Podcasts about extemporaneous

Suddenly you hear your name being called upon and you are being requested to make a few remarks.  Uh oh.  No preparation, no warning and no escape.  What do you do?  Extemporaneous speaking is one of the most difficult tasks for a presenter.  It could be during an internal meeting, a session with the big bosses in attendance or at a public venue.  One moment you are nice and comfy, sitting there in your chair, taking a mild interest in the proceedings going on around you and next you are the main event. Usually the time between your name being called and you actually being handed the microphone can be counted in milliseconds.  By the time you have heaved yourself out of your chair, your brain has well and truly started to panic.  A mental whiteout is probably fully underway and your face is going red, because of all the blood pressure of the moment. Here are a couple of things we can do in this situation.  Firstly, take a realistic look at the task at hand.  The length of your talk will not be expected to be long.  If you are a seasoned speaker, you could get up and wax lyrical for an hour without a problem.  For everyone else, we are talking two to three minutes.  Now two to three minutes seems rather short, except when you are suddenly thrust in front of a sea of expectant eyes of an audience. Once upon a time, I completely forgot my next sentence and discovered the pain of prolonged time. I was asked to give a brief talk and chose to speak in Mandarin to a crowd of around a thousand people, when I was Consul General in Osaka. It was a special event for the departing Chinese Consul General Li, who was heading to New York.  Actually, I was going okay but I paused to allow some applause to die down – this turned out to be a major error on my part.  I found when you suddenly go blank, a single microphone stand doesn't provide much cover, up on a very big stage, with all the lights on you and everyone staring at you.  That 30 seconds or so of silence, where I was totally lost and unable to recall what came next, seemed like a lifetime.  So I know that two to three minutes can appear really daunting when suddenly called upon to speak. Begin by thanking whoever unceremoniously dragged you up the podium for the chance to say a few words.  Try and smile at them, through gritted teeth if you have to.  You have to say something, so take the occasion and put your comments into some form of context.  You can use the concept of time as your ally.  For example, this is where we were, this is where we are today and this is where we are going in the future.  This past, present, future construct will work for just about any occasion and any subject.  That is the type of ready to go format you need to be able to call upon when you don't have much preparation time up your sleeve. Another good construct is macro and micro.  Talk about the big picture issues related to the occasion, then talk about some of the micro issues.  This is useful for putting the event into a frame you can speak about easily.  There is always a big and small picture related to any topic.  Again, this construct travels easily across occasions and events. We can use the weather, the location, the season or the time of the day as a theme.  We can put this event into any of those contexts rather easily.  Remember, it doesn't have to be a long presentation.  We can talk about people that everyone would know, who are related to the event.  They might be present or absent.  We can make a few positive remarks about our host.  Then we can thank everyone for their attention, wish them our best and get off the stage.  Let me give you a real life example.  I was at an event for Ikebana International, sitting there calmly minding my own business, when I heard the speaker suddenly call me up to the stage to say a few words.  I had the time from standing up to walk to the podium to compose myself about what on earth I would say.  At the extreme outside that time gap was probably 10 seconds.  I was going to need to speak in Japanese, so that just added another level of excitement to the challenge.  It had been raining that day, so I miraculously dreamed up a water related analogy.  I began by thanking the host for allowing me to say a few words, although I secretly I wasn't so happy about being put on the spot.  I mentioned that the stems of the Australian cut flowers that were being exhibited that day, contained water and soil from Australia, as they had just arrived that morning by air.  I said that as a result here in Japan we had a little bit of Australia present and each of these flowers were like a floral ambassador linking the two countries together.  I then wished everyone all the best for the event and got out of the firing line pronto.  Probably not an award winning talk, but good enough for that occasion, with that amount of notice.  And that is the point.  You need to be able to say something reasonable rather than remarkable to complete your sudden duties.  So always have a couple of simple constructs up your sleeve if you are suddenly asked to speak without warning.  Don't just turn up thinking you can be an audience member and can switch off or these days start immersing yourself in your phone screen.  Imagine you were suddenly singled out for action and have your construct ready to go just in case.  You may not be called upon, but everyone around you will be impressed that you could get up there and speak without warning.  The degree of difficulty here is triple back flip with pike sort of dimension and everyone knows it. They are all thinking what a nightmare it would have been, had it been them up there in the firing line. You will be surprised how much a difference that little bit of preparation will make to coming across as professional, rather than uming and ahing your way through a total shambles of a talk.  Your personal brand will become golden for the sake of a bit of forward planning.  Now that would be worth it don't you think.

This message reflects the wisdom of a preacher who loves his Bible and knows how to apply scripture in every situation. Extemporaneous preaching allows Brother Singh to respond to testimonies immediately, providing an object lesson as led by the Holy Spirit. Quoting King David, who experienced much adversity, he said: I will bless the LORD at all times: his praise shall continually be in my mouth. My soul shall make its boast in the LORD: the humble shall hear thereof and be glad. (Psalm 34:1-2)

Webster 1828 definition of prayer--a solemn address to the supreme being consisting of adoration or an expression of our sense of God's glorious perfections, confession of our sins, supplecation for mercy and forgiveness, intercession for blessing on others and thanksgiving or an expression of gratitude to God for his Mercies and benefits. A prayer, however, may consist of a single petition and it may be Extemporaneous or written.--Arthur Pink- -the moment a spiritual babe is born into the new creation, it sends up a cry of helpless dependence toward the source of it's birth-

Merriam-Webster's Word of the Day for August 2, 2024 is: extemporaneous • ek-stem-puh-RAY-nee-us • adjective Extemporaneous describes something that is made up or done without special preparation. It is usually used to describe public speaking. // Now a seasoned professional, Abby is no longer unnerved when asked to make the occasional extemporaneous speech. See the entry > Examples: "The show [Shōgun] lovingly conveys all the details of court society: the Noh performance by torchlight, the extemporaneous verse, the calligraphic stroke falling on a blank sheet of paper." — Ryu Spaeth, Vulture, 23 Apr. 2024 Did you know? Extemporaneous, which comes from the Latin phrase ex tempore ("on the spur of the moment"), joined the English language sometime in the mid-17th century. The word impromptu, also from a Latin phrase (in promptu, meaning "in readiness") soon followed. In general usage, extemporaneous and impromptu are used interchangeably to describe off-the-cuff remarks or speeches, but this is not the case when they are used in reference to the learned art of public speaking. Teachers of speech will tell you that an extemporaneous speech is one that has been thoroughly prepared and planned but not memorized, whereas an impromptu speech is one for which absolutely no preparations have been made.

I'm typically a plain spoken word kinda gal, but today we're getting fancy. The word?  Extemporaneous. The meaning? Spoken or done without preparation. Said another way — speaking “off the cuff”.As someone who makes money teaching others how to intentionally structure a message, it would be easy to dismiss the power of this word.But the truth is— extemporaneous speaking is one of the most powerful skills you must develop as a business owner. And today's episode will get you started Here's a sneak peek at some of the topics we cover:The power of extemporaneous speaking and why you should make this a priorityWhat happens when you just focused on getting every words right and missed to see the bigger picture→ Heather spills the beans on her own cringe-worthy experienceThe challenge most business owner face when it comes to extemporaneous speaking (aka speaking of the cuff)How understanding the overall structure of your talk (vs knowing the language sequence) can make a huge difference for you as a speakerExciting changes coming up with our training program→ we know what you need to amplify your message + get the resultsEPISODE  SHOW NOTES

In today's episode, we look into the complexities of the Australian Register of Therapeutic Goods; Diana and I dissect the distinction between listed and registered medicines and underscore the indispensable role of extemporaneous compounding and the value that this type of prescription can add to your practice and your patient care. This practice of extemporaneous compounding offers custom-fit solutions for healthcare practitioners and their patients, ensuring that even when the ARTG doesn't list a product, there is still a pathway to necessary care. In this episode, we also tackle the nuanced world of personalised medicine, comparing the specificity of compounded medications to the tailored care found in herbal remedies and the profound impact of legal changes on compounding in Australia.Finally, we get down to brass tacks, discussing the rigorous detail that goes into pharmaceutical compounding—where the precision of scales and the meticulous creation of sterile products become paramount. We explore various delivery methods, such as transdermal applications and vegetable capsules, which cater to unique patient needs. By the end of our chat, practitioners will feel equipped with practical knowledge and a newfound appreciation for the convergence of modern medicine with age-old herbal wisdom. Join us as we dissect the art and science behind the healing power of compounded medications and natural remedies.About DianaDiana is a compounding pharmacist and a naturopath with a passion for integrative and personalised medicine. She is the co-founder of Natural Chemist and the senior partner in two independent community and compounding pharmacies. She has over 30 years experience as a pharmacist and 12 years as a nutritionist/naturopath.  Natural Chemist provides a dispensary service, Natural Script, which provides the unique capability to formulate bespoke liquid herbs; herbal creams including vaginal applicators; nutritional compounds including powders, suppositories, troches and capsules; and pharmaceutical compounds (for medical doctors).  Diana's clinical practice, Med Free Me, is a collaborative practice focused on safe and supervised deprescribing. She works directly with patients and also mentors other practitioners on how to help their clients reduce their reliance on prescription medicines.Connect with Dianawww.naturalscript.com.au www.naturalchemist.com.au www.medfreeme.com.au Shownotes and references are available on  Designs for Health website.Register as a Designs for Health Practitioner

Extemporaneous Emanations...audio / playlist http://feeds.feedburner.com/RadioTroubleArchives

Brother Singh delivered this timely exhortation to the saints in Mississauga and those abroad prior his departure for a week to undergo a medical procedure. Please join us in holding him up in prayer for the next few days. There are many reasons to attend church, but the primary reason is to learn to serve God correctly. This profound message needs to be heard its entirety two or three times to grasp its depth and breadth.

The Half Hour is a current events podcast designed with the intention of helping Extemporaneous speaking competitors (and other Speech and Debate members, as well as listening for the general public) understand the importance of political, social, or economical events on a domestic and international scale.45 | McCarthy is Ousted as SpeakerExtempers, you are at the right place to learn, grab some research, and improve your extemporaneous craft. In this episode, YuYu and Spencer break down Senator McCarthy's dismissal from the Speaker of the House position.For sources from this Podcast and more information, visit:https://www.oneclapspeechanddebate.com/post/the-half-hour-with-yuyu-yuan-and-spencer-travis-ep-45-mccarthy-is-ousted-as-speakerWatch and subscribe to The Half Hour episodes on YouTube here: https://www.youtube.com/channel/UCx79MVh5SZHG4m8mrPiMA1gFollow Us On Social MediaThe Half Hour:Instagram - https://instagram.com/thehalfhourextemppodcast?utm_medium=copy_linkTwitter - https://twitter.com/the_half_hourOne Clap Speech and Debate:Facebook - https://www.facebook.com/oneclappodcastInstagram - https://www.instagram.com/one_clap_podcast/YuYu Yuan:Instagram - https://www.instagram.com/yuyu.yuan927/Spencer Travis:Instagram - https://www.instagram.com/spencer_travis_/Credits and CredentialsVideo/Audio Recording: Zoom Video CommunicationsProduction Recording: OBS StudioDesign Production: Adobe ExpressHosts: YuYu Yuan, Spencer TravisProduced By: Spencer TravisEdited By: Connor McBridePublic Relations Specialist: Camila RiveraPowered By: One Clap Speech and Debate Podcast [Lyle Wiley]This podcast (or clips from this podcast) cannot be used without consent of One Clap/The Half Hour. All recordings are our own work with our own research and information put together.Get your cool One Clap Speech and Debate merchandise here: https://www.bonfire.com/store/one-clap-speech-and-debate/Support the show

The Half Hour with Spencer and YuYu is BACK!The Half Hour is a current events podcast designed with the intention of helping Extemporaneous speaking competitors (and other Speech and Debate members, as well as listening for the general public) understand the importance of political, social, or economical events on a domestic and international scale.44 | Natural Disasters on the Rise2023 has been one of the hottest recorded years in world history. Additionally, natural disaster events are becoming bigger and more costly. In this episode of The Half Hour, YuYu Yuan and Spencer Travis explore the rise of natural disasters. For sources from this Podcast and more information, visit:https://www.oneclapspeechanddebate.com/post/the-half-hour-with-yuyu-yuan-and-spencer-travis-is-back-ep-44-natural-disasters-on-the-riseWatch and subscribe to The Half Hour episodes on YouTube here: https://www.youtube.com/channel/UCx79MVh5SZHG4m8mrPiMA1gFollow Us On Social MediaThe Half Hour:Instagram - https://instagram.com/thehalfhourextemppodcast?utm_medium=copy_linkTwitter - https://twitter.com/the_half_hourOne Clap Speech and Debate:Facebook - https://www.facebook.com/oneclappodcastInstagram - https://www.instagram.com/one_clap_podcast/YuYu Yuan:Instagram - https://www.instagram.com/yuyu.yuan927/Spencer Travis:Instagram - https://www.instagram.com/spencer_travis_/Credits and CredentialsVideo/Audio Recording: Zoom Video CommunicationsProduction Recording: OBS StudioDesign Production: Adobe ExpressHosts: YuYu Yuan, Spencer TravisProduced By: Spencer TravisEdited By: Connor McBridePublic Relations Specialist: Camila RiveraPowered By: One Clap Speech and Debate Podcast [Lyle Wiley]This podcast (or clips from this podcast) cannot be used without consent of One Clap/The Half Hour. All recordings are our own work with our own research and information put together.Get your cool One Clap Speech and Debate merchandise here: https://www.bonfire.com/store/one-clap-speech-and-debate/Support the show

Every preacher needs to be able to preach without notes on some occasions.It is not a freakish skill that only some possess or a unique style that only some need to cultivate. It is something every preacher can and sometimes needs to do. In this episode, I suggest ways to cultivate the ability to preach without notes when the situation calls for it. It can be helpful to distinguish between three different modes of preaching without notes.Impromptu Preaching - Impromptu preaching involves almost no preparation.  Calls to impromptu preaching come through many parts of a pastor's life.Impromptu preaching can be strengthened, primarily through attention to the four rules of thumb. Say one thing. Play your riffs.Don't be afraid to pause. Know how you will end. Extemporaneous Preaching impromptu preaching happens with little warning; extemporaneous preaching allows for some focused time for preparation. Extemporaneous preaching involves working from an outline. Some preachers make extemporaneous preaching their usual style. Others use it for services when they do not have as much time to prepare as they might like. Whatever the occasion, these rules of thumb can guide the preparation of an excellent extemporaneous sermon:Craft a strong, clear structure for the sermon. Talk your way to the sermon. Work out the beginning and the ending of the sermon in more detail. Internalized Manuscript - Like an extemporaneous sermon, a sermon from what I will call an internalized manuscript is composed through a mixture of speaking and writing. Preaching in this style requires extensive time for preparation. It involves writing out a complete sermon manuscript, digesting it deeply, and then setting aside the manuscript to preach the sermon without notes of any kind. Digesting a manuscript is different than memorizing it word-for-word. Digestion requires internalizing a manuscript's sense, form, and key phrases and then bringing that internalized manuscript to life in speech. Craft a strong, clear, and simple structure. Write the manuscript out. Use typographical devices Memorize these marked lines. Learn the sermon by speaking the sermon. Revise as you speak. Work back and forth between big pictures and close-ups. Prepare in a tranquil, focused way right before the sermon. Preach the sermon; don't recite it. All this is fleshed out in the episode.Support the showBe sure to subscribe to this podcast. Please leave us a review, and point your friends to this podcast.You can contact me, Alan Carr, at alancarr@gmail.com. Our website is: https://preachingmatters.buzzsprout.com/The podcast is a ministry of Dr. Alan Carr and The Sermon Notebook (http://www.sermonnotebook.org)If you would like some Preaching Matters Podcast merch, you can support the show while advertising for the show.Podcast T-Shirt: https://www.etsy.com/listing/1477329809/podcast-logo-preacher-gift-sermon-notes?click_key=10bfd3485c9c310cd30c1ea506644847488583b2%3A1477329809&click_sum=c33942ee&external=1&rec_type=ss&ref=landingpage_similar_listing_top-1&frs=1Podcast Mug: https://www.etsy.com/listing/1468678138/coffee-mug-the-preaching-matters-podcast?click_key=372978b5d3b54393df102deea8e8e4a635954690%3A1468678138&click_sum=7538cce4&external=1&rec_type=ss&ref=landingpage_similar_listing_top-8&frs=1

Father Chris Walsh joined Patrick for a conversation about extemporaneous prayer. Topics included what prayer is (1:59), what Jesus teaches us about prayer (9:21), extemporaneous prayer (14:11), when to pray extemporaneously (22:04), caller: a Christian prayed with me at the store (26:52), extemporaneous prayer in private (30:42), extemporaneous prayer is essential (36:53), caller: imaginative prayer at the hospital (40:24), caller: wildflowers lead me to spontaneous prayer (43:20), cultivating wonder in prayer (45:21). 

Extemporaneous kid recording.

When I was 13, my mom got me an electric typewriter for Christmas. She was a secretary, and she taught me how to touch type, and she wanted me to have something to practice on. But unfortunately, when I opened it up, it didn't work. Write While True Episode 1: Training to Unblock Yourself Write While True Episode 3: First Drafts Write While True Episode 19: Prompt Your Morning Pages I Didn't Have a Disk Drive My New Podcast Generating Workflow Whisper (for transcribing) Audacity Audio Hijack Transcript

Hints on Extemporaneous Preaching

The Half Hour is a current events podcast designed with the intention of helping Extemporaneous speaking competitors (and other Speech and Debate members, as well as listening for the general public) understand the importance of political, social, or economical events on a domestic and international scale.43 | Republicans Turn against McCarthyThe Republican divide over the Speaker of the House raises questions about the integrity of the GOP to maintain its House control. The long debate that took 15 rounds of voting may give power to a small, yet elite group, of House Representatives. In this episode of The Half Hour, YuYu Yuan and Spencer Travis explore the impacts of Republicans turning against Kevin McCarthy.For sources from this Podcast and more information, visit:https://www.oneclapspeechanddebate.com/post/the-half-hour-with-yuyu-yuan-and-spencer-travis-ep-43-republicans-turn-against-mccarthyWatch and subscribe to The Half Hour episodes on YouTube here: https://www.youtube.com/channel/UCx79MVh5SZHG4m8mrPiMA1gFollow Us On Social MediaThe Half Hour:Instagram - https://instagram.com/thehalfhourextemppodcast?utm_medium=copy_linkTwitter - https://twitter.com/the_half_hourOne Clap Speech and Debate:Facebook - https://www.facebook.com/oneclappodcastInstagram - https://www.instagram.com/one_clap_podcast/YuYu Yuan:Instagram - https://www.instagram.com/yuyu.yuan927/Spencer Travis:Instagram - https://www.instagram.com/spencer_travis_/Credits and CredentialsVideo/Audio Recording: Zoom Video CommunicationsProduction Recording: OBS StudioDesign Production: Adobe ExpressHosts: YuYu Yuan, Spencer TravisProduced By: Spencer TravisEdited By: Connor McBridePublic Relations Specialist: Camila RiveraPowered By: One Clap Speech and Debate Podcast [Lyle Wiley]This podcast (or clips from this podcast) cannot be used without consent of One Clap/The Half Hour. All recordings are our own work with our own research and information put together.Get your cool One Clap Speech and Debate merchandise here: https://www.bonfire.com/store/one-clap-speech-and-debate/The One Clap February 2023 Newsletter:https://drive.google.com/file/d/1lR5TpH5bmHq00suyG5Q0veWBTRWBc3Bj/view?usp=sharing Support the show

Extemporaneous message on the baptism of the Holy Spirit from our 2023 Week of Prayer!

The Half Hour is a current events podcast designed with the intention of helping Extemporaneous speaking competitors (and other Speech and Debate members, as well as listening for the general public) understand the importance of political, social, or economical events on a domestic and international scale.42 | Musk Buys TwitterElon Musk's purchase of Twitter comes after controversy surrounding the purchase since April. Once the deal was made in October, business decisions have led to employee cuts and resignations. Now, Musk faces possible Chapter 11 bankruptcy for Twitter. In this episode, YuYu and Spencer work to understand the importance of Elon Musk's purchase of Twitter.For sources from this Podcast and more information, visit:https://www.oneclapspeechanddebate.com/post/the-half-hour-with-yuyu-yuan-and-spencer-travis-ep-42-musk-buys-twitterWatch and subscribe to The Half Hour episodes on YouTube here: https://www.youtube.com/channel/UCx79MVh5SZHG4m8mrPiMA1gFollow Us On Social MediaThe Half Hour:Instagram - https://instagram.com/thehalfhourextemppodcast?utm_medium=copy_linkTwitter - https://twitter.com/the_half_hourOne Clap Speech and Debate:Facebook - https://www.facebook.com/oneclappodcastInstagram - https://www.instagram.com/one_clap_podcast/YuYu Yuan:Instagram - https://www.instagram.com/yuyu.yuan927/Spencer Travis:Instagram - https://www.instagram.com/spencer_travis_/Credits and CredentialsVideo/Audio Recording: Zoom Video CommunicationsProduction Recording: OBS StudioDesign Production: Adobe ExpressHosts: YuYu Yuan, Spencer TravisProduced By: Spencer TravisEdited By: Connor McBridePublic Relations Specialist: Camila RiveraPowered By: One Clap Speech and Debate Podcast [Lyle Wiley]This podcast (or clips from this podcast) cannot be used without consent of One Clap/The Half Hour. All recordings are our own work with our own research and information put together.Get your cool One Clap Speech and Debate merchandise here: https://www.bonfire.com/store/one-clap-speech-and-debate/The One Clap December 2022 Newsletter:https://drive.google.com/file/d/1Gx93CwohkSzCOAN6EZpwSnNgyJHHOq_5/view?usp=sharingSupport the show

The Half Hour is a current events podcast designed with the intention of helping Extemporaneous speaking competitors (and other Speech and Debate members, as well as listening for the general public) understand the importance of political, social, or economical events on a domestic and international scale.41 | New Changes in BritainBritain has been struggling to keep power. After Boris Johnson's resignation, the prime minister has changed twice. The Queen's death has promoted uncertainty with the monarchy again. In this episode, YuYu and Spencer look to understand the state of Britain after its new changes.For sources from this Podcast and more information, visit:https://www.oneclapspeechanddebate.com/post/the-half-hour-with-yuyu-yuan-and-spencer-travis-ep-41-new-changes-in-britainWatch and subscribe to The Half Hour episodes on YouTube here: https://www.youtube.com/channel/UCx79MVh5SZHG4m8mrPiMA1gFollow Us On Social MediaThe Half Hour:Instagram - https://instagram.com/thehalfhourextemppodcast?utm_medium=copy_linkTwitter - https://twitter.com/the_half_hourOne Clap Speech and Debate:Facebook - https://www.facebook.com/oneclappodcastInstagram - https://www.instagram.com/one_clap_podcast/YuYu Yuan:Instagram - https://www.instagram.com/yuyu.yuan927/Spencer Travis:Instagram - https://www.instagram.com/spencer_travis_/Credits and CredentialsVideo/Audio Recording: Zoom Video CommunicationsProduction Recording: OBS StudioDesign Production: Adobe ExpressHosts: YuYu Yuan, Spencer TravisProduced By: Spencer TravisEdited By: Connor McBridePublic Relations Specialist: Camila RiveraPowered By: One Clap Speech and Debate Podcast [Lyle Wiley]This podcast (or clips from this podcast) cannot be used without consent of One Clap/The Half Hour. All recordings are our own work with our own research and information put together.Get your cool One Clap Speech and Debate merchandise here: https://www.bonfire.com/store/one-clap-speech-and-debate/The One Clap November Newsletter:https://drive.google.com/file/d/1FDruKXV8_jxc49NiCbz-rssiQJz9CwvU/view?usp=sharingSupport the show

In this episode, we will discuss extemporaneous preaching, or preaching without notes. While the thought of preaching with no notes is frightening to many preachers, there are ways we can hone our skills in this area. The challenge I want to lay before you today is to pray about the matter and ask the Lord to help you in the process of learning to preach without notes. Among other issues, this episode contains 6 tips that will help you be a better extemporaneous preacher.Know your content.Follow your outlines.Embrace the idea that you will forget some things.Embrace the mistakes you will make.Enjoy the freedom of the sermon flow.Stay in tune with the congregation.give the episode a listen, then reach out to me to let me know what you think about it. If you decide to give extemporaneous preaching a try, let me know. I would love to hear how it goes for you. Reach out to me at alancarr@gmail.com.Support the showBe sure to subscribe to this podcast. Please leave us a review, and point your friends to this podcast. You can contact me, Alan Carr, at alancarr@gmail.com. Our website is: https://preachingmatters.buzzsprout.com/The podcast is a ministry of Dr. Alan Carr and The Sermon Notebook (http://www.sermonnotebook.org)

The Half Hour is a current events podcast designed with the intention of helping Extemporaneous speaking competitors (and other Speech and Debate members, as well as listening for the general public) understand the importance of political, social, or economical events on a domestic and international scale.40 | Iranian ProtestsCitizens of Iran are pushing for change within the regime. The problem: There is a real uncertainty about whether the regime can change. Some speculate that the regime will win and things may stay the same. Others argue that theory is not applicable to practice. Yet, if things do not turn out well, Iran may be at the verge of a complete disaster. In this episode, YuYu and Spencer work through the current status of the Iranian protests.For sources from this Podcast and more information, visit:https://www.oneclapspeechanddebate.com/post/the-half-hour-with-yuyu-yuan-and-spencer-travis-ep-40-iranian-protestsWatch and subscribe to The Half Hour episodes on YouTube here: https://www.youtube.com/channel/UCx79MVh5SZHG4m8mrPiMA1gFollow Us On Social MediaThe Half Hour:Instagram - https://instagram.com/thehalfhourextemppodcast?utm_medium=copy_linkTwitter - https://twitter.com/the_half_hourOne Clap Speech and Debate:Facebook - https://www.facebook.com/oneclappodcastInstagram - https://www.instagram.com/one_clap_podcast/YuYu Yuan:Instagram - https://www.instagram.com/yuyu.yuan927/Spencer Travis:Instagram - https://www.instagram.com/spencer_travis_/-----Credits and Credentials-----Video/Audio Recording: Zoom Video CommunicationsProduction Recording: OBS StudioDesign Production: Adobe ExpressHosts: YuYu Yuan, Spencer TravisProduced By: Spencer TravisEdited By: Joshua MitchellPublic Relations Specialist: Camila RiveraPowered By: One Clap Speech and Debate Podcast [Lyle Wiley]Intro Song: Ghost Dub by Lyle WileyOutro Song: Beach Walk by Unicorn HeadsThis podcast (or clips from this podcast) cannot be used without consent of One Clap/The Half Hour. All recordings are our own work with our own research and information put together.Get your cool One Clap Speech and Debate merchandise here: https://www.bonfire.com/store/one-clap-speech-and-debate/The One Clap November Newsletter:https://drive.google.com/file/d/1FDruKXV8_jxc49NiCbz-rssiQJz9CwvU/view?usp=sharingSupport the show

Megan Clark is a 2022 National Proficiency Finalist in Agricultural Communications.  She is also competing at the National Convention in extemporaneous speaking.  Her pursuit of a National Proficiency Award will be the final act in her illustrious career as part of the CAC Media Group in Iowa, and she is currently pursuing a degree in agricultural communications at Iowa State University. Megan first appeared on the Off-Farm Income Podcast in 2021 at the recommendation of her advisor, and she was certainly a polished speaker then.  She has never slowed down and continues to advance her speaking and communications ability.

The Half Hour is a current events podcast designed with the intention of helping Extemporaneous speaking competitors (and other Speech and Debate members, as well as listening for the general public) understand the importance of political, social, or economical events on a domestic and international scale.39 | Monkeypox OutbreakThe outbreak of monkeypox has started to make some countries concerned. The contamination across countries has led to the first known instances of the disease outside of African nations. Is this the time to become worried for another pandemic? In this episode, YuYu and Spencer look at the outbreak of monkeypox.For sources from this Podcast and more information, visit:https://www.oneclapspeechanddebate.com/post/the-half-hour-with-yuyu-yuan-and-spencer-travis-ep-39-monkeypox-outbreakWatch and subscribe to The Half Hour episodes on YouTube here: https://www.youtube.com/channel/UCx79MVh5SZHG4m8mrPiMA1gFollow Us On Social MediaThe Half Hour:Instagram - https://instagram.com/thehalfhourextemppodcast?utm_medium=copy_linkTwitter - https://twitter.com/the_half_hourOne Clap Speech and Debate:Facebook - https://www.facebook.com/oneclappodcastInstagram - https://www.instagram.com/one_clap_podcast/YuYu Yuan:Instagram - https://www.instagram.com/yuyu.yuan927/Spencer Travis:Instagram - https://www.instagram.com/spencer_travis_/-----Credits and Credentials-----Video/Audio Recording: Zoom Video CommunicationsProduction Recording: OBS StudioDesign Production: Adobe ExpressHosts: YuYu Yuan, Spencer TravisProduced By: Spencer TravisEdited By: Joshua MitchellPublic Relations Specialist: Camila RiveraPowered By: One Clap Speech and Debate Podcast [Lyle Wiley]Intro Song: Ghost Dub by Lyle WileyOutro Song: Beach Walk by Unicorn HeadsThis podcast (or clips from this podcast) cannot be used without consent of One Clap/The Half Hour. All recordings are our own work with our own research and information put together.Get your cool One Clap Speech and Debate merchandise here: https://www.bonfire.com/store/one-clap-speech-and-debate/The One Clap October Newsletter:https://drive.google.com/file/d/1OsZuY6nEpXUqydXfpIIoICy3STuZRbYl/view?usp=sharingSupport the show

The Half Hour is a current events podcast designed with the intention of helping Extemporaneous speaking competitors (and other Speech and Debate members, as well as listening for the general public) understand the importance of political, social, or economical events on a domestic and international scale.38 | Prep for MidtermsPrimaries are completed across the U.S. Now, the question turns to which party will gain control of the House and the Senate? In this podcast, YuYu and Spencer explore what is needed to know as the U.S. prepares itself for its midterm elections.For sources from this Podcast and more information, visit:https://www.oneclapspeechanddebate.com/post/the-half-hour-with-yuyu-yuan-and-spencer-travis-ep-38-prep-for-midtermsWatch and subscribe to The Half Hour episodes on YouTube here: https://www.youtube.com/channel/UCx79MVh5SZHG4m8mrPiMA1gFollow Us On Social MediaThe Half Hour:Instagram - https://instagram.com/thehalfhourextemppodcast?utm_medium=copy_linkTwitter - https://twitter.com/the_half_hourOne Clap Speech and Debate:Facebook - https://www.facebook.com/oneclappodcastInstagram - https://www.instagram.com/one_clap_podcast/YuYu Yuan:Instagram - https://www.instagram.com/yuyu.yuan927/Spencer Travis:Instagram - https://www.instagram.com/spencer_travis_/-----Credits and Credentials-----Video/Audio Recording: Zoom Video CommunicationsProduction Recording: OBS StudioDesign Production: Adobe ExpressHosts: YuYu Yuan, Spencer TravisProduced By: Spencer TravisEdited By: Joshua MitchellPublic Relations Specialist: Camila RiveraPowered By: One Clap Speech and Debate Podcast [Lyle Wiley]Intro Song: Ghost Dub by Lyle WileyOutro Song: Beach Walk by Unicorn HeadsThis podcast (or clips from this podcast) cannot be used without consent of One Clap/The Half Hour. All recordings are our own work with our own research and information put together.Get your cool One Clap Speech and Debate merchandise here: https://www.bonfire.com/store/one-clap-speech-and-debate/The One Clap August Newsletter:https://drive.google.com/file/d/1f1cWMR5-FBgPnH4Mx4qX778qj7gKldrh/view?usp=sharingSupport the show

Episode one hundred and fifty-three of A History of Rock Music in Five Hundred Songs looks at “Heroes and Villains” by the Beach Boys, and the collapse of the Smile album. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a sixteen-minute bonus episode available, on "I Had Too Much to Dream Last Night" by the Electric Prunes. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode. As well as the books I referred to in all the Beach Boys episodes, listed below, I used Domenic Priore's book Smile: The Story of Brian Wilson's Lost Masterpiece and Richard Henderson's 33 1/3 book on Van Dyke Parks' Song Cycle. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson by Peter Ames Carlin is the best biography of Wilson. I have also referred to Brian Wilson's autobiography, I Am Brian Wilson, and to Mike Love's, Good Vibrations: My Life as a Beach Boy. As a good starting point for the Beach Boys' music in general, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it, including the single version of “Heroes and Villains”. The box set The Smile Sessions  contains an attempt to create a finished album from the unfinished sessions, plus several CDs of outtakes and session material. Transcript [Opening -- "intro to the album" studio chatter into "Our Prayer"] Before I start, I'd just like to note that this episode contains some discussion of mental illness, including historical negative attitudes towards it, so you may want to check the transcript or skip this one if that might be upsetting. In November and December 1966, the filmmaker David Oppenheim and the conductor and composer Leonard Bernstein collaborated on a TV film called "Inside Pop: The Rock Revolution".  The film was an early attempt at some of the kinds of things this podcast is doing, looking at how music and social events interact and evolve, though it was dealing with its present rather than the past. The film tried to cast as wide a net as possible in its fifty-one minutes. It looked at two bands from Manchester -- the Hollies and Herman's Hermits -- and how the people identified as their leaders, "Herman" (or Peter Noone) and Graham Nash, differed on the issue of preventing war: [Excerpt: Inside Pop, the Rock Revolution] And it made a star of East Coast teenage singer-songwriter Janis Ian with her song about interracial relationships, "Society's Child": [Excerpt: Janis Ian, "Society's Child"] And Bernstein spends a significant time, as one would expect, analysing the music of the Beatles and to a lesser extent the Stones, though they don't appear in the show. Bernstein does a lot to legitimise the music just by taking it seriously as a subject for analysis, at a time when most wouldn't: [Excerpt: Leonard Bernstein talking about "She Said She Said"] You can't see it, obviously, but in the clip that's from, as the Beatles recording is playing, Bernstein is conducting along with the music, as he would a symphony orchestra, showing where the beats are falling. But of course, given that this was filmed in the last two months of 1966, the vast majority of the episode is taken up with musicians from the centre of the music world at that time, LA. The film starts with Bernstein interviewing Tandyn Almer,  a jazz-influenced songwriter who had recently written the big hit "Along Comes Mary" for The Association: [Excerpt: Inside Pop: The Rock Revolution] It featured interviews with Roger McGuinn, and with the protestors at the Sunset Strip riots which were happening contemporaneously with the filming: [Excerpt: Inside Pop: The Rock Revolution] Along with Frank Zappa's rather acerbic assessment of the potential of the youth revolutionaries: [Excerpt: Inside Pop: The Rock Revolution] And ended (other than a brief post-commercial performance over the credits by the Hollies) with a performance by Tim Buckley, whose debut album, as we heard in the last episode, had featured Van Dyke Parks and future members of the Mothers of Invention and Buffalo Springfield: [Excerpt: Inside Pop: The Rock Revolution] But for many people the highlight of the film was the performance that came right before Buckley's, film of Brian Wilson playing a new song from the album he was working on. One thing I should note -- many sources say that the voiceover here is Bernstein. My understanding is that Bernstein wrote and narrated the parts of the film he was himself in, and Oppenheim did all the other voiceover writing and narration, but that Oppenheim's voice is similar enough to Bernstein's that people got confused about this: [Excerpt: Inside Pop: The Rock Revolution] That particular piece of footage was filmed in December 1966, but it wasn't broadcast until April the twenty-fifth, 1967, an eternity in mid-sixties popular music. When it was broadcast, that album still hadn't come out. Precisely one week later, the Beach Boys' publicist Derek Taylor announced that it never would: [Excerpt: Brian Wilson, "Surf's Up"] One name who has showed up in a handful of episodes recently, but who we've not talked that much about, is Van Dyke Parks. And in a story with many, many, remarkable figures, Van Dyke Parks may be one of the most remarkable of all. Long before he did anything that impinges on the story of rock music, Parks had lived the kind of life that would be considered unbelievable were it to be told as fiction. Parks came from a family that mixed musical skill, political progressiveness, and achievement. His mother was a scholar of Hebrew, while his father was a neurologist, the first doctor to admit Black patients to a white Southern hospital, and had paid his way through college leading a dance band. Parks' father was also, according to the 33 1/3 book on Song Cycle, a member of "John Philip Sousa's Sixty Silver Trumpets", but literally every reference I can find to Sousa leading a band of that name goes back to that book, so I've no idea what he was actually a member of, but we can presume he was a reasonable musician. Young Van Dyke started playing the clarinet at four, and was also a singer from a very early age, as well as playing several other instruments. He went to the American Boychoir School in Princeton, to study singing, and while there he sang with Toscaninni, Thomas Beecham, and other immensely important conductors of the era. He also had a very special accompanist for one Christmas carolling session. The choir school was based in Princeton, and one of the doors he knocked on while carolling was that of Princeton's most famous resident, Albert Einstein, who heard the young boy singing "Silent Night", and came out with his violin and played along. Young Van Dyke was only interested in music, but he was also paying the bills for his music tuition himself -- he had a job. He was a TV star. From the age of ten, he started getting roles in TV shows -- he played the youngest son in the 1953 sitcom Bonino, about an opera singer, which flopped because it aired opposite the extremely popular Jackie Gleason Show. He would later also appear in that show, as one of several child actors who played the character of Little Tommy Manicotti, and he made a number of other TV appearances, as well as having a small role in Grace Kelly's last film, The Swan, with Alec Guinness and Louis Jourdain. But he never liked acting, and just did it to pay for his education. He gave it up when he moved on to the Carnegie Institute, where he majored in composition and performance. But then in his second year, his big brother Carson asked him to drop out and move to California. Carson Parks had been part of the folk scene in California for a few years at this point. He and a friend had formed a duo called the Steeltown Two, but then both of them had joined the folk group the Easy Riders, a group led by Terry Gilkyson. Before Carson Parks joined, the Easy Riders had had a big hit with their version of "Marianne", a calypso originally by the great calypsonian Roaring Lion: [Excerpt: The Easy Riders, "Marianne"] They hadn't had many other hits, but their songs became hits for other people -- Gilkyson wrote several big hits for Frankie Laine, and the Easy Riders were the backing vocalists on Dean Martin's recording of a song they wrote, "Memories are Made of This": [Excerpt: Dean Martin and the Easy Riders, "Memories are Made of This"] Carson Parks hadn't been in the group at that point -- he only joined after they'd stopped having success -- and eventually the group had split up. He wanted to revive his old duo, the Steeltown Two, and persuaded his family to let his little brother Van Dyke drop out of university and move to California to be the other half of the duo. He wanted Van Dyke to play guitar, while he played banjo. Van Dyke had never actually played guitar before, but as Carson Parks later said "in 90 days, he knew more than most folks know after many years!" Van Dyke moved into an apartment adjoining his brother's, owned by Norm Botnick, who had until recently been the principal viola player in a film studio orchestra, before the film studios all simultaneously dumped their in-house orchestras in the late fifties, so was a more understanding landlord than most when it came to the lifestyles of musicians. Botnick's sons, Doug and Bruce, later went into sound engineering -- we've already encountered Bruce Botnick in the episode on the Doors, and he will be coming up again in the future. The new Steeltown Two didn't make any records, but they developed a bit of a following in the coffeehouses, and they also got a fair bit of session work, mostly through Terry Gilkyson, who was by that point writing songs for Disney and would hire them to play on sessions for his songs. And it was Gilkyson who both brought Van Dyke Parks the worst news of his life to that point, and in doing so also had him make his first major mark on music. Gilkyson was the one who informed Van Dyke that another of his brothers, Benjamin Riley Parks, had died in what was apparently a car accident. I say it was apparently an accident because Benjamin Riley Parks was at the time working for the US State Department, and there is apparently also some evidence that he was assassinated in a Cold War plot. Gilkyson also knew that neither Van Dyke nor Carson Parks had much money, so in order to help them afford black suits and plane tickets to and from the funeral, Gilkyson hired Van Dyke to write the arrangement for a song he had written for an upcoming Disney film: [Excerpt: Jungle Book soundtrack, "The Bare Necessities"] The Steeltown Two continued performing, and soon became known as the Steeltown Three, with the addition of a singer named Pat Peyton. The Steeltown Three recorded two singles, "Rock Mountain", under that group name: [Excerpt: The Steeltown Three, "Rock Mountain"] And a version of "San Francisco Bay" under the name The South Coasters, which I've been unable to track down. Then the three of them, with the help of Terry Gilkyson, formed a larger group in the style of the New Christy Minstrels -- the Greenwood County Singers. Indeed, Carson Parks would later claim that  Gilkyson had had the idea first -- that he'd mentioned that he'd wanted to put together a group like that to Randy Sparks, and Sparks had taken the idea and done it first. The Greenwood County Singers had two minor hot one hundred hits, only one of them while Van Dyke was in the band -- "The New 'Frankie and Johnny' Song", a rewrite by Bob Gibson and Shel Silverstein of the old traditional song "Frankie and Johnny": [Excerpt: The Greenwood County Singers, "The New Frankie and Johnny Song"] They also recorded several albums together, which gave Van Dyke the opportunity to practice his arrangement skills, as on this version of  "Vera Cruz" which he arranged: [Excerpt: The Greenwood County Singers, "Vera Cruz"] Some time before their last album, in 1965, Van Dyke left the Greenwood County Singers, and was replaced by Rick Jarrard, who we'll also be hearing more about in future episodes. After that album, the group split up, but Carson Parks would go on to write two big hits in the next few years. The first and biggest was a song he originally wrote for a side project. His future wife Gaile Foote was also a Greenwood County Singer, and the two of them thought they might become folk's answer to Sonny and Cher or Nino Tempo and April Stevens: [Excerpt: Carson and Gaile, "Somethin' Stupid"] That obviously became a standard after it was covered by Frank and Nancy Sinatra. Carson Parks also wrote "Cab Driver", which in 1968 became the last top thirty hit for the Mills Brothers, the 1930s vocal group we talked about way way back in episode six: [Excerpt: The Mills Brothers, "Cab Driver"] Meanwhile Van Dyke Parks was becoming part of the Sunset Strip rock and roll world. Now, until we get to 1967, Parks has something of a tangled timeline. He worked with almost every band around LA in a short period, often working with multiple people simultaneously, and nobody was very interested in keeping detailed notes. So I'm going to tell this as a linear story, but be aware it's very much not -- things I say in five minutes might happen after, or in the same week as, things I say in half an hour. At some point in either 1965 or 1966 he joined the Mothers of Invention for a brief while. Nobody is entirely sure when this was, and whether it was before or after their first album. Some say it was in late 1965, others in August 1966, and even the kind of fans who put together detailed timelines are none the wiser, because no recordings have so far surfaced of Parks with the band. Either is plausible, and the Mothers went through a variety of keyboard players at this time -- Zappa had turned to his jazz friend Don Preston, but found Preston was too much of a jazzer and told him to come back when he could play "Louie Louie" convincingly, asked Mac Rebennack to be in the band but sacked him pretty much straight away for drug use, and eventually turned to Preston again once Preston had learned to rock and roll. Some time in that period, Van Dyke Parks was a Mother, playing electric harpsichord. He may even have had more than one stint in the group -- Zappa said "Van Dyke Parks played electric harpsichord in and out." It seems likely, though, that it was in summer of 1966, because in an interview published in Teen Beat Magazine in December 66, but presumably conducted a few months prior, Zappa was asked to describe the band members in one word each and replied: "Ray—Mahogany Roy—Asbestos Jim—Mucilage Del—Acetate Van Dyke—Pinocchio Billy—Boom I don't know about the rest of the group—I don't even know about these guys." Sources differ as to why Parks didn't remain in the band -- Parks has said that he quit after a short time because he didn't like being shouted at, while Zappa said "Van Dyke was not a reliable player. He didn't make it to rehearsal on time and things like that." Both may be true of course, though I've not heard anyone else ever criticise Parks for his reliability. But then also Zappa had much more disciplinarian standards than most rock band leaders. It's possibly either through Zappa that he met Tom Wilson, or through Tom Wilson that he met Frank Zappa, but either way Parks, like the Mothers of Invention, was signed to MGM records in 1966, where he released two solo singles co-produced by Wilson and an otherwise obscure figure named Tim Alvorado. The first was "Number Nine", which we heard last week, backed with "Do What You Wanta": [Excerpt: Van Dyke Parks, "Do What You Wanta"] At least one source I've read says that the lyrics to "Do What You Wanta" were written not by Parks but by his friend Danny Hutton, but it's credited as a Parks solo composition on the label. It was after that that the Van Dyke Parks band -- or as they were sometimes billed, just The Van Dyke Parks formed, as we discussed last episode, based around Parks, Steve Stills, and Steve Young, and they performed a handful of shows with bass player Bobby Rae and drummer Walt Sparman, playing a mix of original material, primarily Parks' songs, and covers of things like "Dancing in the Street". The one contemporaneous review of a live show I've seen talks about  the girls in the audience screaming and how "When rhythm guitarist Steve Stillman imitated the Barry McGuire emotional scene, they almost went wiggy". But The Van Dyke Parks soon split up, and Parks the individual recorded his second single, "Come to the Sunshine": [Excerpt: Van Dyke Parks, "Come to the Sunshine"] Around the time he left the Greenwood County Singers, Van Dyke Parks also met Brian Wilson for the first time, when David Crosby took him up to Wilson's house to hear an acetate of the as-yet-unreleased track "Sloop John B". Parks was impressed by Wilson's arrangement techniques, and in particular the way he was orchestrating instrumental combinations that you couldn't do with a standard live room setup, that required overdubbing and close-micing. He said later "The first stuff I heard indicated this kind of curiosity for the recording experience, and when I went up to see him in '65 I don't even think he had the voices on yet, but I heard that long rotational breathing, that long flute ostinato at the beginning... I knew this man was a great musician." [Excerpt: The Beach Boys, "Sloop John B (instrumental)"] In most of 1966, though, Parks was making his living as a session keyboard player and arranger, and much of the work he was getting was through Lenny Waronker. Waronker was a second-generation music industry professional. His father, Si Waronker, had been a violinist in the Twentieth Century Fox studio orchestra before founding Liberty Records (the label which indirectly led to him becoming immortalised in children's entertainment, when Liberty Records star David Seville named his Chipmunk characters after three Liberty executives, with Simon being Si Waronker's full forename). The first release on Liberty Records had been a version of "The Girl Upstairs", an instrumental piece from the Fox film The Seven-Year Itch. The original recording of that track, for the film, had been done by the Twentieth Century Fox Orchestra, written and conducted by Alfred Newman, the musical director for Fox: [Excerpt: Alfred Newman, "The Girl Upstairs"] Liberty's soundalike version was conducted by Newman's brother Lionel, a pianist at the studio who later became Fox's musical director for TV, just as his brother was for film, but who also wrote many film scores himself. Another Newman brother, Emil, was also a film composer, but the fourth brother, Irving, had gone into medicine instead. However, Irving's son Randy wanted to follow in the family business, and he and Lenny Waronker, who was similarly following his own father by working for Liberty Records' publishing subsidiary Metric Music, had been very close friends ever since High School. Waronker got Newman signed to Metric Music, where he wrote "They Tell Me It's Summer" for the Fleetwoods: [Excerpt: The Fleetwoods, "They Tell Me It's Summer"] Newman also wrote and recorded a single of his own in 1962, co-produced by Pat Boone: [Excerpt: Randy Newman, "Golden Gridiron Boy"] Before deciding he wasn't going to make it as a singer and had better just be a professional songwriter. But by 1966 Waronker had moved on from Metric to Warner Brothers, and become a junior A&R man. And he was put in charge of developing the artists that Warners had acquired when they had bought up a small label, Autumn Records. Autumn Records was a San Francisco-based label whose main producer, Sly Stone, had now moved on to other things after producing the hit record "Laugh Laugh" for the Beau Brummels: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Beau Brummels  had had another hit after that and were the main reason that Warners had bought the label, but their star was fading a little. Stone had also been mentoring several other groups, including the Tikis and the Mojo Men, who all had potential. Waronker gathered around himself a sort of brains trust of musicians who he trusted as songwriters, arrangers, and pianists -- Randy Newman, the session pianist Leon Russell, and Van Dyke Parks. Their job was to revitalise the career of the Beau Brummels, and to make both the Tikis and the Mojo Men into successes. The tactic they chose was, in Waronker's words, “Go in with a good song and weird it out.” The first good song they tried weirding out was in late 1966, when Leon Russell came up with a clarinet-led arrangement of Paul Simon's "59th Street Bridge Song (Feeling Groovy)" for the Tikis, who performed it but who thought that their existing fanbase wouldn't accept something so different, so it was put out under another name, suggested by Parks, Harpers Bizarre: [Excerpt: Harpers Bizarre, "Feeling Groovy"] Waronker said of Parks and Newman “They weren't old school guys. They were modern characters but they had old school values regarding certain records that needed to be made, certain artists who needed to be heard regardless. So there was still that going on. The fact that ‘Feeling Groovy' was a number 10 hit nationwide and ‘Sit Down, I Think I Love You'  made the Top 30 on Western regional radio, that gave us credibility within the company. One hit will do wonders, two allows you to take chances.” We heard "Sit Down, I Think I Love You" last episode -- that's the song by Parks' old friend Stephen Stills that Parks arranged for the Mojo Men: [Excerpt: The Mojo Men, "Sit Down, I Think I Love You"] During 1966 Parks also played on Tim Buckley's first album, as we also heard last episode: [Excerpt: Tim Buckley, "Aren't You the Girl?"] And he also bumped into Brian Wilson on occasion, as they were working a lot in the same studios and had mutual friends like Loren Daro and Danny Hutton, and he suggested the cello part on "Good Vibrations". Parks also played keyboards on "5D" by the Byrds: [Excerpt: The Byrds, "5D (Fifth Dimension)"] And on the Spirit of '67 album for Paul Revere and the Raiders, produced by the Byrds' old producer Terry Melcher. Parks played keyboards on much of the album, including the top five hit "Good Thing": [Excerpt: Paul Revere and the Raiders, "Good Thing"] But while all this was going on, Parks was also working on what would become the work for which he was best known. As I've said, he'd met Brian Wilson on a few occasions, but it wasn't until summer 1966 that the two were formally introduced by Terry Melcher, who knew that Wilson needed a new songwriting collaborator, now Tony Asher's sabbatical from his advertising job was coming to an end, and that Wilson wanted someone who could do work that was a bit more abstract than the emotional material that he had been writing with Asher. Melcher invited both of them to a party at his house on Cielo Drive -- a house which would a few years later become notorious -- which was also attended by many of the young Hollywood set of the time. Nobody can remember exactly who was at the party, but Parks thinks it was people like Jack Nicholson and Peter and Jane Fonda. Parks and Wilson hit it off, with Wilson saying later "He seemed like a really articulate guy, like he could write some good lyrics". Parks on the other hand was delighted to find that Wilson "liked Les Paul, Spike Jones, all of these sounds that I liked, and he was doing it in a proactive way." Brian suggested Parks write the finished lyrics for "Good Vibrations", which was still being recorded at this time, and still only had Tony Asher's dummy lyrics,  but Parks was uninterested. He said that it would be best if he and Brian collaborate together on something new from scratch, and Brian agreed. The first time Parks came to visit Brian at Brian's home, other than the visit accompanying Crosby the year before, he was riding a motorbike -- he couldn't afford a car -- and forgot to bring his driver's license with him. He was stopped by a police officer who thought he looked too poor to be in the area, but Parks persuaded the police officer that if he came to the door, Brian Wilson would vouch for him. Brian got Van Dyke out of any trouble because the cop's sister was a Beach Boys fan, so he autographed an album for her. Brian and Van Dyke talked for a while. Brian asked if Van Dyke needed anything to help his work go smoothly, and Van Dyke said he needed a car. Brian asked what kind. Van Dyke said that Volvos were supposed to be pretty safe. Brian asked how much they cost. Van Dyke said he thought they were about five thousand dollars. Brian called up his office and told them to get a cheque delivered to Van Dyke for five thousand dollars the next day, instantly earning Van Dyke's loyalty. After that, they got on with work. To start with, Brian played Van Dyke a melody he'd been working on, a melody based on a descending scale starting on the fourth: [Plays "Heroes and Villains" melody] Parks told Wilson that the melody reminded him vaguely of Marty Robbins' country hit "El Paso" from 1959, a song about a gunfighter, a cantina, and a dancing woman: [Excerpt: Marty Robbins, "El Paso"] Wilson said that he had been thinking along the same lines, a sort of old west story, and thought maybe it should be called "Heroes and Villains". Parks started writing, matching syllables to Wilson's pre-conceived melody -- "I've been in this town so long that back in the city I've been taken for lost and gone and unknown for a long, long time" [Excerpt: Brian Wilson and Van Dyke Parks, "Heroes and Villains demo"] As Parks put it "The engine had started. It was very much ad hoc. Seat of the pants. Extemporaneous values were enforced. Not too much precommitment to ideas. Or, if so, equally pursuing propinquity." Slowly, over the next several months, while the five other Beach Boys were touring, Brian and Van Dyke refined their ideas about what the album they were writing, initially called Dumb Angel but soon retitled Smile, should be. For Van Dyke Parks it was an attempt to make music about America and American mythology. He was disgusted, as a patriot, with the Anglophilia that had swept the music industry since the arrival of the Beatles in America two and a half years earlier, particularly since that had happened so soon after the deaths both of President Kennedy and of Parks' own brother who was working for the government at the time he died. So for him, the album was about America, about Plymouth Rock, the Old West, California, and Hawaii. It would be a generally positive version of the country's myth, though it would of course also acknowledge the bloodshed on which the country had been built: [Excerpt: The Beach Boys, "Bicycle Rider" section] As he put it later "I was dead set on centering my life on the patriotic ideal. I was a son of the American revolution, and there was blood on the tracks. Recent blood, and it was still drying. The whole record seemed like a real effort toward figuring out what Manifest Destiny was all about. We'd come as far as we could, as far as Horace Greeley told us to go. And so we looked back and tried to make sense of that great odyssey." Brian had some other ideas -- he had been studying the I Ching, and Subud, and he wanted to do something about the four classical elements, and something religious -- his ideas were generally rather unfocused at the time, and he had far more ideas than he knew what to usefully do with. But he was also happy with the idea of a piece about America, which fit in with his own interest in "Rhapsody in Blue", a piece that was about America in much the same way. "Rhapsody in Blue" was an inspiration for Brian primarily in how it weaved together variations on themes. And there are two themes that between them Brian was finding endless variations on. The first theme was a shuffling between two chords a fourth away from each other. [demonstrates G to C on guitar] Where these chords are both major, that's the sequence for "Fire": [Excerpt: The Beach Boys, "Mrs. O'Leary's Cow/Fire"] For the "Who ran the Iron Horse?" section of "Cabin Essence": [Excerpt: The Beach Boys, "Cabinessence"] For "Vegetables": [Excerpt: The Beach Boys, "Vegetables"] And more. Sometimes this would be the minor supertonic and dominant seventh of the key, so in C that would be Dm to G7: [Plays Dm to G7 fingerpicked] That's the "bicycle rider" chorus we heard earlier, which was part of a song known as "Roll Plymouth Rock" or "Do You Like Worms": [Excerpt: The Beach Boys, "Bicycle Rider"] But which later became a chorus for "Heroes and Villains": [Excerpt: The Beach Boys, "Heroes and Villains"] But that same sequence is also the beginning of "Wind Chimes": [Excerpt: The Beach Boys, "Wind Chimes"] The "wahalla loo lay" section of "Roll Plymouth Rock": [Excerpt: The Beach Boys, "Roll Plymouth Rock"] And others, but most interestingly, the minor-key rearrangement of "You Are My Sunshine" as "You Were My Sunshine": [Excerpt: The Beach Boys, "You Were My Sunshine"] I say that's most interesting, because that provides a link to another of the major themes which Brian was wringing every drop out of, a phrase known as "How Dry I Am", because of its use under those words in an Irving Berlin song, which was a popular barbershop quartet song but is now best known as a signifier of drunkenness in Looney Tunes cartoons: [Excerpt: Daffy Duck singing "How Dry I Am" https://www.youtube.com/watch?v=Ap4MMn7LpzA ] The phrase is a common one in early twentieth century music, especially folk and country, as it's made up of notes in the pentatonic scale -- it's the fifth, first, second, and third of the scale, in that order: [demonstrates "How Dry I Am"] And so it's in the melody to "This Land is Your Land", for example, a song which is very much in the same spirit of progressive Americana in which Van Dyke Parks was thinking: [Excerpt: Woody Guthrie, "This Land is Your Land"] It's also the start of the original melody of "You Are My Sunshine": [Excerpt: Jimmie Davis, "You Are My Sunshine" https://www.youtube.com/watch?v=yYvgNEU4Am8] Brian rearranged that melody when he stuck it into a minor key, so it's no longer "How Dry I Am" in the Beach Boys version, but if you play the "How Dry I Am" notes in a different rhythm, you get this: [Plays "He Gives Speeches" melody] Which is the start of the melody to "He Gives Speeches": [Excerpt: The Beach Boys, "He Gives Speeches"] Play those notes backwards, you get: [Plays "He Gives Speeches" melody backwards] Do that and add onto the end a passing sixth and then the tonic, and then you get: [Plays that] Which is the vocal *countermelody* in "He Gives Speeches": [Excerpt: The Beach Boys, "He Gives Speeches"] And also turns up in some versions of "Heroes and Villains": [Excerpt: The Beach Boys, "Heroes and Villains (alternate version)"] And so on. Smile was an intricate web of themes and variations, and it incorporated motifs from many sources, both the great American songbook and the R&B of Brian's youth spent listening to Johnny Otis' radio show. There were bits of "Gee" by the Crows, of "Twelfth Street Rag", and of course, given that this was Brian Wilson, bits of Phil Spector. The backing track to the verse of "Heroes and Villains": [Excerpt: The Beach Boys, "Heroes and Villains"] Owed more than a little to a version of "Save the Last Dance For Me" that Spector had produced for Ike and Tina Turner: [Excerpt: Ike and Tina Turner, "Save the Last Dance For Me"] While one version of the song “Wonderful” contained a rather out-of-place homage to Etta James and “The Wallflower”: [Excerpt: “Wonderful (Rock With Me Henry)”] As the recording continued, it became more and more obvious that the combination of these themes and variations was becoming a little too much for Brian.  Many of the songs he was working on were made up of individual modules that he was planning to splice together the way he had with "Good Vibrations", and some modules were getting moved between tracks, as he tried to structure the songs in the edit. He'd managed it with "Good Vibrations", but this was an entire album, not just a single, and it was becoming more and more difficult. David Anderle, who was heading up the record label the group were looking at starting, would talk about Brian playing him acetates with sections edited together one way, and thinking it was perfect, and obviously the correct way to put them together, the only possible way, and then hearing the same sections edited together in a different way, and thinking *that* was perfect, and obviously the correct way to put them together. But while a lot of the album was modular, there were also several complete songs with beginnings, middles, ends, and structures, even if they were in several movements. And those songs showed that if Brian could just get the other stuff right, the album could be very, very, special. There was "Heroes and Villains" itself, of course, which kept changing its structure but was still based around the same basic melody and story that Brian and Van Dyke had come up with on their first day working together. There was also "Wonderful", a beautiful, allusive, song about innocence lost and regained: [Excerpt: The Beach Boys, "Wonderful"] And there was CabinEssence, a song which referenced yet another classic song, this time "Home on the Range", to tell a story of idyllic rural life and of the industrialisation which came with westward expansion: [Excerpt: The Beach Boys, "CabinEssence"] The arrangement for that song inspired Van Dyke Parks to make a very astute assessment of Brian Wilson. He said later "He knew that he had to adhere to the counter-culture, and I knew that I had to. I think that he was about as estranged from it as I was.... At the same time, he didn't want to lose that kind of gauche sensibility that he had. He was doing stuff that nobody would dream of doing. You would never, for example, use one string on a banjo when you had five; it just wasn't done. But when I asked him to bring a banjo in, that's what he did. This old-style plectrum thing. One string. That's gauche." Both Parks and Wilson were both drawn to and alienated from the counterculture, but in very different ways, and their different ways of relating to the counterculture created the creative tension that makes the Smile project so interesting. Parks is fundamentally a New Deal Liberal, and was excited by the progresssive nature of the counterculture, but also rather worried about its tendency to throw the baby out with the bathwater, and to ignore the old in pursuit of the new. He was an erudite, cultured, sophisticated man who thought that there was value to be found in the works and attitudes of the past, even as one must look to the future. He was influenced by the beat poets and the avant garde art of the time, but also said of his folk music period "A harpist would bring his harp with him and he would play and recite a story which had been passed down the generations. This particular legacy continued through Arthurian legend, and then through the Middle Ages, and even into the nineteenth century. With all these songs, half of the story was the lyrics, and the folk songs were very interesting. They were tremendously thought-driven songs; there was nothing confusing about that. Even when the Kingston Trio came out -- and Brian has already admitted his debt to the Kingston Trio -- 'Tom Dooley', the story of a murder most foul 'MTA' an urban nightmare -- all of this thought-driven music was perfectly acceptable.  It was more than a teenage romantic crisis." Brian Wilson, on the other hand, was anything *but* sophisticated. He is a simple man in the best sense of the term -- he likes what he likes, doesn't like what he doesn't like, and has no pretensions whatsoever about it. He is, at heart, a middle-class middle-American brought up in suburbia, with a taste for steaks and hamburgers, broad physical comedy, baseball, and easy listening music. Where Van Dyke Parks was talking about "thought-driven music", Wilson's music, while thoughtful, has always been driven by feelings first and foremost. Where Parks is influenced by Romantic composers like Gottschalk but is fundamentally a craftsman, a traditionalist, a mason adding his work to a cathedral whose construction started before his birth and will continue after his death, Wilson's music has none of the stylistic hallmarks of Romantic music, but in its inspiration it is absolutely Romantic -- it is the immediate emotional expression of the individual, completely unfiltered. When writing his own lyrics in later years Wilson would come up with everything from almost haiku-like lyrics like "I'm a leaf on a windy day/pretty soon I'll be blown away/How long with the wind blow?/Until I die" to "He sits behind his microphone/Johnny Carson/He speaks in such a manly tone/Johnny Carson", depending on whether at the time his prime concern was existential meaninglessness or what was on the TV. Wilson found the new counterculture exciting, but was also very aware he didn't fit in. He was developing a new group of friends, the hippest of the hip in LA counterculture circles -- the singer Danny Hutton, Mark Volman of the Turtles, the writers Michael Vosse and Jules Siegel, scenester and record executive David Anderle -- but there was always the underlying implication that at least some of these people regarded him as, to use an ableist term but one which they would probably have used, an idiot savant. That they thought of him, as his former collaborator Tony Asher would later uncharitably put it, as "a genius musician but an amateur human being". So for example when Siegel brought the great postmodern novelist Thomas Pynchon to visit Brian, both men largely sat in silence, unable to speak to each other; Pynchon because he tended to be a reactive person in conversation and would wait for the other person to initiate topics of discussion, Brian because he was so intimidated by Pynchon's reputation as a great East Coast intellectual that he was largely silent for fear of making a fool of himself. It was this gaucheness, as Parks eventually put it, and Parks' understanding that this was actually a quality to be cherished and the key to Wilson's art, that eventually gave the title to the most ambitious of the complete songs the duo were working on. They had most of the song -- a song about the power of music, the concept of enlightenment, and the rise and fall of civilisations: [Excerpt: The Beach Boys, "Surf's Up"] But Parks hadn't yet quite finished the lyric. The Beach Boys had been off on tour for much of Brian and Van Dyke's collaboration, and had just got back from their first real tour of the UK, where Pet Sounds had been a smash hit, rather than the middling success it had been in the US, and "Good Vibrations" had just become their first number one single. Brian and Van Dyke played the song for Brian's brother Dennis, the Beach Boys' drummer, and the band member most in tune with Brian's musical ambitions at this time. Dennis started crying, and started talking about how the British audiences had loved their music, but had laughed at their on-stage striped-shirt uniforms. Parks couldn't tell if he was crying because of the beauty of the unfinished song, the humiliation he had suffered in Britain, or both. Dennis then asked what the name of the song was, and as Parks later put it "Although it was the most gauche factor, and although maybe Brian thought it was the most dispensable thing, I thought it was very important to continue to use the name and keep the elephant in the room -- to keep the surfing image but to sensitise it to new opportunities. One of these would be an eco-consciousness; it would be speaking about the greening of the Earth, aboriginal people, how we had treated the Indians, taking on those things and putting them into the thoughts that come with the music. That was a solution to the relevance of the group, and I wanted the group to be relevant." Van Dyke had decided on a title: "Surf's Up": [Excerpt: The Beach Boys, "Surf's Up"] As the group were now back from their tour, the focus for recording shifted from the instrumental sessions to vocal ones. Parks had often attended the instrumental sessions, as he was an accomplished musician and arranger himself, and would play on the sessions, but also wanted to learn from what Brian was doing -- he's stated later that some of his use of tuned percussion in the decades since, for example, has come from watching Brian's work. But while he was also a good singer, he was not a singer in the same style as the Beach Boys, and they certainly didn't need his presence at those sessions, so he continued to work on his lyrics, and to do his arrangement and session work for other artists, while they worked in the studio. He was also, though, starting to distance himself from Brian for other reasons. At the start of the summer, Brian's eccentricity and whimsy had seemed harmless -- indeed, the kind of thing he was doing, such as putting his piano in a sandbox so he could feel the sand with his feet while he wrote, seems very much on a par with Maureen Cleave's descriptions of John Lennon in the same period. They were two newly-rich, easily bored, young men with low attention spans and high intelligence who could become deeply depressed when understimulated and so would get new ideas into their heads, spend money on their new fads, and then quickly discard them. But as the summer wore on into autumn and winter, Brian's behaviour became more bizarre, and to Parks' eyes more distasteful. We now know that Brian was suffering a period of increasing mental ill-health, something that was probably not helped by the copious intake of cannabis and amphetamines he was using to spur his creativity, but at the time most people around him didn't realise this, and general knowledge of mental illness was even less than it is today. Brian was starting to do things like insist on holding business meetings in his swimming pool, partly because people wouldn't be able to spy on him, and partly because he thought people would be more honest if they were in the water. There were also events like the recording session where Wilson paid for several session musicians, not to play their instruments, but to be recorded while they sat in a pitch-black room and played the party game Lifeboat with Jules Siegel and several of Wilson's friends, most of whom were stoned and not really understanding what they were doing, while they got angrier and more frustrated. Alan Jardine -- who unlike the Wilson brothers, and even Mike Love to an extent, never indulged in illegal drugs -- has talked about not understanding why, in some vocal sessions, Brian would make the group crawl on their hands and knees while making noises like animals: [Excerpt: The Beach Boys, "Heroes and Villains Part 3 (Animals)"] As Parks delicately put it "I sensed all that was destructive, so I withdrew from those related social encounters." What this meant though was that he was unaware that not all the Beach Boys took the same attitude of complete support for the work he and Brian had been doing that Dennis Wilson -- the only other group member he'd met at this point -- took. In particular, Mike Love was not a fan of Parks' lyrics. As he said later "I called it acid alliteration. The [lyrics are] far out. But do they relate like 'Surfin' USA,' like 'Fun Fun Fun,' like 'California Girls,' like 'I Get Around'? Perhaps not! So that's the distinction. See, I'm into success. These words equal successful hit records; those words don't" Now, Love has taken a lot of heat for this over the years, and on an artistic level that's completely understandable. Parks' lyrics were, to my mind at least, the best the Beach Boys ever had -- thoughtful, intelligent, moving, at times profound, often funny, often beautiful. But, while I profoundly disagree with Love, I have a certain amount of sympathy for his position. From Love's perspective, first and foremost, this is his source of income. He was the only one of the Beach Boys to ever have had a day job -- he'd worked at his father's sheet metal company -- and didn't particularly relish the idea of going back to manual labour if the rock star gig dried up. It wasn't that he was *opposed* to art, of course -- he'd written the lyrics to "Good Vibrations", possibly the most arty rock single released to that point, hadn't he? -- but that had been *commercial* art. It had sold. Was this stuff going to sell? Was he still going to be able to feed his wife and kids? Also, up until a few months earlier he had been Brian's principal songwriting collaborator. He was *still* the most commercially successful collaborator Brian had had. From his perspective, this was a partnership, and it was being turned into a dictatorship without him having been consulted. Before, it had been "Mike, can you write some lyrics for this song about cars?", now it was "Mike, you're going to sing these lyrics about a crow uncovering a cornfield". And not only that, but Mike had not met Brian's new collaborator, but knew he was hanging round with Brian's new druggie friends. And Brian was behaving increasingly weirdly, which Mike put down to the influence of the drugs and these new friends. It can't have helped that at the same time the group's publicist, Derek Taylor, was heavily pushing the line "Brian Wilson is a genius". This was causing Brian some distress -- he didn't think of himself as a genius, and he saw the label as a burden, something it was impossible to live up to -- but was also causing friction in the group, as it seemed that their contributions were being dismissed. Again, I don't agree with Mike's position on any of this, but it is understandable. It's also the case that Mike Love is, by nature, a very assertive and gregarious person, while Brian Wilson, for all that he took control in the studio, is incredibly conflict-avoidant and sensitive. From what I know of the two men's personalities, and from things they've said, and from the session recordings that have leaked over the years, it seems entirely likely that Love will have seen himself as having reasonable criticisms, and putting them to Brian clearly with a bit of teasing to take the sting out of them; while Brian will have seen Love as mercilessly attacking and ridiculing the work that meant so much to him in a cruel and hurtful manner, and that neither will have understood at the time that that was how the other was seeing things. Love's criticisms intensified. Not of everything -- he's several times expressed admiration for "Heroes and Villains" and "Wonderful" -- but in general he was not a fan of Parks' lyrics. And his criticisms seemed to start to affect Brian. It's difficult to say what Brian thinks about Parks' lyrics, because he has a habit in interviews of saying what he thinks the interviewer wants to hear, and the whole subject of Smile became a touchy one for him for a long time, so in some interviews he has talked about how dazzlingly brilliant they are, while at other times he's seemed to agree with Love, saying they were "Van Dyke Parks lyrics", not "Beach Boys lyrics". He may well sincerely think both at the same time, or have thought both at different times. This came to a head with a session for the tag of "Cabinessence": [Excerpt: The Beach Boys, "Cabinessence"] Love insisted on having the line "over and over the crow flies uncover the cornfield" explained to him, and Brian eventually decided to call Van Dyke Parks and have him come to the studio. Up to this point, Parks had no idea that there was anything controversial, so when Brian phoned him up and very casually said that Mike had a few questions about the lyrics, could he come down to the studio? He went without a second thought. He later said "The only person I had had any interchange with before that was Dennis, who had responded very favorably to 'Heroes and Villains' and 'Surf's Up'. Based on that, I gathered that the work would be approved. But then, with no warning whatsoever, I got that phone call from Brian. And that's when the whole house of cards came tumbling down." Parks got to the studio, where he was confronted by an angry Mike Love, insisting he explain the lyrics. Now, as will be, I hope, clear from everything I've said, Parks and Love are very, very, *very* different people. Having met both men -- albeit only in formal fan-meeting situations where they're presenting their public face -- I actually find both men very likeable, but in very different ways. Love is gregarious, a charmer, the kind of man who would make a good salesman and who people use terms like "alpha male" about. He's tall, and has a casual confidence that can easily read as arrogance, and a straightforward sense of humour that can sometimes veer into the cruel. Parks, on the other hand, is small, meticulously well-mannered and well-spoken, has a high, precise, speaking voice which probably reads as effeminate to the kind of people who use terms like "alpha male", and the kind of devastating intelligence and Southern US attention to propriety which means that if he *wanted* to say something cruel about someone, the victim would believe themselves to have been complimented until a horrific realisation two days after the event. In every way, from their politics to their attitudes to art versus commerce to their mannerisms to their appearance, Mike Love and Van Dyke Parks are utterly different people, and were never going to mix well. And Brian Wilson, who was supposed to be the collaborator for both of them, was not mediating between them, not even expressing an opinion -- his own mental problems had reached the stage where he simply couldn't deal with the conflict. Parks felt ambushed and hurt, Love felt angry, especially when Parks could not explain the literal meaning of his lyrics. Eventually Parks just said "I have no excuse, sir", and left. Parks later said "That's when I lost interest. Because basically I was taught not to be where I wasn't wanted, and I could feel I wasn't wanted. It was like I had someone else's job, which was abhorrent to me, because I don't even want my own job. It was sad, so I decided to get away quick." Parks continued collaborating with Wilson, and continued attending instrumental sessions, but it was all wheelspinning -- no significant progress was made on any songs after that point, in early December. It was becoming clear that the album wasn't going to be ready for its planned Christmas release, and it was pushed back to January, but Brian's mental health was becoming worse and worse. One example that's often cited as giving an insight into Brian's mental state at the time is his reaction to going to the cinema to see John Frankenheimer's classic science fiction horror film Seconds. Brian came in late, and the way the story is always told, when he was sat down the screen was black and a voice said from the darkness, "Hello Mr. Wilson". That moment does not seem to correspond with anything in the actual film, but he probably came in around the twenty-four minute mark, where the main character walks down a corridor, filmed in a distorted, hallucinatory manner, to be greeted: [Excerpt: Seconds, 24:00] But as Brian watched the film, primed by this, he became distressed by a number of apparent similarities to his life. The main character was going through death and rebirth, just as he felt he was. Right after the moment I just excerpted, Mr. Wilson is shown a film, and of course Brian was himself watching a film. The character goes to the beach in California, just like Brian. The character has a breakdown on a plane, just like Brian, and has to take pills to cope, and the breakdown happens right after this: [Excerpt: Seconds, from about 44:22] A studio in California? Just like where Brian spent his working days? That kind of weird coincidence can be affecting enough in a work of art when one is relatively mentally stable, but Brian was not at all stable. By this point he was profoundly paranoid -- and he may have had good reason to be. Some of Brian's friends from this time period have insisted that Brian's semi-estranged abusive father and former manager, Murry, was having private detectives watch him and his brothers to find evidence that they were using drugs. If you're in the early stages of a severe mental illness *and* you're self-medicating with illegal drugs, *and* people are actually spying on you, then that kind of coincidence becomes a lot more distressing. Brian became convinced that the film was the work of mind gangsters, probably in the pay of Phil Spector, who were trying to drive him mad and were using telepathy to spy on him. He started to bar people who had until recently been his friends from coming to sessions -- he decided that Jules Siegel's girlfriend was a witch and so Siegel was no longer welcome -- and what had been a creative process in the studio degenerated into noodling and second-guessing himself. He also, with January having come and the album still not delivered, started doing side projects,  some of which, like his production of tracks for photographer Jasper Daily, seem evidence either of his bizarre sense of humour, or of his detachment from reality, or both: [Excerpt: Jasper Daily, "Teeter Totter Love"] As 1967 drew on, things got worse and worse. Brian was by this point concentrating on just one or two tracks, but endlessly reworking elements of them. He became convinced that the track "Fire" had caused some actual fires to break out in LA, and needed to be scrapped. The January deadline came and went with no sign of the album. To add to that, the group discovered that they were owed vast amounts of unpaid royalties by Capitol records, and legal action started which meant that even were the record to be finished it might become a pawn in the legal wrangling. Parks eventually became exasperated by Brian -- he said later "I was victimised by Brian Wilson's buffoonery" -- and he quit the project altogether in February after a row with Brian. He returned a couple of weeks later out of a sense of loyalty, but quit again in April. By April, he'd been working enough with Lenny Waronker that Waronker offered him a contract with Warner Brothers as a solo artist -- partly because Warners wanted some insight into Brian Wilson's techniques as a hit-making producer. To start with, Parks released a single, to dip a toe in the water, under the pseudonym "George Washington Brown". It was a largely-instrumental cover version of Donovan's song "Colours", which Parks chose because after seeing the film Don't Look Back, a documentary of Bob Dylan's 1965 British tour, he felt saddened at the way Dylan had treated Donovan: [Excerpt: George Washington Brown, "Donovan's Colours"] That was not a hit, but it got enough positive coverage, including an ecstatic review from Richard Goldstein in the Village Voice, that Parks was given carte blanche to create the album he wanted to create, with one of the largest budgets of any album released to that date. The result was a masterpiece, and very similar to the vision of Smile that Parks had had -- an album of clever, thoroughly American music which had more to do with Charles Ives than the British Invasion: [Excerpt: Van Dyke Parks, "The All Golden"] But Parks realised the album, titled Song Cycle, was doomed to failure when at a playback session, the head of Warner Brothers records said "Song Cycle? So where are the songs?" According to Parks, the album was only released because Jac Holzman of Elektra Records was also there, and took out his chequebook and said he'd release the album if Warners wouldn't, but it had little push, apart from some rather experimental magazine adverts which were, if anything, counterproductive. But Waronker recognised Parks' talent, and had even written into Parks' contract that Parks would be employed as a session player at scale on every session Waronker produced -- something that didn't actually happen, because Parks didn't insist on it, but which did mean Parks had a certain amount of job security. Over the next couple of years Parks and Waronker co-produced the first albums by two of their colleagues from Waronker's brains trust, with Parks arranging -- Randy Newman: [Excerpt: Randy Newman, "I Think It's Going to Rain Today"] And Ry Cooder: [Excerpt: Ry Cooder, "One Meat Ball"] Waronker would refer to himself, Parks, Cooder, and Newman as "the arts and crafts division" of Warners, and while these initial records weren't very successful, all of them would go on to bigger things. Parks would be a pioneer of music video, heading up Warners' music video department in the early seventies, and would also have a staggeringly varied career over the years, doing everything from teaming up again with the Beach Boys to play accordion on "Kokomo" to doing the string arrangements on Joanna Newsom's album Ys, collaborating with everyone from U2 to Skrillex,  discovering Rufus Wainwright, and even acting again, appearing in Twin Peaks. He also continued to make massively inventive solo albums, releasing roughly one every decade, each unique and yet all bearing the hallmarks of his idiosyncratic style. As you can imagine, he is very likely to come up again in future episodes, though we're leaving him for now. Meanwhile, the Beach Boys were floundering, and still had no album -- and now Parks was no longer working with Brian, the whole idea of Smile was scrapped. The priority was now to get a single done, and so work started on a new, finished, version of "Heroes and Villains", structured in a fairly conventional manner using elements of the Smile recordings. The group were suffering from numerous interlocking problems at this point, and everyone was stressed -- they were suing their record label, Dennis' wife had filed for divorce, Brian was having mental health problems, and Carl had been arrested for draft dodging -- though he was later able to mount a successful defence that he was a conscientious objector. Also, at some point around this time, Bruce Johnston seems to have temporarily quit the group, though this was never announced -- he doesn't seem to have been at any sessions from late May or early June through mid-September, and didn't attend the two shows they performed in that time. They were meant to have performed three shows, but even though Brian was on the board of the Monterey Pop Festival, they pulled out at the last minute, saying that they needed to deal with getting the new single finished and with Carl's draft problems. Some or all of these other issues almost certainly fed into that, but the end result was that the Beach Boys were seen to have admitted defeat, to have handed the crown of relevance off to the San Francisco groups. And even if Smile had been released, there were other releases stealing its thunder. If it had come out in December it would have been massively ahead of its time, but after the Beatles released Sgt Pepper it would have seemed like it was a cheap copy -- though Parks has always said he believes the Beatles heard some of the Smile tapes and copied elements of the recordings, though I don't hear much similarity myself. But I do hear a strong similarity in "My World Fell Down" by Sagittarius, which came out in June, and which was largely made by erstwhile collaborators of Brian -- Gary Usher produced, Glen Campbell sang lead, and Bruce Johnston sang backing vocals: [Excerpt: Sagittarius, "My World Fell Down"] Brian was very concerned after hearing that that someone *had* heard the Smile tapes, and one can understand why. When "Heroes and Villains" finally came out, it was a great single, but only made number twelve in the charts. It was fantastic, but out of step with the times, and nothing could have lived up to the hype that had built up around it: [Excerpt: The Beach Boys, "Heroes and Villains"] Instead of Smile, the group released an album called Smiley Smile, recorded in a couple of months in Brian's home studio, with no studio musicians and no involvement from Bruce, other than the previously released singles, and with the production credited to "the Beach Boys" rather than Brian. Smiley Smile has been unfairly dismissed over the years, but it's actually an album that was ahead of its time. It's a collection of stripped down versions of Smile songs and new fragments using some of the same motifs, recorded with minimal instrumentation. Some of it is on a par with the Smile material it's based on: [Excerpt: The Beach Boys, "Wonderful"] Some is, to my ears, far more beautiful than the Smile versions: [Excerpt: The Beach Boys, "Wind Chimes"] And some has a fun goofiness which relates back to one of Brian's discarded ideas for Smile, that it be a humour album: [Excerpt: The Beach Boys, "She's Going Bald"] The album was a commercial flop, by far the least successful thing the group had released to that point in the US, not even making the top forty when it came out in September, though it made the top ten in the UK, but interestingly it *wasn't* a critical flop, at least at first. While the scrapping of Smile had been mentioned, it still wasn't widely known, and so for example Richard Goldstein, the journalist whose glowing review of "Donovan's Colours" in the Village Voice had secured Van Dyke Parks the opportunity to make Song Cycle, gave it a review in the New York Times which is written as if Goldstein at least believes it *is* the album that had been promised all along, and he speaks of it very perceptively -- and here I'm going to quote quite extensively, because the narrative about this album has always been that it was panned from the start and made the group a laughing stock: "Smiley Smile hardly reads like a rock cantata. But there are moments in songs such as 'With Me Tonight' and 'Wonderful' that soar like sacred music. Even the songs that seem irrelevant to a rock-hymn are infused with stained-glass melodies. Wilson is a sound sculptor and his songs are all harmonious litanies to the gentle holiness of love — post-Christian, perhaps but still believing. 'Wind Chimes', the most important piece on the album, is a fine example of Brian Wilson's organic pop structure. It contains three movements. First, Wilson sets a lyric and melodic mood ("In the late afternoon, you're hung up on wind chimes"). Then he introduces a totally different scene, utilizing passages of pure, wordless harmony. His two-and-a-half minute hymn ends with a third movement in which the voices join together in an exquisite round, singing the words, "Whisperin' winds set my wind chimes a-tinklin'." The voices fade out slowly, like the bittersweet afternoon in question. The technique of montage is an important aspect of Wilson's rock cantata, since the entire album tends to flow as a single composition. Songs like 'Heroes and Villains', are fragmented by speeding up or slowing down their verses and refrains. The effect is like viewing the song through a spinning prism. Sometimes, as in 'Fall Breaks and Back to Winter' (subtitled "W. Woodpecker Symphony"), the music is tiered into contrapuntal variations on a sliver of melody. The listener is thrown into a vast musical machine of countless working gears, each spinning in its own orbit." That's a discussion of the album that I hear when I listen to Smiley Smile, and the group seem to have been artistically happy with it, at least at first. They travelled to Hawaii to record a live album (with Brian, as Bruce was still out of the picture), taking the Baldwin organ that Brian used all over Smiley Smile with them, and performed rearranged versions of their old hits in the Smiley Smile style. When the recordings proved unusable, they recreated them in the studio, with Bruce returning to the group, where he would remain, with the intention of overdubbing audience noise and releasing a faked live album: [Excerpt: The Beach Boys, "California Girls [Lei'd studio version]"] The idea of the live album, to be called Lei'd in Hawaii, was scrapped, but that's not the kind of radical reimagining of your sound that you do if you think you've made an artistic failure. Indeed, the group's next albu

The Half Hour is a current events podcast designed with the intention of helping Extemporaneous speaking competitors (and other Speech and Debate members, as well as listening for the general public) understand the importance of political, social, or economical events on a domestic and international scale.37 | Gun ReformOne thing has been made evident about the events that have unfolded in 2022: there is some need to reform the United States' gun laws. However, is it possible and do we know a solution yet? In this episode of The Half Hour, YuYu and Spencer determine the potential answer to reforming gun laws.For sources from this Podcast and more information, visit:https://www.oneclapspeechanddebate.com/post/half-hour-with-yuyu-yuan-and-spencer-travis-ep-37-gun-reformWatch and subscribe to The Half Hour episodes on YouTube here: https://www.youtube.com/channel/UCx79MVh5SZHG4m8mrPiMA1gFollow Us On Social MediaThe Half Hour:Instagram - https://instagram.com/thehalfhourextemppodcast?utm_medium=copy_linkTwitter - https://twitter.com/the_half_hourOne Clap Speech and Debate:Facebook - https://www.facebook.com/oneclappodcastInstagram - https://www.instagram.com/one_clap_podcast/YuYu Yuan:Instagram - https://www.instagram.com/yuyu.yuan927/Spencer Travis:Instagram - https://www.instagram.com/spencer_travis_/-----Credits and Credentials-----Video/Audio Recording: Zoom Video CommunicationsProduction Recording: OBS StudioDesign Production: Adobe ExpressHosts: YuYu Yuan, Spencer TravisProduced By: Spencer TravisEdited By: Joshua MitchellPublic Relations Specialist: Camila RiveraPowered By: One Clap Speech and Debate Podcast [Lyle Wiley]Intro Song: Ghost Dub by Lyle WileyOutro Song: Beach Walk by Unicorn HeadsThis podcast (or clips from this podcast) cannot be used without consent of One Clap/The Half Hour. All recordings are our own work with our own research and information put together.Get your cool One Clap Speech and Debate merchandise here: https://www.bonfire.com/store/one-clap-speech-and-debate/The One Clap August Newsletter:https://drive.google.com/file/d/1f1cWMR5-FBgPnH4Mx4qX778qj7gKldrh/view?usp=sharingSupport the show

In this episode of On Mission, Kate Fowler, Chris Pierno, and Fr. Frank Donio, S.A.C.  discuss what it means to pray extemporaneously and how it can be incorporated into daily prayer.Click here to access the Center's Prayer Resource Page. Follow us:The Catholic Apostolate CenterThe Center's podcast websiteInstagramFacebookApple PodcastsSpotify

The Half Hour is a current events podcast designed with the intention of helping Extemporaneous speaking competitors (and other Speech and Debate members, as well as listening for the general public) understand the importance of political, social, or economical events on a domestic and international scale.36 | Roe is OverturnedThe overturn of Roe v. Wade was shocking to the political world. The Supreme Court's legitimacy is now in question after a shocking reversal. In this episode, YuYu and Spencer discuss the impact of the Supreme Court's reversal of Roe v. Wade.For sources from this Podcast and more information, visit:https://www.oneclapspeechanddebate.com/post/the-half-hour-with-yuyu-yuan-and-spencer-travis-ep-36-roe-is-overturnedWatch and subscribe to The Half Hour episodes on YouTube here: https://www.youtube.com/channel/UCx79MVh5SZHG4m8mrPiMA1gFollow Us On Social MediaThe Half Hour:Instagram - https://instagram.com/thehalfhourextemppodcast?utm_medium=copy_linkTwitter - https://twitter.com/the_half_hourOne Clap Speech and Debate:Facebook - https://www.facebook.com/oneclappodcastInstagram - https://www.instagram.com/one_clap_podcast/YuYu Yuan:Instagram - https://www.instagram.com/yuyu.yuan927/Spencer Travis:Instagram - https://www.instagram.com/spencer_travis_/Credits and CredentialsVideo/Audio Recording: Zoom Video CommunicationsProduction Recording: OBS StudioDesign Production: Adobe SparkHosts: YuYu Yuan, Spencer TravisBusiness Information: Reach via Social Media [Links Above]Produced By: Spencer TravisEdited By: Joshua MitchellPublic Relations Specialist: Camila RiveraPowered By: One Clap Speech and Debate Podcast [Lyle Wiley]Music By: Lyle Wiley (Production: GarageBand)This podcast (or clips from this podcast) cannot be used without consent of One Clap/The Half Hour. All recordings are our own work with our own research and information put together.Get your cool One Clap Speech and Debate merchandise here: https://www.bonfire.com/store/one-clap-speech-and-debate/The One Clap August Newsletter:https://drive.google.com/file/d/1f1cWMR5-FBgPnH4Mx4qX778qj7gKldrh/view?usp=sharingSupport the show

The Half Hour is a current events podcast designed with the intention of helping Extemporaneous speaking competitors (and other Speech and Debate members, as well as listening for the general public) understand the importance of political, social, or economical events on a domestic and international scale.Ep. 35 - U.S. Healthcare SystemThe complex nature of the United States' healthcare system may seem normal to American citizens, but to other countries, it is a mess entangled within itself. However, healthcare is an argument that both Republicans and Democrats agree on because the system needs to be changed. In this episode, YuYu and Spencer compare and contrast other healthcare systems and what makes the topic still relevant today.For sources from this Podcast and more information, visit:https://www.oneclapspeechanddebate.com/post/the-half-hour-with-yuyu-yuan-and-spencer-travis-ep-35-u-s-healthcare-systemWatch and subscribe to The Half Hour episodes on YouTube here: https://www.youtube.com/channel/UCx79MVh5SZHG4m8mrPiMA1gFollow Us On Social MediaThe Half Hour:Instagram - https://instagram.com/thehalfhourextemppodcast?utm_medium=copy_linkTwitter - https://twitter.com/the_half_hourOne Clap Speech and Debate:Facebook - https://www.facebook.com/oneclappodcastInstagram - https://www.instagram.com/one_clap_podcast/YuYu Yuan:Instagram - https://www.instagram.com/yuyu.yuan927/Spencer Travis:Instagram - https://www.instagram.com/spencer_travis_/Credits and CredentialsVideo/Audio Recording: Zoom Video CommunicationsProduction Recording: OBS StudioDesign Production: Adobe SparkHosts: YuYu Yuan, Spencer TravisBusiness Information: Reach via Social Media [Links Above]Produced By: Spencer TravisEdited By: Joshua MitchellPublic Relations Specialist: Camila RiveraPowered By: One Clap Speech and Debate Podcast [Lyle Wiley]Music By: Lyle Wiley (Production: GarageBand)This podcast (or clips from this podcast) cannot be used without consent of One Clap/The Half Hour. All recordings are our own work with our own research and information put together.Get your cool One Clap Speech and Debate merchandise here: https://www.bonfire.com/store/one-clap-speech-and-debate/The One Clap June Newsletter (next newsletter in August):https://docs.google.com/document/d/1JWfWqcPcLhcJc-1fiueCipua56Prfh9Yt-JKEE0X_vw/edit?usp=sharingThe Enthusiasm ProjectDeep dives exploring the world of what it means to be an independent creator.Listen on: Apple Podcasts SpotifySupport the show

Patter calling is unique to modern western square dancing.  Extemporaneous, rhythmic, and harmonious this episode offers a compilation of callers who recorded for the Blue Star, Hi Hat, and related record labels. Here is part two of tracks offering SSD, Mainstream, or Plus.  Some calls may need research in order to dance these tracks. Callers on this podcast are: Johnnie Wykoff, Al Brundage, Dick Houlton, Dave Taylor, Tommy Cavanaugh, and Lee Kopman. Please subscribe to American Square Dance publication - click here      

The Half Hour is a current events podcast designed with the intention of helping Extemporaneous speaking competitors (and other Speech and Debate members, as well as listening for the general public) understand the importance of political, social, or economical events on a domestic and international scale.Ep. 34 - Student Debt CrisisIsn't it funny that colleges talk about the student debt crisis? If it is so bad, then why don't colleges just fix it themselves? In this episode of The Half Hour, YuYu and Spencer unveil what is going on with the student debt crisis in the United States.For sources from this Podcast and more information, visit:https://www.oneclapspeechanddebate.com/post/the-half-hour-with-yuyu-yuan-and-spencer-travis-ep-34-student-debt-crisisWatch and subscribe to The Half Hour episodes on YouTube here: https://www.youtube.com/channel/UCx79MVh5SZHG4m8mrPiMA1gFollow Us On Social MediaThe Half Hour:Instagram - https://instagram.com/thehalfhourextemppodcast?utm_medium=copy_linkTwitter - https://twitter.com/the_half_hourOne Clap Speech and Debate:Facebook - https://www.facebook.com/oneclappodcastInstagram - https://www.instagram.com/one_clap_podcast/YuYu Yuan:Instagram - https://www.instagram.com/yuyu.yuan927/Spencer Travis:Instagram - https://www.instagram.com/spencer_travis_/Credits and CredentialsVideo/Audio Recording: Zoom Video CommunicationsProduction Recording: OBS StudioDesign Production: Adobe SparkHosts: YuYu Yuan, Spencer TravisBusiness Information: Reach via Social Media [Links Above]Produced By: Spencer TravisEdited By: Joshua MitchellPublic Relations Specialist: Camila RiveraPowered By: One Clap Speech and Debate Podcast [Lyle Wiley]Music By: Lyle Wiley (Production: GarageBand)This podcast (or clips from this podcast) cannot be used without consent of One Clap/The Half Hour. All recordings are our own work with our own research and information put together.Get your cool One Clap Speech and Debate merchandise here: https://www.bonfire.com/store/one-clap-speech-and-debate/The One Clap June Newsletter (next newsletter in August):https://docs.google.com/document/d/1JWfWqcPcLhcJc-1fiueCipua56Prfh9Yt-JKEE0X_vw/edit?usp=sharingThe Enthusiasm ProjectDeep dives exploring the world of what it means to be an independent creator.Listen on: Apple Podcasts SpotifySupport the show

Financially support the work of helping pastors thriveContact us if we can serve you in any way(1:50) Biblical Framework and Importance of Preaching(5:05) What preparation look like(8:16) Differences between one sermon weekly or three (11:38) Handling texts differently and determining the length of text(18:40) Step away from the work to meditate on the text(19:35) The importance of application in preaching(24:00) Extemporaneous or Manuscript sermons(27:25) On using commentaries and other sermon audio (29:35) Final words and prayer

Financially support the work of helping pastors thriveContact us if we can serve you in any way(1:50) Biblical Framework and Importance of Preaching(5:05) What preparation look like(8:16) Differences between one sermon weekly or three (11:38) Handling texts differently and determining the length of text(18:40) Step away from the work to meditate on the text(19:35) The importance of application in preaching(24:00) Extemporaneous or Manuscript sermons(27:25) On using commentaries and other sermon audio (29:35) Final words and prayer

The Half Hour is a current events podcast designed with the intention of helping Extemporaneous speaking competitors (and other Speech and Debate members, as well as listening for the general public) understand the importance of political, social, or economical events on a domestic and international scale.33 | France's Presidential ElectionIn late April 2022, France held a presidential rematch between Emmanuel Macron and Marine Le Pen. The difference between the results of 2017 and 2022 was only seven percent, which indicates a potential rise of populism and nationalism in France. While the polarization in France is real, YuYu and Spencer work to answer an imperative question: Has polarization benefited Macron?For sources from this Podcast and more information, visit:https://www.oneclapspeechanddebate.com/post/the-half-hour-with-yuyu-yuan-and-spencer-travis-ep-33-france-s-presidential-electionWatch and subscribe to The Half Hour episodes on YouTube here: https://www.youtube.com/channel/UCx79MVh5SZHG4m8mrPiMA1gFollow Us On Social MediaThe Half Hour:Instagram - https://instagram.com/thehalfhourextemppodcast?utm_medium=copy_linkTwitter - https://twitter.com/the_half_hourOne Clap Speech and Debate:Facebook - https://www.facebook.com/oneclappodcastInstagram - https://www.instagram.com/one_clap_podcast/YuYu Yuan:Instagram - https://www.instagram.com/yuyu.yuan927/Spencer Travis:Instagram - https://www.instagram.com/spencer_travis_/Credits and CredentialsVideo/Audio Recording: Zoom Video CommunicationsProduction Recording: OBS StudioDesign Production: Adobe SparkHosts: YuYu Yuan, Spencer TravisBusiness Information: Reach via Social Media [Links Above]Produced By: Spencer TravisEdited By: Joshua MitchellPublic Relations Specialist: Camila RiveraPowered By: One Clap Speech and Debate Podcast [Lyle Wiley]Music By: Lyle Wiley (Production: GarageBand)This podcast (or clips from this podcast) cannot be used without consent of One Clap/The Half Hour. All recordings are our own work with our own research and information put together.Get your cool One Clap Speech and Debate merchandise here: https://www.bonfire.com/store/one-clap-speech-and-debate/The One Clap June Newsletter:https://docs.google.com/document/d/1JWfWqcPcLhcJc-1fiueCipua56Prfh9Yt-JKEE0X_vw/edit?usp=sharingThe Enthusiasm ProjectDeep dives exploring the world of what it means to be an independent creator.Listen on: Apple Podcasts SpotifySupport the show

The girls are BACK, BABY and they're fired up! Lady Gaga at the Superbowl, Kim Kardashian at the Met Gala, Harry Styles in an ugly dress, the return of 2000's fatphobia/fashion - nothing is off limits! 

En el episodio n.º 27 de TODO COMENZÓ AYER, el podcast divulgativo de la Asociación Española de Historia Económica, entrevistamos a Jesús Martínez-Milán autor, junto con Claudia Barona Castañeda, de la obra Western Sahara: Reasons for Extemporaneous Colonization and Decolonization, 1885-1975. El libro ofrece una síntesis sobre uno de los temas más controvertidos de la reciente historiografía colonial española, el extemporáneo proceso de colonización y descolonización del Sáhara, condicionado por numerosos factores políticos, internacionales, sociales y económicos. Jesús Martínez-Milán es Profesor Titular de Historia e Instituciones Económicas en la Universidad de Las Palmas de Gran Canaria y especialista en la presencia española en el Sáhara y su proceso de descolonización. Entre sus numerosos trabajos cabe destacar España en el Sáhara Occidental y en la zona sur del Protectorado de Marruecos (2003), así como Culturas del litoral. Dinámicas fronterizas entre Canarias y la costa sahariano-mauritana, publicado junto con Alberto López Bragados en 2010. Entrevista por Jorge Lafuente del Cano, profesor contratado doctor interino de Historia e Instituciones Económicas en la Universidad de Valladolid y colaborador de TODO COMENZÓ AYER, el podcast divulgativo de la AEHE.

Welcome to the Paranoid Style Podcast! This week we're waxing extemporaneous… That's right! It's another one of our free-wheelin', rule-bustin' Extemporaneous Style episodes! On this episode we realize that we need to get out of the house more when the best thing we can think to talk about is our favorite flavor potato chips and we can't believe what the night sky looks like. We also discuss the results of conspiracy theory belief study that we were guinea pigs for. We plug the Explore Hollow Earth Kickstarter and we take a highly scientific quiz to determine which cryptid we are… spoilers: we're both chupacabras! From CheeWees to jogging podiatrists, from the Hollow Earth to Hackensack, New Jersey. Have a listen to find out which one of us is the Mulder and which one is the Scully!  Please subscribe where ever you get your podcasts. If you have any topic suggestions for the show or any tales to share, please email us at theparanoidstylepod@gmail.com and follow us on Instagram @theparanoidstylepod or on twitter @style_paranoid.   Music used in this episode is from: Purple Planet Royalty Free Music   Opening theme music provided by Tony Molina. You can hear more of his music at https://tonymolina650.bandcamp.com/

YuYu Yuan and Spencer Travis of The Half Hour return with their One Clap exclusive special edition podcast series about improving Extemporaneous Speaking skills.  In The Half Hour: Prep Room, YuYu and Spencer will break down the skills that are especially valued by extemp judges.  The fourth episode of the five part series is all about creating fabulous transitions in your extemporaneous speaking.Visit oneclapspeechanddebate.com for more information.Follow Us On Social MediaThe Half Hour:Instagram - https://instagram.com/thehalfhourextemppodcast?utm_medium=copy_linkTwitter - https://twitter.com/the_half_hourOne Clap Speech and Debate:Apple Podcasts - https://podcasts.apple.com/us/podcast/one-clap-speech-and-debate-podcast/id1504797120Facebook - https://www.facebook.com/oneclappodcastiHeart Radio - https://www.iheart.com/podcast/269-one-clap-a-speech-and-deba-60541378/Instagram - https://www.instagram.com/one_clap_podcast/Pandora - https://www.pandora.com/podcast/1-clap-speech-and-debate-podcast/PC:48818Spotify - https://open.spotify.com/show/5IbW75pvR2zzXdVuXy9EtUTuneIn - https://tunein.com/podcasts/Education-Podcasts/One-Clap-A-Speech-and-Debate-Podcast-p1310859/YuYu Yuan:Instagram - https://www.instagram.com/yuyu.yuan927/Spencer Travis:Instagram - https://www.instagram.com/spencer_travis_/-----Credits and Credentials-----Video/Audio Recording: Zoom Video CommunicationsProduction Recording: OBS StudioDesign Production: Adobe SparkHosts: YuYu Yuan, Spencer TravisBusiness Information: Reach via Social Media [Links Above]Produced By: Spencer TravisEdited By: Joshua MitchellPublic Relations Specialist: Camila RiveraPowered By: One Clap Speech and Debate Podcast [Lyle Wiley]Get your One Clap merchandise here:https://www.bonfire.com/store/one-clap-speech-and-debate/The One Clap 2022 March Newsletter:https://docs.google.com/document/d/1enR8akzWQXvHylx_vJeBaDZFhqte9H11M7L1Rrt-9vI/edit?usp=sharingSupport the show (https://www.patreon.com/oneclapspeechanddebate)

YuYu Yuan and Spencer Travis of The Half Hour return with their One Clap exclusive special edition podcast series about improving Extemporaneous Speaking skills.  In The Half Hour: Prep Room, YuYu and Spencer will break down the skills that are especially valued by extemp judges.  The last episode of the five part series is all about structure/substructure of an extemporaneous speech.Visit oneclapspeechanddebate.com for more information.Follow Us On Social MediaThe Half Hour:Instagram - https://instagram.com/thehalfhourextemppodcast?utm_medium=copy_linkTwitter - https://twitter.com/the_half_hourOne Clap Speech and Debate:Apple Podcasts - https://podcasts.apple.com/us/podcast/one-clap-speech-and-debate-podcast/id1504797120Facebook - https://www.facebook.com/oneclappodcastiHeart Radio - https://www.iheart.com/podcast/269-one-clap-a-speech-and-deba-60541378/Instagram - https://www.instagram.com/one_clap_podcast/Pandora - https://www.pandora.com/podcast/1-clap-speech-and-debate-podcast/PC:48818Spotify - https://open.spotify.com/show/5IbW75pvR2zzXdVuXy9EtUTuneIn - https://tunein.com/podcasts/Education-Podcasts/One-Clap-A-Speech-and-Debate-Podcast-p1310859/YuYu Yuan:Instagram - https://www.instagram.com/yuyu.yuan927/Spencer Travis:Instagram - https://www.instagram.com/spencer_travis_/-----Credits and Credentials-----Video/Audio Recording: Zoom Video CommunicationsProduction Recording: OBS StudioDesign Production: Adobe SparkHosts: YuYu Yuan, Spencer TravisBusiness Information: Reach via Social Media [Links Above]Produced By: Spencer TravisEdited By: Joshua MitchellPublic Relations Specialist: Camila RiveraPowered By: One Clap Speech and Debate Podcast [Lyle Wiley]Get your One Clap merchandise here:https://www.bonfire.com/store/one-clap-speech-and-debate/The One Clap 2022 March Newsletter:https://docs.google.com/document/d/1enR8akzWQXvHylx_vJeBaDZFhqte9H11M7L1Rrt-9vI/edit?usp=sharingSupport the show (https://www.patreon.com/oneclapspeechanddebate)

Welcome to the Paranoid Style Podcast! It's an Extemporaneous Style episode! Some might call it the Hot Mess Express, we prefer to think of it as the Balmy Erratic Slow Coach. This week we are obsessing over another podcast that we love and highly recommend: Watch Out! The Horror Movie Review Podcast (Available everywhere and here: Watch Out Horror.) And then we try our hand at being a movie review podcast with balmy, erratic results! From Canada to South Korea to Argentina to Australia! From demons and devils to an inability to remain spoiler free. We braved monsters and subtitles to bring you this episode. Movies Discussed:"Alison's Birthday" (Australia - 1981)"The Wailing" (South Korea - 2016)"Terrified" (Argentina - 2017)Thank you for listening! Please subscribe, rate and review wherever you get your podcasts. If you have any topic suggestions for the show or any tales to share, please email us at theparanoidstylepod@gmail.com and follow us on Instagram @theparanoidstylepod or on twitter @style_paranoid.  Opening theme music provided by Tony Molina. You can hear more of his music at https://tonymolina650.bandcamp.com/

Our changing world demands improved communication skills. Listen and discover how to become a master storyteller. This is video 5 in Dan's miniseries. This channel is for all that are looking to learn or improve the art of public speaking. But it is especially for leaders, aspiring leaders, and entrepreneurs of all stripes looking to improve their presentation and communication skills. We'll cover all aspects of public speaking: Keynotes, Business Presentations, Product Launch, Extemporaneous, Impromptu, and much, much more. Video on Speech Culture: https://www.linkedin.com/in/dan-riley-3a411b15/recent-activity/ Video on Speech Mechanics: https://youtu.be/iK5B0xuCQkg To learn more about our NEW online class and other services contact us at: OnOdysseyIntoOratory@gmail.com Channel: https://www.youtube.com/channel/UCfb9qRK5JLpjF8Ez08FKqaQ Subscribe: https://www.youtube.com/channel/UCfb9qRK5JLpjF8Ez08FKqaQ?sub_confirmation=1

Welcome to the Paranoid Style Podcast! Our first Extemporaneous Style episode for 2022 and we're venturing out into the real world… or is it? This episode we try our hand at Randonauting and challenge the world to show us proof of the simulation. From a devil horse to dead gophers, from a sadly absent hot dog cart to a punk rock lean to. We turned in our quest in exchange for experience points. Join us for our first PSP Field Trip! Please subscribe where ever you get your podcasts. If you have any topic suggestions for the show or any tales to share, please email us at theparanoidstylepod@gmail.com and follow us on Instagram @theparanoidstylepod or on twitter @style_paranoid.   Music used in this episode is from: Purple Planet Royalty Free Music   Opening theme music provided by Tony Molina. You can hear more of his music at https://tonymolina650.bandcamp.com/

Welcome to the Paranoid Style Podcast! We're finally back with an episode, done in the Extemporaneous Style! We discuss another podcast that we've been loving and recommend: Chasing Enlightenment.Website for Chasing Enlightenment Podcast: https://www.chasingenlightenment.net/We also make a reservation to our favorite cult-run vegetarian restaurants. And we close the book on Season 1 of The Paranoid Style Podcast. From Canada's The Junction to San Francisco's Skid Row. From giant cookies to veggie neatloaf. From why no cult would want us to why we could never join a cult. Thank you for listening! And please subscribe where ever you get your podcasts, so that you don't miss Season 2 when we return on January 4th, 2022! If you have any topic suggestions for the show or any tales to share, please email us at theparanoidstylepod@gmail.com and follow us on Instagram @theparanoidstylepod or on twitter @style_paranoid.  Music used in this episode is from: Purple Planet Royalty Free Music (purple-planet.com)  Opening theme music provided by Tony Molina. You can hear more of his music at https://tonymolina650.bandcamp.com/

Welcome to the Paranoid Style Podcast! This week we share all our favorites: favorite Halloween memories, favorite trick or treat candy, favorite Halloween costumes and why it's chimney sweeps …. From shark teeth to crucifixes, popcorn to candy corns, movie theater ghosts to space Bigfoot! Which one of your hosts have had ghostly experiences and which one has never seen John Carpenter's Halloween?! Turn out the lights and snuggle up with that bowl of fun-sized candies… It's the Extemporaneous Style… Spooky Edition! And please check out our Halloween Baking Challenge on our Instagram page!  Please subscribe where ever you get your podcasts. If you have any topic suggestions for the show or any tales to share, please email us at theparanoidstylepod@gmail.com and follow us on Instagram @theparanoidstylepod or on twitter @style_paranoid.  Opening theme music provided by Tony Molina. You can hear more of his music at https://tonymolina650.bandcamp.com/

Welcome to the Paranoid Style Podcast! It's time for another Extemporaneous Style episode. This time we attempt to stir up some reality TV level drama, take the Pepsi Challenge, and try to dig up Jimmy Hoffa. From Anno Domini to the Common Era, from a dump in New Jersey to Giants Stadium, from Diet Coke to vegetarian bacon in the dark. We're serving up the worst podcast concepts west of the Mississipp with a big, tall glass of Beverly! Please subscribe where ever you get your podcasts. If you have any topic suggestions for the show or any tales to share, please email us at theparanoidstylepod@gmail.com and follow us on Instagram @theparanoidstylepod or on twitter @style_paranoid.  Music used in this episode is from: Purple Planet Royalty Free Music   Opening theme music provided by Tony Molina. You can hear more of his music at https://tonymolina650.bandcamp.com/

Welcome to the Paranoid Style Podcast! It's that time again. Time for us to throw our carefully compiled notes and our dignity to the wind and present you with our second episode done in the Extemporaneous Style #2 - This time it's disclosure! We delve into the teeny, tiny UAP report from the American Government. We also discuss our brand new logo, Cosmic Zoo Theory, and our ability to keep secrets. From alien cats to tin-foil hats. From ODNI to 3AF. From Oumuamua to the Black Knight. It's still Alien August so we're keeping it EXTRA...terrestrial that is! Please subscribe where ever you get your podcasts. If you have any topic suggestions for the show or any tales to share, please email us at theparanoidstylepod@gmail.com and follow us on Instagram @theparanoidstylepod or on twitter @style_paranoid.  Our awesome new logo was drawn by Malcolm Johnson. Please check out more of his amazing art on Instagram: https://www.instagram.com/105putty/Music used in this episode is from: Purple Planet Royalty Free Music  Opening theme music provided by Tony Molina. You can hear more of his music at https://tonymolina650.bandcamp.com/We at the Paranoid Style Podcast can barely do math... but, if you are interested in becoming a Software Development Leader that will literally be helping to locate Extraterrestrial Technological Civilizations, apply for a fellowship with the Galileo Project!

Welcome to the Paranoid Style Podcast! In this episode we're trying something a little different… this is the Extemporaneous Style #1. Get to know your hosts from our favorite types of conspiracy theories to our watching habits. Our malapropisms to our mispronunciations. We take a question from a listener that's fake and run for cover when the earth starts to shake! If you have any topic suggestions for the show, questions you'd like answered or any tales to share, please email us at theparanoidstylepod@gmail.com, your email or question may be featured on a future Extemporaneous episode.  Please subscribe where ever you get your podcasts. Follow us on Instagram @theparanoidstylepod or on twitter @style_paranoid. Music used in this episode is the "Spanish Flea" as performed by Herb Alpert and the Tijuana Brass. Courtesy of Archive.org.Closing theme music provided by Tony Molina. You can hear more of his music at https://tonymolina650.bandcamp.com/

Have you ever tried hosting a podcast without having a plan. Just spouting nonsense from your gaping maw with no end in sight. It's really easy as evidenced by this episode of BFF. For best results listen at 1.5x

Have you ever tried hosting a podcast without having a plan. Just spouting nonsense from your gaping maw with no end in sight. It's really easy as evidenced by this episode of BFF. For best results listen at 1.5x