managed to get down showed that they *could* do it. Rafelson and Schneider agreed with them that the Monkees could make a single together, and start recording at least some of their own tracks. So the group went back into the studio, with Douglas producing -- and with Lester Sill from the music publishers there to supervise -- and cut finished versions of the two songs. This time the lineup was Nesmith on guitar, Tork on electric harpsichord -- Tork had always been a fan of Bach, and would in later years perform Bach pieces as his solo spot in Monkees shows -- Dolenz on drums, London on bass, and Jones on tambourine: [Excerpt: The Monkees, "The Girl I Knew Somewhere (first recorded version)"] But while this was happening, Kirshner had been trying to get new Monkees material recorded without them -- he'd not yet agreed to having the group play on their own records. Three days after the sessions for "All of Your Toys" and "The Girl I Knew Somewhere", sessions started in New York for an entire album's worth of new material, produced by Jeff Barry and Denny Randell, and largely made by the same Red Bird Records team who had made "I'm a Believer" -- the same musicians who in various combinations had played on everything from "Sherry" by the Four Seasons to "Like a Rolling Stone" by Dylan to "Leader of the Pack", and with songs by Neil Diamond, Jeff Barry and Ellie Greenwich, Leiber and Stoller, and the rest of the team of songwriters around Red Bird. But at this point came the meeting we talked about towards the end of the "Last Train to Clarksville" episode, in which Nesmith punched a hole in a hotel wall in frustration at what he saw as Kirshner's obstinacy. Kirshner didn't want to listen to the recordings the group had made. He'd promised Jeff Barry and Neil Diamond that if "I'm a Believer" went to number one, Barry would get to produce, and Diamond write, the group's next single. Chip Douglas wasn't a recognised producer, and he'd made this commitment. But the group needed a new single out. A compromise was offered, of sorts, by Kirshner -- how about if Barry flew over from New York to LA to produce the group, they'd scrap the tracks both the group and Barry had recorded, and Barry would produce new tracks for the songs he'd recorded, with the group playing on them? But that wouldn't work either. The group members were all due to go on holiday -- three of them were going to make staggered trips to the UK, partly to promote the TV series, which was just starting over here, and partly just to have a break. They'd been working sixty-plus hour weeks for months between the TV series, live performances, and the recording studio, and they were basically falling-down tired, which was one of the reasons for Nesmith's outburst in the meeting. They weren't accomplished enough musicians to cut tracks quickly, and they *needed* the break. On top of that, Nesmith and Barry had had a major falling-out at the "I'm a Believer" session, and Nesmith considered it a matter of personal integrity that he couldn't work with a man who in his eyes had insulted his professionalism. So that was out, but there was also no way Kirshner was going to let the group release a single consisting of two songs he hadn't heard, produced by a producer with no track record. At first, the group were insistent that "All of Your Toys" should be the A-side for their next single: [Excerpt: The Monkees, "All Of Your Toys"] But there was an actual problem with that which they hadn't foreseen. Bill Martin, who wrote the song, was under contract to another music publisher, and the Monkees' contracts said they needed to only record songs published by Screen Gems. Eventually, it was Micky Dolenz who managed to cut the Gordian knot -- or so everyone thought. Dolenz was the one who had the least at stake of any of them -- he was already secure as the voice of the hits, he had no particular desire to be an instrumentalist, but he wanted to support his colleagues. Dolenz suggested that it would be a reasonable compromise to put out a single with one of the pre-recorded backing tracks on one side, with him or Jones singing, and with the version of "The Girl I Knew Somewhere" that the band had recorded together on the other. That way, Kirshner and the record label would get their new single without too much delay, the group would still be able to say they'd started recording their own tracks, everyone would get some of what they wanted. So it was agreed -- though there was a further stipulation. "The Girl I Knew Somewhere" had Nesmith singing lead vocals, and up to that point every Monkees single had featured Dolenz on lead on both sides. As far as Kirshner and the other people involved in making the release decisions were concerned, that was the way things were going to continue. Everyone was fine with this -- Nesmith, the one who was most likely to object in principle, in practice realised that having Dolenz sing his song would make it more likely to be played on the radio and used in the TV show, and so increase his royalties. A vocal session was arranged in New York for Dolenz and Jones to come and cut some vocal tracks right before Dolenz and Nesmith flew over to the UK. But in the meantime, it had become even more urgent for the group to be seen to be doing their own recording. An in-depth article on the group in the Saturday Evening Post had come out, quoting Nesmith as saying "It was what Kirshner wanted to do. Our records are not our forte. I don't care if we never sell another record. Maybe we were manufactured and put on the air strictly with a lot of hoopla. Tell the world we're synthetic because, damn it, we are. Tell them the Monkees are wholly man-made overnight, that millions of dollars have been poured into this thing. Tell the world we don't record our own music. But that's us they see on television. The show is really a part of us. They're not seeing something invalid." The press immediately jumped on the band, and started trying to portray them as con artists exploiting their teenage fans, though as Nesmith later said "The press decided they were going to unload on us as being somehow illegitimate, somehow false. That we were making an attempt to dupe the public, when in fact it was me that was making the attempt to maintain the integrity. So the press went into a full-scale war against us." Tork, on the other hand, while he and Nesmith were on the same side about the band making their own records, blamed Nesmith for much of the press reaction, later saying "Michael blew the whistle on us. If he had gone in there with pride and said 'We are what we are and we have no reason to hang our heads in shame' it never would have happened." So as far as the group were concerned, they *needed* to at least go with Dolenz's suggested compromise. Their personal reputations were on the line. When Dolenz arrived at the session in New York, he was expecting to be asked to cut one vocal track, for the A-side of the next single (and presumably a new lead vocal for "The Girl I Knew Somewhere"). When he got there, though, he found that Kirshner expected him to record several vocals so that Kirshner could choose the best. That wasn't what had been agreed, and so Dolenz flat-out refused to record anything at all. Luckily for Kirshner, Jones -- who was the most co-operative member of the band -- was willing to sing a handful of songs intended for Dolenz as well as the ones he was meant to sing. So the tape of "A Little Bit Me, A Little Bit You", the song intended for the next single, was slowed down so it would be in a suitable key for Jones instead, and he recorded the vocal for that: [Excerpt: The Monkees, "A Little Bit Me, A Little Bit You"] Incidentally, while Jones recorded vocals for several more tracks at the session -- and some would later be reused as album tracks a few years down the line -- not all of the recorded tracks were used for vocals, and this later gave rise to a rumour that has been repeated as fact by almost everyone involved, though it was a misunderstanding. Kirshner's next major success after the Monkees was another made-for-TV fictional band, the Archies, and their biggest hit was "Sugar Sugar", co-written and produced by Jeff Barry: [Excerpt: The Archies, "Sugar Sugar"] Both Kirshner and the Monkees have always claimed that the Monkees were offered "Sugar, Sugar" and turned it down. To Kirshner the moral of the story was that since "Sugar, Sugar" was a massive hit, it proved his instincts right and proved that the Monkees didn't know what would make a hit. To the Monkees, on the other hand, it showed that Kirshner wanted them to do bubblegum music that they considered ridiculous. This became such an established factoid that Dolenz regularly tells the story in his live performances, and includes a version of "Sugar, Sugar" in them, rearranged as almost a torch song: [Excerpt: Micky Dolenz, "Sugar, Sugar (live)"] But in fact, "Sugar, Sugar" wasn't written until long after Kirshner and the Monkees had parted ways. But one of the songs for which a backing track was recorded but no vocals were ever completed was "Sugar Man", a song by Denny Randell and Sandy Linzer, which they would later release themselves as an unsuccessful single: [Excerpt: Linzer and Randell, "Sugar Man"] Over the years, the Monkees not recording "Sugar Man" became the Monkees not recording "Sugar, Sugar". Meanwhile, Dolenz and Nesmith had flown over to the UK to do some promotional work and relax, and Jones soon also flew over, though didn't hang out with his bandmates, preferring to spend more time with his family. Both Dolenz and Nesmith spent a lot of time hanging out with British pop stars, and were pleased to find that despite the manufactured controversy about them being a manufactured group, none of the British musicians they admired seemed to care. Eric Burdon, for example, was quoted in the Melody Maker as saying "They make very good records, I can't understand how people get upset about them. You've got to make up your minds whether a group is a record production group or one that makes live appearances. For example, I like to hear a Phil Spector record and I don't worry if it's the Ronettes or Ike and Tina Turner... I like the Monkees record as a grand record, no matter how people scream. So somebody made a record and they don't play, so what? Just enjoy the record." Similarly, the Beatles were admirers of the Monkees, especially the TV show, despite being expected to have a negative opinion of them, as you can hear in this contemporary recording of Paul McCartney answering a fan's questions: Excerpt: Paul McCartney talks about the Monkees] Both Dolenz and Nesmith hung out with the Beatles quite a bit -- they both visited Sgt. Pepper recording sessions, and if you watch the film footage of the orchestral overdubs for "A Day in the Life", Nesmith is there with all the other stars of the period. Nesmith and his wife Phyllis even stayed with the Lennons for a couple of days, though Cynthia Lennon seems to have thought of the Nesmiths as annoying intruders who had been invited out of politeness and not realised they weren't wanted. That seems plausible, but at the same time, John Lennon doesn't seem the kind of person to not make his feelings known, and Michael Nesmith's reports of the few days they stayed there seem to describe a very memorable experience, where after some initial awkwardness he developed a bond with Lennon, particularly once he saw that Lennon was a fan of Captain Beefheart, who was a friend of Nesmith, and whose Safe as Milk album Lennon was examining when Nesmith turned up, and whose music at this point bore a lot of resemblance to the kind of thing Nesmith was doing: [Excerpt: Captain Beefheart and the Magic Band, "Yellow Brick Road"] Or at least, that's how Nesmith always told the story later -- though Safe as Milk didn't come out until nearly six months later. It's possible he's conflating memories from a later trip to the UK in June that year -- where he also talked about how Lennon was the only person he'd really got on with on the previous trip, because "he's a compassionate person. I know he has a reputation for being caustic, but it is only a cover for the depth of his feeling." Nesmith and Lennon apparently made some experimental music together during the brief stay, with Nesmith being impressed by Lennon's Mellotron and later getting one himself. Dolenz, meanwhile, was spending more time with Paul McCartney, and with Spencer Davis of his current favourite band The Spencer Davis Group. But even more than that he was spending a lot of time with Samantha Juste, a model and TV presenter whose job it was to play the records on Top of the Pops, the most important British TV pop show, and who had released a record herself a couple of months earlier, though it hadn't been a success: [Excerpt: Samantha Juste, "No-one Needs My Love Today"] The two quickly fell deeply in love, and Juste would become Dolenz's first wife the next year. When Nesmith and Dolenz arrived back in the US after their time off, they thought the plan was still to release "A Little Bit Me, A Little Bit You" with "The Girl I Knew Somewhere" on the B-side. So Nesmith was horrified to hear on the radio what the announcer said were the two sides of the new Monkees single -- "A Little Bit Me, A Little Bit You", and "She Hangs Out", another song from the Jeff Barry sessions with a Davy vocal. Don Kirshner had gone ahead and picked two songs from the Jeff Barry sessions and delivered them to RCA Records, who had put a single out in Canada. The single was very, *very* quickly withdrawn once the Monkees and the TV producers found out, and only promo copies seem to circulate -- rather than being credited to "the Monkees", both sides are credited to '"My Favourite Monkee" Davy Jones Sings'. The record had been withdrawn, but "A Little Bit Me, A Little Bit You" was clearly going to have to be the single. Three days after the record was released and pulled, Nesmith, Dolenz and Tork were back in the studio with Chip Douglas, recording a new B-side -- a new version of "The Girl I Knew Somewhere", this time with Dolenz on vocals. As Jones was still in the UK, John London added the tambourine part as well as the bass: [Excerpt: The Monkees, "The Girl I Knew Somewhere (single version)"] As Nesmith told the story a couple of months later, "Bert said 'You've got to get this thing in Micky's key for Micky to sing it.' I said 'Has Donnie made a commitment? I don't want to go there and break my neck in order to get this thing if Donnie hasn't made a commitment. And Bert refused to say anything. He said 'I can't tell you anything except just go and record.'" What had happened was that the people at Columbia had had enough of Kirshner. As far as Rafelson and Schneider were concerned, the real problem in all this was that Kirshner had been making public statements taking all the credit for the Monkees' success and casting himself as the puppetmaster. They thought this was disrespectful to the performers -- and unstated but probably part of it, that it was disrespectful to Rafelson and Schneider for their work putting the TV show together -- and that Kirshner had allowed his ego to take over. Things like the liner notes for More of the Monkees which made Kirshner and his stable of writers more important than the performers had, in the view of the people at Raybert Productions, put the Monkees in an impossible position and forced them to push back. Schneider later said "Kirshner had an ego that transcended everything else. As a matter of fact, the press issue was probably magnified a hundred times over because of Kirshner. He wanted everybody thinking 'Hey, he's doing all this, not them.' In the end it was very self-destructive because it heightened the whole press issue and it made them feel lousy." Kirshner was out of a job, first as the supervisor for the Monkees and then as the head of Columbia/Screen Gems Music. In his place came Lester Sill, the man who had got Leiber and Stoller together as songwriters, who had been Lee Hazelwood's production partner on his early records with Duane Eddy, and who had been the "Les" in Philles Records until Phil Spector pushed him out. Sill, unlike Kirshner, was someone who was willing to take a back seat and just be a steadying hand where needed. The reissued version of "A Little Bit Me, A Little Bit You" went to number two on the charts, behind "Somethin' Stupid" by Frank and Nancy Sinatra, produced by Sill's old colleague Hazelwood, and the B-side, "The Girl I Knew Somewhere", also charted separately, making number thirty-nine on the charts. The Monkees finally had a hit that they'd written and recorded by themselves. Pinocchio had become a real boy: [Excerpt: The Monkees, "The Girl I Knew Somewhere (single version)"] At the same session at which they'd recorded that track, the Monkees had recorded another Nesmith song, "Sunny Girlfriend", and that became the first song to be included on a new album, which would eventually be named Headquarters, and on which all the guitar, keyboard, drums, percussion, banjo, pedal steel, and backing vocal parts would for the first time be performed by the Monkees themselves. They brought in horn and string players on a couple of tracks, and the bass was variously played by John London, Chip Douglas, and Jerry Yester as Tork was more comfortable on keyboards and guitar than bass, but it was in essence a full band album. Jones got back the next day, and sessions began in earnest. The first song they recorded after his return was "Mr. Webster", a Boyce and Hart song that had been recorded with the Candy Store Prophets in 1966 but hadn't been released. This was one of three tracks on the album that were rerecordings of earlier outtakes, and it's fascinating to compare them, to see the strengths and weaknesses of both approaches. In the case of "Mr. Webster", the instrumental backing on the earlier version is definitely slicker: [Excerpt: The Monkees, "Mr. Webster (1st Recorded Version)"] But at the same time, there's a sense of dynamics in the group recording that's lacking from the original, like the backing dropping out totally on the word "Stop" -- a nice touch that isn't in the original. I am only speculating, but this may have been inspired by the similar emphasis on the word "stop" in "For What It's Worth" by Tork's old friend Stephen Stills: [Excerpt: The Monkees, "Mr. Webster (album version)"] Headquarters was a group album in another way though -- for the first time, Tork and Dolenz were bringing in songs they'd written -- Nesmith of course had supplied songs already for the two previous albums. Jones didn't write any songs himself yet, though he'd start on the next album, but he was credited with the rest of the group on two joke tracks, "Band 6", a jam on the Merrie Melodies theme “Merrily We Roll Along”, and "Zilch", a track made up of the four band members repeating nonsense phrases: [Excerpt: The Monkees, "Zilch"] Oddly, that track had a rather wider cultural resonance than a piece of novelty joke album filler normally would. It's sometimes covered live by They Might Be Giants: [Excerpt: They Might Be Giants, "Zilch"] While the rapper Del Tha Funkee Homosapien had a worldwide hit in 1991 with "Mistadobalina", built around a sample of Peter Tork from the track: [Excerpt: Del Tha Funkee Homosapien,"Mistadobalina"] Nesmith contributed three songs, all of them combining Beatles-style pop music and country influences, none more blatantly than the opening track, "You Told Me", which starts off parodying the opening of "Taxman", before going into some furious banjo-picking from Tork: [Excerpt: The Monkees, "You Told Me"] Tork, meanwhile, wrote "For Pete's Sake" with his flatmate of the time, and that became the end credits music for season two of the TV series: [Excerpt: The Monkees, "For Pete's Sake"] But while the other band members made important contributions, the track on the album that became most popular was the first song of Dolenz's to be recorded by the group. The lyrics recounted, in a semi-psychedelic manner, Dolenz's time in the UK, including meeting with the Beatles, who the song refers to as "the four kings of EMI", but the first verse is all about his new girlfriend Samantha Juste: [Excerpt: The Monkees, "Randy Scouse Git"] The song was released as a single in the UK, but there was a snag. Dolenz had given the song a title he'd heard on an episode of the BBC sitcom Til Death Us Do Part, which he'd found an amusing bit of British slang. Til Death Us Do Part was written by Johnny Speight, a writer with Associated London Scripts, and was a family sitcom based around the character of Alf Garnett, an ignorant, foul-mouthed reactionary bigot who hated young people, socialists, and every form of minority, especially Black people (who he would address by various slurs I'm definitely not going to repeat here), and was permanently angry at the world and abusive to his wife. As with another great sitcom from ALS, Steptoe and Son, which Norman Lear adapted for the US as Sanford and Son, Til Death Us Do Part was also adapted by Lear, and became All in the Family. But while Archie Bunker, the character based on Garnett in the US version, has some redeeming qualities because of the nature of US network sitcom, Alf Garnett has absolutely none, and is as purely unpleasant and unsympathetic a character as has ever been created -- which sadly didn't stop a section of the audience from taking him as a character to be emulated. A big part of the show's dynamic was the relationship between Garnett and his socialist son-in-law from Liverpool, played by Anthony Booth, himself a Liverpudlian socialist who would later have a similarly contentious relationship with his own decidedly non-socialist son-in-law, the future Prime Minister Tony Blair. Garnett was as close to foul-mouthed as was possible on British TV at the time, with Speight regularly negotiating with the BBC bosses to be allowed to use terms that were not otherwise heard on TV, and used various offensive terms about his family, including referring to his son-in-law as a "randy Scouse git". Dolenz had heard the phrase on TV, had no idea what it meant but loved the sound of it, and gave the song that title. But when the record came out in the UK, he was baffled to be told that the phrase -- which he'd picked up from a BBC TV show, after all -- couldn't be said normally on BBC broadcasts, so they would need to retitle the track. The translation into American English that Dolenz uses in his live shows to explain this to Americans is to say that "randy Scouse git" means "horny Liverpudlian putz", and that's more or less right. Dolenz took the need for an alternative title literally, and so the track that went to number two in the UK charts was titled "Alternate Title": [Excerpt: The Monkees, "Randy Scouse Git"] The album itself went to number one in both the US and the UK, though it was pushed off the top spot almost straight away by the release of Sgt Pepper. As sessions for Headquarters were finishing up, the group were already starting to think about their next album -- season two of the TV show was now in production, and they'd need to keep generating yet more musical material for it. One person they turned to was a friend of Chip Douglas'. Before the Turtles, Douglas had been in the Modern Folk Quartet, and they'd recorded "This Could Be the Night", which had been written for them by Harry Nilsson: [Excerpt: The MFQ, "This Could Be The Night"] Nilsson had just started recording his first solo album proper, at RCA Studios, the same studios that the Monkees were using. At this point, Nilsson still had a full-time job in a bank, working a night shift there while working on his album during the day, but Douglas knew that Nilsson was a major talent, and that assessment was soon shared by the group when Nilsson came in to demo nine of his songs for them: [Excerpt: Harry Nilsson, "1941 (demo)"] According to Nilsson, Nesmith said after that demo session "You just sat down there and blew our minds. We've been looking for songs, and you just sat down and played an *album* for us!" While the Monkees would attempt a few of Nilsson's songs over the next year or so, the first one they chose to complete was the first track recorded for their next album, Pisces, Aquarius, Capricorn, and Jones, Ltd., a song which from the talkback at the beginning of the demo was always intended for Davy Jones to sing: [Excerpt: Harry Nilsson, "Cuddly Toy (demo)"] Oddly, given his romantic idol persona, a lot of the songs given to Jones to sing were anti-romantic, and often had a cynical and misogynistic edge. This had started with the first album's "I Want to Be Free", but by Pisces, it had gone to ridiculous extremes. Of the four songs Jones sings on the album, "Hard to Believe", the first song proper that he ever co-wrote, is a straightforward love  song, but the other three have a nasty edge to them. A remade version of Jeff Barry's "She Hangs Out" is about an underaged girl, starts with the lines "How old d'you say your sister was? You know you'd better keep an eye on her" and contains lines like "she could teach you a thing or two" and "you'd better get down here on the double/before she gets her pretty little self in trouble/She's so fine". Goffin and King's "Star Collector" is worse, a song about a groupie with lines like "How can I love her, if I just don't respect her?" and "It won't take much time, before I get her off my mind" But as is so often the way, these rather nasty messages were wrapped up in some incredibly catchy music, and that was even more the case with "Cuddly Toy", a song which at least is more overtly unpleasant -- it's very obvious that Nilsson doesn't intend the protagonist of the song to be at all sympathetic, which is possibly not the case in "She Hangs Out" or "Star Collector". But the character Jones is singing is *viciously* cruel here, mocking and taunting a girl who he's coaxed to have sex with him, only to scorn her as soon as he's got what he wanted: [Excerpt: The Monkees, "Cuddly Toy"] It's a great song if you like the cruelest of humour combined with the cheeriest of music, and the royalties from the song allowed Nilsson to quit the job at the bank. "Cuddly Toy", and Chip Douglas and Bill Martin's song "The Door Into Summer", were recorded the same way as Headquarters, with the group playing *as a group*, but as recordings for the album progressed the group fell into a new way of working, which Peter Tork later dubbed "mixed-mode". They didn't go back to having tracks cut for them by session musicians, apart from Jones' song "Hard to Believe", for which the entire backing track was created by one of his co-writers overdubbing himself, but Dolenz, who Tork always said was "incapable of repeating a triumph", was not interested in continuing to play drums in the studio. Instead, a new hybrid Monkees would perform most of the album. Nesmith would still play the lead guitar, Tork would provide the keyboards, Chip Douglas would play all the bass and add some additional guitar, and "Fast" Eddie Hoh, the session drummer who had been a touring drummer with the Modern Folk Quartet and the Mamas and the Papas, among others, would play drums on the records, with Dolenz occasionally adding a bit of acoustic guitar. And this was the lineup that would perform on the hit single from Pisces. "Pleasant Valley Sunday" was written by Gerry Goffin and Carole King, who had written several songs for the group's first two albums (and who would continue to provide them with more songs). As with their earlier songs for the group, King had recorded a demo: [Excerpt: Carole King, "Pleasant Valley Sunday (demo)"] Previously -- and subsequently -- when presented with a Carole King demo, the group and their producers would just try to duplicate it as closely as possible, right down to King's phrasing. Bob Rafelson has said that he would sometimes hear those demos and wonder why King didn't just make records herself -- and without wanting to be too much of a spoiler for a few years' time, he wasn't the only one wondering that. But this time, the group had other plans. In particular, they wanted to make a record with a strong guitar riff to it -- Nesmith has later referenced their own "Last Train to Clarksville" and the Beatles' "Day Tripper" as two obvious reference points for the track. Douglas came up with a riff and taught it to Nesmith, who played it on the track: [Excerpt: The Monkees, "Pleasant Valley Sunday"] The track also ended with the strongest psychedelic -- or "psycho jello" as the group would refer to it -- freak out that they'd done to this point, a wash of saturated noise: [Excerpt: The Monkees, "Pleasant Valley Sunday"] King was unhappy with the results, and apparently glared at Douglas the next time they met. This may be because of the rearrangement from her intentions, but it may also be for a reason that Douglas later suspected. When recording the track, he hadn't been able to remember all the details of her demo, and in particular he couldn't remember exactly how the middle eight went. This is the version on King's demo: [Excerpt: Carole King, "Pleasant Valley Sunday (demo)"] While here's how the Monkees rendered it, with slightly different lyrics: [Excerpt: The Monkees, "Pleasant Valley Sunday"] I also think there's a couple of chord changes in the second verse that differ between King and the Monkees, but I can't be sure that's not my ears deceiving me. Either way, though, the track was a huge success, and became one of the group's most well-known and well-loved tracks, making number three on the charts behind "All You Need is Love" and "Light My Fire". And while it isn't Dolenz drumming on the track, the fact that it's Nesmith playing guitar and Tork on the piano -- and the piano part is one of the catchiest things on the record -- meant that they finally had a proper major hit on which they'd played (and it seems likely that Dolenz contributed some of the acoustic rhythm guitar on the track, along with Bill Chadwick, and if that's true all three Monkee instrumentalists did play on the track). Pisces is by far and away the best album the group ever made, and stands up well against anything else that came out around that time. But cracks were beginning to show in the group. In particular, the constant battle to get some sort of creative input had soured Nesmith on the whole project. Chip Douglas later said "When we were doing Pisces Michael would come in with three songs; he knew he had three songs coming on the album. He knew that he was making a lot of money if he got his original songs on there. So he'd be real enthusiastic and cooperative and real friendly and get his three songs done. Then I'd say 'Mike, can you come in and help on this one we're going to do with Micky here?' He said 'No, Chip, I can't. I'm busy.' I'd say, 'Mike, you gotta come in the studio.' He'd say 'No Chip, I'm afraid I'm just gonna have to be ornery about it. I'm not comin' in.' That's when I started not liking Mike so much any more." Now, as is so often the case with the stories from this period, this appears to be inaccurate in the details -- Nesmith is present on every track on the album except Jones' solo "Hard to Believe" and Tork's spoken-word track "Peter Percival Patterson's Pet Pig Porky", and indeed this is by far the album with *most* Nesmith input, as he takes five lead vocals, most of them on songs he didn't write. But Douglas may well be summing up Nesmith's *attitude* to the band at this point -- listening to Nesmith's commentaries on episodes of the TV show, by this point he felt disengaged from everything that was going on, like his opinions weren't welcome. That said, Nesmith did still contribute what is possibly the single most innovative song the group ever did, though the innovations weren't primarily down to Nesmith: [Excerpt: The Monkees, "Daily Nightly"] Nesmith always described the lyrics to "Daily Nightly" as being about the riots on Sunset Strip, but while they're oblique, they seem rather to be about streetwalking sex workers -- though it's perhaps understandable that Nesmith would never admit as much. What made the track innovative was the use of the Moog synthesiser. We talked about Robert Moog in the episode on "Good Vibrations" -- he had started out as a Theremin manufacturer, and had built the ribbon synthesiser that Mike Love played live on "Good Vibrations", and now he was building the first commercially available easily usable synthesisers. Previously, electronic instruments had either been things like the clavioline -- a simple monophonic keyboard instrument that didn't have much tonal variation -- or the RCA Mark II, a programmable synth that could make a wide variety of sounds, but took up an entire room and was programmed with punch cards. Moog's machines were bulky but still transportable, and they could be played in real time with a keyboard, but were still able to be modified to make a wide variety of different sounds. While, as we've seen, there had been electronic keyboard instruments as far back as the 1930s, Moog's instruments were for all intents and purposes the first synthesisers as we now understand the term. The Moog was introduced in late spring 1967, and immediately started to be used for making experimental and novelty records, like Hal Blaine's track "Love In", which came out at the beginning of June: [Excerpt: Hal Blaine, "Love In"] And the Electric Flag's soundtrack album for The Trip, the drug exploitation film starring Peter Fonda and Dennis Hopper and written by Jack Nicholson we talked about last time, when Arthur Lee moved into a house used in the film: [Excerpt: The Electric Flag, "Peter's Trip"] In 1967 there were a total of six albums released with a Moog on them (as well as one non-album experimental single). Four of the albums were experimental or novelty instrumental albums of this type. Only two of them were rock albums -- Strange Days by the Doors, and Pisces, Aquarius, Capricorn, & Jones Ltd by the Monkees. The Doors album was released first, but I believe the Monkees tracks were recorded before the Doors overdubbed the Moog on the tracks on their album, though some session dates are hard to pin down exactly. If that's the case it would make the Monkees the very first band to use the Moog on an actual rock record (depending on exactly how you count the Trip soundtrack -- this gets back again to my old claim that there's no first anything). But that's not the only way in which "Daily Nightly" was innovative. All the first seven albums to feature the Moog featured one man playing the instrument -- Paul Beaver, the Moog company's West Coast representative, who played on all the novelty records by members of the Wrecking Crew, and on the albums by the Electric Flag and the Doors, and on The Notorious Byrd Brothers by the Byrds, which came out in early 1968. And Beaver did play the Moog on one track on Pisces, "Star Collector". But on "Daily Nightly" it's Micky Dolenz playing the Moog, making him definitely the second person ever to play a Moog on a record of any kind: [Excerpt: The Monkees, "Daily Nightly"] Dolenz indeed had bought his own Moog -- widely cited as being the second one ever in private ownership, a fact I can't check but which sounds plausible given that by 1970 less than thirty musicians owned one -- after seeing Beaver demonstrate the instrument at the Monterey Pop Festival. The Monkees hadn't played Monterey, but both Dolenz and Tork had attended the festival -- if you watch the famous film of it you see Dolenz and his girlfriend Samantha in the crowd a *lot*, while Tork introduced his friends in the Buffalo Springfield. As well as discovering the Moog there, Dolenz had been astonished by something else: [Excerpt: The Jimi Hendrix Experience, "Hey Joe (Live at Monterey)"] As Peter Tork later put it "I didn't get it. At Monterey Jimi followed the Who and the Who busted up their things and Jimi bashed up his guitar. I said 'I just saw explosions and destruction. Who needs it?' But Micky got it. He saw the genius and went for it." Dolenz was astonished by Hendrix, and insisted that he should be the support act on the group's summer tour. This pairing might sound odd on paper, but it made more sense at the time than it might sound. The Monkees were by all accounts a truly astonishing live act at this point -- Frank Zappa gave them a backhanded compliment by saying they were the best-sounding band in LA, before pointing out that this was because they could afford the best equipment. That *was* true, but it was also the case that their TV experience gave them a different attitude to live performance than anyone else performing at the time. A handful of groups had started playing stadiums, most notably of course the Beatles, but all of these acts had come up through playing clubs and theatres and essentially just kept doing their old act with no thought as to how the larger space worked, except to put their amps through a louder PA. The Monkees, though, had *started* in stadiums, and had started out as mass entertainers, and so their live show was designed from the ground up to play to those larger spaces. They had costume changes, elaborate stage sets -- like oversized fake Vox amps they burst out of at the start of the show -- a light show and a screen on which film footage was projected. In effect they invented stadium performances as we now know them. Nesmith later said "In terms of putting on a show there was never any question in my mind, as far as the rock 'n' roll era is concerned, that we put on probably the finest rock and roll stage show ever. It was beautifully lit, beautifully costumed, beautifully produced. I mean, for Christ sakes, it was practically a revue." The Monkees were confident enough in their stage performance that at a recent show at the Hollywood Bowl they'd had Ike and Tina Turner as their opening act -- not an act you'd want to go on after if you were going to be less than great, and an act from very similar chitlin' circuit roots to Jimi Hendrix. So from their perspective, it made sense. If you're going to be spectacular yourselves, you have no need to fear a spectacular opening act. Hendrix was less keen -- he was about the only musician in Britain who *had* made disparaging remarks about the Monkees -- but opening for the biggest touring band in the world isn't an opportunity you pass up, and again it isn't such a departure as one might imagine from the bills he was already playing. Remember that Monterey is really the moment when "pop" and "rock" started to split -- the split we've been talking about for a few months now -- and so the Jimi Hendrix Experience were still considered a pop band, and as such had played the normal British pop band package tours. In March and April that year, they'd toured on a bill with the Walker Brothers, Cat Stevens, and Englebert Humperdinck -- and Hendrix had even filled in for Humperdinck's sick guitarist on one occasion. Nesmith, Dolenz, and Tork all loved having Hendrix on tour with them, just because it gave them a chance to watch him live every night (Jones, whose musical tastes were more towards Anthony Newley, wasn't especially impressed), and they got on well on a personal level -- there are reports of Hendrix jamming with Dolenz and Steve Stills in hotel rooms. But there was one problem, as Dolenz often recreates in his live act: [Excerpt: Micky Dolenz, "Purple Haze"] The audience response to Hendrix from the Monkees' fans was so poor that by mutual agreement he left the tour after only a handful of shows. After the summer tour, the group went back to work on the TV show and their next album. Or, rather, four individuals went back to work. By this point, the group had drifted apart from each other, and from Douglas -- Tork, the one who was still keenest on the idea of the group as a group, thought that Pisces, good as it was, felt like a Chip Douglas album rather than a Monkees album. The four band members had all by now built up their own retinues of hangers-on and collaborators, and on set for the TV show they were now largely staying with their own friends rather than working as a group. And that was now reflected in their studio work. From now on, rather than have a single producer working with them as a band, the four men would work as individuals, producing their own tracks, occasionally with outside help, and bringing in session musicians to work on them. Some tracks from this point on would be genuine Monkees -- plural -- tracks, and all tracks would be credited as "produced by the Monkees", but basically the four men would from now on be making solo tracks which would be combined into albums, though Dolenz and Jones would occasionally guest on tracks by the others, especially when Nesmith came up with a song he thought would be more suited to their voices. Indeed the first new recording that happened after the tour was an entire Nesmith solo album -- a collection of instrumental versions of his songs, called The Wichita Train Whistle Sings, played by members of the Wrecking Crew and a few big band instrumentalists, arranged by Shorty Rogers. [Excerpt: Michael Nesmith, "You Told Me"] Hal Blaine in his autobiography claimed that the album was created as a tax write-off for Nesmith, though Nesmith always vehemently denied it, and claimed it was an artistic experiment, though not one that came off well. Released alongside Pisces, though, came one last group-recorded single. The B-side, "Goin' Down", is a song that was credited to the group and songwriter Diane Hildebrand, though in fact it developed from a jam on someone else's song. Nesmith, Tork, Douglas and Hoh attempted to record a backing track for a version of Mose Allison's jazz-blues standard "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] But after recording it, they'd realised that it didn't sound that much like the original, and that all it had in common with it was a chord sequence. Nesmith suggested that rather than put it out as a cover version, they put a new melody and lyrics to it, and they commissioned Hildebrand, who'd co-written songs for the group before, to write them, and got Shorty Rogers to write a horn arrangement to go over their backing track. The eventual songwriting credit was split five ways, between Hildebrand and the four Monkees -- including Davy Jones who had no involvement with the recording, but not including Douglas or Hoh. The lyrics Hildebrand came up with were a funny patter song about a failed suicide, taken at an extremely fast pace, which Dolenz pulls off magnificently: [Excerpt: The Monkees, "Goin' Down"] The A-side, another track with a rhythm track by Nesmith, Tork, Douglas, and Hoh, was a song that had been written by John Stewart of the Kingston Trio, who you may remember from the episode on "San Francisco" as being a former songwriting partner of John Phillips. Stewart had written the song as part of a "suburbia trilogy", and was not happy with the finished product. He said later "I remember going to bed thinking 'All I did today was write 'Daydream Believer'." Stewart used to include the song in his solo sets, to no great approval, and had shopped the song around to bands like We Five and Spanky And Our Gang, who had both turned it down. He was unhappy with it himself, because of the chorus: [Excerpt: John Stewart, "Daydream Believer"] Stewart was ADHD, and the words "to a", coming as they did slightly out of the expected scansion for the line, irritated him so greatly that he thought the song could never be recorded by anyone, but when Chip Douglas asked if he had any songs, he suggested that one. As it turned out, there was a line of lyric that almost got the track rejected, but it wasn't the "to a". Stewart's original second verse went like this: [Excerpt: John Stewart, "Daydream Believer"] RCA records objected to the line "now you know how funky I can be" because funky, among other meanings, meant smelly, and they didn't like the idea of Davy Jones singing about being smelly. Chip Douglas phoned Stewart to tell him that they were insisting on changing the line, and suggesting "happy" instead. Stewart objected vehemently -- that change would reverse the entire meaning of the line, and it made no sense, and what about artistic integrity? But then, as he later said "He said 'Let me put it to you this way, John. If he can't sing 'happy' they won't do it'. And I said 'Happy's working real good for me now.' That's exactly what I said to him." He never regretted the decision -- Stewart would essentially live off the royalties from "Daydream Believer" for the rest of his life -- though he seemed always to be slightly ambivalent and gently mocking about the song in his own performances, often changing the lyrics slightly: [Excerpt: John Stewart, "Daydream Believer"] The Monkees had gone into the studio and cut the track, again with Tork on piano, Nesmith on guitar, Douglas on bass, and Hoh on drums. Other than changing "funky" to "happy", there were two major changes made in the studio. One seems to have been Douglas' idea -- they took the bass riff from the pre-chorus to the Beach Boys' "Help Me Rhonda": [Excerpt: The Beach Boys, "Help Me Rhonda"] and Douglas played that on the bass as the pre-chorus for "Daydream Believer", with Shorty Rogers later doubling it in the horn arrangement: [Excerpt: The Monkees, "Daydream Believer"] And the other is the piano intro, which also becomes an instrumental bridge, which was apparently the invention of Tork, who played it: [Excerpt: The Monkees, "Daydream Believer"] The track went to number one, becoming the group's third and final number one hit, and their fifth of six million-sellers. It was included on the next album, The Birds, The Bees, and the Monkees, but that piano part would be Tork's only contribution to the album. As the group members were all now writing songs and cutting their own tracks, and were also still rerecording the odd old unused song from the initial 1966 sessions, The Birds, The Bees, and the Monkees was pulled together from a truly astonishing amount of material. The expanded triple-CD version of the album, now sadly out of print, has multiple versions of forty-four different songs, ranging from simple acoustic demos to completed tracks, of which twelve were included on the final album. Tork did record several tracks during the sessions, but he spent much of the time recording and rerecording a single song, "Lady's Baby", which eventually stretched to five different recorded versions over multiple sessions in a five-month period. He racked up huge studio bills on the track, bringing in Steve Stills and Dewey Martin of the Buffalo Springfield, and Buddy Miles, to try to help him capture the sound in his head, but the various takes are almost indistinguishable from one another, and so it's difficult to see what the problem was: [Excerpt: The Monkees, "Lady's Baby"] Either way, the track wasn't finished by the time the album came out, and the album that came out was a curiously disjointed and unsatisfying effort, a mixture of recycled old Boyce and Hart songs, some songs by Jones, who at this point was convinced that "Broadway-rock" was going to be the next big thing and writing songs that sounded like mediocre showtunes, and a handful of experimental songs written by Nesmith. You could pull together a truly great ten- or twelve-track album from the masses of material they'd recorded, but the one that came out was mediocre at best, and became the first Monkees album not to make number one -- though it still made number three and sold in huge numbers. It also had the group's last million-selling single on it, "Valleri", an old Boyce and Hart reject from 1966 that had been remade with Boyce and Hart producing and their old session players, though the production credit was still now given to the Monkees: [Excerpt: The Monkees, "Valleri"] Nesmith said at the time he considered it the worst song ever written. The second season of the TV show was well underway, and despite -- or possibly because of -- the group being clearly stoned for much of the filming, it contains a lot of the episodes that fans of the group think of most fondly, including several episodes that break out of the formula the show had previously established in interesting ways. Tork and Dolenz were both also given the opportunity to direct episodes, and Dolenz also co-wrote his episode, which ended up being the last of the series. In another sign of how the group were being given more creative control over the show, the last three episodes of the series had guest appearances by favourite musicians of the group members who they wanted to give a little exposure to, and those guest appearances sum up the character of the band members remarkably well. Tork, for whatever reason, didn't take up this option, but the other three did. Jones brought on his friend Charlie Smalls, who would later go on to write the music for the Broadway musical The Wiz, to demonstrate to Jones the difference between Smalls' Black soul and Jones' white soul: [Excerpt: Davy Jones and Charlie Smalls] Nesmith, on the other hand, brought on Frank Zappa. Zappa put on Nesmith's Monkee shirt and wool hat and pretended to be Nesmith, and interviewed Nesmith with a false nose and moustache pretending to be Zappa, as they both mercilessly mocked the previous week's segment with Jones and Smalls: [Excerpt: Michael Nesmith and Frank Zappa] Nesmith then "conducted" Zappa as Zappa used a sledgehammer to "play" a car, parodying his own appearance on the Steve Allen Show playing a bicycle, to the presumed bemusement of the Monkees' fanbase who would not be likely to remember a one-off performance on a late-night TV show from five years earlier. And the final thing ever to be shown on an episode of the Monkees didn't feature any of the Monkees at all. Micky Dolenz, who directed and co-wrote that episode, about an evil wizard who was using the power of a space plant (named after the group's slang for dope) to hypnotise people through the TV, chose not to interact with his guest as the others had, but simply had Tim Buckley perform a solo acoustic version of his then-unreleased song "Song to the Siren": [Excerpt: Tim Buckley, "Song to the Siren"] By the end of the second season, everyone knew they didn't want to make another season of the TV show. Instead, they were going to do what Rafelson and Schneider had always wanted, and move into film. The planning stages for the film, which was initially titled Changes but later titled Head -- so that Rafelson and Schneider could bill their next film as "From the guys who gave you Head" -- had started the previous summer, before the sessions that produced The Birds, The Bees, and the Monkees. To write the film, the group went off with Rafelson and Schneider for a short holiday, and took with them their mutual friend Jack Nicholson. Nicholson was at this time not the major film star he later became. Rather he was a bit-part actor who was mostly associated with American International Pictures, the ultra-low-budget film company that has come up on several occasions in this podcast. Nicholson had appeared mostly in small roles, in films like The Little Shop of Horrors: [Excerpt: The Little Shop of Horrors] He'd appeared in multiple films made by Roger Corman, often appearing with Boris Karloff, and by Monte Hellman, but despite having been a working actor for a decade, his acting career was going nowhere, and by this point he had basically given up on the idea of being an actor, and had decided to start working behind the camera. He'd written the scripts for a few of the low-budget films he'd appeared in, and he'd recently scripted The Trip, the film we mentioned earlier: [Excerpt: The Trip trailer] So the group, Rafelson, Schneider, and Nicholson all went away for a weekend, and they all got extremely stoned, took acid, and talked into a tape recorder for hours on end. Nicholson then transcribed those recordings, cleaned them up, and structured the worthwhile ideas into something quite remarkable: [Excerpt: The Monkees, "Ditty Diego"] If the Monkees TV show had been inspired by the Marx Brothers and Three Stooges, and by Richard Lester's directorial style, the only precursor I can find for Head is in the TV work of Lester's colleague Spike Milligan, but I don't think there's any reasonable way in which Nicholson or anyone else involved could have taken inspiration from Milligan's series Q.  But what they ended up with is something that resembles, more than anything else, Monty Python's Flying Circus, a TV series that wouldn't start until a year after Head came out. It's a series of ostensibly unconnected sketches, linked by a kind of dream logic, with characters wandering from one loose narrative into a totally different one, actors coming out of character on a regular basis, and no attempt at a coherent narrative. It contains regular examples of channel-zapping, with excerpts from old films being spliced in, and bits of news footage juxtaposed with comedy sketches and musical performances in ways that are sometimes thought-provoking, sometimes distasteful, and occasionally both -- as when a famous piece of footage of a Vietnamese prisoner of war being shot in the head hard-cuts to screaming girls in the audience at a Monkees concert, a performance which ends with the girls tearing apart the group and revealing that they're really just cheap-looking plastic mannequins. The film starts, and ends, with the Monkees themselves attempting suicide, jumping off a bridge into the ocean -- but the end reveals that in fact the ocean they're in is just water in a glass box, and they're trapped in it. And knowing this means that when you watch the film a second time, you find that it does have a story. The Monkees are trapped in a box which in some ways represents life, the universe, and one's own mind, and in other ways represents the TV and their TV careers. Each of them is trying in his own way to escape, and each ends up trapped by his own limitations, condemned to start the cycle over and over again. The film features parodies of popular film genres like the boxing film (Davy is supposed to throw a fight with Sonny Liston at the instruction of gangsters), the Western, and the war film, but huge chunks of the film take place on a film studio backlot, and characters from one segment reappear in another, often commenting negatively on the film or the band, as when Frank Zappa as a critic calls Davy Jones' soft-shoe routine to a Harry Nilsson song "very white", or when a canteen worker in the studio calls the group "God's gift to the eight-year-olds". The film is constantly deconstructing and commenting on itself and the filmmaking process -- Tork hits that canteen worker, whose wig falls off revealing the actor playing her to be a man, and then it's revealed that the "behind the scenes" footage is itself scripted, as director Bob Rafelson and scriptwriter Jack Nicholson come into frame and reassure Tork, who's concerned that hitting a woman would be bad for his image. They tell him they can always cut it from the finished film if it doesn't work. While "Ditty Diego", the almost rap rewriting of the Monkees theme we heard earlier, sets out a lot of how the film asks to be interpreted and how it works narratively, the *spiritual* and thematic core of the film is in another song, Tork's "Long Title (Do I Have to Do This All Over Again?)", which in later solo performances Tork would give the subtitle "The Karma Blues": [Excerpt: The Monkees, "Long Title (Do I Have To Do This All Over Again?)"] Head is an extraordinary film, and one it's impossible to sum up in anything less than an hour-long episode of its own. It's certainly not a film that's to everyone's taste, and not every aspect of it works -- it is a film that is absolutely of its time, in ways that are both good and bad. But it's one of the most inventive things ever put out by a major film studio, and it's one that rightly secured the Monkees a certain amount of cult credibility over the decades. The soundtrack album is a return to form after the disappointing Birds, Bees, too. Nicholson put the album together, linking the eight songs in the film with collages of dialogue and incidental music, repurposing and recontextualising the dialogue to create a new experience, one that people have compared with Frank Zappa's contemporaneous We're Only In It For The Money, though while t

This week - we share 20 minutes with you - with funny stories about:  >Yoga pants >Linus with worms?  >Hello - headphones! >Hiking with a Hoe! >Beaver in the hallway >Is this an Eggsellent idea? >Are you a crystal customer?  Good times and we wish you a great week! Big hugs - and keep being awesome!   

They're hoping that the new dams will eventually attract real beavers. Learn more at https://www.yaleclimateconnections.org/.

“Be more curious and to really question dogma more often.” -Philip OvadiaConducting over 3,000 heart surgeries taught Dr. Philip Ovadia that good health comes from lifestyle and nutrition, not from surgery. He is now on a mission to help people stay off his operating table by giving them the tools and mindset to never need a heart surgeon.After growing up in New York, Dr. Ovadia graduated from the accelerated Pre-Med/Med program at the Pennsylvania State University and Jefferson Medical College (now Sidney Kimmel School of Medicine at Thomas Jefferson University).  He then went on to complete a Residency in General Surgery at the University of Medicine and Dentistry of New Jersey - Robert Wood Johnson Medical School and a Fellowship in Cardiothoracic Surgery at Tufts-New England Medical School.Dr. Ovadia has practiced Cardiothoracic Surgery in Beaver, PA and Clearwater, Florida.  In 2020 he established Ovadia Cardiothoracic Surgery and now works as an independent contractor Cardiothoracic Surgeon in various locations throughout the United States.In an effort to overcome his lifelong struggle with obesity, Dr. Ovadia adopted a low-carbohydrate focused way of eating in 2015.  He has maintained a weight loss of nearly 100 pounds and since March, 2019 has maintained a mostly carnivorous way of eating.  He has extensively researched the health benefits of low-carb with a focus on heart health through many hours of reading the medical literature, books and listening to podcasts, as well as personal discussions with many of the physician leaders and citizen scientists involved in the low-carb movement.  In his recent book, Stay Off My Operating Table, Dr. Ovadia discusses the principles of optimizing metabolic health to prevent heart disease and other chronic diseases.  He also hosts the Stay Off My Operating Table Podcast, is a frequent guest on other podcasts focused on metabolic and heart health, and has delivered lectures at conferences focused on metabolic health.Dr. Ovadia has also established Ovadia Heart Health, a Telehealth practice that focuses on the prevention and treatment of metabolic and heart disease utilizing lifestyle and dietary modification.   He incorporates his hands-on, clinical experience with heart disease and the personal insights he has gained in his own struggle with obesity and poor metabolic health.Dr. Ovadia is board certified in Cardiothoracic Surgery and General Surgery.  He is a Fellow of the American College of Surgeons and is a founding member of the Society of Metabolic Health Practitioners. Dr. Ovadia currently lives in Florida with his wonderful wife and 2 amazing daughters.Click here to subscribe to The Sell My Business Podcast to save time and effort.SELECTED LINKS FOR THIS EPISODEphilip.ovadia@ovadiahearthealth.comOvadia Heart HealthHeart Surgeon Dr. Philip Ovadia (@ifixhearts) / TwitterHeart Surgeon Dr. Philip Ovadia (@ovadia_heart_health) • Instagram photos and videosOvadia Heart Health - YouTubeContact Deep Wealth: Tweet @JeffreyFeldberg LinkedIn Instagram Subscribe to The Deep Wealth Podcast Email podcast@deepwealth.com Help us pay it forward by leaving a review.Here's to you and your success!As always, please stay healthy and safe.

Coach Prime and Colorado, USC's returning Heisman Trophy winner, the back to back conference champs in Utah, DJ U is a Beaver and Dan Lanning has Oregon trending up. The PAC 12 is going to be phenomenal in 2023, and McElroy is here to give an early look. | Always College Football Learn more about your ad choices. Visit megaphone.fm/adchoices

From Studio B! This one's for the Degen chat! Beaver, Josh, Jacob, and James talk through their favorite bets of the weekend for UFC 283 and the NFL divisional round, including a $10 parlay that pays out $169,000 when -- not if -- it hits. The apotheosis of Brock Purdy.Follow Cash on Twitter: https://twitter.com/SurplusOfCashFollow Josh on Twitter: https://twitter.com/selway151Follow us on IG: https://www.instagram.com/fantasyunleashd/All things FantasyUnleashd: https://linktr.ee/FantasyUnleashdJosh's weird TikTok: https://vm.tiktok.com/TTPdhPrtSx/Beaver is on TikTok! https://vm.tiktok.com/TTPdAdF21a/

Jakob Shockey, founder of the Beaver Coalition, has spent years researching and working to preserve, restore, and understand beaver habitats. He discusses with Bret the rarely discussed impacts of Beavers on all aspects of our world, and how we have thrown this equilibrium out of balance by trapping beavers and industrializing north America with little regard for preserving the factors that made it as hospitable as it has been.Find Jakob at his website: https://www.jakobshockey.com/Find the Beaver Coalition at: https://www.beavercoalition.org/*****Find Bret Weinstein on Twitter: @BretWeinstein, and on Patreon. Please subscribe to this channel for more long form content like this, and subscribe to the clips channel @DarkHorse Podcast Clips for short clips of all our podcasts. Check out the DHP store! Epic tabby, digital book burning, saddle up the dire wolves, and more: https://www.store.darkhorsepodcast.orgTheme Music: Thank you to Martin Molin of Wintergatan for providing us the rights to use their excellent music.*****Timestamps:(00:00) Introductions(05:07) Sponsors(08:37) Common beavers and gold rush(20:14) Beavers, family structure, and felling trees(32:55) Tent making bats(37:00) Beavers' fur and South America(41:40) Back to Natural History of beavers(53:20) Weather changing beavers(01:01:05) Pivots(01:06:40) Conservatives and progressives and environmental degradation(01:19:22) Ecuador(01:24:30) Managing land ownership and habitat(01:36:20) Other animals reliant on beavers(01:41:30) Beaver dams(01:51:40) Beavers and fire suppression(02:00:40) Trapped beavers and population sinks(02:07:00) Beavers and ages of dams(02:12:00) Vegetarian diggers(02:18:00) Role for humans(02:21:40) Evergreen's fatal flaw(02:44:18) Twitter(02:51:55) Wrap upSupport the show

Arcimoto may declare bankruptcy or cease operations. Man shot by munitions during 2020 protests will get $80,000. Beaver fans rejoice: Reser Stadium expansion is on track for June completion Learn more about your ad choices. Visit megaphone.fm/adchoices

Shot of the Day

Holmberg's Morning Sickness - Brady Report - Tuesday January 17, 2023

2Stupi2Win & ThankMeLater breakdown the secondary market of Upland. They talk about the $10 million NFT-USD, NFLPA Legit rewards, new city release of Buenos Aries, and the YouTbe chat gets a little crazy.The UPX Podcast is the ORIGINAL and #1 spot for news, strategy, non-financial advice, and more in Upland. Join 2Stupid2Win & ThankMeLater as they discuss the current events, strategies, and community of the metaverse known as Upland.Sign up for Upland using this referral code discover.upland.me/UPX-Podcast. Earn of 50% bonus on your first deposit up to $100.Follow us on Twitter www.twitter.com/upxpodcastSHOW DISCLAIMER: The views, information, and opinions expressed on The Upland Property Xperts (UPX) Podcast are solely those of 2Stupid2Win, TML, and any guests of the podcast and do not necessarily represent/reflect those of UplandMe Inc. We are not employed by, or provided insider information from the UplandMe Inc. Nor are we financial/investment advisors. All discussion about properties, types of properties, or any other NFTs in Upland to buy or sell is not financial advice. Please do your own research first. We do not guarantee any particular outcome from participating in Upland. There is potential for loss from participating in the purchase, sale, or investing in Upland and their metaverse.

Humpty Dumpty Twitter Controversy. Morons in the News. Your Personality Explained.   Everyone Needs a Laugh. Judge Judy. The People's Movie Critic: “M3GHAN”   Sherry Gets into It. Can you Believe This S***? Walk Towards the Pain.   Macho Man. Your Grades and Your Mouth. From the Vault.See omnystudio.com/listener for privacy information.

In this episode of the Belligerent Beavs Podcast, we're joined by Big Dave Uiagalelei to discuss his son DJ's transfer to Oregon State Football, what Beaver fans should expect from their son, and a fun story about the time Beaver Legend Lyle Moevao met young DJ at a summer football camp. We also recap the Women's Basketball games at Arizona State and Arizona, celebrate Raegan Beers' meteoric rise to stardom, and practice patience with Men's Basketball, who had another rough road trip against Colorado and Utah.

Sam and Andy break down the 3 game losing streak, explain the Hero's Journey story arc behind the Beaver's season, and interview the best color commentator in the Pac-12: Eldridge Recasner. Follow The Payton Years on Twitter @YearsPayton

In this episode, Steve sits down with Elmo Arteaga (FOH for Ice Nine Kills) and Logan Beaver (FOH for Motionless in White) to chat about their recent time together on the Trinity of Terror Tour. In addition to tour talk, they dive into their respective histories and discuss how they got involved with touring full-time. The guys also talk about the challenges with broadcast mixes and the pros and cons of using social media videos to evaluate mixes.Follow Elmo on Instagram: @elmoarteagaFollow Logan on Instagram: @lbeavr

Hey Hey Nature Nerds! Welcome to our first full episode for 2023! This week Jen talks all things Beavers! Thanks to listener Bunny Tuna Ducky for the suggestion! Organization to Support: The Beaver Coalition - beavercoalition.org The mission of The Beaver Coalition is to empower humans to partner with beavers through education, science, advocacy, and process-based restoration. As a nonprofit organization, we are dedicated to facilitating a paradigm shift in society's understanding of beavers. We envision a future in which there is widespread public support for a return of beavers and their work as ecosystem engineers to the waterways of North America. We believe clean, abundant water resources and functioning stream systems are universal needs for the health and wellbeing of people and the places they live. Links: https://www.etymonline.com/word/beaver https://nationalzoo.si.edu/animals/beaver https://en.wikipedia.org/wiki/Beaver https://nationalzoo.si.edu/animals/news/8-facts-celebrate-international-beaver-day https://facts.net/beaver-facts/ https://www.mentalfloss.com/article/62316/11-fascinating-facts-about-beavers https://www.countryfile.com/wildlife/mammals/guide-to-britains-beavers-their-history-reintroduction-and-where-to-see/ https://furbearerconservation.com/blog/2019/7/20/beaver-attack-in-virginia-river-rehashes-talk-of-zombie-beavers https://www.theguardian.com/world/2013/may/29/beaver-kills-man-belarus https://en.wikipedia.org/wiki/Beaver_attack https://www.encountersnorth.org/beaver-summary/2017/8/2/beaver-ecology https://scottishwildlifetrust.org.uk/our-work/our-projects/scottish-beavers/ https://kingcounty.gov/services/environment/animals-and-plants/beavers/Benefits.aspx https://www.watereducationcolorado.org/fresh-water-news/scientists-beavers-latest-tool-to-emerge-in-rebuilding-drought-stricken-streams/ https://people.com/pets/beavers-could-help-protect-rivers-from-climate-change-study/#:~:text=A%20study%20conducted%20in%20Colorado's,quality%20during%20times%20of%20drought&text=The%20humble%20beaver%20could%20save,rivers%20threatened%20by%20climate%20change. https://canadiangeographic.ca/articles/rethinking-the-beaver/ https://www.devonwildlifetrust.org/what-we-do/our-projects/river-otter-beaver-trial https://defenders.org/blog/2022/04/traditional-farming-communities-coexist-beavers https://www.nwf.org/Magazines/National-Wildlife/2020/August-September/Conservation/Beavers

It's 2023 and the Heinrich Tailgater has a little NEW YEAR"S SURPRISE for your ear holes! What a great Las Vegas Bowl for the Beavs! The boys talk about Beaver winter sports, the 2022-23 Pac12 Bowl season, and listen to a socially conscious song from 1987! Go Beavs!

Stan and Haney begin by debating whether or not "ignorant" is a "hot" word, Grab Bag, Open Phones where Stan discusses Cape Coral/Fort Myers being named the most overpriced area for apartment and home rentals, Attorney Anthony Melchiorre from Absolute Law joins the show in studio with free legal advise, Fluffer, email, a game of Stan's Name That Movie (the restaurant edition) was played for some great prizes, News, and more...

We are joined in this episode by northwoods angler and beaver trapper extrodinaire Scott Mackner aka 330 MaNiac Outdoors. We talk ice conditions, trapping, and then off on tangents we go. Enjoy the wierd way our minds work in this wandering episode.  --- Send in a voice message: https://anchor.fm/theicemen/message Support this podcast: https://anchor.fm/theicemen/support

Preached by Matthew Tilley for North Beaver Baptist Church on Sunday, January 8, 2023 during the morning service.

President Biden visits the U.S. - Mexico border amidst the immigration crisis. Beaver nuggets from the Buc-ee's gas station named as the best snack in Texas. The San Antonio Spurs are closing to breaking the record for most NBA tickets sold at the Alamodome. Learn more about your ad choices. Visit megaphone.fm/adchoices

We have an amazing episode to start off 2023 for you! Director of Finance and Business for both the Shenango and Beaver campus, and Hickory High School head football coach, Bill Dungee joins the podcast! Bill speaks on his journey to Shenango, his luck, meeting Beyonce, Jay-Z, and President Obama, plus much more! We talk about our goals for 2023 and hopefully add some inspiration. This is an episode you don't want to miss!

We have guests! For this episode, Logan and first time guest Becca join the table to discuss the hard hitting issues. Right away there's a disagreement on the movie elf, Logan is in the wrong on this one. After another edition of 'Things Rich People Do', they get into another heated debate involving Christmas songs and the best animal. As with all new guests, we ask Becca the tough questions that no one else can answer. We also play a game of ‘Ask a Music Teacher'. This is mostly a nostalgic trip down memory lane with nonsensical rants and good vibes.

On today's episode of The Confluence: A look at some of the Pittsburgh-area individuals who have been indicted for their involvement in the Jan. 6 insurrection at the U.S. Capitol two years ago; and we speak to U.S. Representative Summer Lee, who now represents Beaver and parts of Allegheny and Westmoreland Counties as a member of the 118th Congress. Today's guests include: Torsten Ove, a reporter for the Pittsburgh Union Progress; and Summer Lee, representative for Congressional District 12.

"Bald Beaver Hunter" Rapist caught on To Catch A Predator John ElliotBald Beaver Hunter came to have sex with a 12 year old girl (though the agent says 13). He was arrested instead and got 7 years in the state penitentiary. Footage original police footage, for public interest in a high profile case. If you feel bad about him, go read his disgusting chat log and think of the child porn he had. The recording at the end of the video is his phone call with the decoy.Bald Beaver Hunter Rapist caught on To Catch A Predator John Elliot TCAP Chris Hason Child Predator OnlineTrue Crime Podcast 2023 Police Interrogations, 911 Calls and True Police Stories Podcast

In this episode we dissected 2022! Enjoy.

Rob has a super wacky obsession with June Cleaver from the old show Leave it to Beaver!! Oh boy! Let's see how his wife takes this!

Sam and Andy sit down with friends of the pod: Seth Allen & Liv to celebrate the holidays and take a stroll down Memory Lane with their favorite Beaver Basketball Memories. Follow The Payton Years on Twitter @YearsPayton

What's SHE Up To Now Day 1798? Lessons From Beaver Built Person? Drop in to get the real scoop--the good, the bad, the ugly, the truth (well my truth anyway). https://facebook.com/beme2thrive #documentthejourney #shareyourexperience #beaverlessons

Lessons Learned From An Eager Beaver To Supersize Your Business! Pop in daily for a dose of different business building perspective: https://facebook.com/supersizebusiness #supersizeyourbusiness #whatthingsmean #eagerbeaver

Happy Hump Day. Dads are here as usual. We have the normal banter with some dark humor to kick things off. We get into Dad stories. After some casual xmas talk we kick into the last game of the year. That's right Dad Jeopardy is a go! Strap in and enjoy the show. We also wish everyone a happy holiday season. 

Welcome back to The Horror Hour. Liam and Yutaka catch up with one of their favorite Dragula contestants. The amazing Sigourney Beaver. We talk titans, drag, and just catch up on old times. Her positivity is so damn infectious. We adore her. Enjoy! Make sure to catch the live Dragula viewing party at roscoestavern Sig's Website: https://www.sigourneybeaver.com If you would like to support the podcast, you can join our patreon: patreon.com/TheHorrorHourTV Follow us over on twitter and instagram: @TheHorrorHourTV You can also get your official 'The Horror Merch' : https://www.redbubble.com/people/thehorrorhour/shop Our Links: https://linktr.ee/TheHorrorHour --- Support this podcast: https://anchor.fm/the-horror-hour/support

This is a recording of our live show on social audio called "SciChat!"It runs at 9PM Eastern/7PM Mountain Time on Twitter Spaces, Clubhouse, Wisdom, and our Paw Pack Community.This week we have Beaver expert Dr. Emily Fairfax!  It was an amazing conversation about beavers and how critical they are to the ecosystems of North America!Emily on Twitter:https://twitter.com/EmilyFairfaxBunsen and Beaker Links:The Bunsen and Beaker Website has adorable merch with hundreds of different combinations of designs and apparel- all with Printful- one of the highest quality companies we could find!www.bunsenbernerbmd.comSign up for our Weekly Newsletter!https://www.getrevue.co/profile/bunsenbernerbmd?via=twitter-profileOur Spaces Sponsor: Bark and Beyond Supplyhttps://barkandbeyondsupply.com/Bunsen and Beaker on Twitter:https://twitter.com/bunsenbernerbmdBunsen and Beaker on Facebookhttps://www.facebook.com/bunsenberner.bmd/InstaBunsandBeakshttps://www.instagram.com/bunsenberner.bmd/?hl=enSupport the showFor Science, Empathy, and Cuteness!Being Kind is a Superpower.https://twitter.com/bunsenbernerbmd

*The Rest Is History Live Tour April 2023*:Tom and Dominic are going on tour in April 2023 and performing in London, Edinburgh, and Salford! Buy your tickets here:https://robomagiclive.com/the-rest-is-history/Canada: Beaver WarsJoin Tom and Dominic as they discuss the illustrious history of the beaver. This story intertwines these small bundles of fur with tribal wars, the monopoly of the Hudson's Bay Company, and Grey Owl - the original beaver conservationist.Join The Rest Is History Club (www.restishistorypod.com) for ad-free listening to the full archive, weekly bonus episodes, live streamed shows and access to an exclusive chatroom community.Twitter:@TheRestHistory @holland_tom @dcsandbrook Hosted on Acast. See acast.com/privacy for more information.

Part two of Rob's adventures to the Salmon River. Rob lands a steelhead before lunch, misses the full beaver moon eclipse, Collin nets some fish and Rob hooks into one of the baddest steelhead he's ever encountered. These are Rob's stories from his recent trip to the Salmon River of New York. Rob talks about packing for this trip on his Youtube channel. Produced by Jason Reif Support This Podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

The whole conceit of this show is that if look at the world in the right way, you'll see stories everywhere. Some of the stories are epic power struggles chronicling the construction of a famous skyscraper or the founding of a city; but other stories are more modest, smaller in scope and scale. We call those mini-stories and they're part of an ongoing, end-of-the-year tradition in which 99pi producers and friends of the show talk to host Roman Mars about something cool and fun that you can tell your friends or family about during a holiday get together.You'll hear about a very, very long escalator! Beavers dropping from the sky!  We'll hear from Janet, Miss Jackson if you're nasty! Plus a visit from the queen! Mini-Stories 15: Volume 15

HBO grew from a small cable channel into the best-in-class leader of the golden age of television. Bloomberg's Felix Gillette and John Koblin of the New York Times join to discuss their new book, It's Not TV: The Spectacular Rise, Revolution, And Future of HBO. Plus, Jamaica declares a state of emergency to combat murder, despite having a murder rate actually lower than in American communities. And a giddy night on MSNBC. Produced by Joel Patterson and Corey Wara Email us at thegist@mikepesca.com To advertise on the show, visit: https://advertisecast.com/TheGist Learn more about your ad choices. Visit podcastchoices.com/adchoices

The U.S. men's soccer team must beat Iran today in order to advance in the World Cup. Alyssa Milano trades in her Tesla for a Volkswagen, because she claims Elon Musk is a white supremacist. Oh, the irony. You need to understand what is at stake when you move into a cashless society. Pat's neighborhood has a beaver problem, and the HOA is not helping out. Scientists are determined to cause an apocalypse. Learn more about your ad choices. Visit megaphone.fm/adchoices

On the two-year anniversary of The Way I Heard It's format change from short to long form, Mike and Chuck make another announcement about the future of the podcast, and there is a lot of talk about an upcoming episode of Dirty Jobs that involves… you guessed it, squeezing beavers.  

Chloe Radcliffe (comedian) joins Kurt and Scotty to talk about a man painting a beaver with his tongue, Wendy's workers messing with railroad tracks to slow down business, scientists trying to teach robots to laugh at the right time and a person throwing a steak out the window at a dinner party!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Kurt and Scotty read a listener about their mom's eventful trip to the zoo as a child!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In the basement of National Geographic's headquarters, there's a lab holding a secret tech weapon: Tom O'Brien. As Nat Geo's photo engineer, O'Brien adapts new technologies to capture sights and sounds previously never seen or heard before. In this episode, originally published in June 2021, O'Brien leads us on a tour of his lab as he designs and builds an underwater camera and shows us some of his favorite gadgets—including a camera lens that flew over Machu Picchu in a blimp, a remote camera he designed for the film Free Solo, and a piece of gear known simply as the “funky bird train.” For more information on this episode, visit natgeo.com/overheard. Want more? See National Geographic's Pictures of the Year and our five picks for Photographers of the Year. To capture one of the year's best pictures—an encounter with elephants in Gabon—O'Brien outfitted a photographer with 1,100 pounds of custom gear. Our photographers capture millions of individual frames per year. In a previous episode of Overheard, Nat Geo's deputy director of photography breaks down the process to select only the best images. See photographs mentioned in this episode, including wolves captured by a gnaw-proof camera, sage grouse as seen by the funky bird train, and a cheetah running in super slow motion. Want to see what goes on in Nat Geo's photo engineering lab? Follow Tom O'Brien on Instagram @mechanicalphoto. And learn more about Tom's predecessor, Kenji Yamaguchi, who held the job for more than 30 years. Also explore: Learn more about Jacques Cousteau, who pioneered scuba gear, brought the oceans to life, and jolted people into environmental activism.    And hear more about beavers and how they shape the world on a previous Overheard episode, “March of the Beaver.” If you like what you hear and want to support more content like this, please consider a National Geographic subscription. Go to natgeo.com/exploremore to subscribe today. Learn more about your ad choices. Visit megaphone.fm/adchoices