Podcasts about can i get

Can I Get a Do-Over? Isaiah 38:1-22

Sandra Oh (Killing Eve, Grey's Anatomy) is back in a new film, “Can I Get a Witness?” It's set in a not-too-distant future when climate change has been solved. But there's a catch: all humans are required by law to end their life at 50. The Ottawa-born actor joins Tom Power to talk about the movie and why it spoke to her. Plus, she reflects on her journey as an actor, from finding her passion at eight years old to becoming one of Hollywood's most accomplished stars.

On this special episode, Eric sits down with writer/director Ann Marie Fleming, to discuss their new film Can I Get a Witness?.

Can I Get a Witness? Case Study, Part 2: The Harvest - Changed Lives

Can I Get a Witness? Case Study of Evangelism, Part 1: The Outsider

Can I Get a Witness? Everyone with a Ministry"

We're celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. Today, we're revisiting our milestone 100th episode with the legendary Lamont Dozier! ABOUT LAMONT DOZIERLamont Dozier, along with brothers Eddie and Brian Holland, wrote and produced more than 20 consecutive singles recorded by the Supremes, including ten #1 pop hits: “Where Did Our Love Go,” “Baby Love,” “Come See About Me,” “Stop! In the Name of Love,” “Back in My Arms Again,” “I Hear a Symphony,” “You Can't Hurry Love,” “You Keep Me Hangin' On,” “Love is Here and Now You're Gone,” and “The Happening.” Other Top 5 singles they wrote for the Supremes include “My World is Empty Without You” and “Reflections.” In addition to their hits with the Supremes, Holland, Dozier, and Holland helped further define the Motown sound by writing major pop and R&B hits such as “Heat Wave,” “Nowhere to Run,” and “Jimmy Mack” for Martha and the Vandellas, “Mickey's Monkey” for the Miracles, “Can I Get a Witness” and “You're a Wonderful One” for Marvin Gaye, and “(I'm A) Road Runner” for Junior Walker and the All Stars. The trio found particular success with The Four Tops, who scored hits with their songs “Baby I Need Your Loving,” “I Can't Help Myself (Sugar Pie Honey Bunch),” “It's the Same Old Song,” “Reach Out I'll Be There,” “Standing in the Shadows of Love,” and “Bernadette.” Additional hits include “Crumbs Off the Table” for Glass House, “Give Me Just a Little More Time” for Chairmen of the Board, “Band of Gold” for Freda Payne, and Dozier's own recording of “Why Can't We Be Lovers.” Hit cover versions of his songs by rock artists include “Don't Do It” by the Band, “Take Me in Your Arms (Rock Me a Little While)” by the Doobie Brothers, “How Sweet It Is (To Be Loved By You)” by James Taylor, and “This Old Heart of Mine” by Rod Stewart. With hits spanning multiple decades, Dozier also co-wrote “Two Hearts” with Phil Collins, earning a #1 pop hit, a Grammy award, a Golden Globe, and an Oscar nomination. Dozier is in the Songwriters Hall of Fame and the Rock and Roll Hall of Fame. He is the recipient of the prestigious Johnny Mercer Award for songwriting, as well as the BMI Icon award. Lamont Dozier was additionally named among Rolling Stone magazine's 100 Greatest Songwriters of All Time.

Can I Get a Witness? On a Mission with Jesus

MOANA & MAUI RETURN!! Visit https://huel.com/rejects & receive 15% off your order. Visit http://www.liquidiv.com & use Promo Code: REJECTS to get 20% off your first order. Moana 2 Full Movie Reaction Watch Along: https://www.patreon.com/thereelrejects Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@thereelrejects?lang=en Twitter: https://x.com/thereelrejects Facebook: https://www.facebook.com/TheReelRejects/ Moana 2 Reaction, Commentary, Analysis, & Spoiler Review! Greg Alba and Tara Erickson embark on a new oceanic adventure as they react to Disney's Moana 2 (2024).Auli'i Cravalho returns to voice Moana as she ventures beyond the reefs to uncover new horizons. Dwayne The Rock Johnson (Jumanji Welcome To The Jungle & Fast Five) returns as the demigod Maui. The film introduces new characters, including Moana's younger sister, Simea (voiced by Khaleesi Lambert-Tsuda), and fellow voyagers Moni (Hualālai Chung), Loto (Rose Matafeo), and Kele (David Fane). Returning favorites like Heihei the chicken and Pua the pig also make delightful appearances. They react to songs / music videos such as "Tulou Tagaloa (Sei e Va'ai Mai)" by Olivia Foa'i & Te Vaka, "We're Back" by Auli'i Cravalho & Cast, "Tuputupu (The Feast)" by Te Vaka, "Beyond" by Auli'i Cravalho feat. Rachel House, "My Wish for You (Innocent Warrior)" by Olivia Foa'i, Sutata Foai-Amiatu, Matatia Foa'i, Matthew Ineleo, and Opetaia Foa'i, "Finding The Way" by Olivia Foa'i & Te Vaka, "What Could Be Better Than This?" by Auli'i Cravalho, Hualālai Chung, Rose Matafeo, and David Fane, "Get Lost" by Awhimai Fraser, "Can I Get a Chee Hoo?" by Dwayne Johnson, and "Mana Vavau" by Dwayne Johnson, Opetaia Foa'i, and Rachel House. Let's see if these songs live up to "How Far I'll Go," "You're Welcome," "We Know the Way," "Shiny," "Where You Are," "Logo Te Pate," "I Am Moana (Song of the Ancestors)," "Know Who You Are," and "An Innocent Warrior." Follow Tara Erickson: Youtube: https://www.youtube.com/@TaraErickson Instagram:  https://www.instagram.com/taraerickson/ Twitter:  https://twitter.com/thetaraerickson Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on the Build a Vibrant Culture Podcast, Nicole interviews author and HR expert Rich Salon. Rich is a seasoned HR leader, keynote speaker, and author of two books: Career Trust and Unleashing Your Career. Known as "Rich the HR Guy," he's passionate about helping individuals achieve career fulfillment and fostering employee engagement.  Rich has held pivotal roles at industry giants like The Home Depot, Penske, and Lowe's, where his work has impacted employee engagement, career fulfillment, and organizational trust. CNN recognized him as a “Hero of the Economy” for his critical efforts at Circuit City, where he fought tirelessly to keep the company afloat during turbulent times. His ability to inspire and lead, earning him the nickname “Chief Engagement Officer,” is a testament to his motivational power. Rich also serves as a Rotarian and, after retirement, plans to honor his late mother by granting final wishes to terminally ill adults. Listen in while Nicole and Rich discuss six (of the 52 total) practical strategies that will help you find purpose and fulfillment in your career!5 Key Take-Aways[00:02:54] Employee Engagement: How leaders must understand employee passions to foster engagement and how engagement thrives in a personalized, "one size fits one" management style.[00:06:25] Rethinking Retirement: “75 is the new 65” as people live and work longer, and employers must learn to embrace older workers' contributions.[00:09:46] Transforming Leadership Styles: Realizing that 'command-and-control' leadership is outdated; collaborative and servant leadership models are more effective. [00:15:51] Building Company Culture: Culture isn't just HR's responsibility; it's a shared effort across all levels. Learn to evaluate and remove outdated cultural norms to align with current values and goals.[00:23:56] Can I Get a Career Guarantee? Unfortunately there is no guarantee in career paths; we must take calculated risks to grow. Plus, how to focus on your capabilities rather than your limitations.Resources Mentioned:Career Trust by Rich Salon: https://a.co/d/6Oh30vmUnleashing Your Career by Rich Salon: https://a.co/d/5l3PDMfOne Minute Manager by Ken Blanchard & Spencer Johnson M.D.: https://a.co/d/0cfF1NeRotary International: https://my.rotary.org/club-searchWhere to Connect with Rich Salon:LinkedIn: https://www.linkedin.com/in/rich-salon-sphr-shrm-scp/Facebook: https://www.facebook.com/rich.salon.12/Instagram: https://www.instagram.com/richthehrguy X: https://x.com/BusOwnConnectDon't forget to like, comment, and subscribe to the Build a Vibrant Culture podcast for more insights on creating thriving workplaces! If you enjoyed this episode, please leave a review and share it with your network. 

Does the testimony of the Book of Mormon witnesses hold up? Lawyers RFM and Kolby Reddish show why their testimony isn’t as strong as the Church would like you to think! The post Can I Get a Witness?–Debunking the Light and Truth Letter–Chapter 5: RFM: 377 appeared first on Mormon Discussions Podcasts - Full Lineup.

The Christian Nerd Podcast is back and looking for a wayfinder. Scott starts the show by talking abut his busy week and some good news he got right before Thanksgiving. In Let's All Go to the Movies, Clara shares her thoughts on Wicked and Scott reviews Moana 2. Nerd News has stories about Voltron, the Fantastic Four and Star Wars. Approved for All Audiences has trailers for the MCU, impossible missions, and live-action versions of animated classics. And in Jesus Time, Scott talks about being grateful even when it's hard.   Show Notes   Intro - 0:00 "Can I Get a Chee Hoo?" Let's All Go to the Movies Wicked review with Clara - 6:58 Moana 2 review - 10:52 Nerd News - 16:52 New cast members for Voltron Fantastic Four: First Steps synopsis Simon Kinberg writing a producing new Star Wars trilogy Disney pulls Star Wars movie from the release calendar Skeleton Crew is dropping early Approved for All Audiences - 22:04 Captain America: Brave New World Thunderbolts Mission: Impossible - The Final Reckoning Lilo and Stitch How to Train Your Dragon Elio Alien: Earth Jesus Time - 26:43   Goodbye - 31:01 Be sure to check out The Christian Nerd Like The Christian Nerd on Facebook Subscribe to the podcast on iTunes and leave a comment Or use our RSS Feed to subscribe: http://thechristiannerd.libsyn.com/rss Follow The Christian Nerd on Twitter Follow Scott on Twitter Support The Christian Nerd on Patreon Email Scott at Scott@TheChristianNerd.com to get added to The Octagon. Thanks to Nick for The Christian Nerd theme music.

“Kinosaade” on taskuhääling, kus kino Artis programmijuht Ra Ragnar Novod, Forum Cinemas programmispetsialist Henryk Johan Novod ning kultuurikriitik Raiko Puust võtavad igal nädalal läbi uued filmid ja seriaalid ning ka olulisemad filmiuudised. Hakka meie toetajaks läbi Patreoni: www.patreon.com/kinosaade “Kinosaate” 258. saates arutavad Ragnar, Henryk ja Raiko nende filmide ja seriaalide üle, mida on nad vahepeal koduste vahendite (Amazon Prime Video, Netflix, Apple TV+ jne) abil vaadanud (Inside Man, The Cage, Overlord, The Lodge, Cobra Kai, Escape, LOST jpm!) Lisaks anname ülevaate kinos nähtud filmidest: PÖFFil nähtud filmid, Sayara (2024), Super Happy Forever (2024), Must auk (2024), Brutalist (2024),The Radley's (2024), Alpha. (2024), The Rule of Jenny Pen (2024), 1978 (2024), Patio de Chacales (2024), Fox & Hare Save the Forest (2024), The Brutalist (2024), Armand (2024), Exorcism Chronicles: The Beginning (2024), The Loop (2024), Moor (2024), Can I Get a Witness (2024), It's Okay! (2023) Vaata seda episoodi Youtube'is: https://www.youtube.com/watch?v=iVd6YXD59qI&ab_channel=%C3%95htuleht.ee Sisukord: 0:00 Sissejuhatus 04:06 Nädala parimad filmielamused: Ketser 22:59 Mida on Raiko, Henryk ja Ragnar kodus vaadanud? Raiko: The Do-Over Damsel Conquers The Dragon Emperor (2024), Cells at Work (2018), Inside Man (2024), The Cage (2024), Overlord (2015), The Jester (2023), The Fear (1995), Powder (1995), The Lodge (2019), Temple Grandin (2010), Your Monster (2024), Strike! (1998), Buy Now: The Shopping Conspiracy (2024), Cobra Kai S6 Part 2, Henryk: Night Fishing (2011), Escape (2024) Ragnar: Lost (2004–2010), Night Fishing (2011), Escape (2024) 02:07:14 Anname ülevaate kinos nähtud filmidest: PÖFFil nähtud filmid, Sayara (2024), Super Happy Forever (2024), Must auk (2024), Brutalist (2024),The Radley's (2024), Alpha. (2024), The Rule of Jenny Pen (2024), 1978 (2024), Patio de Chacales (2024), Fox & Hare Save the Forest (2024), The Brutalist (2024), Armand (2024), Exorcism Chronicles: The Beginning (2024), The Loop (2024), Moor (2024), Can I Get a Witness (2024), It's Okay! (2023), Conclave (2024) Kõik saated on leitavad ka Kinosaade.ee, Apple Podcasts, Spotify ja kõikides teistes podcasti rakendustes. Lisaks leiab meid veel Facebookist, YouTubest ja Twitchist Kinosaade nime alt. Facebook: www.facebook.com/kinosaade YouTube: www.youtube.com/channel/UCeBOcl_yALcrk-U7Ou5BQCw Twitch: www.twitch.tv/kinosaade Kodulehekülg: kinosaade.ee/ Discord: discord.gg/B2zbCWPCc3 Patreon: www.patreon.com/kinosaade Õhtuleht: www.ohtuleht.ee/oltv-raadio/kinosaade Õhtuleht YouTube: www.youtube.com/playlist?list=PLv…cINr0VKL-kZG5wUCq

“Can I Get a Witness?" Joshua 22 Rex Durham

Send us a text “Can I Get a Witness”Speaker: Pastor Eugene Sim

Can I Get a Hell Yeah!! For this Halloween episode, we enjoy a line up of Iron Maiden Brews! We discuss our costumes, Diddy News, and share some spooky voicemails we've received

From bankruptcy to financial freedom in just ten years?! Today's guest is living proof that past money mistakes don't disqualify you from building wealth with real estate. Whether you're neck-deep in debt or struggling to save, you're only ever a few steps away from taking control of your financial future! Welcome back to the Real Estate Rookie podcast! By 2014, Diem Martin had filed for bankruptcy. Ten years later, she has achieved financial freedom with eight doors across four properties and has a $1.2 million net worth. How did she do it? She used the same investing strategy that so many newbies use to break into real estate—house hacking. Each new property allowed her to save for her next down payment, and in just eight years, she had built her entire real estate portfolio. If she can do it, you can too! Stay tuned if you want to learn how to get pre-approved for a loan after a major financial incident, as well as how to invest in an expensive market without a ton of money. You'll also learn why you should always make sure a property will cash flow as a long-term rental before buying it. We even dive into financial independence retire early (FIRE), determining your FI number, and how to reach your goal as soon as possible through real estate! In This Episode We Cover: How Diem went from bankrupt to financially free in just ten years How to buy a rental property in an expensive market without a lot of money Why you must make sure an Airbnb works as a long-term rental before buying it Boosting your house hacking cash flow by creating units on existing properties How to get pre-approved for a mortgage after a dent in your credit Financial independence retire early (FIRE) explained (and how to get there!) And So Much More! Links from the Show Ashley's BiggerPockets Profile Tony's BiggerPokckets Profile Join BiggerPockets for FREE Diem's Instagram Buy the Book “The House Hacking Strategy” Find an Investor-Friendly Agent in Your Area See Ashley and Tony at BPCON2024 in Cancun! Can I Get a Loan After Filing for Bankruptcy? (00:00) Intro (00:59) Bankruptcy to Buying a House (06:24) Choosing Bankruptcy & FHA Loans (12:46) First Deal & Current Portfolio (18:04) Changing Strategies & Managing Rentals (24:34) Chasing Financial Freedom (32:06) Never Stop Learning! (34:27) Connect with Diem! Check out more resources from this show on BiggerPockets.com and https://www.biggerpockets.com/blog/rookie-449 Interested in learning more about today's sponsors or becoming a BiggerPockets partner yourself? Email advertise@biggerpockets.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

ON TODAY'S SHOW : Trending in TX, Can I Get an Amen, teachers in the wild, Breakfast for Dinner JURY DUTY, 10 Min Tune about PUMPKIN SPICE, Neigh of the Day & Mo Knows Country!

ON TODAY'S SHOW : Trending in TX, Can I Get an Amen, Whataburger tuesday deal, accidentally naked at Texans game, Jury Duty about tattoos, 10-Min-Tune about CROCS, & Mo Knows Country!

A huge thanks to OFFSec for sponsoring this video - get your $100 discount using my link (valid until 31 August 2024): https://davidbombal.wiki/oscc Want to win the free place? (T&C's apply) Enter here: https://gleam.io/BS3FT/offsec-oscc-gi... //Jeremy's Socials// Website: https://jeremyharbinger.com/ X: https://x.com/JeremyHarbinger LinkedIn: / jeremy-miller-b6816987 //OffSec's Socials// X: https://x.com/offsectraining Spotify: https://podcasters.spotify.com/pod/sh... // OffSec's OSCC link // OSCC: https://davidbombal.wiki/oscc // YouTube video Reference // Dark Side of AI: • The real world truth about AI Hacking // David's SOCIAL // Discord: discord.com/invite/usKSyzb Twitter: www.twitter.com/davidbombal Instagram: www.instagram.com/davidbombal LinkedIn: www.linkedin.com/in/davidbombal Facebook: www.facebook.com/davidbombal.co TikTok: tiktok.com/@davidbombal // MY STUFF // https://www.amazon.com/shop/davidbombal // SPONSORS // Interested in sponsoring my videos? Reach out to my team here: sponsors@davidbombal.com // MENU // 00:00 - Coming Up 00:46 - Sponsored Section 01:08 - Introducing Sec-100 04:11 - The Structure of Sec-100 06:43 - Crowdstrike Failure 08:20 - Style of Sec-100 Exam 11:08 - Finding your Place in Cybersecurity 13:23 - Learning General Skills 14:35 - Can I Start with SEC-100? 15:55 - Breaking Down the Course Material 18:45 - No Prior Cyber Skills Needed 21:24 - Can I Get a Job with SEC-100? 22:38 - The Length and Structure of the Exam 24:16 - Can I Retake the Exam 25:17 - Jobs to get with SEC-100 27:55 - AI in SEC-100 30:24 - Hands-On Learning 31:37 - SEC-100 Price and Giveaways 32:15 - Conclusion Please note that links listed may be affiliate links and provide me with a small percentage/kickback should you use them to purchase any of the items listed or recommended. Thank you for supporting me and this channel! Disclaimer: This video is for educational purposes only. #kalilinx #hacker #cybersecurity

A TIFF 2024 RUNDOWN: 1:47 - Previously Announced TIFF Premieres: We get the obligatory Family Guy reference out of the way. Then we discuss how Eden is about hot people on an island, why we need to be right about Nightbitch, and whether We Live In Time is more Brooklyn or Goldfinch. TIFF GALAS & SPECIAL PRESENTATIONS: 4:01 - Opening Night with Nutcrackers from David Gordon Green and that stupid Adam Sandler movie that one of us thinks is great. 6:25 - Closing Night with Rebel Wilson's The Deb 7:48 - From Cannes to TIFF: Anora, Bird, Emilia Perez, Oh Canada, Rumours, & The Shrouds. 9:40 - Better Man via Robbie Williams starts a whole Pearl Jam riff 11:20 - A cryptic Conclave book report. 12:07 - Other big name films we've been following forever like Hard Truths from Mike Leigh, Heretic from A24, Piece by Piece from Lego, The End from the artist formerly known as Michael Shannon, The Fire Inside from MGM, The Return from a ripped Ralph + Will & Harper from Sundance. 15:25 - The Piano Lesson announces the Washington family takeover of Hollywood. NEW TIFF ARRIVALS INTO THE OSCARS LANDSCAPE: 18:07 - 40 Acres has Danielle Deadwyler vs Canadian Cannibals! 19:04 - Familiar stories modernized with Brett Goldstein in All Of You, banshee Barry vs Christopher in Bring Them Down, Sandra Oh in Can I Get a Witness?, a jacked Orlando Bloom in The Cut, plus The Motorcycle Diaries director is ironically back in I'm Still Here. 21:48 - The Last Showgirl has us hoping for a Pam Anderson Oscars campaign 22:58 - Millers in Marriage is the next from Edward Burns that's better than The Family Stone. 24:32 - Relay seems like Hell or High Water or The Accountant. 25:09 - Riff Raff seems funny with Jennifer Coolidge, Bill Murray and Pete Davidson 26:10 - Sharp Corner stars Ben Foster who may or may not walk off into the woods. 27:22 - The Order intrigues us with Hoult, Law, Smollett, Maron, Baylin, etc. 29:10 - The Penguin Lessons is probably not Mr. Popper's Penguins. 29:44 - Pedro Paramo and why his bonafides make it a potential contender 31:13 - Sketch seems like a funny Harold and the Purple Crayon w/ D'Arcy Carden & Tony Hale. 32:27 - Unstoppable and how we hope Jlo gets some good press with this one. 34:14 - Without Blood is the next from Angelina Jolie and Cinecitta Studios. THE 81ST VENICE FILM FESTIVAL: 35:18 - A Recap of the News on the Jury, Tributes, and Opening Night Film 36:19 - Maria and why Angelina Jolie could be a favorite for the Volpi Cup. 37:01 - Queer and why Luca Guadagnino's work promises a high floor 38:15 - Pedro's Room Next Door and how we get sidetracked re: premise writing. 39:43 - Joker Folie à Deux and our mixed review of the second trailer. 43:44 - April and how M2 has faith in this director. 44:38 - The Brutalist and the allure of the mysterious and wealthy client 46:34 - Babygirl and when we momentarily lose our morality. 47:58 - Harvest and the intrigue of good young actors. 48:45 - Wolfs and the callback that also includes your obligatory Tarantino reference. 49:28 - Baby Invasion and why it has to be Harmony Korine. 50:12 - Intriguing Venice Docs and why M2 owes you some doc reviews. THE NYFF OPENING NIGHT FILM ANNOUNCEMENT - NICKEL BOYS 51:00 - Aunjanue Ellis as a Supporting Actress play, the history of previous Opening Nighters from NYFF at the Oscars, and another major contender centered on a child protagonist. (Plus, we get a quick happy story from Uncle Mike). 55:25 - OUR OUTRO and how to contact us. Plus, you hear about a handful of upcoming episodes, get some Austin Powers quotes, and a discussion on how we would do Telluride if we ever go.

ON TODAY'S SHOW : Trending in TX, Can I Get an Amen, 10,000 For the Troops, Emasculating Wayne, Jury Duty : Flashers, 10-Min-Tune about Dads wanting boys, & Mo Knows Country!

6/9/2024 - Can I Get a Witness? (11am) - Colossians 4:2-6 - Dr. Mark Hitchcock

ON TODAY'S SHOW : Trending in Texas, Can I Get an Amen, 10,000 For The Troops, Erik's cooking disaster, Jury Duty : Tracy's brat son, 10-Min-Tune about grocery story indecision, & Mo Knows Country!

My Dad Passed Away. Can I Get a Power of Attorney for Him? -- I love comments. I make these videos specifically to help people with no expectations. Please take a second and say ‘Hi' in the comments and let me and know what you thought of the video… and p.s. It would mean the world to me if you hit the subscribe button.

Can I Get a Witness? w/ Terry Ishee Welcome to the Gospel Reverb podcast. Gospel Reverb is an audio gathering for preachers, teachers, and Bible thrill seekers. Each month, our host, Anthony Mullins, will interview a new guest to gain insights and preaching nuggets mined from select passages of Scripture in that month’s Revised Common […] The post Can I Get a Witness? w/ Terry Ishee first appeared on Grace Communion International Resources....

Aujourd'hui, nous allons nous pencher sur le premier grand succès du groupe qui allait devenir le groupe vocal féminin le plus populaire des années 60, le groupe qui allait devenir le groupe le plus important de la Motown, et qui allait avoir plus de succès en termes de hit-parade que quiconque dans les années 60, à l'exception bien sûr des Beatles et d'Elvis. PLAYLIST The Supremes, “Where Did Our Love Go?” The Distants, “Come On” Ray Charles, “Night Time is the Right Time” Wilson Pickett, “Let Me Be Your Boy” Eddie Floyd, “I am Her Yo-Yo Man” The Primettes, “Tears of Sorrow” The Primettes, “Pretty Baby”  The Supremes, “I Want a Guy” The Olympics, “Hully Gully” The Marathons, “Peanut Butter” The Supremes, “Buttered Popcorn” Duane Eddy, “Dance With the Guitar Man” The Supremes, “The Man with the Rock and Roll Banjo Band” Marvin Gaye, “Can I Get a Witness” The Supremes, “When the Lovelight Starts Shining Through His Eyes” The Marvelettes, “Too Many Fish in the Sea” The Supremes, “Where Did Our Love Go?” The Supremes, “Baby Love” Mary Wilson The Supremes, “ Son of a preacher man”

Sunday February 18, 2024. God's Mission to the World: Studies in Acts. "Can I Get a Witness?” a sermon on Acts 1:12-26 from Dr. Sean Michael Lucas.

Colt and David sit down with songwriter Josh Phillips.Originally from North Carolina, Josh Phillips played shows all over the Southeast before moving to Nashville in 2015 to pursue a career in songwriting. His credits include “Dirt Cheap” from Cody Johnson's latest album, Leather, as well as “Can I Get an Outlaw” and “Angels Working Overtime” recorded by Luke Combs, and “Small Town Small” recorded by Jason Aldean.  Phillips has also had cuts with Brantley Gilbert, Chris Young, Michael Ray, Colt Ford and more.Instagram: www.instagram.com/imjoshphillipsFacebook: www.facebook.com/imjoshphillipsTwitter (X): www.twitter.com/imjoshphillipsTikTok: www.tiktok.com/@iamjoshphillipsSpotify: https://open.spotify.com/artist/5TxhHYCUoqOugdrEcSIwDj?si=2o9e_OxQRFSMZJCU0VKJTQApple Music: https://music.apple.com/us/artist/josh-phillips/1226077894Support the showCheck out our socials and follow us!Facebook: www.facebook.com/TwangTownPodcastInstagram: www.instagram.com/TwangTownPodTwitter: www.twitter.com/TwangTownPodWe would love your support to continue to bring listeners amazing content!Cash App: www.cash.app/$TwangTownPodBuzzsprout: https://www.buzzsprout.com/2232176/support

John Records Landecker is an iconic radio personality, who stands as a true legend in the broadcasting realm. With a career spanning over five decades, his distinctive voice and charismatic presence have left an indelible mark on the airwaves. Renowned for his wit and engaging storytelling, he effortlessly connects with listeners, making every broadcast a memorable experience. His illustrious journey includes stints at powerhouse stations like WLS in Chicago, where his innovative Top 40 format revolutionized radio. In this podcast episode, we'll discuss the origins of "Can I Get a Witness News, " "Americana Panorama," and his legendary "Boogie Check."  John Records Landecker is truly Someone You Should Know.Click here to buy the host a cold one.Show Links:Click here to go to John's Facebook pageClick here to go to John's Twitter / X pageClick here to go to John's LinkedIn pageClick here to go to purchase John's book.Someone You Should Know 2024 // CatGotYourTongueStudios 2024How to Contact Us:Official Website: https://Someoneyoushouldknowpodcast.comGmail: Someoneyoushouldknowpodcast@gmail.comTwitter: @RIKANTHONY1Facebook: https://www.facebook.com/rikanthonyInstagram: https://www.instagram.com/someoneyoushouldknowpodcast/LinkedIn: https://www.linkedin.com/in/rik-anthony2019/TikTok: @SomeoneYouShouldKnow2023YouTube: https://www.youtube.com/@someoneyoushouldknowpodcastThank you for listening!Theme music "Welcome to the Show" by Kevin MacLeod was used per the standard license agreement.

Can I Get a Witness? Acts 21:37-22:22

Have you ever found yourself caught in the infamous "Can I Get 5 Minutes?" trap? In this episode, I dive deep into the common scenario where a seemingly quick request turns into a time-consuming commitment. Whether it's a personal chat or a professional task, managing these situations can be tricky. Join me as I explore effective strategies to gracefully set boundaries without feeling like the bad guy. Don't forget to comment, like, share and subscribe! Yours truly, Phil Svitek Filmmaker, author, podcaster & 360 Creative Coach ⁠http://philsvitek.com⁠ Movies: -The Love Market: ⁠http://philsvitek.com/filmography/#lovemarket⁠ -A Bogotá Trip: ⁠http://philsvitek.com/filmography/#bogotatrip⁠ -The Arbiters: ⁠http://philsvitek.com/filmography/#thearbiters⁠  Books: -Elan, Elan: ⁠http://philsvitek.com/bibliography/#elanelan⁠ -Master Mental Fortitude: A Guide To Achieving Your Creative Ambitions: ⁠http://philsvitek.com/bibliography/#mastermentalfortitude⁠ -In Search Of Sunrise: ⁠http://philsvitek.com/bibliography/#insearchofsunrise⁠ -Hollywood Dreams on a Shoestring Budget: The Indie Filmmaking Guide For Debut Features: ⁠http://philsvitek.com/bibliography/#hollywooddreams⁠  Podcast: A Phil Svitek Podcast: A 360-degree view of the digital artist's path to success, blending technical theory, practical wisdom, and personal development. ⁠https://philsvitek.com/360-mastery/⁠ Altruism: -Financially Fit Foundation ⁠http://philsvitek.com/altruism/#fff⁠ -Adopt Diamond The German Shepherd I'm Fostering ⁠http://philsvitek.com/altruism/#diamond⁠  Substack: ⁠http://philsvitek.substack.com⁠  Patreon: ⁠http://patreon.com/philsvitek⁠  Merchandise:  ⁠https://www.amazon.com/s?rh=n%3A7141123011%2Cp_4%3APhil+Svitek+Podcast&ref=bl_sl_s_ap_web_7141123011⁠ Instagram:  ⁠http://instagram.com/philsvitek⁠   Facebook:  ⁠http://facebook.com/philippsvitek⁠  X/Twitter:  ⁠http://twitter.com/philsvitek⁠  LinkedIn: ⁠https://www.linkedin.com/in/phil-svitek⁠ Threads: ⁠https://www.threads.net/@philsvitek⁠ TikTok: ⁠https://www.tiktok.com/@philsvitek⁠ 

Episode 36:  In this episode, Timalyn continues with a topic related to payroll taxes.  Today, she'll discuss the Trust Fund Recovery Penalty.  It's one of the biggest tax penalties the IRS can use.  The penalty can be up to 100% of the taxes owed.  Does she have your attention yet?  Let's listen to Timalyn discuss how to avoid this penalty. In episode 28, Timalyn discussed the IRS Accuracy-Related Penalty.  This penalty can be 20% of the miscalculated tax.  That seems like a big deal until you learn about the Trust Fund Recovery Penalty, which can be up to 100% of the unpaid taxes.  Additionally, there's no cap on the amount eligible for the penalty. The Trust Fund Recovery Penalty can be assessed to the business, but also to people the IRS deems responsible for the payroll taxes not being paid.   This extends to people that may not even be the owner of the business.  You may still be held responsible according to the IRS' rules.  What Is the Trust Fund Recovery Penalty? Timalyn explains the trust fund is the taxes withheld by the employer, on behalf of the employee.  Each private-sector employee has submitted a form W-4 instructing how much should be withheld for income taxes. In addition to those taxes money Social Security and Medicare tax (FICA) are also withheld from wages.  Those withheld funds are held in a  “trust.”  As previously stated, the Trust Fund Recovery Penalty is 100% of the trust fund tax.  This is the employee's portion of FICA and the income tax withheld.  The employer is required to submit those funds to the IRS.  If the employer willfully neglects to submit these fund, they are evading taxes.  This is significantly different from avoiding taxes.  Timalyn focuses on the important distinction between tax evasion and tax avoidance in Episode 34. How Long Does the IRS Have to Assess the Penalty? The IRS has 3 years to assess the Trust Fund Recovery Penalty.  If you haven't made an arrangement to pay those taxes, you need to address it ASAP.  The IRS actually has 10 years to collect the taxes.  Refer to Episode 5 for an explanation of the Collection Statute Expiration Date (“CSED”).  This date is established, once the penalty has been assessed. As stated in Episode 35, payroll tax penalties can be charged as civil penalties or as criminal charges.  So, beyond the financial aspects, there's also a risk of incarceration if you're found to have willfully not collect or didn't truthfully calculate the taxes.  Why Is the Trust Fund Recovery Penalty so Harsh? The answer is two-fold.  First, if this penalty applies, you've been a tax evader.  Second, if you haven't paid the taxes withheld from the employee, the IRS also considers you a thief.  You've stolen funds from your employee and the IRS. Because you didn't pay the taxes withheld, the employee won't receive the benefit of the tax payments they thought were lawfully paid.  If there's a tax refund, the IRS is coming after you because now they've paid out money that was never paid to them in the first place.  Additional Penalties Can Be Assessed Before assessing the TFRP the IRS will assess other penalties as well. They will still assess you with the failure to deposit penalty and the failure to file penalty if you didn't file the proper payroll returns. Once the IRS adds the TFRP on top of that it can cause a serious financial leak in your business, possibly resulting in you closing. If you're exposed to payroll tax penalties, including the TFRP, you need to communicate with the IRS.  Don't let the problem grow worse.  Timalyn explains that communication is key.  The IRS may be willing to work with you.    Who Can Be Held Responsible? At the beginning of the episode, Timalyn mentioned the penalty can be assessed to more individuals than just the business owner.  Any person responsible for withholding, accounting for, depositing or paying specified taxes – and willfully failing to do so. The above scenario could include the company treasurer, an accountant, an officer, director, shareholder, or even a bookkeeper.  If you have an employee responsible for payroll activities or anyone who has signing authority on certain checking accounts. Any or all of them can be assessed the Trust Fund Recovery Penalty.  Remember this is 100% of the unpaid withholdings. Imagine how financially devastating this could be.  Can I Get the IRS Trust Fund Recovery Penalty Removed? Yes.  If the IRS deems you were not responsible for the negligence.  There will be interviews and required proof, but it may be possible.  However, penalty abatement with payroll taxes can be very complicated. If you're involved in this type of situation, Timalyn highly recommends hiring a tax professional to represent you.  She explains tax representation in Episode 33.  That episode also has a link to help you decide on which kind of tax professional might be best for you. You can book a consultation with Timalyn to review and discuss options related to your specific situation.  A point to remember, it will probably be best for you to hire a separate tax professional to represent you, instead of trying to have the same professional represent the business and all impacted parties.  There could be a potential conflict of interest.  You want to make sure someone is representing your best interest.  It's important that you get the help you need to address this situation, before it gets any worse. Please consider sharing this episode with your friends and family.  There are many people dealing with tax issues, and you may not know about it.  This information might be helpful to someone who really needs it.  After all, back taxes shouldn't ruin their life either. As we conclude Episode 36, we encourage you to connect with Timalyn on social media. You'll be able to subscribe to this podcast on Spotify, Apple Podcasts, Google Podcasts, and many other podcast platforms.    Remember, Timalyn Bowens is America's Favorite EA and she's here to fill the tax literacy gap, one taxpayer at a time.  Thanks for listening to today's episode.  For more information about tax relief options, visit https://www.Bowenstaxsolutions.com/ . If you have any feedback, or suggestions for an upcoming episode topic, please submit them here:  https://www.americasfavoriteea.com/contact. Disclaimer:  This podcast is for informational and educational purposes only.  It provides a framework and possible solutions for solving your tax problems, but it is not legally binding.  Please consult your tax professional regarding your specific tax situation.

Your Good Buddies are reviewing and scoring anime!! This week we're reviewing Heavenly Delusion (Tengoku Daimakyo) - another Disney realease on Hulu! Hope everyone is having a wonderful 2023! We love you and thank you for listening to us throughout the last few of years! Please Email us at thegoodbuddiesanimepod@gmail.com to send us your thoughts and any questions you'd like to hear us answer! Join our Discord @ https://discord.gg/T9hpVXx Join our group @ https://www.facebook.com/groups/Thegoodbuddiesuniverse! Next time is the Good Buddies Mt. Vibecheck Summer Anime Tier List for 2023!Can I Get a DISCLAIMER?!: Heavenly Delusion (Tengoku Daimakyo) REVIEW! - The Good Buddies Anime Podcast Episode 171

*Paster Kevin Lea: RSR hosts Fred Williams & Doug McBurney welcome Pastor Kevin Lea of Calvary Church Port Orchard WA for a deep dive into his presentation, (along with faithful co-laborers) of Hydroplate Theory to the headquarters staff at the Institute for Creation Research. *Attend! The First Creationist Hydroplate Conference: September 21-23, 2023. Join Fred, Doug and an “A-List” of RSR favorites for the first conference on Creation and Hydroplate Theory Science! Attend virtually by registering today at: Hydroplate.org. *Not the Hydroplate Theory: But it was great to see John Knox and our fellow workers at the Babylon Bee's “straight” news site Not the Bee cite Walt Brown in a story about unrelated water possibly trapped within the earth's mantle. While those waters, (if they exist) are not necessarily related to Walt Brown's Hydroplate Theory we welcome the boys at the Bee to link to Walt as often as they can! *Can I Get a Witness? Since none of us were there at the time of the flood, (except Jesus Christ), we must turn to His Word first in analyzing flood models, and everything else in life!

Listen to Part II of the interview HERE! *Paster Kevin Lea: RSR hosts Fred Williams & Doug McBurney welcome Pastor Kevin Lea of Calvary Church Port Orchard WA for a deep dive into his presentation, (along with faithful co-laborers) of Hydroplate Theory to the headquarters staff at the Institute for Creation Research. *Attend! The First Creationist Hydroplate Conference: September 21-23, 2023. Join Fred, Doug and an “A-List” of RSR favorites for the first conference on Creation and Hydroplate Theory Science! Attend virtually by registering today at: Hydroplate.org. *Not the Hydroplate Theory: But it was great to see John Knox and our fellow workers at the Babylon Bee's “straight” news site Not the Bee cite Walt Brown in a story about unrelated water possibly trapped within the earth's mantle. While those waters, (if they exist) are not necessarily related to Walt Brown's Hydroplate Theory we welcome the boys at the Bee to link to Walt as often as they can! *Can I Get a Witness? Since none of us were there at the time of the flood, (except Jesus Christ), we must turn to His Word first in analyzing flood models, and everything else in life!

Episode 28:  In this episode, Timalyn discusses the IRC 662 Accuracy-Related Penalty.  She'll explain what it is, how it can be issued against you and how to avoid it.  She'll use the example of a live case involving Beyoncé Knowles-Carter.  Timalyn begins by explaining how a case is in the US Tax Court, part of the Taxpayer Privacy Act no longer applies.  This is why she's able to find public information about the case involving Beyoncé. What is the Accuracy-Related Penalty? This penalty applies if you underpay the tax required to be shown on your return.   Individuals have 2 common accuracy-related penalties. The first is negligence or disregard of the rules or regulations.  The second is a substantial understatement of income tax.  Timalyn explains that negligence is when someone doesn't make a reasonable attempt to follow the tax laws, when preparing a tax return.  Disregard means someone carelessly, recklessly or intentionally ignore the tax rules or regulations. Examples of Negligence Not keeping records to prove you qualify for specific credits and/or deductions is a simple example.  For instance, if you are claiming a child on your return, you need to be able to prove the child exists and that you have the right to claim him/her. Another example would be not claiming income shown in an information return, such as on a W-2 or 1099.  Finally, not checking the accuracy of a deduction or credit; especially when it seems too good to be true. Examples of a Substantial Understatement of Income Tax An individual can be hit with this penalty if he/she understates the tax liability by 10% of the tax required to be shown on the tax return or $5,000 (whichever is greater).  A business owner might claim a deduction based on Section 199a Qualified Business Income Deduction.  The penalty would apply if income is understated by 5% of the tax required to be shown or $5,000 (whichever is greater).  How to Avoid the Accuracy-Related Penalty ·      Don't claim a credit or deduction for which you don't actually qualify. ·      Claim all required income when completing your tax return. Timalyn reminds you that the IRS may be slow, but they're not stupid.  They will eventually find out and assess various penalties.  In previous episodes, Timalyn has discussed the Failure to File Penalty (which can be up to 25%).  If you are facing an Accuracy-Related Penalty, it can be up to 20% of the portion of the underpayment due to negligence or disregard.  It's also 20%, when a substantial understatement is made.  This means a penalty of 20% of the amount you understated.  You'll also be assessed the interest related to these issues.  Can I Get the Accuracy-Related Penalty Removed or Reduced? Timalyn explains that it might be possible, but listen to her episode on First-Time Penalty Abatement.  You have the burden of proof as to why the penalty should be removed or reduced.  You'll have to show that you acted in good faith and can show a reasonable cause as to why it happened.  Timalyn explained Removing Penalties for Reasonable Cause, in Episode 12. If you want to book a consultation to discuss your specific situation, you can schedule an appointment at https://bookingbowens.as.me/schedule.php.  This is on the website for Bowens Tax Solutions.  Avoiding the Penalty by Substantiating As Timalyn stated earlier, it may be possible to avoid the Accuracy-Related Penalty, but you have to be able to prove why it shouldn't apply.  You need to report everything required, and to be able to explain why something as omitted from the return, or isn't actually required.  Beyoncé Knowles-Carter vs. US Tax Court According to public information, for the tax year 2018, her tax return showed a deficiency of $805,850.  Per the Internal Revenue Code Section 662a, she was accessed an accuracy-related penalty of $161,170.  In 2019, another deficiency of almost $1.5 million.  Per the Internal Revenue Code Section 662a, she was accessed an accuracy-related penalty of $288,549.  Now, as Timalyn explained in Episode 26, there is a IRS Collection Due Process.  You also have the right to appeal an IRS decision, which she covered in Episode 27.  Beyoncé deducted $761,455 on her Schedule C7.  The IRS disallowed that deduction.  She and her advisors will have to prove the deduction was ordinary and necessary.  They will also have to substantiate the deduction by showing the expense was actually paid.  Timalyn advises you should always keep receipts, because your bank statements may not give the full picture.    Please consider sharing this episode with your friends and family.  There are many people dealing with tax issues, and you may not know about it.  This information might be helpful to someone who really needs it.  After all, back taxes shouldn't ruin your life. As we conclude Episode 28, we encourage you to connect with Timalyn on social media. You'll be able to subscribe to this podcast on Spotify, Apple Podcasts, Google Podcasts, and many other podcast platforms.    Remember, Timalyn Bowens is America's Favorite EA and she's here to fill the tax literacy gap, one taxpayer at a time.  Thanks for listening to today's episode. For more information about tax relief options, visit https://www.Bowenstaxsolutions.com/ . If you have any feedback, or suggestions for an upcoming episode topic, please submit them here:  https://www.americasfavoriteea.com/contact.   Disclaimer:  This podcast is for informational and educational purposes only.  It provides a framework and possible solutions for solving your tax problems, but it is not legally binding.  Please consult your tax professional regarding your specific tax situation.

April 30th, 2023 | John 5:30-47 | Watch and Listen today! The post Can I Get a Witness? appeared first on Christ Point Church.

היכן שיש יצירה במשותף, ישנם חיים וישנה מולדת. אשר על כן נייחד לילה זה - 16 באפריל - לציון 59 שנים תמימות לצאתו לאור של תקליטם הראשון של חברי הרולינג סטוֹנז. למען אחדות וקירוב הלבבות לא נחשה. לאור ולמרות ההתפתחויות המדאיגות בממלכה המאוחדת שהתרחשו במשך השנים בתחום פרשנות הבּלוז והאר אנד בּי, הרי יש להודות כי הכוונות היו טובות ונכונות. ומתוך שטף הגל המוזיקלי החדש בבּריטניה - נודה בשנית - יצאו גם כמה דברים טובים. אחד מאלו הוא התקליט הראשון של החברים שלהלן. הסטוֹנז היו קיימים כבר שנתיים ימים ועודם נאמנים לשורשיהם המוזיקליים ולאהבות הנעורים. מתוך 12 הניגונים שבו, רק שלושה רשומים כ"מקוריים", וכל השאר בחירות משובחות ממיטב להיטי הימים ההם בשטח הרית'ם אנד בּלוז. תקליט נשכח ברבות השנים לנוכח התמדתם של החברים, ריבוי ההקלטות והדרכים הנפתלות שבאו אחר כך.התקליט יצא בגרסה ראשונה ללא שם על העטיפה. רק תמונת הלהקה ושם חברת התקליטים שאחראית לכך. מאחור היה כתוב 'רולינג סטונז', והשם דבק גם בתקליט. 16 באפריל 1964.  שירים:1. Route 66 2. I Just Want To Make Love To You 3. Honest I Do 4. I Need You Baby 5. Now I've Got a Witness (Like Uncle Phil and Uncle Gene) 6. Little By Little7. I'm a King Bee 8. Carol 9. Can I Get a Witness 10. You Can Make It If You Try 11. Walking The Dog 12. Not Fade Away [US Edition]13. Tell Me (You're Coming Back)Bonus Track:14. Catfish [The Catfish Bootleg]

A new MP3 sermon from Southern Baptist Theological Seminary is now available on SermonAudio with the following details: Title: Can I Get a Witness? Speaker: Dr. R. Albert Mohler, Jr. Broadcaster: Southern Baptist Theological Seminary Event: Chapel Service Date: 3/23/2023 Length: 32 min.

A new MP3 sermon from Southern Baptist Theological Seminary is now available on SermonAudio with the following details: Title: Can I Get a Witness? Speaker: Dr. R. Albert Mohler, Jr. Broadcaster: Southern Baptist Theological Seminary Event: Chapel Service Date: 3/23/2023 Length: 32 min.

The post Can I Get a Witness? appeared first on Southern Equip.

Can I Get a DSCR Loan on a Mixed-Use Property? Are you a real estate investor or business owner looking to expand? Book a discovery call with Beau to learn all the ways he can help you - http://bookwithbeau.com/ Hey Beau, I'm looking at a property that has office/retail on the bottom and residential on top. I have great credit but I am self-employed and can't go to a bank. Are DSCR loans an option for this property? Thanks, Rolanda If you'd like to meet with Beau to talk financing, book a call here ( http://bookwithbeau.com/ )

Hey there, fellow travelers! Alex, Pam, and Jess here, also known as the travel hacking moms. :) Today, we want to talk to you about our favorite points and the many cards we have that help us earn even more of these points. If you follow us on Instagram @travelhackingmom or read our blog, then you already know that our go-to points are Chase Ultimate Rewards points. Not only do they offer fantastic travel partners to transfer your points to, but there are two best-ever offers on two of our favorite Chase cards that are ending soon. So this is an urgent episode! If you are on the fence about Travel Hacking, this is your chance! It's never been easier to earn points.  Let's dive a little bit deeper into these offers on the Chase Ink Business Unlimited and Ink Cash. Not only have the welcome offers increased, but the minimum spend has decreased, which is a rare occurrence. So, if you're looking to maximize your travel rewards, now is the time to take advantage of these offers. The eleveated offers on these cards is ending March 21, 2023 at 9 am ET.  Again, we love Chase Ultimate Rewards points. Firstly, they are easy to earn. There are so many cards that earn these points, which makes it easy to accumulate them quickly. Secondly, you can combine your Chase Ultimate Rewards points with anyone else who lives in your household and has a card that earns these points. This makes it convenient for families to pool their points together and book trips. Plus, Chase is the only bank that transfers to Hyatt, which is a hotel brand that we are obsessed with!  Being able to transfer points from Chase to Hyatt makes them extremely valuable for us. If you have listened to our recent episodes, you know that we have stayed in some once-in-a-lifetime hotels and resorts thanks to Hyatt!  Hit play to learn more!  We hope this has been helpful and has inspired you to take advantage of these fantastic rewards. Happy travels! Links:  Free Gifts and Resources To Start Your Travel Hacking Journey: Free Webinar: How to Start Traveling for Nearly Free Best Current Credit Card Offers: Best Rewards Card Offers | Travel Hacking Mom Award Travel Academy: Award Travel Academy Our Website: https://travelhackingmom.com Connect With Us: Newsletter signup: https://travelhackingmom.com/newsletter Instagram: Alex + Pam + Jess | Points & Miles (@travelhackingmom) TikTok: travelhackingmom's Creator Profile Facebook group: Travel Hacking Mom Group | Facebook Links For This Episode:  Ink Business Cash Affiliate Link: Travel Hacking Mom | Card Offer Ink Business Unlimited Affiliate Link: Travel Hacking Mom | Card Offer Ultimate Guide to Ultimate Rewards: https://travelhackingmom.ck.page/ultimateguide Can I Get A Business Credit Card?: Can I Get a Business Credit Card? - Travel Hacking Mom How to Combine Ultimate Rewards: How to Combine Ultimate Reward Points - Travel Hacking Mom Transfer Partner Cheat Sheet: travelhackingmom.ck.page/cheatsheet How to Transfer Chase Ultimate Rewards: How to Transfer Chase Ultimate Rewards Episode Minute By Minute: 0:48 Card offer that are ending soon 1:28 Did you catch this inside joke? 3:01 Why earning Chase points are so easy to earn 6:44 How to open a business a card even if you don't have a business 8:30 The downside of cashback cards  11:33 Easy ways to get 5% cashback  16:11 A quick recap of these great cards! 18:17 How to easily combine points  23:38 Alex's #1 tip for everyone listening 26:29 Why you can earn points quickly with Hyatt 27:49 Our favorite ways to earn Chase points  35:12 How to get more of our tips to unlocking Ultimate Points 

Can I Get a Witness | Acts 1:8 | Dakota Jackon

Can I Get a Witness | Acts 1:8 | Jake Hering

Can I Get a Witness | Acts 1:8 | Stephen Jones

Can I Get a Witness | Acts 1:8 | Cody Cline

Pastor Drew Griffin preaches sermon "Can I Get a Witness?" on Independence weekend

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" ]