Podcast appearances and mentions of bernard shaw

Our latest Local Selection welcomes Irish-born, UK-based DJ, live-act and producer Adam Kelly, aka POSER. For this instalment, he delivers just under an hour of carefully shaped selections that are warm, fluid and effortlessly controlled. The recording is one curated with intention, balancing subtle energy shifts with moments of real depth. Dial in for the next hour. POSER is the electronic music moniker of Irish producer and DJ Adam Kelly, who has quickly emerged as one of the most promising names across the UK and Irish electronic scenes in recent years. Drawing influence from disco, hip-hop, house and modern club sounds, his output balances groove-led energy with an emotive edge. After cutting his teeth in Dublin's dance music community, Adam discovered a deeper passion for production during lockdown. His debut single, ‘Je T'aime', landed in June 2022 and picked up early support from BBC Radio 1 tastemaker Jaguar. Since then, a steady run of releases has seen him surpass one million streams on Spotify. Now based in London, POSER has immersed himself in the city's diverse electronic landscape, a move that continues to shape and refine his evolving sound while preserving his distinct musical identity. His momentum has been reinforced through his selection for the Roundhouse Resident Artist Programme and AVA Festival's Creators Forum, both of which played a key role in developing his live show. He has since performed live at Roundhouse, The Great Escape Festival and Culture Night Dublin. On the DJ front, he has secured notable support slots for Oden & Fatzo at Index, O'Flynn at The Racket Space and 49th and Main at The Bernard Shaw. POSER's contribution to this week's Local Selection is a refined showcase of his immaculate ear for French touch and groove-driven house, seamlessly weaving in a selection of unreleased original material. It's a mix that is equal parts uplifting and introspective. One that leads with emotion. Adam has kindly shared his tracklist, which can be viewed below: Entrance Places (ft. Saoirse Miller, Róis & Risteárd Ó hAodha) - Rory Sweeney Summerhill - POSER Alley Kats - Anish Kumar Truth (Main Street Mix) - Earth Trax & Newborn Jr. I feel so good - Marius Acke Vapor Cone - Swoose Phunkin (Miles Dyson's Retrophunk) - Filtered Phunk & Mix Master Moody Efficient - POSER (Unreleased) Reticular Groove - Anish Kumar Little Things (Floating Points Remix) - Jorja Smith Move it or Lose it - Papa Nugs Something About Us (Chediak UKG Flip) - Daft Punk Keep it Goin' - POSER (Unreleased) WYDK - POSER (Unreleased) POSER ------------------------- SC: @user-217918587-679385008 IG: www.instagram.com/posergram_ Four Four Magazine 
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This week's contribution showcases one of Ireland's longest-serving DJs, as we host Dublin-based DJ Aoife Nic Canna to the series. Lock in for the next hour as she exhibits her slick selections and effortless technique throughout. For our latest iteration of the Local Selection, we welcome a legendary Irish vinyl DJ, Aoife Nic Canna to the series. Her contribution acts as the 292nd edition, where she sifts through her library, sharing various old school deep cuts in house and adjacent genres. A range of soft, elegant and warm selections can be heard over the course of the recording. Ideal listening for this glum Wednesday. Aoife has established a significant legacy during her 30+ years as a DJ. Acting as a central force in the Irish dance music scene since its first moves in the early 1990's. She was a founding member of the seminal Horny Organ Tribe. Dubbed the 'first lady of Irish house', she earned regular appearances at culture-defining nights and institutions like Cork's Mór Disco, Dublin's Temple of Sound, and Manchester's Hacienda. Continuing to hold several residencies across Ireland over her expansive career, she has, since Covid lifted, returned to playing regularly across Ireland. Some notable venues include Connollys of Leap, Opium, Hen's Teeth, Izakaya, The Bernard Shaw and Pawn Shop. Some other accolades include support for Inner City, spinning at Ealú le Grá and Paradise Lost in Ibiza, Carl Cox for District 8 and perhaps the biggest of all, supporting Soft Cell and OMD at St. Anne's Park to an audience of 20,000 people. Alongside DJing, in 2012 Aoife created and produced a six-part documentary on Irish club history called 'Folklore from the Dancefloor'. Listen here. This hour-long recording emits a metaphorical sense of fresh air, as Aoife shares a range of lesser-heard tunes with us for this edition. Fragments of punchy house tracks, some acid and slightly progressive, emotive selections in this mix, hitting all the right notes. Fortunately, Aoife has been so kind to share the tracklist for this mix with us. Aoife Nic Canna ----------------- SC: @aoifeniccanna IG: www.instagram.com/aoifeniccanna Four Four Magazine 
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‘The Gospel According to St. Bernard Shaw' is Crowley's exhaustive response to Bernard Shaw's preface to his play, Androcles and the Lion. Both pieces analyze the Jesus of the Gospels, with Crowley's diving into the parallels with the life of the Mystic as well as the Dying God mythos, with abundant quotations from J.G. Frazer's ‘The Golden Bough.'

Alice Canton speaks to Dylan and Joseph, cast members of Bernard Shaw's Saint Joan. You can catch the Flyleaf Theatre Company's staging of the play, which follows on the canonization of Joan of Arc, at Q Theatre later in the month.

Send us a textIt is election Night 1992. We will be using the coverage I collected that night , mainly, from ABC News, but it will also feature segments from CNN, NBC, and CBS News. We saved some interesting interviews with political figures like South Carolina Governor Carroll Campbell, and Texas Governor Ann Richards, you will get insights from the leading reporters of the age such as David Brinkley, Peter Jennings, Jeff Greenfield, Cokie Roberts, Sam Donaldson, Lyn Sherr, Brit Hume, Chris Bury, Bernard Shaw, Judy Woodward, and countless other journalist who made up the best era in the news business. Finally, we will also see the results come in from the other race, our Host Randal Wallace, was involved with as Ernest Hollings defeats former Congressman Tommy Hartnett to return to Washington in the United States Senate for South Carolina. This is part A in our look at this historic election night and its coverage in 1992. (In an aside, this episode marks our 356th storyline episode of our podcast, this ties our show with the exact number of original episodes of our childhood favorite show "DALLAS" We are enormously proud of that and to celebrate this milestone we have special hat tip for our favorite all time t.v. Show)  Boundless Insights - with Aviva KlompasIn depth analysis of what's happening in Israel—and why it matters everywhere.Listen on: Apple Podcasts SpotifyQuestions or comments at , Randalrgw1@aol.com , https://twitter.com/randal_wallace , and http://www.randalwallace.com/Please Leave us a review at wherever you get your podcastsThanks for listening!!

Das possenreiche und hochironische Stück spielt zur Zeit der Christenverfolgung im antiken Rom. Der sanftmütige Schneider Androklus ist schwach an Körperkraft, aber stark im Glauben und liebt vor allem die Tiere - sehr zum Missfallen seiner Frau. Als er eines Tages zusammen mit anderen Christen in die Arena des römischen Kolosseums getrieben wird, um den Märtyrertod zu erleiden, trifft er auf einen Löwen, dem er einst einen Dorn aus der Tatze gezogen hat. Hat sein Glaube etwas bei dem Tier bewirkt? George Shaw verbindet meisterhaft verschiedene Lesarten des Christentums und des Glaubens zu einer komischen Geschichte, die durchaus zum Nachdenken anregt. Mit: Heini Göbel, Herbert Böhme, Friedrich Schoenfelder, Karl Lieffen Bruren u.v.a. Regie: Jürgen Petersen hr 1956 | 63 Min. (Audio verfügbar bis 04.04.2026)

Das possenreiche und hochironische Stück spielt zur Zeit der Christenverfolgung im antiken Rom. Der sanftmütige Schneider Androklus ist schwach an Körperkraft, aber stark im Glauben und liebt vor allem die Tiere - sehr zum Missfallen seiner Frau. Als er eines Tages zusammen mit anderen Christen in die Arena des römischen Kolosseums getrieben wird, um den Märtyrertod zu erleiden, trifft er auf einen Löwen, dem er einst einen Dorn aus der Tatze gezogen hat. Hat sein Glaube etwas bei dem Tier bewirkt? George Shaw verbindet meisterhaft verschiedene Lesarten des Christentums und des Glaubens zu einer komischen Geschichte, die durchaus zum Nachdenken anregt. Mit: Heini Göbel, Herbert Böhme, Friedrich Schoenfelder, Karl Lieffen Bruren u.v.a. Regie: Jürgen Petersen hr 1956 | 63 Min. (Audio verfügbar bis 04.04.2026)

Chcete-li podpořit tuto i další Konference Svobodného přístavu, prosím, pošlete dobrovolný příspěvek v krypto či korunách! BTC: 34xD6RUfqvjfbDRtahNqX3Ecf6iRSH9dNG LTC: LKcFtAi7U2dUaAiKspVpg3AFmmJzKiBiPr Číslo účtu: 2201359764/2010; variabilní symbol: 5 -------- Čtvrtým přednášejícím „Konference Svobodného přístavu 2025: Kulturní války včera, dnes a zítra“ byl Vláďa Krupa se svou přednáškou „Historie kulturních válek“. Politická agitace od masového rozšiřování volebního práva probíhá nejen přímými metodami, jako jsou předvolební kampaně nebo reklamní spoty, ale také prostřednictvím nepřímých vlivů, které mají dlouhodobý a často nenápadný dopad na veřejné mínění. Těmito nepřímými metodami jsou například romány, písně, divadelní hry, filmy a další formy masově konzumované kultury. Tyto kulturní vlivy často formují politické názory lidí, kteří se straní přímým politickým poselstvím. Příklad vlivu těchto kulturních metod je proces, který probíhal ve Velké Británii 19. století. Tam se kombinací literárních vlivů a programů Fabiánské společnosti podařilo přetvořit étos klasického liberalismu na evoluční socialismus. Klíčovými postavami této změny byli například John Stuart Mill, Bernard Shaw, Sidney Webb nebo autoři jako Carlyle, Ruskin a Kingsley. Tento proces přeměny veřejného mínění z vnímání státní moci jako brzdícího faktoru pokroku na vnímání státu jako záruky svobody a motoru pokroku byl do značné míry dosažen právě nenásilnou cestou kulturních vlivů. Vladimír Krupa je spoluzakladatel českého Mises institutu, organizace zaměřující se na šíření myšlenek rakouské ekonomické školy a svobody jednotlivce. Jako významný překladatel a autor článků se dlouhodobě věnuje tématům hospodářských dějin a peněžní historie, což mu umožňuje pohled na kulturní války z unikátního ekonomického a historického úhlu.

Stephen Watt is the Provost Professor of English at Indiana University. His research interests include drama and theatre of the 19th and 20th centuries, Irish Studies, and the contemporary university and his recent works include Bernard Shaw's Fiction, Material Psychology, and Affect: Shaw, Freud, Simmel (2018), “Something Dreadful and Grand”: American Literature and the Irish-Jewish Unconscious (2015), and Beckett and Contemporary Irish Writing (2009). In this interview he discusses his new book, From the 'Troubles' to Trumpism: Ireland and America, 1960-2023 (Anthem Press, 2024), a personal history of Irish, American and Irish-American politics and culture since the 1960s. The essays in this book combine historical investigation with cultural criticism to illuminate the present moment, particularly the present American moment. In this regard, the dates 1960 and 2023 in the book's subtitle are by no means accidental. The first three chapters concern the history of America's relationship with Ireland during the administrations of the presidents whose terms spanned the immediate pre-history and history of the Troubles. After a glance backward at American and Irish relations in the nineteenth century, the first chapter focuses on the 1960 election of John F. Kennedy, the first Catholic president in America's history and the first to visit Ireland during his term of office. It also juxtaposes Kennedy's jubilant 1963 trip to Ireland with Ronald Reagan's more complicated homecoming in 1984. From there, the book traces Irish-American connections via the presidencies of Richard Nixon, Gerald Ford, Jimmy Carter, Ronald Reagan and Bill Clinton, Joe Biden and Donald Trump, as well as Michael D. Higgins. Aidan Beatty is a lecturer in the history department at Carnegie Mellon University Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Stephen Watt is the Provost Professor of English at Indiana University. His research interests include drama and theatre of the 19th and 20th centuries, Irish Studies, and the contemporary university and his recent works include Bernard Shaw's Fiction, Material Psychology, and Affect: Shaw, Freud, Simmel (2018), “Something Dreadful and Grand”: American Literature and the Irish-Jewish Unconscious (2015), and Beckett and Contemporary Irish Writing (2009). In this interview he discusses his new book, From the 'Troubles' to Trumpism: Ireland and America, 1960-2023 (Anthem Press, 2024), a personal history of Irish, American and Irish-American politics and culture since the 1960s. The essays in this book combine historical investigation with cultural criticism to illuminate the present moment, particularly the present American moment. In this regard, the dates 1960 and 2023 in the book's subtitle are by no means accidental. The first three chapters concern the history of America's relationship with Ireland during the administrations of the presidents whose terms spanned the immediate pre-history and history of the Troubles. After a glance backward at American and Irish relations in the nineteenth century, the first chapter focuses on the 1960 election of John F. Kennedy, the first Catholic president in America's history and the first to visit Ireland during his term of office. It also juxtaposes Kennedy's jubilant 1963 trip to Ireland with Ronald Reagan's more complicated homecoming in 1984. From there, the book traces Irish-American connections via the presidencies of Richard Nixon, Gerald Ford, Jimmy Carter, Ronald Reagan and Bill Clinton, Joe Biden and Donald Trump, as well as Michael D. Higgins. Aidan Beatty is a lecturer in the history department at Carnegie Mellon University Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Stephen Watt is the Provost Professor of English at Indiana University. His research interests include drama and theatre of the 19th and 20th centuries, Irish Studies, and the contemporary university and his recent works include Bernard Shaw's Fiction, Material Psychology, and Affect: Shaw, Freud, Simmel (2018), “Something Dreadful and Grand”: American Literature and the Irish-Jewish Unconscious (2015), and Beckett and Contemporary Irish Writing (2009). In this interview he discusses his new book, From the 'Troubles' to Trumpism: Ireland and America, 1960-2023 (Anthem Press, 2024), a personal history of Irish, American and Irish-American politics and culture since the 1960s. The essays in this book combine historical investigation with cultural criticism to illuminate the present moment, particularly the present American moment. In this regard, the dates 1960 and 2023 in the book's subtitle are by no means accidental. The first three chapters concern the history of America's relationship with Ireland during the administrations of the presidents whose terms spanned the immediate pre-history and history of the Troubles. After a glance backward at American and Irish relations in the nineteenth century, the first chapter focuses on the 1960 election of John F. Kennedy, the first Catholic president in America's history and the first to visit Ireland during his term of office. It also juxtaposes Kennedy's jubilant 1963 trip to Ireland with Ronald Reagan's more complicated homecoming in 1984. From there, the book traces Irish-American connections via the presidencies of Richard Nixon, Gerald Ford, Jimmy Carter, Ronald Reagan and Bill Clinton, Joe Biden and Donald Trump, as well as Michael D. Higgins. Aidan Beatty is a lecturer in the history department at Carnegie Mellon University Learn more about your ad choices. Visit megaphone.fm/adchoices

TÜRKÇENİN SIRLARI Her dil, kullandığı ölçüde gelişir ve yenilenir. Bir dili yetersiz görmek; o dili tanımamak, o dilin söz varlığından haberdar olmamak demektir. Bunun için bizler ana dilimiz Türkçeye ne kadar çok değer verirsek, onu ne kadar çok kullanırsak dilimizi geliştirmiş ve kendimizi yenilemiş oluruz. Bir milletin varlığı ana diline bağlıdır. Peyami Safa'nın ifadesiyle, “Dilini kaybeden bir millet, her şeyini kaybetmiş demektir.” Ufkumuzu genişletmek ve dilimizi güzel konuşmak istiyorsak kelime hazinemizi geliştirmeliyiz. Dünyaca ünlü devlet adamlarının ve dünyaca ünlü klasik eserlerin ne kadar geniş kelime hazinesine sahip oldukları bilinen bir gerçektir. Zengin kelime bilgisiyle dile hâkim olan insanlar, büyük bir güce sahip olurlar. Bu insanlar konuşma sanatını çok iyi kullanırlar. Yunus Emre bu gerçeği şöyle ifade eder: “Söz ola kese savaşı, söz ola kestire başı.” Kelime bilgisini geliştirmek için dilin iyi konuşulduğu ortamlarda bulunmak ve kitap okumak çok önemlidir. Bir dilde bir kavramı ifade etmek için kullanılan kelime sayısı ne kadar çoksa o dilin konuşan milletin kültürü de o kadar zengin olur. Mesela, Türkçede yiğitliği ifade eden şu kelimelere bakın: “Er, eren, yiğit, alp, mert, bahadır, cesur, kahraman, yavuz, arslan, efe ve gözü pek...” Türkçe veya Türkçeleşmiş daha nice kelime, bizde değişik kahramanlıklar için kullanılan isim ve sıfatlardır. Böyle daha birçok kelime ve deyimler vardır. Mesela: “Gözünü daldan budaktan sakınmamak” deyimi de bunlardan biridir.   Dilimizi güzel sesli, hoş nağmeli kelimelerini severek öğrenmeli ve öğretmeliyiz. Türkçe belki de tabiatdaki sesleri kelimeleştiren ve yerli yerinde kullanabilen yegâne dillerden biridir. "Şırıl şırıl, çıtır çıtır, şakır şakır, havul havul" gibi ikilemeler başka dillerde yoktur. "Gül" kelimesi güldürür, "çiçek" kelimesi gül gibi gönlümüzde açar, "gönül" kelimesi bizi güneş gibi rahatlatır, "güneş" kelimesi pırıl pırıl ve göz kamaştırıcıdır. "Göz" kelimesi ise açık, net ve incedir.Nasrettin Hoca'nın şu fıkrasını hangi dille ifade edebilirsiniz? Bu fıkrayı, hangi dile tercüme edebilirsiniz?   Nasrettin Hoca'nın şu fıkrasını hangi dille ifade edebilirsiniz? Bu fıkrayı, hangi dile tercüme edebilirsiniz? Nasrettin Hoca bir gün evini taşıyacakmış. Bir araba çağırıp arabacıyla pazarlığa başlamış. Arabacı bütün eşyamı taşımak için on lira isterim, demiş. Hoca bu fıkrayı şöyle anlatır: Çok istekli değildim, bu kadar eşya için on lira para istenir mi, deyince arabacı: Bu kadarcık demeyin Hoca. Eşya az değil, bazıları ağır ve taşınması zor. Ayrıca şu maşa var, samanlıkta var ama şu eşya var, şu eşya var, diyerek parayı haklı göstermeye başlamış. Hoca: Peki, demiş ve bunu kabul etmiş. Eşya taşınıp iş bitince Hoca, arabacıya beş lira vermiş. Arabacı sormuş: Hocam, paranın yarısını niye kestiniz? Hoca cevabı vermiş: Evladım, sen eşyanın ancak yarısını getirdin! Samanlık nerde? Şu maşa nerde? Şu eşya, şu eşya nerde? Gördüğünüz Türkçemizi sürekli konuşarak ve yazarak zenginleştirebiliriz. Bunun için Hz. Mevlana'nın şu sözü ne güzel: “Bir söz, bir milleti oluşturur, bir milleti de yıkar.” Bu sözden de hareketle dil, bir milletin kimliği, kültürü ve hürriyetinin göstergesidir. Çünkü dil bir milletin varoluşudur. Dilin gelişimi ise o dilin üzerinde titizlikle çalışmayı gerektirir. Türkçemizi koruyup geliştirmek için hem birey hem de toplum olarak görevlerimizi yerine getirmeliyiz. Çünkü millet dilde yaşar, dille var olur. Bir milletin büyüklüğü onun dilinin terimlerine ve zenginliğine de bağlıdır. Son olarak şu hatırlatmayı yapmalıyız: Yaşadığımız dili öğrenemeyen kendini de, milletini de öğrenemez. Bernard Shaw, bu gerçeği şöyle ifade eder: “Kendi dilini tam olarak bilmeyen, başka dili de bilemez.” Süleyman DOĞAN

On today's show:

THIS IS AN 18+ EVENT! BUY TICKETS: https://www.eventbrite.co.uk/e/the-fellas-in-ireland-live-tickets-940501363897?aff=Audio WE'RE GOING TO IRELAND! On 22nd August we're going to be doing a LIVE SHOW in Dublin, Ireland at The Bernard Shaw. Tickets are limited so BE QUICK! Apologies for the lack of Chip, he'll be back next week but for now you're stuck with Cal & Prod... We discuss the best & worst of the Olympic games, what sports we'd get rid of & why KSI has sacked off his fight.If you'd like to work with us, email the studio on workwithfellas@fellasstudios.comJoin Fellas Loaded: https://fellasloaded.com/explore/Watch The Clips: https://www.youtube.com/@thefellaspodclipsListen on Spotify: https://shorturl.at/xBCPUListen on Apple Podcasts: https://shorturl.at/opIU0Join the Subreddit: https://www.reddit.com/r/FellasPodcastFollow us on Instagram - http://www.instagram.com/thefellasinstaFollow us on TikTok - https://www.tiktok.com/@thefellaspod?lang=enCal:https://twitter.com/Calfreezyhttps://www.instagram.com/calfreezy/Chip:https://twitter.com/yungchiphttps://www.instagram.com/theburntchip Hosted on Acast. See acast.com/privacy for more information.

Send us a Text Message.In this episode, we will listen in as the news covers the events in real time. CNN has its crew literally on the ground in Bagdad as events unfold and they continue to cover it all live. We will listen to a full interview with CNN star reporter Peter Arnette in his interview with the Academy of Television as he describes what it was like on the ground in Iraq, and what it felt like to be the last reporter in town. Then we will listen as CBS News covers the estimated damages of that first night of action as we start the Operation that would eventually free Kuwait.  Questions or comments at , Randalrgw1@aol.com , https://twitter.com/randal_wallace , and http://www.randalwallace.com/Please Leave us a review at wherever you get your podcastsThanks for listening!!

AJ Jacobs makes The Puzzler podcast, wrote The Puzzler book, and sometimes turns his whole life into a puzzle. He comes bearing word games, explanations of anagrams being used to precipitate wars and were key evidence in trials, tips for writing with a quill, below-the-knee insults, and tales of living constitutionally. AJ's new book is The Year of Living Constitutionally: One Man's Humble Quest to Follow the Constitution's Original Meaning. Find his work at AJJacobs.com. Get the transcript of this episode, and get links to more information about the topics therein and the other episodes in the Word Play miniseries, at theallusionist.org/lemon-demon. Content note: there are mentions of guns, historical punishments and violence, vomiting, and drunkenness. There are also a couple of category A swears, and some category C swears. This episode was produced by me, Helen Zaltzman, with Martin Austwick of palebirdmusic.com. Become a member of the Allusioverse at theallusionist.org/donate and as well as keeping this independent podcast going, you get regular livestreams, insight into the making of this show, and watchalong parties - AND to hang out with your fellow Allusionauts in our delightful Discord community, where I am posting all my best/worst portmanteaus and portmantNOs. The Allusionist's online home is theallusionist.org. Stay in touch via facebook.com/allusionistshow, instagram.com/allusionistshow, youtube.com/allusionistshow, twitter.com/allusionistshow etc. Our ad partner is Multitude. If you want me to talk lovingly and winningly about your product or thing on the show in 2024, sponsor an episode: contact Multitude at multitude.productions/ads. This episode is sponsored by: • Bombas, whose mission is to make the comfiest clothes - and, newly, slides! - ever, and match every item sold with an equal item donated. Go to bombas.com/allusionist to get 20% off your first purchase.  • The Art of Crime history podcast, investigating the unlikely collisions between true crime and the arts. Listen to the latest season, about Madame Tussaud, at ArtOfCrimepodcast.com and in the podplaces.• Squarespace, your one-stop shop for building and running your online empire. Go to squarespace.com/allusionist for a free 2-week trial, and get 10 percent off your first purchase of a website or domain with the code allusionist. • HomeChef, meal kits that fit your needs. For a limited time, HomeChef is offering Allusionist listeners 18 free meals, plus free shipping on your first box, and free dessert for life, at HomeChef.com/allusionist.Support the show: http://patreon.com/allusionistSee omnystudio.com/listener for privacy information.

durée : 00:06:30 - La chronique de Juliette Arnaud - par : Juliette ARNAUD - Pygmalion, dans l'antiquité, c'était un mythe : celui d'un sculpteur tombé amoureux de sa création, une statue devenue vivante. La célébrité vient avec la pièce de théâtre de G.B. Shaw, créée en 1914, jouée non-stop jusqu'au début des années 60, mais se souvient-on vraiment de ce qu'elle raconte ?

durée : 00:06:30 - La chronique de Juliette Arnaud - par : Juliette ARNAUD - Pygmalion, dans l'antiquité, c'était un mythe : celui d'un sculpteur tombé amoureux de sa création, une statue devenue vivante. La célébrité vient avec la pièce de théâtre de G.B. Shaw, créée en 1914, jouée non-stop jusqu'au début des années 60, mais se souvient-on vraiment de ce qu'elle raconte ?

CNN experienced a meteoric rise in the 1980s and 1990s. When CNN was being led by Ted Turner...the network was known as the most trusted name in news...while being the industry leader in cable news coverage. However...over the last two decades...CNN has seen a rapid decline. We discuss the rise and fall of CNN...and what ultimately led to the decline of the network. We compare the early days of CNN with Bernard Shaw and Larry King...to the modern CNN led by Anderson Cooper and Don Lemon. We discuss the lost credibility at CNN over the last two decades...and question if CNN is capable of rising again.

In 1900 Bernard Shaw completed the difficult task of drafting the Fabian's society position in the manifest Fabianism and the Empire. The society's progressive program advocated for socialist values, social justice and women rights. Against the background of these modern and leftist values though, the society's position on imperialism is somehow astonishing. One of the...

Poseer sentido del humor y ser capaz de provocar la risa en la persona que nos atrae es una herramienta muy importante para lograr seducir, pero el sexo y el humor tienen muchos más puntos en común de lo que podrías imaginar. Ambos son aspectos clave de nuestra humanidad que nos distinguen de los animales y nos elevan por encima de nuestra miseria. Decía Bernard Shaw que “la distancia más corta entre dos seres humanos es la risa”. Si alguien le puede disputar a la risa esa primacía de acortar la distancia es el sexo. Independientemente de la distancia espacial, la distancia existencial se estrecha inevitablemente; los que se ríen juntos y los que se besan están muy cerca, por más que se puedan encontrar a miles de kilómetros y su conexión se realice por dispositivos telemáticos. Utiliza el código CIENCIADIGITAL y obtén tu descuento en Muy Interesante, sigue con este link https://bit.ly/3TYwx9a Déjanos tu comentario en Ivoox o Spotify, o escríbenos a podcast@zinetmedia.es Comparte nuestro podcast en tus redes sociales, puedes realizar una valoración de 5 estrellas en Apple Podcast o Spotify. Texto: Valerie Tasso Dirección, locución y producción: Iván Patxi Gómez Gallego Contacto de publicidad en podcast: podcast@zinetmedia.es Ejemplar número 481 de la revista Muy Interesante

Siete pronti a riscrivere le regole delle citazioni famose? Io, Mordic e Grafio, sono qui per introdurvi in un viaggio unico nel mondo delle frasi celebri. Da Einstein a Shakespeare, le parole dei grandi pensatori riceveranno una rinfrescata con un tocco di saggezza felina. Il vostro modo di vedere le citazioni celebri sarà stravolto, iniziate a preparare i vostri cuori e le vostre menti per un'avventura indimenticabile tra le parole più celebri del mondo.Hai mai pensato che l'indifferenza possa essere peggio dell'odio? Questa è la domanda provocatoria posta da George Bernard Shaw nella sua citazione che esploreremo nel nostro ultimo episodio. Scopriamo insieme cosa significa realmente questa affermazione e perché l'indifferenza è considerata più dannosa dell'odio. Esploriamo l'indifferenza come un'assenza di interesse, preoccupazione o emozione verso gli altri e discutiamo del suo impatto sulla nostra umanità. Ignorare o rimanere insensibili all'esperienza, ai sentimenti e alla necessità di chi ci circonda, come Bernard Shaw suggerisce, è veramente il peggior peccato? Scopritelo con noi in questo episodio unico e coinvolgente.Support the showLa missione di FuffaWebFuffaWeb è da sempre impegnata nella diffusione della verità senza censura, e questo articolo fa parte del nostro impegno nel portare alla luce temi importanti. Vogliamo essere una risorsa affidabile per tutti voi, fornendo informazioni pertinenti e incoraggiando azioni positive.fuffa web online, free podcast : graffio@fuffaweb.com - mordicchio@fuffaweb.com FuffaWeb Italia, il podcast di qualita anti fuffa .news - arte - musica - crescita personale - moda - gaming - cucinaQUESTE LE RUBRICHE CHE SINTEIZZANO GLI ARGOMENTI DA NOI TRATTATI PER TIPOLOGIA D'EPISODIOFuffaWeb è da sempre impegnata nella diffusione della verità senza censura, e questo articolo fa parte del nostro impegno nel portare alla luce temi importanti.Vogliamo essere una risorsa affidabile per tutti voi, fornendo informazioni pertinenti e incoraggiando azioni positive.Un ringraziamento speciale a tutti Voi Se il nostro podcast ti piace, vota qui: I love FuffaWeb Italia Vota il nostro podcast, il tuo punto di vista conta per noi, e per gli altri, clicca il link qui sotto ed esprikmi il tuo paraere, ci contiamo, grazie:#PodcastGratis #AscoltaOra #NuovoEpisodio #PodcastDellSe...

A uproarious takedown of English class and gender constructions… or a staunch defender of them?  At least one of us thinks that this very ambiguity is the whole fun of Anthony Asquith and Leslie Howard's adaptation of Bernard Shaw's classic stage comedy. Join the Random Acts of Cinema Discord server here! *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing Les Blanks' Burden of Dreams (1982).

On this week’s episode of In Black America, producer and host John L. Hanson, Jr. presents a tribute to the late Bernard Shaw, a pioneering African American broadcast journalist and CNN’s chief anchor from 1980 until his retirement in 2001. Shaw died in September, 2022, at the age of 82. The post Bernard Shaw (Ep. 25, 2023) appeared first on KUT & KUTX Studios -- Podcasts.

Cashel Byron's Profession

Arms and the Man

The Dark Lady of the Sonnets

The Doctor's Dilemma

The Philanderer

Treatise on Parents and Children

On the Prospects of Christianity Bernard Shaw's Preface to Androcles and the Lion

The Shewing-up of Blanco Posnet

Pygmalion

This week on The Literary Life podcast, we bring you another fun Literary Life of…episode. Angelina, Thomas, and Cindy's guest today is Lia Techand, our first international guest on the podcast. Lia, a German born in Kyrgyzstan, currently serving with her husband as a missionary in Australia, along with their two book-loving children. We start off the interview hearing Lia tell about her young life and how she started loving English literature. She talks about her parents and grandparents' reading lives and the legacy of loving books that they left for her. She also shares how literary analysis and symbolism teaching in high school and college challenged her enjoyment of literature. Lia tells about how she stopped reading in university because she was too busy but then started reading again once she became a mother. Lia and Angelina share some examples of crazy literary theory that is taught in university programs, and how that confused and discouraged Lia so much. She also tells the story of finding The Literary Life podcast and taking classes with Angelina. They wrap up the conversation with some encouragement for readers looking for the meaning in the stories they read.  Join us next time for a discussion of Plato's Ion, led by Mr. Banks! Register now for our 5th Annual Literary Life Online Conference coming up April 12-15, 2023, Shakespeare: The Bard for All and for All Time. Get all the details and sign up today at houseofhumaneletters.com. Commonplace Quotes: A story is a work of art. Its greatest use to the child is in the everlasting appeal of beauty by which the soul of man is constantly pricked to new hungers, quickened to new perceptions, and so given desire to grow… The storyteller…has, in short, accomplished the one greatest aim of story-telling,–to enlarge and enrich the child's spiritual experience, and stimulate healthy reaction upon it. Of course this result cannot be seen and proved as easily and early as can the apprehension of a fact. The most one can hope to recognize is its promise, and this is found in the tokens of that genuine pleasure which is itself the means of accomplishment. Sara Cone Bryant, from How to Tell Stories to Children Every thirty years a new race comes into the world–a youngster that knows nothing about anything, and after summarily devouring in all haste the results of human knowledge as they have been accumulated for thousands of years, aspires to be thought cleverer than the whole of the past. For this purpose he goes to the university, and takes to reading books–new books, as being of his own age and standing. Everything he reads must be briefly put, must be new, as he is new himself. Then he falls to and criticizes. Arthur Schopenhauer, “On Men of Learning” What has drawn the modern world into being is a strange, almost occult yearning for the future. The modern mind longs for the future as the medieval mind longed for heaven. Wendell Berry, from The Unsettling of America In these days, when Mr. Bernard Shaw is becoming gradually, amid general applause, the Grand Old Man of English letters, it is perhaps ungracious to record that he did once say there was nobody, with the possible exception of Homer, whose intellect he despised to so much as Shakespeare's. He has since said almost enough sensible things to outweigh even anything so silly as that. But I quote it because is exactly embodies the nineteenth-century notion of which I speak. Mr. Shaw had probably never read Home; and there were passages in his Shakespearean criticism that might well raise a doubt about whether he ever read Shakespeare. But the point was that he could not, in all sincerity, see what the world saw in Home and Shakespeare, because what the world saw was not what G. B. S. was then looking for. He was looking for that ghastly thing which Nonconformists call a Message. G. K. Chesterton, from The Soul of Wit: G. K. Chesterton on William Shakespeare Still ist de Nacht by Heinrich Heine Still is the night, and the streets are lone,      My darling dwelt in this house of yore; ‘Tis years since she from the city has flown,      Yet the house stands there as it did before. There, too, stands a man, and aloft stares he,      And for stress of anguish he wrings his hands; My blood runs cold when his face I see,      ‘Tis my own very self in the moonlight stands. Thou double! Thou fetch, with the livid face!      Why dust thou mimic my lovelorn mould, That was racked and rent in this very place      So many a night in the times of old? Books Mentioned: Brave New World by Aldous Huxley Astrid Lindgren Emil and the Detectives by Erich Kästner The Lunar Chronicles by Marissa Meyer Agatha Christie Gaudy Night by Dorothy L. Sayers Margery Allingham The Sorrows of Young Werther by Johann Wolfgang von Goethe Formation of Character by Charlotte Mason (section on Goethe) Winnie-the-Pooh by A. A. Milne Beatrix Potter Cautionary Tales for Children by Hilaire Belloc Struwwelpeter in English Translation by Heinrich Hoffman Support The Literary Life: Become a patron of The Literary Life podcast as part of the “Friends and Fellows Community” on Patreon, and get some amazing bonus content! Thanks for your support! Connect with Us: You can find Angelina and Thomas at HouseofHumaneLetters.com, on Instagram @angelinastanford, and on Facebook at https://www.facebook.com/ANGStanford/ Find Cindy at morningtimeformoms.com, on Instagram @cindyordoamoris and on Facebook at https://www.facebook.com/cindyrollins.net/. Check out Cindy's own Patreon page also! Follow The Literary Life on Instagram, and jump into our private Facebook group, The Literary Life Discussion Group, and let's get the book talk going! http://bit.ly/literarylifeFB

Rachel Wilson joins us for a fascinating chat about her research into feminism, and where that led her. It culminated into her controversial book "Occult Feminism: The Secret History of Women's Liberation", and her stepping out to push back against the narrative.   In the first half we get into defending life choices, independent women, default feminism, Fathers - the deterrent, no fault divorce, Gloria Steinham and other See Eye Eh influences, a quote from Bernard Shaw, gender abolition, tomboy genocide, the Transcendentalists, and how disagreement has now become abuse.   In the second half we get deeper into the foundations, genetic engineering, pushing back, humanist atheist materialists vs the occultists, the numbers of the anti suffrage that doesn't get talked about, the declining birthrate, pagan dates, orthodox Christianity, the greatest social revolution and revenge of the nerds - the rise of AI. Taking back the word Patriarchy.....   https://substack.com/profile/50162566-rachel-wilson   https://linktr.ee/RachelLWilson   To gain access to the second half of show and our Plus feed please clink the link http://www.grimericaoutlawed.ca/support. Help support the show, because we can't do it without ya. If you value this content with 0 ads, 0 sponsorships, 0 breaks, 0 portals and links to corporate websites, please assist. Many hours of unlimited content for free. Thanks for listening!!   Support the show directly: https://www.patreon.com/grimerica   Get your Magic Mushrooms delivered from: Champignon Magique  Mushroom Spores, Spore Syringes, Best Spore Syringes,Grow Mushrooms Spores Lab Get Psychedelics online   Our audio book page: www.adultbrain.ca Darren's book www.acanadianshame.ca     Check out our next trip/conference/meetup - Contact at the Cabin www.contactatthecabin.com   Other affiliated shows: https://www.13questionspodcast.com/ Our New Podcast - 13 Questions www.grimerica.ca The OG Grimerica Show www.Rokfin.com/Grimerica Our channel on free speech Rokfin   Join the chat / hangout with a bunch of fellow Grimericans  Https://t.me.grimerica www.grimerica.ca/chats https://discord.gg/qfrHVvP3 1-403-702-6083 Call and leave a voice mail or send us a text    Leave a review on iTunes and/or Stitcher: https://itunes.apple.com/ca/podcast/grimerica-outlawed http://www.stitcher.com/podcast/grimerica-outlawed   Sign up for our newsletter http://www.grimerica.ca/news   SPAM Graham = and send him your synchronicities, feedback, strange experiences and psychedelic trip reports!! graham@grimerica.com InstaGRAM https://www.instagram.com/the_grimerica_show_podcast/    Tweet Darren https://twitter.com/Grimerica   Purchase swag, with partial proceeds donated to the show www.grimerica.ca/swag Send us a postcard or letter http://www.grimerica.ca/contact/ ART Napolean Duheme's site http://www.lostbreadcomic.com/  MUSIC Tru North Felix's Site sirfelix.bandcamp.com

TODAY we are live from the Bernard Shaw (second night) To start we have some chaotic AI scripts some Christmas traditions from all over the world, some light porn from Cass and Sophie ends with a buffet of Florida man escapades in the form of a game... f u n

The Context of White Supremacy hosts The Context of White Supremacy hosts the weekly Compensatory Call-In. We encourage non-white listeners to dial in with their codified concepts, new terms, observations, research findings, workplace problems or triumphs, and/or suggestions on how best to Replace White Supremacy With Justice ASAP. This weekly broadcast examines current events from across the globe to learn what's happening in all areas of people activity. We cultivate Counter-Racist Media Literacy by scrutinizing journalists' word choices and using logic to deconstruct what is reported as "news." We'll use these sessions to hone our use of terms as tools to reveal truth, neutralize Racists/White people. #ANTIBLACKNESS From Baltimore, Maryland to Jackson, Mississippi black people struggled just to flush toilets, brush teeth, and take showers in the midst of historic heat waves in many parts of the country. With daily images of dehydrated black residents of Jackson, most of us paid no attention to non-white people in Pakistan, where biblical flooding is responsible for more than 1,200 deaths and the Racial Dislocation of millions of non-white people. Most of the White-dominated media outlets around the world have minimized or outright ignored this catastrophic disaster - which is almost impacting dark people exclusively. Speaking of media attention, everything is playing "second fiddle" to the passing of Queen Elizabeth II of England. She died at 96 and may have spent nearly a century on the planet as a prime monarch of the global empire of White Supremacy. Some on social media blamed her death in part on her "swirling" grandson Prince Harry and his tawny non-white bride Meghan Markle. In the US, trailblazing journalist Bernard Shaw passed away at the age of 82. He was lead anchor at Atlanta's CNN for 20 years. #WhiteSupremacyIsAGlobalSystem #TheCOWS13 INVEST in The COWS – http://paypal.me/TheCOWS Cash App: https://cash.app/$TheCOWS CALL IN NUMBER: 720.716.7300 CODE: 564943#

John honors Star Trek Day, Bernard Shaw, and Queen Elizabeth to start off the show. He then discusses Chuck Schumer announcing a vote to protect same sex marriage. Mitch at Kent State calls to chat about tunes that are about the Queen. Then Sela from Texas talks about a hypocritical gay preacher and Dylan in New Mexico asks about the royal family. John then discusses the results of a new inter-racial marriage poll. Next he takes calls from Carmine in Montana who talks about the filming of "Yellowstone" and Charles in Miami who talks about Bruce Springsteen. Then John plays clips of Biden's speech where he points out hypocritical Republicans. And finally he speaks with Beachside Bill in Florida who has social media troubles and Bruce in California who talks music trivia.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We react to news of Queen Elizabeth's passing at the age of 96.  Topics: Is the monarchy evil?; Charles The Third; The Obamas; CNN's Bernard Shaw; Liz Truss Guests With Time Stamps 00:01:54 David remembers The Queen 00:08:14 Prime Minister Liz Truss is a horrible, horrible human being 00:22:05 The Obamas return to the White House 00:35:22 Bernard Shaw passes away, his question to Dukakis 00:37:32 Technical difficulties 00:41:03 David takes calls from Britain, Ireland and Australia about The Queen 01:42:32 Professor Ben Burgis discusses The Queen and John Fetterman's position on Israel 02:08:16 Dr. Philip Herschenfeld and Ethan Herschenfeld 02:36:56 Emil Guillermo, host of The PETA Podcast 03:08:19 The Rev. Barry W. Lynn 04:16:12 The Professors and Mary Anne: Professors Bick, Li, Cummings and Husain...Plus Joe In Norway cooks for us from France 05:20:47 Dave In PA finishes his wooden glass 05:22:04 Professor Harvey J. Kaye and Alan Minsky 05:56:43 David does more news We livestream here on YouTube every Monday and Thursday starting at 5:00 PM Eastern and go until 11:00 PM. Please join us!  Take us wherever you go by subscribing to this show as a podcast! Here's how: https://davidfeldmanshow.com/how-to-l... And Subscribe to this channel. SUPPORT INDEPENDENT MEDIA: https://www.paypal.com/biz/fund?id=PD... More David @ http://www.DavidFeldmanShow.com Get Social With David: Facebook: http://www.facebook.com/davidfeldmanc... Twitter: https://twitter.com/David_Feldman_ iTunes: https://itunes.apple.com/us/podcast/d...

9.8.2022 #RolandMartinUnfiltered: OH Cop Kills Unarmed Black Man, Oath Keepers Outed, Remembering Bernard Shaw & David Arnold Another unarmed black man is killed by a police officer in Columbus, Ohio.  Donovan Lewis was in bed when cops tried to serve an arrest warrant at 2am.  Donovan was shot seconds after an officer opened the bedroom door.  We'll talk to the family's attorney about what's going on in the investigation.  Hundreds of law enforcement officers, military members, past and present public office officials get outed as members of the Oath Keepers.  This large anti-government extremist group played a significant role in the Jan. 6th insurrection.  We'll look at who some of them are and break down the information the  Anti-Defamation League uncovered.  The mother of a Maryland handcuffed 5-year-old receives a $275,000 settlement for how her then five-year-old child was detained after walking away from school. A New York district attorney wants nearly 400 convictions tied to 13 corrupt police officers tossed out.  A South Carolina state representative has a warning for some GOPs in her state.  And two huge losses, comedian David Arnold and journalism icon Bernard Shaw have died.  We'll pay tribute to them tonight. 9.8.2022 #RolandMartinUnfiltered: OH Cop Kills Unarmed Black Man, Oath Keepers Outed, Remembering Bernard Shaw & David Arnold Another unarmed black man is killed by a police officer in Columbus, Ohio.  Donovan Lewis was in bed when cops tried to serve an arrest warrant at 2am.  Donovan was shot seconds after an officer opened the bedroom door.  We'll talk to the family's attorney about what's going on in the investigation.  Hundreds of law enforcement officers, military members, past and present public office officials get outed as members of the Oath Keepers.  This large anti-government extremist group played a significant role in the Jan. 6th insurrection.  We'll look at who some of them are and break down the information the  Anti-Defamation League uncovered.  The mother of a Maryland handcuffed 5-year-old receives a $275,000 settlement for how her then five-year-old child was detained after walking away from school. A New York district attorney wants nearly 400 convictions tied to 13 corrupt police officers tossed out.  A South Carolina state representative has a warning for some GOPs in her state.  And two huge losses, comedian David Arnold and journalism icon Bernard Shaw have died.  We'll pay tribute to them tonight.  Support RolandMartinUnfiltered and #BlackStarNetwork via the Cash App ☛ https://cash.app/$rmunfiltered PayPal ☛ https://www.paypal.me/rmartinunfiltered Venmo ☛https://venmo.com/rmunfiltered Zelle ☛ roland@rolandsmartin.com Annual or monthly recurring #BringTheFunk Fan Club membership via paypal ☛ https://rolandsmartin.com/rmu-paypal/ Download the #BlackStarNetwork app on iOS, AppleTV, Android, Android TV, Roku, FireTV, SamsungTV and XBox

The Kimmer chimes in on Queen Elizabeth II passing, Bernard Shaw and Big Tech and Biden admin forced to hand over emails, Hunter laptop hypocrisy See omnystudio.com/listener for privacy information.

Kimmer Show # 473, More Xfinity troubles, Ohio Bakery gets 37 million, Fantasy football, RIP Queen Elizabeth II, Queer library, Bernard Shaw appreciation, Flounder and Waldo, Petes Tweets, and more on Fridays edition of the Kimmer–castSee omnystudio.com/listener for privacy information.

Today on Boston Public Radio: Congresswoman Ayanna Pressley talked about her push to secure abortion care, gave thoughts on this week's primaries and the big wins for women in Mass. politics and spoke on the strategy for Democrats headed into the midterms. Pressley is the U.S. representative for Massachusetts 7th District. Then, we asked listeners about the recent trend of “quiet quitting.” Shirley Leung talked about the excess of money on Beacon Hill, the fallout of the Orange Line shutdown, John Hancock stepping back from its role at the Boston Marathon, and the editor and chief of the Boston Globe stepping down. Leung is a business columnist for the Boston Globe. Sue O'Connell talked about the passing of Queen Elizabeth and Bernard Shaw, an upcoming same-sex marriage vote in Congress, and the controversy surrounding the upcoming movie: “Don't Worry Darling.” O'Connell is the co-publisher of Bay Windows and South End News, and contributor to Current, on NBC L-X and NECN. Jared Bowen gave an arts rundown, including his take on the changing role of artificial intelligence in art, the newly unveiled portraits of the Obamas, and their original portraits being displayed at the MFA, and the Huntington Theater's new musical “Sing Street.” Bowen is GBH's executive arts editor and the host of Open Studio. The Multiverse Players joined us for an installment of live music Friday ahead of their performance “The Art of Polymers.” We heard music from robots and humans alike, and a few humans told us about the ethos behind their unique combination of science and music, David Ibbett, Clara Troyano, and Scott Barton. Dilshod Narzillaev joined on cello. Ibbett is the co-composer of “The Art of Polymers” and director of the Multiverse Concert Series. Clara Troyano is a researcher at M.I.T., and a PHd student in the Olsen Lab. We ended the show by asking listeners about their bad tattoos.

Veteran CNN anchor Bernard Shaw passed away this week. NPR's media correspondent, David Folkenflik joins to discuss his impact and legacy.

Howie this hour talks about the tragic shooting in Memphis caused by the liberal justice system, the death of Queen Elizabeth the II and Bernard Shaw who recently passed as well, infamously known for asking Michael Dukakis a provocative question in the second 1988 presidential debate.

Legendary news anchor and pioneer Bernard Shaw has died at the age of 82. He was CNN's first chief anchor when the channel launched and covered some of the biggest stories of his time. Judy Woodruff takes a look at Shaw's career and how he inspired a generation of Black journalists. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

TRIGGER WARNING: Mentions of Sexual Assault, Rape, Child Abuse The bombshell article by the Associated Press about the LDS Church's abuse cover-up in Arizona and West Virgina has taken the Mormon community by storm. As the kickoff episode to our series covering the Mormon church's handling of abuse John, Jenn, and Gerardo will react to a shocking 2018 interview by Gina Colvin with attorney Tim Kosnoff about his experiences representing over 150 Mormon sexual abuse victims that have brought him face-to-face with Kirton & McConkie and the Mormon law machine. On Friday we will be interviewing Tim Kosnoff in studio to discuss the AP article in more detail, provide an update on the church's handling of abuse cases, and to discuss the Boy Scouts of America case. A link to Gina's original interview is in the show notes below. ________ WE ARE 100% DONOR FUNDED! Thank you for your donations! Monthly Donor: Monthly Donor or https://donorbox.org/mormon-stories  One Time Donation: One Time Donation or https://donorbox.org/mormon-stories   Amazon Purchases:  ONLINE: Follow the link below and choose "Mormon Stories". Amazon will do the rest at no cost to you. Amazon Donates When You Purchase Items APP: Enable Amazon Smile in your app by following link below: Amazon Donates When You Purchase On The App ————— Like & Share our Podcasts!  Social Media/Information Links: MSP on Spotify Apple Podcasts MSP Blog Instagram Patreon TikTok Discord   Contact Us! MormonStories@gmail.com   Mormon Stories Podcast PO Box 171085 Salt Lake City, UT 84117 #LDS #Mormon #PostMormon #ExMormon #MormonStories #Religion #Education #Truth #History #JosephSmith #ChurchofJesusChristofLatterDaySaints #HighDemandReligion #Cult #Patriarchy #WomensRights Show notes:  A Thoughtful Faith Podcast Ep 258: Taking the Mormons to Court: Defending Sexual Abuse Victims against the LDS Church: Tim Kosnoff Donate to A Thoughtful Faith Podcast Saints for All Seasons: Lavina Fielding Anderson and Bernard Shaw's "Joan of Arc" Writer excommunicated during ‘September Six' purge loses her bid to rejoin the LDS Church The LDS Intellectual Community and Church Leadership: A Contemporary Chronology [PDF] 542-543: Gina Colvin – KiwiMormon and Fearless/Faithful Mormon Heretic The Sins of Brother Curtis Spotlight Movie Seven years of sex abuse: How Mormon officials let it happen Church Offers Statement on Help Line and Abuse (Response to AP) 1550-1551: Speaking Out When a Mormon Bishop Abuses Children – Kolby & Cami Reddish  

Democracy depends on our ability to choose our political views. But the language we use to talk about political issues is deliberately designed to be divisive, and can produce up to a 15-point difference in what we think about those issues. As a result, are we choosing our views, or is our language choosing them for us?This week,Your Undivided Attention welcomes two Jedi Masters of political communication. Drew Westen is a political psychologist and messaging consultant based at Emory university, who has advised the Democratic Party. Frank Luntz is a political and communications consultant, pollster, and pundit, who has advised the Republican Party. In the past, our guests have used their messaging expertise in ways that increased partisanship. For example, Luntz advocated for the use of the term “death tax” instead of “estate tax,” and “climate change” instead of “global warming.” Still, Luntz and Westen are uniquely positioned to help us decode the divisive power of language — and explore how we might design language that unifies.CORRECTIONS: in the episode, Tristan refers to a panel Drew Westen and Frank Luntz were on at the New York Public Library. He says the panel was “about 10 years ago,” but it was actually 15 years ago in 2007. Also, Westen refers to a news anchor who moderated a debate between George H. W. Bush and Michael Dukakis in 1988. Drew mistakenly names the anchor as Bernard Kalb, when it was actually Bernard Shaw.RECOMMENDED MEDIAThe Political Brain: The Role of Emotion in Deciding the Fate of the NationDrew Westen's 2008 book about role of emotion in determining the political life of the nation, which influenced campaigns and elections around the worldWords That Work: It's Not What You Say, It's What People HearFrank Luntz's 2008 book, which offers a behind-the-scenes look at how the tactical use of words and phrases affects what we buy, who we vote for, and even what we believe inNew York Public Library's Panel on Political Language A 2007 panel between multiple 'Jedi Masters' of political communication along the political spectrum, including Frank Luntz, Drew Westen, and George Lakoff RECOMMENDED YUA EPISODESThe Invisible Influence of Language with Lera Boroditsky: https://www.humanetech.com/podcast/48-the-invisible-influence-of-languageHow To Free Our Minds with Cult Deprogramming Expert Dr. Steven Hassan: https://www.humanetech.com/podcast/51-how-to-free-our-mindsMind the (Perception) Gap with Dan Vallone: https://www.humanetech.com/podcast/33-mind-the-perception-gapYour Undivided Attention is produced by the Center for Humane Technology. Follow us on Twitter: @HumaneTech_

Episode one hundred and forty-six of A History of Rock Music in Five Hundred Songs looks at “Good Vibrations” by the Beach Boys, and the history of the theremin. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "You're Gonna Miss Me" by the Thirteenth Floor Elevators. 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, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. 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. 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 "Good Vibrations". Oddly, the single version of "Good Vibrations" is not on the The Smile Sessions box set. But an entire CD of outtakes of the track is, and that was the source for the session excerpts here. Information on Lev Termen comes from Theremin: Ether Music and Espionage by Albert Glinsky Transcript In ancient Greece, the god Hermes was a god of many things, as all the Greek gods were. Among those things, he was the god of diplomacy, he was a trickster god, a god of thieves, and he was a messenger god, who conveyed messages between realms. He was also a god of secret knowledge. In short, he was the kind of god who would have made a perfect spy. But he was also an inventor. In particular he was credited in Greek myth as having invented the lyre, an instrument somewhat similar to a guitar, harp, or zither, and as having used it to create beautiful sounds. But while Hermes the trickster god invented the lyre, in Greek myth it was a mortal man, Orpheus, who raised the instrument to perfection. Orpheus was a legendary figure, the greatest poet and musician of pre-Homeric Greece, and all sorts of things were attributed to him, some of which might even have been things that a real man of that name once did. He is credited with the "Orphic tripod" -- the classification of the elements into earth, water, and fire -- and with a collection of poems called the Rhapsodiae. The word Rhapsodiae comes from the Greek words rhaptein, meaning to stitch or sew, and ōidē, meaning song -- the word from which we get our word "ode", and  originally a rhapsōdos was someone who "stitched songs together" -- a reciter of long epic poems composed of several shorter pieces that the rhapsōdos would weave into one continuous piece. It's from that that we get the English word "rhapsody", which in the sixteenth century, when it was introduced into the language, meant a literary work that was a disjointed collection of patchwork bits, stitched together without much thought as to structure, but which now means a piece of music in one movement, but which has several distinct sections. Those sections may seem unrelated, and the piece may have an improvisatory feel, but a closer look will usually reveal relationships between the sections, and the piece as a whole will have a sense of unity. When Orpheus' love, Eurydice, died, he went down into Hades, the underworld where the souls of the dead lived, and played music so beautiful, so profound and moving, that the gods agreed that Orpheus could bring the soul of his love back to the land of the living. But there was one condition -- all he had to do was keep looking forward until they were both back on Earth. If he turned around before both of them were back in the mortal realm, she would disappear forever, never to be recovered. But of course, as you all surely know, and would almost certainly have guessed even if you didn't know because you know how stories work, once Orpheus made it back to our world he turned around and looked, because he lost his nerve and didn't believe he had really achieved his goal. And Eurydice, just a few steps away from her freedom, vanished back into the underworld, this time forever. [Excerpt: Blake Jones and the Trike Shop: "Mr. Theremin's Miserlou"] Lev Sergeyevich Termen was born in St. Petersburg, in what was then the Russian Empire, on the fifteenth of August 1896, by the calendar in use in Russia at that time -- the Russian Empire was still using the Julian calendar, rather than the Gregorian calendar used in most of the rest of the world, and in the Western world the same day was the twenty-seventh of August. Young Lev was fascinated both by science and the arts. He was trained as a cellist from an early age, but while he loved music, he found the process of playing the music cumbersome -- or so he would say later. He was always irritated by the fact that the instrument is a barrier between the idea in the musician's head and the sound -- that it requires training to play. As he would say later "I realised there was a gap between music itself and its mechanical production, and I wanted to unite both of them." Music was one of his big loves, but he was also very interested in physics, and was inspired by a lecture he saw from the physicist Abram Ioffe, who for the first time showed him that physics was about real, practical, things, about the movements of atoms and fields that really existed, not just about abstractions and ideals. When Termen went to university, he studied physics -- but he specifically wanted to be an experimental physicist, not a theoretician. He wanted to do stuff involving the real world. Of course, as someone who had the misfortune to be born in the late 1890s, Termen was the right age to be drafted when World War I started, but luckily for him the Russian Army desperately needed people with experience in the new invention that was radio, which was vital for wartime communications, and he spent the war in the Army radio engineering department, erecting radio transmitters and teaching other people how to erect them, rather than on the front lines, and he managed not only to get his degree in physics but also a diploma in music. But he was also becoming more and more of a Marxist sympathiser, even though he came from a relatively affluent background, and after the Russian Revolution he stayed in what was now the Red Army, at least for a time. Once Termen's Army service was over, he started working under Ioffe, working with him on practical applications of the audion, the first amplifying vacuum tube. The first one he found was that the natural capacitance of a human body when standing near a circuit can change the capacity of the circuit. He used that to create an invisible burglar alarm -- there was an antenna sending out radio waves, and if someone came within the transmitting field of the antenna, that would cause a switch to flip and a noise to be sounded. He was then asked to create a device for measuring the density of gases, outputting a different frequency for different densities. Because gas density can have lots of minor fluctuations because of air currents and so forth, he built a circuit that would cut out all the many harmonics from the audions he was using and give just the main frequency as a single pure tone, which he could listen to with headphones. That way,  slight changes in density would show up as a slight change in the tone he heard. But he noticed that again when he moved near the circuit, that changed the capacitance of the circuit and changed the tone he was hearing. He started moving his hand around near the circuit and getting different tones. The closer his hand got to the capacitor, the higher the note sounded. And if he shook his hand a little, he could get a vibrato, just like when he shook his hand while playing the cello. He got Ioffe to come and listen to him, and Ioffe said "That's an electronic Orpheus' lament!" [Excerpt: Blake Jones and the Trike Shop, "Mr. Theremin's Miserlou"] Termen figured out how to play Massenet's "Elegy" and Saint-Saens' "The Swan" using this system. Soon the students were all fascinated, telling each other "Termen plays Gluck on a voltmeter!" He soon figured out various refinements -- by combining two circuits, using the heterodyne principle, he could allow for far finer control. He added a second antenna, for volume control, to be used by the left hand -- the right hand would choose the notes, while the left hand would change the volume, meaning the instrument could be played without touching it at all. He called the instrument the "etherphone",  but other people started calling it the termenvox -- "Termen's voice". Termen's instrument was an immediate sensation, as was his automatic burglar alarm, and he was invited to demonstrate both of them to Lenin. Lenin was very impressed by Termen -- he wrote to Trotsky later talking about Termen's inventions, and how the automatic burglar alarm might reduce the number of guards needed to guard a perimeter. But he was also impressed by Termen's musical invention. Termen held his hands to play through the first half of a melody, before leaving the Russian leader to play the second half by himself -- apparently he made quite a good job of it. Because of Lenin's advocacy for his work, Termen was sent around the Soviet Union on a propaganda tour -- what was known as an "agitprop tour", in the familiar Soviet way of creating portmanteau words. In 1923 the first piece of music written specially for the instrument was performed by Termen himself with the Leningrad Philharmonic, Andrey Paschenko's Symphonic Mystery for Termenvox and Orchestra. The score for that was later lost, but has been reconstructed, and the piece was given a "second premiere" in 2020 [Excerpt: Andrey Paschenko, "Symphonic Mystery for Termenvox and Orchestra" ] But the musical instrument wasn't the only scientific innovation that Termen was working on. He thought he could reverse death itself, and bring the dead back to life.  He was inspired in this by the way that dead organisms could be perfectly preserved in the Siberian permafrost. He thought that if he could only freeze a dead person in the permafrost, he could then revive them later -- basically the same idea as the later idea of cryogenics, although Termen seems to have thought from the accounts I've read that all it would take would be to freeze and then thaw them, and not to have considered the other things that would be necessary to bring them back to life. Termen made two attempts to actually do this, or at least made preliminary moves in that direction. The first came when his assistant, a twenty-year-old woman, died of pneumonia. Termen was heartbroken at the death of someone so young, who he'd liked a great deal, and was convinced that if he could just freeze her body for a while he could soon revive her. He talked with Ioffe about this -- Ioffe was friends with the girl's family -- and Ioffe told him that he thought that he was probably right and probably could revive her. But he also thought that it would be cruel to distress the girl's parents further by discussing it with them, and so Termen didn't get his chance to experiment. He was even keener on trying his technique shortly afterwards, when Lenin died. Termen was a fervent supporter of the Revolution, and thought Lenin was a great man whose leadership was still needed -- and he had contacts within the top echelons of the Kremlin. He got in touch with them as soon as he heard of Lenin's death, in an attempt to get the opportunity to cryopreserve his corpse and revive him. Sadly, by this time it was too late. Lenin's brain had been pickled, and so the opportunity to resurrect him as a zombie Lenin was denied forever. Termen was desperately interested in the idea of bringing people back from the dead, and he wanted to pursue it further with his lab, but he was also being pushed to give demonstrations of his music, as well as doing security work -- Ioffe, it turned out, was also working as a secret agent, making various research trips to Germany that were also intended to foment Communist revolution. For now, Termen was doing more normal security work -- his burglar alarms were being used to guard bank vaults and the like, but this was at the order of the security state. But while Termen was working on his burglar alarms and musical instruments and attempts to revive dead dictators, his main project was his doctoral work, which was on the TV. We've said before in this podcast that there's no first anything, and that goes just as much for inventions as it does for music. Most inventions build on work done by others, which builds on work done by others, and so there were a lot of people building prototype TVs at this point. In Britain we tend to say "the inventor of the TV" was John Logie Baird, but Baird was working at the same time as people like the American Charles Francis Jenkins and the Japanese inventor Kenjiro Takayanagi, all of them building on earlier work by people like Archibald Low. Termen's prototype TV, the first one in Russia, came slightly later than any of those people, but was created more or less independently, and was more advanced in several ways, with a bigger screen and better resolution. Shortly after Lenin's death, Termen was invited to demonstrate his invention to Stalin, who professed himself amazed at the "magic mirror". [Excerpt: Blake Jones and the Trike Shop, "Astronauts in Trouble"] Termen was sent off to tour Europe giving demonstrations of his inventions, particularly his musical instrument. It was on this trip that he started using the Romanisation "Leon Theremin", and this is how Western media invariably referred to him. Rather than transliterate the Cyrillic spelling of his birth name, he used the French spelling his Huguenot ancestors had used before they emigrated to Russia, and called himself Leo or Leon rather than Lev. He was known throughout his life by both names, but said to a journalist in 1928 "First of all, I am not Tair-uh-MEEN. I wrote my name with French letters for French pronunciation. I am Lev Sergeyevich Tair-MEN.". We will continue to call him Termen, partly because he expressed that mild preference (though again, he definitely went by both names through choice) but also to distinguish him from the instrument, because while his invention remained known in Russia as the termenvox, in the rest of the world it became known as the theremin. He performed at the Paris Opera, and the New York Times printed a review saying "Some musicians were extremely pessimistic about the possibilities of the device, because at times M. Theremin played lamentably out of tune. But the finest Stradivarius, in the hands of a tyro, can give forth frightful sounds. The fact that the inventor was able to perform certain pieces with absolute precision proves that there remains to be solved only questions of practice and technique." Termen also came to the UK, where he performed in front of an audience including George Bernard Shaw, Arnold Bennett, Henry Wood and others. Arnold Bennett was astonished, but Bernard Shaw, who had very strong opinions about music, as anyone who has read his criticism will be aware, compared the sound unfavourably to that of a comb and paper. After performing in Europe, Termen made his way to the US, to continue his work of performance, propagandising for the Soviet Revolution, and trying to license the patents for his inventions, to bring money both to him and to the Soviet state. He entered the US on a six-month visitor's visa, but stayed there for eleven years, renewing the visa every six months. His initial tour was a success, though at least one open-air concert had to be cancelled because, as the Communist newspaper the Daily Worker put it, "the weather on Saturday took such a counter-revolutionary turn". Nicolas Slonimsky, the musicologist we've encountered several times before, and who would become part of Termen's circle in the US, reviewed one of the performances, and described the peculiar audiences that Termen was getting -- "a considerable crop of ladies and gentlemen engaged in earnest exploration of the Great Beyond...the mental processes peculiar to believers in cosmic vibrations imparted a beatific look to some of the listeners. Boston is a seat of scientific religion; before he knows it Professor Theremin may be proclaimed Krishnamurti and sanctified as a new deity". Termen licensed his patents on the invention to RCA, who in 1929 started mass-producing the first ever theremins for general use. Termen also started working with the conductor Leopold Stokowski, including developing a new kind of theremin for Stokowski's orchestra to use, one with a fingerboard played like a cello. Stokowski said "I believe we shall have orchestras of these electric instruments. Thus will begin a new era in music history, just as modern materials and methods of construction have produced a new era of architecture." Possibly of more interest to the wider public, Lennington Sherwell, the son of an RCA salesman, took up the theremin professionally, and joined the band of Rudy Vallee, one of the most popular singers of the period. Vallee was someone who constantly experimented with new sounds, and has for example been named as the first band leader to use an electric banjo, and Vallee liked the sound of the theremin so much he ordered a custom-built left-handed one for himself. Sherwell stayed in Vallee's band for quite a while, and performed with him on the radio and in recording sessions, but it's very difficult to hear him in any of the recordings -- the recording equipment in use in 1930 was very primitive, and Vallee had a very big band with a lot of string and horn players, and his arrangements tended to have lots of instruments playing in unison rather than playing individual lines that are easy to differentiate. On top of that, the fashion at the time when playing the instrument was to try and have it sound as much like other instruments as possible -- to duplicate the sound of a cello or violin or clarinet, rather than to lean in to the instrument's own idiosyncracies. I *think* though that I can hear Sherwell's playing in the instrumental break of Vallee's big hit "You're Driving Me Crazy" -- certainly it was recorded at the time that Sherwell was in the band, and there's an instrument in there with a very pure tone, but quite a lot of vibrato, in the mid range, that seems only to be playing in the break and not the rest of the song. I'm not saying this is *definitely* a theremin solo on one of the biggest hits of 1930, but I'm not saying it's not, either: [Excerpt: Rudy Vallee, "You're Driving Me Crazy" ] Termen also invented a light show to go along with his instrument -- the illumovox, which had a light shining through a strip of gelatin of different colours, which would be rotated depending on the pitch of the theremin, so that lower notes would cause the light to shine a deep red, while the highest notes would make it shine a light blue, with different shades in between. By 1930, though, Termen's fortunes had started to turn slightly. Stokowski kept using theremins in the orchestra for a while, especially the fingerboard models to reinforce the bass, but they caused problems. As Slonimsky said "The infrasonic vibrations were so powerful...that they hit the stomach physically, causing near-nausea in the double-bass section of the orchestra". Fairly soon, the Theremin was overtaken by other instruments, like the ondes martenot, an instrument very similar to the theremin but with more precise control, and with a wider range of available timbres. And in 1931, RCA was sued by another company for patent infringement with regard to the Theremin -- the De Forest Radio Company had patents around the use of vacuum tubes in music, and they claimed damages of six thousand dollars, plus RCA had to stop making theremins. Since at the time, RCA had only made an initial batch of five hundred instruments total, and had sold 485 of them, many of them as promotional loss-leaders for future batches, they had actually made a loss of three hundred dollars even before the six thousand dollar damages, and decided not to renew their option on Termen's patents. But Termen was still working on his musical ideas. Slonimsky also introduced Termen to the avant-garde composer and theosophist Henry Cowell, who was interested in experimental sounds, and used to do things like play the strings inside the piano to get a different tone: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell was part of a circle of composers and musicologists that included Edgard Varese, Charles Ives, and Charles Seeger and Ruth Crawford, who Cowell would introduce to each other. Crawford would later marry Seeger, and they would have several children together, including the folk singer Peggy Seeger, and Crawford would also adopt Seeger's son Pete. Cowell and Termen would together invent the rhythmicon, the first ever drum machine, though the rhythmicon could play notes as well as rhythms. Only two rhythmicons were made while Termen was in the US. The first was owned by Cowell. The second, improved, model was bought by Charles Ives, but bought as a gift for Cowell and Slonimsky to use in their compositions. Sadly, both rhythmicons eventually broke down, and no recording of either is known to exist. Termen started to get further and further into debt, especially as the Great Depression started to hit, and he also had a personal loss -- he'd been training a student and had fallen in love with her, although he was married. But when she married herself, he cut off all ties with her, though Clara Rockmore would become one of the few people to use the instrument seriously and become a real virtuoso on it. He moved into other fields, all loosely based around the same basic ideas of detecting someone's distance from an object. He built electronic gun detectors for Alcatraz and Sing-Sing prisons, and he came up with an altimeter for aeroplanes. There was also a "magic mirror" -- glass that appeared like a mirror until it was backlit, at which point it became transparent. This was put into shop windows along with a proximity detector -- every time someone stepped close to look at their reflection, the reflection would disappear and be replaced with the objects behind the mirror. He was also by this point having to spy for the USSR on a more regular basis. Every week he would meet up in a cafe with two diplomats from the Russian embassy, who would order him to drink several shots of vodka -- the idea was that they would loosen his inhibitions enough that he would not be able to hide things from them -- before he related various bits of industrial espionage he'd done for them. Having inventions of his own meant he was able to talk with engineers in the aerospace industry and get all sorts of bits of information that would otherwise not have been available, and he fed this back to Moscow. He eventually divorced his first wife, and remarried -- a Black American dancer many years his junior named Lavinia Williams, who would be the great love of his life. This caused some scandal in his social circle, more because of her race than the age gap. But by 1938 he had to leave the US. He'd been there on a six-month visa, which had been renewed every six months for more than a decade, and he'd also not been paying income tax and was massively in debt. He smuggled himself back to the USSR, but his wife was, at the last minute, not allowed on to the ship with him. He'd had to make the arrangements in secret, and hadn't even told her of the plans, so the first she knew was when he disappeared. He would later claim that the Soviets had told him she would be sent for two weeks later, but she had no knowledge of any of this. For decades, Lavinia would not even know if her husband was dead or alive. [Excerpt: Blake Jones and the Trike Shop, "Astronauts in Trouble"] When Termen got back to the USSR, he found it had changed beyond recognition. Stalin's reign of terror was now well underway, and not only could he not find a job, most of the people who he'd been in contact with at the top of the Kremlin had been purged. Termen was himself arrested and tortured into signing a false confession to counter-revolutionary activities and membership of fascist organisations. He was sentenced to eight years in a forced labour camp, which in reality was a death sentence -- it was expected that workers there would work themselves to death on starvation rations long before their sentences were up -- but relatively quickly he was transferred to a special prison where people with experience of aeronautical design were working. He was still a prisoner, but in conditions not too far removed from normal civilian life, and allowed to do scientific and technical work with some of the greatest experts in the field -- almost all of whom had also been arrested in one purge or another. One of the pieces of work Termen did was at the direct order of Laventy Beria, Stalin's right-hand man and the architect of most of the terrors of the Stalinist regime. In Spring 1945, while the USA and USSR were still supposed to be allies in World War II, Beria wanted to bug the residence of the US ambassador, and got Termen to design a bug that would get past all the normal screenings. The bug that Termen designed was entirely passive and unpowered -- it did nothing unless a microwave beam of a precise frequency was beamed at it, and only then did it start transmitting. It was placed in a wooden replica of the Great Seal of the United States, presented to the ambassador by a troupe of scouts as a gesture of friendship between the two countries. The wood in the eagle's beak was thin enough to let the sound through. It remained there for seven years, through the tenures of four ambassadors, only being unmasked when a British radio operator accidentally tuned to the frequency it was transmitting on and was horrified to hear secret diplomatic conversations. Upon its discovery, the US couldn't figure out how it worked, and eventually shared the information with MI5, who took eighteen months to reverse-engineer Termen's bug and come up with their own, which remained the standard bug in use for about a decade. The CIA's own attempts to reverse-engineer it failed altogether. It was also Termen who came up with that well-known bit of spycraft -- focussing an infra-red beam on a window pane, to use it to pick up the sound of conversations happening in the room behind it. Beria was so pleased with Termen's inventions that he got Termen to start bugging Stalin himself, so Beria would be able to keep track of Stalin's whims. Termen performed such great services for Beria that Beria actually allowed him to go free not long after his sentence was served. Not only that, but Beria nominated Termen for the Stalin Award, Class II, for his espionage work -- and Stalin, not realising that Termen had been bugging *him* as well as foreign powers, actually upgraded that to a Class I, the highest honour the Soviet state gave. While Termen was free, he found himself at a loose end, and ended up volunteering to work for the organisation he had been working for -- which went by many names but became known as the KGB from the 1950s onwards. He tried to persuade the government to let Lavinia, who he hadn't seen in eight years, come over and join him, but they wouldn't even allow him to contact her, and he eventually remarried. Meanwhile, after Stalin's death, Beria was arrested for his crimes, and charged under the same law that he had had Termen convicted under. Beria wasn't as lucky as Termen, though, and was executed. By 1964, Termen had had enough of the KGB, because they wanted him to investigate obvious pseudoscience -- they wanted him to look into aliens, UFOs, ESP... and telepathy. [Excerpt, The Beach Boys, "Good Vibrations (early version)" "She's already working on my brain"] He quit and went back to civilian life.  He started working in the acoustics lab in Moscow Conservatory, although he had to start at the bottom because everything he'd been doing for more than a quarter of a century was classified. He also wrote a short book on electronic music. In the late sixties an article on him was published in the US -- the first sign any of his old friends had that he'd not  died nearly thirty years earlier. They started corresponding with him, and he became a minor celebrity again, but this was disapproved of by the Soviet government -- electronic music was still considered bourgeois decadence and not suitable for the Soviet Union, and all his instruments were smashed and he was sacked from the conservatory. He continued working in various technical jobs until the 1980s, and still continued inventing refinements of the theremin, although he never had any official support for his work. In the eighties, a writer tried to get him some sort of official recognition -- the Stalin Prize was secret -- and the university at which he was working sent a reply saying, in part, "L.S. Termen took part in research conducted by the department as an ordinary worker and he did not show enough creative activity, nor does he have any achievements on the basis of which he could be recommended for a Government decoration." By this time he was living in shared accommodation with a bunch of other people, one room to himself and using a shared bathroom, kitchen, and so on. After Glasnost he did some interviews and was asked about this, and said "I never wanted to make demands and don't want to now. I phoned the housing department about three months ago and inquired about my turn to have a new flat. The woman told me that my turn would come in five or six years. Not a very reassuring answer if one is ninety-two years old." In 1989 he was finally allowed out of the USSR again, for the first time in fifty-one years, to attend a UNESCO sponsored symposium on electronic music. Among other things, he was given, forty-eight years late, a letter that his old colleague Edgard Varese had sent about his composition Ecuatorial, which had originally been written for theremin. Varese had wanted to revise the work, and had wanted to get modified theremins that could do what he wanted, and had asked the inventor for help, but the letter had been suppressed by the Soviet government. When he got no reply, Varese had switched to using ondes martenot instead. [Excerpt: Edgard Varese, "Ecuatorial"] In the 1970s, after the death of his third wife, Termen had started an occasional correspondence with his second wife, Lavinia, the one who had not been able to come with him to the USSR and hadn't known if he was alive for so many decades. She was now a prominent activist in Haiti, having established dance schools in many Caribbean countries, and Termen still held out hope that they could be reunited, even writing her a letter in 1988 proposing remarriage. But sadly, less than a month after Termen's first trip outside the USSR, she died -- officially of a heart attack or food poisoning, but there's a strong suspicion that she was murdered by the military dictatorship for her closeness to Jean-Bertrand Aristide, the pro-democracy activist who later became President of Haiti. Termen was finally allowed to join the Communist Party in the spring of 1991, just before the USSR finally dissolved -- he'd been forbidden up to that point because of his conviction for counter-revolutionary crimes. He was asked by a Western friend why he'd done that when everyone else was trying to *leave* the Communist Party, and he explained that he'd made a promise to Lenin. In his final years he was researching immortality, going back to the work he had done in his youth, working with biologists, trying to find a way to restore elderly bodies to youthful vigour. But sadly he died in 1993, aged ninety-seven, before he achieved his goal. On one of his last trips outside the USSR, in 1991, he visited the US, and in California he finally got to hear the song that most people associate with his invention, even though it didn't actually feature a theremin: [Excerpt: The Beach Boys, "Good Vibrations"] Back in the 1930s, when he was working with Slonimsky and Varese and Ives and the rest, Termen had set up the Theremin Studio, a sort of experimental arts lab, and in 1931 he had invited the musicologist, composer, and theoretician Joseph Schillinger to become a lecturer there. Schillinger had been one of the first composers to be really interested in the theremin, and had composed a very early piece written specifically for the instrument, the First Airphonic Suite: [Excerpt: Joseph Schillinger, "First Airphonic Suite"] But he was most influential as a theoretician. Schillinger believed that all of the arts were susceptible to rigorous mathematical analysis, and that you could use that analysis to generate new art according to mathematical principles, art that would be perfect. Schillinger planned to work with Termen to try to invent a machine that could compose, perform, and transmit music. The idea was that someone would be able to tune in a radio and listen to a piece of music in real time as it was being algorithmically composed and transmitted. The two men never achieved this, but Schillinger became very, very, respected as someone with a rigorous theory of musical structure -- though reading his magnum opus, the Schillinger System of Musical Composition, is frankly like wading through treacle. I'll read a short excerpt just to give an idea of his thinking: "On the receiving end, phasic stimuli produced by instruments encounter a metamorphic auditory integrator. This integrator represents the auditory apparatus as a whole and is a complex interdependent system. It consists of two receivers (ears), transmitters, auditory nerves, and a transformer, the auditory braincenter.  The response to a stimulus is integrated both quantitatively and selectively. The neuronic energy of response becomes the psychonic energy of auditory image. The response to stimuli and the process of integration are functional operations and, as such, can be described in mathematical terms , i.e., as  synchronization, addition, subtraction, multiplication, etc. But these integrative processes alone do not constitute the material of orchestration either.  The auditory image, whether resulting from phasic stimuli of an excitor or from selfstimulation of the auditory brain-center, can be described only in Psychological terms, of loudness, pitch, quality, etc. This leads us to the conclusion that the material of orchestration can be defined only as a group of conditions under which an integrated image results from a sonic stimulus subjected to an auditory response.  This constitutes an interdependent tripartite system, in which the existence of one component necessitates the existence of two others. The composer can imagine an integrated sonic form, yet he cannot transmit it to the auditor (unless telepathicaliy) without sonic stimulus and hearing apparatus." That's Schillinger's way of saying that if a composer wants someone to hear the music they've written, the composer needs a musical instrument and the listener needs ears and a brain. This kind of revolutionary insight made Schillinger immensely sought after in the early 1930s, and among his pupils were the swing bandleaders Benny Goodman and Tommy Dorsey, and the songwriter George Gershwin, who turned to Schillinger for advice when he was writing his opera Porgy and Bess: [Excerpt: Ella Fitzgerald and Louis Armstrong, "Here Come De Honey Man"] Another of his pupils was the trombonist and arranger Glenn Miller, who at that time was a session player working in pickup studio bands for people like Red Nichols. Miller spent some time studying with him in the early thirties, and applied those lessons when given the job of putting together arrangements for Ray Noble, his first prominent job. In 1938 Glenn Miller walked into a strip joint to see a nineteen-year-old he'd been told to take a look at. This was another trombonist, Paul Tanner, who was at the time working as a backing musician for the strippers. Miller had recently broken up his first big band, after a complete lack of success, and was looking to put together a new big band, to play arrangements in the style he had worked out while working for Noble. As Tanner later put it "he said, `Well, how soon can you come with me?' I said, `I can come right now.' I told him I was all packed, I had my toothbrush in my pocket and everything. And so I went with him that night, and I stayed with him until he broke the band up in September 1942." The new band spent a few months playing the kind of gigs that an unknown band can get, but they soon had a massive success with a song Miller had originally written as an arranging exercise set for him by Schillinger, a song that started out under the title "Miller's Tune", but soon became known worldwide as "Moonlight Serenade": [Excerpt: Glenn Miller, "Moonlight Serenade"] The Miller band had a lot of lineup changes in the four and a bit years it was together, but other than Miller himself there were only four members who were with that group throughout its career, from the early dates opening for  Freddie Fisher and His Schnickelfritzers right through to its end as the most popular band in America. They were piano player Chummy MacGregor, clarinet player Wilbur Schwartz, tenor sax player Tex Beneke, and Tanner. They played on all of Miller's big hits, like "In the Mood" and "Chattanooga Choo-Choo": [Excerpt: Glenn Miller, "Chattanooga Choo-Choo"] But in September 1942, the band broke up as the members entered the armed forces, and Tanner found himself in the Army while Miller was in the Air Force, so while both played in military bands, they weren't playing together, and Miller disappeared over the Channel, presumed dead, in 1944. Tanner became a session trombonist, based in LA, and in 1958 he found himself on a session for a film soundtrack with Dr. Samuel Hoffman. I haven't been able to discover for sure which film this was for, but the only film on which Hoffman has an IMDB credit for that year is that American International Pictures classic, Earth Vs The Spider: [Excerpt: Earth Vs The Spider trailer] Hoffman was a chiropodist, and that was how he made most of his living, but as a teenager in the 1930s he had been a professional violin player under the name Hal Hope. One of the bands he played in was led by a man named Jolly Coburn, who had seen Rudy Vallee's band with their theremin and decided to take it up himself. Hoffman had then also got a theremin, and started his own all-electronic trio, with a Hammond organ player, and with a cello-style fingerboard theremin played by William Schuman, the future Pulitzer Prize winning composer. By the 1940s, Hoffman was a full-time doctor, but he'd retained his Musicians' Union card just in case the odd gig came along, and then in 1945 he received a call from Miklos Rozsa, who was working on the soundtrack for Alfred Hitchcock's new film, Spellbound. Rozsa had tried to get Clara Rockmore, the one true virtuoso on the theremin playing at the time, to play on the soundtrack, but she'd refused -- she didn't do film soundtrack work, because in her experience they only wanted her to play on films about ghosts or aliens, and she thought it damaged the dignity of the instrument. Rozsa turned to the American Federation of Musicians, who as it turned out had precisely one theremin player who could read music and wasn't called Clara Rockmore on their books. So Dr. Samuel Hoffman, chiropodist, suddenly found himself playing on one of the most highly regarded soundtracks of one of the most successful films of the forties: [Excerpt: Miklos Rozsa, "Spellbound"] Rozsa soon asked Hoffman to play on another soundtrack, for the Billy Wilder film The Lost Weekend, another of the great classics of late forties cinema. Both films' soundtracks were nominated for the Oscar, and Spellbound's won, and Hoffman soon found himself in demand as a session player. Hoffman didn't have any of Rockmore's qualms about playing on science fiction and horror films, and anyone with any love of the genre will have heard his playing on genre classics like The Five Thousand Fingers of Dr T, The Thing From Another World, It Came From Outer Space, and of course Bernard Hermann's score for The Day The Earth Stood Still: [Excerpt: The Day The Earth Stood Still score] As well as on such less-than-classics as The Devil's Weed, Voodoo Island, The Mad Magician, and of course Billy The Kid Vs Dracula. Hoffman became something of a celebrity, and also recorded several albums of lounge music with a band led by Les Baxter, like the massive hit Music Out Of The Moon, featuring tracks like “Lunar Rhapsody”: [Excerpt: Samuel Hoffman, "Lunar Rhapsody”] [Excerpt: Neil Armstrong] That voice you heard there was Neil Armstrong, on Apollo 11 on its way back from the moon. He took a tape of Hoffman's album with him. But while Hoffman was something of a celebrity in the fifties, the work dried up almost overnight in 1958 when he worked at that session with Paul Tanner. The theremin is a very difficult instrument to play, and while Hoffman was a good player, he wasn't a great one -- he was getting the work because he was the best in a very small pool of players, not because he was objectively the best there could be. Tanner noticed that Hoffman was having quite some difficulty getting the pitching right in the session, and realised that the theremin must be a very difficult instrument to play because it had no markings at all. So he decided to build an instrument that had the same sound, but that was more sensibly controlled than just waving your hands near it. He built his own invention, the electrotheremin, in less than a week, despite never before having had any experience in electrical engineering. He built it using an oscillator, a length of piano wire and a contact switch that could be slid up and down the wire, changing the pitch. Two days after he finished building it, he was in the studio, cutting his own equivalent of Hoffman's forties albums, Music For Heavenly Bodies, including a new exotica version of "Moonlight Serenade", the song that Glenn Miller had written decades earlier as an exercise for Schillinger: [Excerpt: Paul Tanner, "Moonlight Serenade"] Not only could the electrotheremin let the player control the pitch more accurately, but it could also do staccato notes easily -- something that's almost impossible with an actual theremin. And, on top of that, Tanner was cheaper than Hoffman. An instrumentalist hired to play two instruments is paid extra, but not as much extra as paying for another musician to come to the session, and since Tanner was a first-call trombone player who was likely to be at the session *anyway*, you might as well hire him if you want a theremin sound, rather than paying for Hoffman. Tanner was an excellent musician -- he was a professor of music at UCLA as well as being a session player, and he authored one of the standard textbooks on jazz -- and soon he had cornered the market, leaving Hoffman with only the occasional gig. We will actually be seeing Hoffman again, playing on a session for an artist we're going to look at in a couple of months, but in LA in the early sixties, if you wanted a theremin sound, you didn't hire a theremin player, you hired Paul Tanner to play his electrotheremin -- though the instrument was so obscure that many people didn't realise he wasn't actually playing a theremin. Certainly Brian Wilson seems to have thought he was when he hired him for "I Just Wasn't Made For These Times": [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] We talked briefly about that track back in the episode on "God Only Knows",   but three days after recording that, Tanner was called back into the studio for another session on which Brian Wilson wanted a theremin sound. This was a song titled "Good, Good, Good Vibrations", and it was inspired by a conversation he'd had with his mother as a child. He'd asked her why dogs bark at some people and not at others, and she'd said that dogs could sense vibrations that people sent out, and some people had bad vibrations and some had good ones. It's possible that this came back to mind as he was planning the Pet Sounds album, which of course ends with the sound of his own dogs barking. It's also possible that he was thinking more generally about ideas like telepathy -- he had been starting to experiment with acid by this point, and was hanging around with a crowd of people who were proto-hippies, and reading up on a lot of the mystical ideas that were shared by those people. As we saw in the last episode, there was a huge crossover between people who were being influenced by drugs, people who were interested in Eastern religion, and people who were interested in what we now might think of as pseudo-science but at the time seemed to have a reasonable amount of validity, things like telepathy and remote viewing. Wilson had also had exposure from an early age to people claiming psychic powers. Jo Ann Marks, the Wilson family's neighbour and the mother of former Beach Boy David Marks, later had something of a minor career as a psychic to the stars (at least according to obituaries posted by her son) and she would often talk about being able to sense "vibrations". The record Wilson started out making in February 1966 with the Wrecking Crew was intended as an R&B single, and was also intended to sound *strange*: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] At this stage, the song he was working on was a very straightforward verse-chorus structure, and it was going to be an altogether conventional pop song. The verses -- which actually ended up used in the final single, are dominated by organ and Ray Pohlman's bass: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] These bear a strong resemblance to the verses of "Here Today", on the Pet Sounds album which the Beach Boys were still in the middle of making: [Excerpt: The Beach Boys, "Here Today (instrumental)"] But the chorus had far more of an R&B feel than anything the Beach Boys had done before: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] It did, though, have precedent. The origins of the chorus feel come from "Can I Get a Witness?", a Holland-Dozier-Holland song that had been a hit for Marvin Gaye in 1963: [Excerpt: Marvin Gaye, "Can I Get a Witness?"] The Beach Boys had picked up on that, and also on its similarity to the feel of Lonnie Mack's instrumental cover version of Chuck Berry's "Memphis, Tennessee", which, retitled "Memphis", had also been a hit in 1963, and in 1964 they recorded an instrumental which they called "Memphis Beach" while they were recording it but later retitled "Carl's Big Chance", which was credited to Brian and Carl Wilson, but was basically just playing the "Can I Get a Witness" riff over twelve-bar blues changes, with Carl doing some surf guitar over the top: [Excerpt: The Beach Boys, "Carl's Big Chance"] The "Can I Get a Witness" feel had quickly become a standard piece of the musical toolkit – you might notice the resemblance between that riff and the “talking 'bout my generation” backing vocals on “My Generation” by the Who, for example. It was also used on "The Boy From New York City", a hit on Red Bird Records by the Ad-Libs: [Excerpt: The Ad-Libs, "The Boy From New York City"] The Beach Boys had definitely been aware of that record -- on their 1965 album Summer Days... And Summer Nights! they recorded an answer song to it, "The Girl From New York City": [Excerpt: The Beach Boys, "The Girl From New York City"] And you can see how influenced Brian was by the Ad-Libs record by laying the early instrumental takes of the "Good Vibrations" chorus from this February session under the vocal intro of "The Boy From New York City". It's not a perfect match, but you can definitely hear that there's an influence there: [Excerpt: "The Boy From New York City"/"Good Vibrations"] A few days later, Brian had Carl Wilson overdub some extra bass, got a musician in to do a jaw harp overdub, and they also did a guide vocal, which I've sometimes seen credited to Brian and sometimes Carl, and can hear as both of them depending on what I'm listening for. This guide vocal used a set of placeholder lyrics written by Brian's collaborator Tony Asher, which weren't intended to be a final lyric: [Excerpt: The Beach Boys, "Good Vibrations (first version)"] Brian then put the track away for a month, while he continued work on the Pet Sounds album. At this point, as best we can gather, he was thinking of it as something of a failed experiment. In the first of the two autobiographies credited to Brian (one whose authenticity is dubious, as it was largely put together by a ghostwriter and Brian later said he'd never even read it) he talks about how he was actually planning to give the song to Wilson Pickett rather than keep it for the Beach Boys, and one can definitely imagine a Wilson Pickett version of the song as it was at this point. But Brian's friend Danny Hutton, at that time still a minor session singer who had not yet gone on to form the group that would become Three Dog Night, asked Brian if *he* could have the song if Brian wasn't going to use it. And this seems to have spurred Brian into rethinking the whole song. And in doing so he was inspired by his very first ever musical memory. Brian has talked a lot about how the first record he remembers hearing was when he was two years old, at his maternal grandmother's house, where he heard the Glenn Miller version of "Rhapsody in Blue", a three-minute cut-down version of Gershwin's masterpiece, on which Paul Tanner had of course coincidentally played: [Excerpt: The Glenn Miller Orchestra, "Rhapsody in Blue"] Hearing that music, which Brian's mother also played for him a lot as a child, was one of the most profoundly moving experiences of Brian's young life, and "Rhapsody in Blue" has become one of those touchstone pieces that he returns to again and again. He has recorded studio versions of it twice, in the mid-nineties with Van Dyke Parks: [Excerpt: Brian Wilson and Van Dyke Parks, "Rhapsody in Blue"] and in 2010 with his solo band, as the intro and outro of an album of Gershwin covers: [Excerpt: Brian Wilson, "Rhapsody in Blue"] You'll also often see clips of him playing "Rhapsody in Blue" when sat at the piano -- it's one of his go-to songs. So he decided he was going to come up with a song that was structured like "Rhapsody in Blue" -- what publicist Derek Taylor would later describe as a "pocket symphony", but "pocket rhapsody" would possibly be a better term for it. It was going to be one continuous song, but in different sections that would have different instrumentation and different feelings to them -- he'd even record them in different studios to get different sounds for them, though he would still often have the musicians run through the whole song in each studio. He would mix and match the sections in the edit. His second attempt to record the whole track, at the start of April, gave a sign of what he was attempting, though he would not end up using any of the material from this session: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-04-09" around 02:34] Nearly a month later, on the fourth of May, he was back in the studio -- this time in Western Studios rather than Gold Star where the previous sessions had been held, with yet another selection of musicians from the Wrecking Crew, plus Tanner, to record another version. This time, part of the session was used for the bridge for the eventual single: [Excerpt: The Beach Boys: "Good Vibrations: Western 1966-05-04 Second Chorus and Fade"] On the twenty-fourth of May the Wrecking Crew, with Carl Wilson on Fender bass (while Lyle Ritz continued to play string bass, and Carol Kaye, who didn't end up on the finished record at all, but who was on many of the unused sessions, played Danelectro), had another attempt at the track, this time in Sunset Studios: [Excerpt: The Beach Boys: "Good Vibrations: Sunset Sound 1966-05-24 (Parts 2&3)"] Three days later, another group of musicians, with Carl now switched to rhythm guitar, were back in Western Studios recording this: [Excerpt: The Beach Boys: "Good Vibrations: Western 1966-05-27 Part C" from 2:52] The fade from that session was used in the final track. A few days later they were in the studio again, a smaller group of people with Carl on guitar and Brian on piano, along with Don Randi on electric harpsichord, Bill Pitman on electric bass, Lyle Ritz on string bass and Hal Blaine on drums. This time there seems to have been another inspiration, though I've never heard it mentioned as an influence. In March, a band called The Association, who were friends with the Beach Boys, had released their single "Along Comes Mary", and by June it had become a big hit: [Excerpt: The Association, "Along Comes Mary"] Now the fuzz bass part they were using on the session on the second of June sounds to my ears very, very, like that intro: [Excerpt: The Beach Boys, "Good Vibrations (Inspiration) Western 1966-06-02" from 01:47] That session produced the basic track that was used for the choruses on the final single, onto which the electrotheremin was later overdubbed as Tanner wasn't at that session. Some time around this point, someone suggested to Brian that they should use a cello along with the electrotheremin in the choruses, playing triplets on the low notes. Brian has usually said that this was Carl's idea, while Brian's friend Van Dyke Parks has always said that he gave Brian the idea. Both seem quite certain of this, and neither has any reason to lie, so I suspect what might have happened is that Parks gave Brian the initial idea to have a cello on the track, while Carl in the studio suggested having it specifically play triplets. Either way, a cello part by Jesse Erlich was added to those choruses. There were more sessions in June, but everything from those sessions was scrapped. At some point around this time, Mike Love came up with a bass vocal lyric, which he sang along with the bass in the choruses in a group vocal session. On August the twenty-fourth, two months after what one would think at this point was the final instrumental session, a rough edit of the track was pulled together. By this point the chorus had altered quite a bit. It had originally just been eight bars of G-flat, four bars of B-flat, then four more bars of G-flat. But now Brian had decided to rework an idea he had used in "California Girls". In that song, each repetition of the line "I wish they all could be California" starts a tone lower than the one before. Here, after the bass hook line is repeated, everything moves up a step, repeats the line, and then moves up another step: [Excerpt: The Beach Boys, "Good Vibrations: [Alternate Edit] 1966-08-24"] But Brian was dissatisfied with this version of the track. The lyrics obviously still needed rewriting, but more than that, there was a section he thought needed totally rerecording -- this bit: [Excerpt: The Beach Boys, "Good Vibrations: [Alternate Edit] 1966-08-24"] So on the first of September, six and a half months after the first instrumental session for the song, the final one took place. This had Dennis Wilson on organ, Tommy Morgan on harmonicas, Lyle Ritz on string bass, and Hal Blaine and Carl Wilson on percussion, and replaced that with a new, gentler, version: [Excerpt: The Beach Boys: "Good Vibrations (Western 1966-09-01) [New Bridge]"] Well, that was almost the final instrumental session -- they called Paul Tanner in to a vocal overdub session to redo some of the electrotheremin parts, but that was basically it. Now all they had to do was do the final vocals. Oh, and they needed some proper lyrics. By this point Brian was no longer working with Tony Asher. He'd started working with Van Dyke Parks on some songs, but Parks wasn't interested in stepping into a track that had already been worked on so long, so Brian eventually turned to Mike Love, who'd already come up with the bass vocal hook, to write the lyrics. Love wrote them in the car, on the way to the studio, dictating them to his wife as he drove, and they're actually some of his best work. The first verse grounds everything in the sensory, in the earthy. He makes a song originally about *extra* -sensory perception into one about sensory perception -- the first verse covers sight, sound, and smell: [Excerpt: The Beach Boys, "Good Vibrations"] Carl Wilson was chosen to sing the lead vocal, but you'll notice a slight change in timbre on the line "I hear the sound of a" -- that's Brian stepping into double him on the high notes. Listen again: [Excerpt: The Beach Boys, "Good Vibrations"] For the second verse, Love's lyric moves from the sensory grounding of the first verse to the extrasensory perception that the song has always been about, with the protagonist knowing things about the woman who's the object of the song without directly perceiving them. The record is one of those where I wish I was able to play the whole thing for you, because it's a masterpiece of structure, and of editing, and of dynamics. It's also a record that even now is impossible to replicate properly on stage, though both its writers in their live performances come very close. But while someone in the audience for either the current touring Beach Boys led by Mike Love or for Brian Wilson's solo shows might come away thinking "that sounded just like the record", both have radically different interpretations of it even while sticking close to the original arrangement. The touring Beach Boys' version is all throbbing strangeness, almost garage-rock, emphasising the psychedelia of the track: [Excerpt: The Beach Boys, "Good Vibrations (live 2014)"] While Brian Wilson's live version is more meditative, emphasising the gentle aspects: [Excerpt Brian Wilson, "Good Vibrations (live at the Roxy)"] But back in 1966, there was definitely no way to reproduce it live with a five-person band. According to Tanner, they actually asked him if he would tour with them, but he refused -- his touring days were over, and also he felt he would look ridiculous, a middle-aged man on stage with a bunch of young rock and roll stars, though apparently they offered to buy him a wig so he wouldn't look so out of place. When he wouldn't tour with them, they asked him where they could get a theremin, and he pointed them in the direction of Robert Moog. Moog -- whose name is spelled M-o-o-g and often mispronounced "moog", had been a teenager in 1949, when he'd seen a schematic for a theremin in an electronic hobbyist magazine, after Samuel Hoffman had brought the instrument back into the limelight. He'd built his own, and started building others to sell to other hobbyists, and had also started branching out into other electronic instruments by the mid-sixties. His small company was the only one still manufacturing actual theremins, but when the Beach Boys came to him and asked him for one, they found it very difficult to control, and asked him if he could do anything simpler. He came up with a ribbon-controlled oscillator, on the same principle as Tanner's electro-theremin, but even simpler to operate, and the Beach Boys bought it and gave it to Mike Love to play on stage. All he had to do was run his finger up and down a metallic ribbon, with the positions of the notes marked on it, and it would come up with a good approximation of the electro-theremin sound. Love played this "woo-woo machine" as he referred to it, on stage for several years: [Excerpt: The Beach Boys, "Good Vibrations (live in Hawaii 8/26/67)"] Moog was at the time starting to build his first synthesisers, and having developed that ribbon-control mechanism he decided to include it in the early models as one of several different methods of controlling the Moog synthesiser, the instrument that became synonymous with the synthesiser in the late sixties and early seventies: [Excerpt: Gershon Kingsley and Leonid Hambro, "Rhapsody in Blue" from Switched-On Gershwin] "Good Vibrations" became the Beach Boys' biggest ever hit -- their third US number one, and their first to make number one in the UK. Brian Wilson had managed, with the help of his collaborators, to make something that combined avant-garde psychedelic music and catchy pop hooks, a truly experimental record that was also a genuine pop classic. To this day, it's often cited as the greatest single of all time. But Brian knew he could do better. He could be even more progressive. He could make an entire album using the same techniques as "Good Vibrations", one where themes could recur, where sections could be edited together and songs could be constructed in the edit. Instead of a pocket symphony, he could make a full-blown teenage symphony to God. All he had to do was to keep looking forward, believe he could achieve his goal, and whatever happened, not lose his nerve and turn back. [Excerpt: The Beach Boys, "Smile Promo" ]