Podcasts about fountains

SARINA PAULSON is an entrepreneur and small business owner you need to hear. Paulson, who attended St. Mel, St. Francis, and Sac State, is the owner of the successful Willo Salons in Sacramento, Roseville, Fair Oaks, and Elk Grove. Her success is no secret. Starting in November 2019, Willo Salons has quickly become a household name in the areas it represents. It all started by watching her mom as a young business owner. That was followed by a 15-year career with JC Penney. Paulson is a true representative of small business done great. You are in for a treat.NOTE | New Format Starts Today for Experience the Buzz

SARINA PAULSON is an entrepreneur and small business owner you need to hear. Paulson, who attended St. Mel, St. Francis, and Sac State, is the owner of the successful Willo Salons in Sacramento, Roseville, Fair Oaks, and Elk Grove. Her success is no secret. Starting in November 2019, Willo Salons has quickly become a household name in the areas it represents. It all started by watching her mom as a young business owner. That was followed by a 15-year career with JC Penney. Paulson is a true representative of small business done great. You are in for a treat.NOTE | New Format Starts Today for Experience the Buzz

Former cruise ship employee, writer, actor, blogger, and social media star, Sharon worked for Carnival and Norwegian Cruise Lines. She tells about a collision between two ships in Cozumel, the trials and tribulations of a Grope Coordinator, an incident with a fire screen door, Fountains, and her transition from ships into a social media creator. https://www.instagram.com/rodrigoflamingo/  https://www.instagram.com/thesharonicles/

Welcome to South Fellowship Church! We exist to help people live in the way of Jesus with the heart of Jesus.   Connect with us ⬇️ About Us: https://southfellowship.org/ Red Couch Theology Podcast: https://apple.co/3c8hYPz Facebook: https://www.facebook.com/southfellowship Instagram: https://www.instagram.com/southfellowship Twitter: https://twitter.com/southfellowship   Give Online ⬇️ southfellowship.churchcenter.com/giving   Speaker: Alex Walton South Fellowship Church Based in Littleton, CO

We take A FABLED HOLIDAY (2022) out of time, and we apologize: No one's claiming the rights ... THEME: "Fuck You If You Don't Like Christmas," from Crudbump, by Drew Fairweather ... PART ONE  Play that glissando! ... Holiday recap: Hatchet accident, child custody, punting to Queens ... "Hanukkah on Rye" update ... A year of Countdown to Christmas Countdown ... Decompensating via Christmas nostalgia ... Who are your guys? ...   Break: Original music by Chris Collingwood PART TWO   Cast Rundown ... The Jake guy ... The Expositional Challenge ... Plot Mop-Up: Widower Charles on the Event Horizon ... Vincent Price chapter narration ... A strangely under-playful, overly traumatized movie ... Mr. Snowflake at Verso Books ... A WWI of emotion ... Spot the Devil: Mildred ... Spot the Angel: The Narrator ...    Break: Original music by Chris Collingwood PART THREE  Eat Your Heart Out: Mad Men/Lumbergh cocoa mugs; goulash; inaccurate beer pull; orange abbondanza; candy cane vape pen; chewing on cinnamon and rosemary ... The Hallmark Expanded Universe: The PNW telluric currents; angel vacation resort ... Overdetermined: Confronting the sprites, wild accusations; Mildred's Rickles routine; "I am done living in fear!" ... Stuff didn't work out! It's ok! ... Brooke D'Orsay Appreciation Station ...    Break: Original music by Chris Collingwood PART FOUR  Crossover: Introducing Ned Ryerson; nyads, wood-nymphs, things of that nature; Death Ship, again ... Unclaimed rights ... The Hallmark Voight-Kampff Test: Diane and Keith's divorce-a-thon ... Great Moments in Moppetry: Maybe 2,000 years old ... Mad Dog Russo's Revolutionary War ... Who's the Real Villain: Fiction publishing and copyright ... Literacy in DeSantisland ...   Break: Original music by Chris Collingwood PART FIVE Rating: 3 ... Meet your dead dad ... IMDB Dive: Ruby Monroe, script supervisor, Blade Trinity The Leftovers: Charles and Mildred banter (good), Charles despair line-reads (bad) ... All her stories, steel suitcase ... Made up village, lotta rules ... Blue violin, karate ... Six seasons and a screenplay! ... Merry Christmas! All other music by Chris Collingwood of Look Park and Fountains of Wayne, except: "Orchestral Sports Theme" by Chris Collingwood and Rick Murnane and "Torgo's Theme." Buy our show artist Caitlin Fitz Gerald's excellent book: Here.

As we remember the 2015 World Champion Kansas City Royals, let's revisit our Field of Legends Minicast – Episode 94. The Field of Legends is the focal exhibit at the Negro Leagues Baseball Museum.  This museum is a must see for any visiting the City of Fountains.

Joey's Song is an annual benefit concert that raises money and awareness for epilepsy research and program services for children with special needs. Mike Gomoll started Joey's Song in 2010 following the death of his four-year-old son Joey who suffered from Dravet Syndrome. Each year Mike brings musicians to Madison, Wisconsin to rock out and raise money for a great cause. On this special episode of the Cripescast, Charlie interviews a handful of artists who performed at this year's concert including John Gourley, Eric Hook, and Kyle O'Quinn from Portugal. The Man, Dave Pirner from Soul Asylum, Chris Collingwood from Fountains of Wayne and Miles Nielsen from Miles Nielsen and the Rusted Hearts.   For more information about Joey's Song head to joeyssong.org to see the outstanding work they're doing and how you can attend the benefit next January! 

If you're an America's Got Talent viewer, you've seen this week's guest in action. The Human Fountains are something to see- an act that completely lives up to their name. We sat down with Sam Kaufman from The Fountains, and go on the amazing journey that the group has been on.For more information, check out the Human Fountains website, or you can follow them on Facebook.

......Nat'l Media , Historic Event, Dr. Martin Luther Kings Foot Soldiers were many times KIDSI am BOTH a Northerner & present Washingtonian who was born after the Historic Marches for My Civil Rights to Vote, Education, Public Accommodations,, Transportation & Employment. I have  only READ about the Civil Rights Movement & marches. I truly appreciate those that sacrificed their own lives for my Rights to a Better Life.Major Media Nationally & Internationally  covered in the Marches. Citizens & Celebrities also participated:Joan Baez, James Baldwin, Ina Balin, Harry Belafonte, Tony Bennett, Leonard Bernstein, Sammy Davis, Jr., Billy Eckstein, Dick Gregory, Lena Home, Mahalia Jackson, Alan King, William Marshall, Johnny Mathis, Frankie Laine, Gary Merrill, Julius "Nipsey" Russelll, Pete Seeger, Nina Simone, Susan Sarandon, Pernell Roberts, Odetta, Peter,Paul & Mary.... My Guest is the Reverend Clarence Varner who was in Grade School when he joined the Marches for Civil Rights in the 1960's. Although it cost Him is Part-Time Job while a Teenager, He held on to his Beliefs to Stay in the Fight, even getting Arrested Several times & Tear Gassed, Cattle Prod Shocked, Attack Dogs & Fire Hosed because he stood with others to Petition the the Governor for the Right for Blacks to Vote. Reverend Varner's Opinion's Personal, Political he States are HIS Own based on his life Experiences.Rev. Clarence Varner served  The United States in the Marine Corps for 8 years & served in during Vietnam during the War , he was wounded. Today he serves his God,  Country & Community in the continued fight for Civil Rights.There were many people who participated at the request of Dr. Martin Luther King*In 1965, Blacks could not: *go to eat AT McDonald's or any fast food , Dine In Eatery, Blacks were served at the Side or Back Door.*Social Movie Theatres, & Clubs too*Schools in the South & other State were Segregated*Housing was Segregated in Much of America. Redlining was the norm.* Thriving Middle Class Black Business's in Black Communities were forced out of Business due to the Federal Highway's that were built OVER that land.* Separate water Fountains & Bathrooms*Separate Transportation on Buses & Trains, etc.* Upper Corporate Jobs were not opened to most BlacksThere were THREE Marches across the Edmund Pettis Bridge to get to the State Capitol of Montgomery, The fist TWO times, Marchers were turned away  by valence's by State Troopers or Locals. The Marches were ignited by the Death of SCLC local Jimmie Lee JacksonWhat did Jimmie Lee Jackson accomplish?Jimmie Lee Jackson, was a Vietnam veteran, Baptist deacon, activist and martyr of the Civil Rights Movement. Jackson, active in the fight for equal rights, had tried multiple times to register to vote in Alabama and was denied each time.When Jimmie Lee Jackson saw his frail 80-year-old grandfather rudely turned away from the registrar's office in 1962 after attempting to register to vote in Marion, Ala., the young man became angry. He knew he had to join the civil rights movement.On Feb. 18, 1965, he was among more than 200 people participating in a night march in Marion. Before they had walked a block, they were confronted by state troopers and the police chief, who ordered them to disperse.The marchers halted at the chief's order, and suddenly all the streetlights on the square went out. A black minister at the head of the march knelt to pray and was struck on the head by a trooper. Other troopers began swinging their clubs, and the marchers panicked, running for cover.Jackson and his mother huddled for safety in a café. When Jackson's grandfather entered the café bloodied and beaten, the young man tried to take him to a hospital. But they were quickly shoved back by a crowd of club-swinging troopers and terrified marchers.The troopers began knocking out the café lights with their clubs and beating people. Jackson saw a trooper strike his mother, and he lunged for the man. He was clubbed across the face and slammed him into a cigarette machine. Another trooper pulled his pistol and shot Jackson in the stomach. It was two hours before Jackson arrived at the hospital in Selma. He died eight days later.Forty-five years later, former trooper James Bonard Fowler pleaded guilty to a misdemeanor charge of second-degree manslaughter. He was sentenced to six months in jail but was released early due to poor health. Fowler claimed he shot Jackson in self-defense.At one of two services for Jackson, Dr. Martin Luther King Jr. told a crowd of 2,000: “Jimmie Lee Jackson's death says to us that we must work passionately and unrelentingly to make the American dream a reality. His death must prove that unmerited suffering does not go unredeemed.”© 2023 Building Abundant Success!!2023 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Necessity is the mother of invention, and a 20-year megadrought is the driving force behind several new aggressive water conservation measures in Southern Nevada. Doug Bennett, SNWA Conservation Manager, and JC Davis, Director of Customer Care & Field Services for the Las Vegas Valley Water District, talk about how you might be impacted by the new conservation initiatives and what you can do to drive down your water use on the Water Smarts Podcast, “AGGRESSIVE & PROGRESSIVE: New conservation measures to drive down water use.”Water Smarts Podcast Hosts: Bronson Mack and Crystal Zuelkehttps://www.snwa.com/

We're taking a dark and bloody tour of Kansas City as we talk about the 4th and 5th episodes of HBO's the Last of Us! As Joel and Ellie make their way through Cowtown, they encounter new enemies and some friends. Will they survive their detour through the City of Fountains or will they perish in the Paris of the Plains? Did I google these nicknames for KC? Yes. Yes I did. Follow us on Instagram @qhepod or send us an email at nielsenandpixley@gmail.com Opening and closing music - "Groovy Guitar" by joshuaempyre - https://freesound.org/people/joshuaempyre/ License - https://creativecommons.org/licenses/by/3.0/

After receiving Christ, we are being transformed by God's SPIRIT as we HEAR and DO God's WORD (Romans 12:1-2, 2Corinthians 3:16-18, James 1:21-25). (1) A man must first receive GOOD TREASURE into his HEART, by meditating on the Word of God and receiving His transforming life into your heart from the Spirit. This way his heart has an abundance of good treasure. (2) He must then BRING FORTH those GOOD THINGS from his HEART into his LIFE, by his words and actions. The primary way we express and release what is in our heart is by our WORDS: “For out of the ABUNDANCE of the heart the MOUTH SPEAKS” (Matthew 12:34-35). Your WORDS are very important to the final outcome of our lives (Matthew 12:37). We release the good things in our heart into our life by our words, for: “with the HEART one BELIEVES unto RIGHTEOUSNESS (right standing in the promise of God), and with the MOUTH CONFESSION (of the promise) is made unto SALVATION (the manifestation of the promise in our life)” (Romans 10:10). We must be DOERS of the WORD, and not HEARERS ONLY, otherwise we are deceiving ourselves if we think we are growing spiritually (James 1:22, Matthew 7:24-27), for we are BLESSED in our DOING of God's Word (James 1:25). Then James says that DOING the WORD starts by CONTROLLING our TONGUE – that is the first thing (James 1:26). James expands his teaching on the TONGUE in James 3, which is a chapter entirely devoted to our use of the TONGUE. He says is it the CONTROL CENTRE of our BODY and LIFE. If we can control our tongue, we are mature, and able also to bring our whole body under control (v2). We control the direction of our life by controlling our tongue, just as we can control a horse by using a bit in their mouth (v3), and just like a pilot can control the direction of a large ship, by using a small rudder, representing our tongue (v4). The tongue is also capable of great destruction, like a fire. If you do not control it, it has the power to destroy the course of your whole life. Because God set the tongue as our control centre, if we allow our tongue to be controlled by the fire of evil, then that destructive fire will spread to our whole body and life (v5-6). The tongue is like a wild beast, so we need God's help to tame our tongue (v7-8). If we do not exercise control, both blessing and cursing will proceed from our mouth, which should not happen (v9-10). In nature, a spring either sends forth fresh water or bitter water through the opening, but not both (v11). The reason why both blessing and cursing can come out of our mouths, is that there are 2 springs or fountains within us - the SPRING of the SPIRIT and the FOUNTAIN of the FLESH. We choose which spring we yield to. Your FLESH FOUNTAIN can produce nothing good, and your SPIRIT SPRING can only produce good (v12). We need to learn to discern between these 2 FOUNTAINS, between the wisdom from BELOW (words which are earthly, sensual, demonic and produce evil fruit), and the wisdom from ABOVE, which is pure, peaceable, gentle, willing to yield, full of mercy and good fruits, without partiality, without hypocrisy. Words from above flow in a Spirit of peace and TASTE good (sweet), and produce good FRUIT (righteousness and peace) - (James 3:13-18).

We've revisited plenty of albums released on major and independent labels from the 90s, but digging into self-released albums isn't something we've explored much - until now! Take New York City's Wünderband, who self-released their self-titled album in 1997. On the opening track, the band make their sound clear - punchy, catchy power-pop with some twists and turns. From the opening Aimee Mann call-out track "Yes Yes Hey Hey" to the Jellyfish inflected "I Don't Mind," the band sounds right at home alongside fellow 90s three-and-a-half-minute power pop magicians like Fountains of Wayne, Sloan, or The Figgs.   Songs In This Episode: Intro - Pinup 13:18 - Yes Yes Hey Hey 21:30 - Mayqueen 25:26 - I Don't Mind 35:46 - Circle and Fall Outro - Another Guy   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

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

Welcome to our out of this world Lit for Christmas party! In this episode, Marty and his friend, Madeline, drink alien secretions and have a close encounter of the Christmas kind with Whitley Strieber's Communion: A True Story. BONUS POINTS: For any listener who's been abducted by aliens! GHOST OF CHRISTMAS PRESENT SPIRIT: Alien Secretion (recipe courtesy of Tipsy Bartender) Ingredients: 2 oz. (60ml) Coconut Rum 2 oz. (60ml) Melon Liqueur 3 oz. (90ml) Pineapple Juice Rim: Blue Sugar Garnish: Cherry Directions: Rim the edge of your glass using blue sugar. Set aside. In a shaking glass with ice, combine coconut rum, melon liqueur, and pineapple juice. Shake well. Strain mix into rimmed glass over ice and garnish with a cherry. SPIRIT OF CHRISTMAS PRESENT NONALCOHOLIC ALTERNATIVE: Use ingredients and follow above directions, substituting melon syrup for melon liqueur and coconut and rum extract for coconut rum. Marty has a Master's in fiction writing, MFA in poetry writing, and teaches in the English Department at Northern Michigan University in the Upper Peninsula of Michigan. He served two terms at Poet Laureate of the Upper Peninsula, and has published the poetry collection The Mysteries of the Rosary from Mayapple Press. For more of Marty's thoughts and writing visit his blog Saint Marty (saintmarty-marty.blogspot.com) or listen to his other podcast Confessions of Saint Marty, also on Anchor.fm. Marty is a writer, blogger, wine sipper, easy drunk, and poetry obsessor who puts his Christmas tree up in mid-October and refuses to take it down until the snow starts melting. Madeline has a BA in English Creative Writing and gin drinking. Currently, she is pursuing a Library Science graduate degree and avoiding the Lizard Man of Bloomington. In her spare time, she enjoys reading eco-lit, true crime, and Alice Hoffman books. Music for this episode: "Jingle Bells Jazzy Style" by Julius H, used courtesy of Pixabay. "A Christmas Treat" by Magic-828, used courtesy of Pixabay. Other music in the episode: "I Want an Alien for Christmas." Fountains of Wayne. I Want an Alien for Christmas. Atlantic, 1997. A Christmas Carol sound clips from: The Campbell Theater 1939 radio production of A Christmas Carol, narrated by Orson Welles and starring Lionel Barrymore. This month's Christmas lit: Strieber, Whitley. Communion: A True Story. Walker & Collier, 1987.

Angela Vanhaelen's The Moving Statues of Seventeenth-Century Amsterdam: Automata, Waxworks, Fountains, Labyrinths (Penn State University Press, 2022) opens a window onto a fascinating and understudied aspect of the visual, material, intellectual, and cultural history of seventeenth-century Amsterdam: the role played by its inns and taverns, specifically the doolhoven. Doolhoven were a type of labyrinth unique to early modern Amsterdam. Offering guest lodgings, these licensed public houses also housed remarkable displays of artwork in their gardens and galleries. The main attractions were inventive displays of moving mechanical figures (automata) and a famed set of waxwork portraits of the rulers of Protestant Europe. Publicized as the most innovative artworks on display in Amsterdam, the doolhoven exhibits presented the mercantile city as a global center of artistic and technological advancement. This evocative tour through the doolhoven pub gardens—where drinking, entertainment, and the acquisition of knowledge mingled in encounters with lively displays of animated artifacts—shows that the exhibits had a forceful and transformative impact on visitors, one that moved them toward Protestant reform.  Deeply researched and decidedly original, The Moving Statues of Seventeenth-Century Amsterdam uncovers a wealth of information about these nearly forgotten public pleasure parks, situating them within popular culture, religious controversies, global trade relations, and intellectual debates of the seventeenth century. It will appeal in particular to scholars in art history and early modern studies. Jana Byars is the Academic Director of Netherlands: International Perspectives on Sexuality and Gender. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Angela Vanhaelen's The Moving Statues of Seventeenth-Century Amsterdam: Automata, Waxworks, Fountains, Labyrinths (Penn State University Press, 2022) opens a window onto a fascinating and understudied aspect of the visual, material, intellectual, and cultural history of seventeenth-century Amsterdam: the role played by its inns and taverns, specifically the doolhoven. Doolhoven were a type of labyrinth unique to early modern Amsterdam. Offering guest lodgings, these licensed public houses also housed remarkable displays of artwork in their gardens and galleries. The main attractions were inventive displays of moving mechanical figures (automata) and a famed set of waxwork portraits of the rulers of Protestant Europe. Publicized as the most innovative artworks on display in Amsterdam, the doolhoven exhibits presented the mercantile city as a global center of artistic and technological advancement. This evocative tour through the doolhoven pub gardens—where drinking, entertainment, and the acquisition of knowledge mingled in encounters with lively displays of animated artifacts—shows that the exhibits had a forceful and transformative impact on visitors, one that moved them toward Protestant reform.  Deeply researched and decidedly original, The Moving Statues of Seventeenth-Century Amsterdam uncovers a wealth of information about these nearly forgotten public pleasure parks, situating them within popular culture, religious controversies, global trade relations, and intellectual debates of the seventeenth century. It will appeal in particular to scholars in art history and early modern studies. Jana Byars is the Academic Director of Netherlands: International Perspectives on Sexuality and Gender. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Angela Vanhaelen's The Moving Statues of Seventeenth-Century Amsterdam: Automata, Waxworks, Fountains, Labyrinths (Penn State University Press, 2022) opens a window onto a fascinating and understudied aspect of the visual, material, intellectual, and cultural history of seventeenth-century Amsterdam: the role played by its inns and taverns, specifically the doolhoven. Doolhoven were a type of labyrinth unique to early modern Amsterdam. Offering guest lodgings, these licensed public houses also housed remarkable displays of artwork in their gardens and galleries. The main attractions were inventive displays of moving mechanical figures (automata) and a famed set of waxwork portraits of the rulers of Protestant Europe. Publicized as the most innovative artworks on display in Amsterdam, the doolhoven exhibits presented the mercantile city as a global center of artistic and technological advancement. This evocative tour through the doolhoven pub gardens—where drinking, entertainment, and the acquisition of knowledge mingled in encounters with lively displays of animated artifacts—shows that the exhibits had a forceful and transformative impact on visitors, one that moved them toward Protestant reform.  Deeply researched and decidedly original, The Moving Statues of Seventeenth-Century Amsterdam uncovers a wealth of information about these nearly forgotten public pleasure parks, situating them within popular culture, religious controversies, global trade relations, and intellectual debates of the seventeenth century. It will appeal in particular to scholars in art history and early modern studies. Jana Byars is the Academic Director of Netherlands: International Perspectives on Sexuality and Gender. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Angela Vanhaelen's The Moving Statues of Seventeenth-Century Amsterdam: Automata, Waxworks, Fountains, Labyrinths (Penn State University Press, 2022) opens a window onto a fascinating and understudied aspect of the visual, material, intellectual, and cultural history of seventeenth-century Amsterdam: the role played by its inns and taverns, specifically the doolhoven. Doolhoven were a type of labyrinth unique to early modern Amsterdam. Offering guest lodgings, these licensed public houses also housed remarkable displays of artwork in their gardens and galleries. The main attractions were inventive displays of moving mechanical figures (automata) and a famed set of waxwork portraits of the rulers of Protestant Europe. Publicized as the most innovative artworks on display in Amsterdam, the doolhoven exhibits presented the mercantile city as a global center of artistic and technological advancement. This evocative tour through the doolhoven pub gardens—where drinking, entertainment, and the acquisition of knowledge mingled in encounters with lively displays of animated artifacts—shows that the exhibits had a forceful and transformative impact on visitors, one that moved them toward Protestant reform.  Deeply researched and decidedly original, The Moving Statues of Seventeenth-Century Amsterdam uncovers a wealth of information about these nearly forgotten public pleasure parks, situating them within popular culture, religious controversies, global trade relations, and intellectual debates of the seventeenth century. It will appeal in particular to scholars in art history and early modern studies. Jana Byars is the Academic Director of Netherlands: International Perspectives on Sexuality and Gender. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we are joined by Spencer Fox of Charly Bliss to talk about Fountains of Wayne's infectiously catch self-titled Debut. We discuss secret photoshoots, the office candy dish, soup vending machines, Spencer's top tier soups, frosty mugs, remembering the Party Expo, Andrew's nights at House of Yes, touring with Jimmy Eat World, the Rock and Roll Hall of Fame, Dan toots his own horn, Starland coffee runs, gatekeeping harder, Horny Pop, deconstructing the Red Hot Chilli Peppers, Emo Game, Dark Rose McGowan, Maryland Manson, names you can trust, the Barsuk private jet, podcasting live at Red Rocks, simple and cathy music, SR-71, Shanty Pastiche, a list of albums that came out in 1996, first track singles, our preferred Weird Al albums, Matthew Lesko, rude British bikers, and Big Hog Rider Andrew. // Join our PATREON for bonus episodes here. Follow us at @danbassini, @mysprocalledlife, @greatmouthfeel, @charlybliss and @runintotheground. Listen to our RITG Mixtape Vol. 12 Best of 2022 here and our Best of RITG playlist here.

1/13/23 H2: Loosey Goosey, Mom's Picks, FSU Baseball, Water Fountains & Buffets  Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Las Vegas Strip attracts all types of people. Vacationers, gamblers, foodies, partiers...and daredevils.  And there's one specific spot on the strip that's been particularly appealing to those who make their living defying death: The Fountains at Caesars Palace Since Caesars Palace opened back in 1966, the usually serene spot along Las Vegas Boulevard has played host to multiple brave - and possibly crazy - people who've attempted to jump their motorcycles over the famed fountains.  Some have succeeded but many others have failed...spectacularly. As we mark 55 years since the very first attempt on December 31, 1967, I invite you to sit back, relax and enjoy this specially re-mastered version of Sin City Stories: A Cunning Display Of Stunts. If you want to learn more about these daredevils, check out the shownotes for Volume 4 of Sin City Stories featuring articles, photos, videos and more! __________________________________________________________________________ Become a Jeff Does Vegas Insider today for only $5 USD/month & enjoy all kinds of cool perks like early access to new episodes, commercial-free versions of EVERY episode, invites to exclusive live streams & videos, insider-only virtual hangouts and even real-life in-person hangouts IN Las Vegas! Sign up NOW at patreon.com/jeffdoesvegas __________________________________________________________________________ Jeff Does Vegas is an official Vegas.com affiliate!  Help support the podcast & get exclusive deals by booking your hotel stays, shows, attractions, tours, clubs and even complete vacation packages (including air & hotel) with our special link!

We end 2022 by covering the 2012 James Iha solo album "Look To The Sky", the sonically ambitious follow-up to Iha's first solo album "Let It Come Down". Pat remains out and Frank battles a cold but here to help Frank cover this overlooked gem is Patreon member and Aussie Pumpkinhead David Jepsen! We talk about the album's excellent production, James gettin' sleazy by aping Iggy Pop, "Sad Happy Songs" and the incredible stable of James' talented friends appearing on the album including Karen O & Nick Zinner of the Yeah Yeah Yeahs, Adam Schlesinger of Fountains of Wayne, Nina Persson of The Cardigans, Sara Quin of Tegan and Sara, Mike Garson, Tom Verlaine of Television and Nathan Larson of Shudder to Think. Pump this 'kast while your eyes are glued on a valium gloomy day! How to support the 'kast: NEW ! MERCH Our PATREON buymeacoffee.com/Pumpkast Please rate and review us! Follow us on the socials: Twitter: @PumpkinsPodcast Instagram: @smashingpumpkast TikTok: @smashingpumpkast

We are excited to share this bonus episode with all of you. Several musicians who have appeared on the podcast or will be making their debut in early 2023 were kind enough to share their Christmas greetings… and their Christmas songs… for our Pops on Hops fans! Some of these are older songs, and some were recorded specifically for this episode. First up is “The Christmas Song” performed by Connie and Nick Martino (feat. Daphne Martino). Nick will be joining us next season to discuss his work with New York Funk Exchange. Our second entry is from Matt Carlson of Harborcoat. Matt produced a new Christmas single for 2022, a cover of Valley Winter Song by Fountains of Wayne. Listen to Matt's interview in our episode Friends are Inclusive. Up next is Jack Cornell, who shared an old Olympic Ass-Kicking Team song, “Christmas on the Faces.” Listen to Jack's interview in our episode Friendship Wins. Rounding out our special is a song by Grammy-winning artist Jon Carroll, formerly of Starland Vocal Band. Jon shared his recording of Going Home For Christmas, a song he has long played at the Annual Jingle Jam Concerts in Leesburg, Virginia, to benefit the Juvenile Diabetes Research Foundation. Listen to Jon's interview in our episode Today (With Jon Carroll). We will see everybody when season three begins in March 2023. We will kick things off with a discussion of Xanadu by ELO, submitted to our Virtual Jukebox by Greg Jong of The Procession. This episode will be released on March 3, 2023. Follow Barry or Abigail on Untappd to see what we're drinking when we're not on mic! Facebook | Instagram | Twitter | YouTube | Website | Email us | Virtual Jukebox --- Send in a voice message: https://anchor.fm/pops-on-hops-podcast/message

Cada any fem el mateix, ens esperem fins a

Cada any fem el mateix, ens esperem fins a

We're ringing in the Holiday Season on Rounding The Bases with a "Best Of" Series. We reflect on what an incredible year it has been with tremendous guests! We start the series off listening back to one of our favorite episodes of the year. With a reputation for being one of hip-hops most unconventional rappers and his signature rapid-fire flow, our guest has earned notoriety around the world. With credits that include 17 studio albums, a BET Nomination and repeat appearances on the Forbes list, his accolades kick almost as hard as his bone fide beats. Stomp your feet and clap your hands for the City of Fountains' very own platinum recording artist, Tech N9ne. For more conversation with Tech N9ne, please visit: https://bit.ly/RTBTechN9ne

It's PUMPKIN EVERYTHING (2022), and we'll never pass up a good thing. Radio by seniors, for seniors ...  THEME: "Fuck You If You Don't Like Christmas," from Crudbump, by Drew Fairweather ... PART ONE  Bug planet! ... Michael Ironside Appreciation Station ... Extremely weird, way too real ... Dead malls, pizza chains ... Repetitive love arc. vs. elder mortality and AA ... A rom-som template on real vulnerability ... Bruce Arians ... Our aging [step]parents[-in-law], aging and driving ... First normal person in a Hallmark world ... Committed, sincere, Hallmark dialogue ... Fundamental grouchy love ... Real Crossover: A Canadian indie film in a Hallmark universe ...   Break: Basil Poledouris, "Klendathu Drop," Starship Troopers soundtrack. PART TWO   Cast Rundown ... The Expositional Challenge ... Plot Mop-Up: Hey, Good Morning; Amy Instagram; she's a business ... Jazz aficionado ... Senior Radio ... Apology, AA confessional, let's race! ... Scarecrow teen treachery ... Spot the Angel: No ... Eat Your Heart Out: Caramel mortarboard; foliage week, proper names, time dilation; first pumpkin latte of the season; late Loggia, Alex Jones; hotel pitcher of cider; Luke and Lillian's pumpkin sage ravioli; Mountain Dew Braised Rojas ... The Hallmark Expanded Universe: Tom is Billy Pilgrimed here; diner kid in the movies, here, now; "Pumpkin Pie Wars"; "Holiday Date," the undercover Jewish experience, Delco Extended Universe ...   Break: Original music by Chris Collingwood PART THREE  Letters to Santa: Andrea Canning, the Dateline anchor, USS Christmas and IMDB ... Overdetermined: Necessarily overt talks; soundtrack cue, swing hooting ... Crossover: Starship Troopers and Scanners, of course ... The Hallmark Voight-Kampff Test: Mom Lillian, jerk-horny, work-life imbalanced ...   Break: Original music by Chris Collingwood PART FOUR  Who's the Real Villain?: The elder care industry ... Don't wanna know the book's plot ... Full Mendo ... Title/Sequel: Good title; fed up; that feel, Tone ... Rating: 3.5 ... "Inchon Landing on the War on Christmas" ... The Leftovers: The Jeff Beesley experience ... The Michael Ironside IMDB tour ... McBain ... Surfacing/Scanners ... Cohagen, horse breeder ... Megawattage ... Soundalike narrative soundtrack ... Merry Christmas!  All other music by Chris Collingwood of Look Park and Fountains of Wayne, except: "Orchestral Sports Theme" by Chris Collingwood and Rick Murnane and "Scanner Duel," by Howard Shore, Scanners soundtrack. Buy our show artist Caitlin Fitz Gerald's excellent book: Here.

Wednesday Word from the Wise This Wednesday Word from the Wise is going to be a little different! This is an exert from Josue & Ella's Wedding. Josue's Dad (Pastor Eliu Ibarra) officiates the wedding and give sound advice for a healthy marriage. Pastor Eliu Ibarra is the Pastor of Fountains of Living Waters Church in Casa Grande Arizona. Sign up for our Newsletters! https://forms.gle/n2yPjbH7H3AeDqnL8 Follow us on Instagram! @josueibarrapodcast Questions or Prayer Request! hello@josueibarra.net

" When it's late, and it's hot and an hour in the shower is the best that you've got " - Fountains of WayneTIME FOR T BelieverHey Pam! In the VanAnchor & Bear Red InkDeath Cab For Cutie I Miss StrangersNeko Case People Got a Lotta NerveThe Overtures THE HOLLOW BELLSDavid Woodard Literally Probably MaybeChris Richards and the Subtractions She Belongs To MeThe Only Ones Lovers of TodayThe Tisburys Broken WingCrippled Pilgrims Black And White (Alternate VersionWire Train LikeLibrarians With Hickeys I Better Get HomeLOS FLECHAZOS Dream In My MindThe Hangabouts NovemberThe Rhinos Dream DiaryFountains Of Wayne Someone To LoveMarshall Crenshaw She Can't DanceThe Jim Carroll Band Catholic BoyThe Bangles Hazy Shade Of WinterMark Mulcahy Later For The BoxStill Chasing!

Genesis 7:11-12 In the six hundredth year of Noah's life, in the second month, the seventeenth day of the month, the same day were all the fountains of the great deep broken up, and the windows of heaven were opened. And the rain was upon the earth forty days and forty nights. To support this ministry financially, visit: https://www.oneplace.com/donate/1232/29

Welcome back to another episode of the podcast. This week's episode features return guest @mr_activated to catch up, discuss the new drake and 21 album, Ye cancellation, black trauma and going to therapy for heartbreak. Tune in! Timestamps: 0:00 – Intro 4:15 - Ibou inspired Duke 5:42 - Ibou is going to the motherland 7:37 - Her Loss Album review 11:01 - Fountains by Drake and Tems is a terrible song 16:01 - Her Loss album rollout 22:09 - Thoughts on the Ye cancellation 32:00 - Why is black trauma so normalized in media 36:00 - Going to therapy for heartbreak 50:23 - Silly Shit Big thank you to every single one of you that listen. Have QUESTIONS for the podcast? SEND THEM TO: ROTMPodcast@gmail.com Or via Instagram DM at: https://instagram.com/rotmpod Be sure to give us a thumbs up on YouTube and SUBSCRIBE if you haven't already, it helps the channel grow! Rate us on iTunes and check us out on Spotify, Amazon Music and VURBL as well! Check out the video of the full episodes available on the ROTM Podcast YouTube channel! Subscribe, leave a comment and like! https://www.youtube.com/channel/UCoYajGTkjxOr98SYdr1Uzzg?view_as=subscriber

CASEY JOHNSTON'S making us stretch before WARMING UP TO YOU (2021), but we're willing to reconsider if:  We want to buy that "Congrats on finding a floater" card ... THEME: "Fuck You If You Don't Like Christmas," from Crudbump, by Drew Fairweather ... PART ONE  Toilet drop ... Meet Casey! ... Love your work, and I'm not heeding it ... Renamed movie ... Grew up in Hallmark stores ... Teen money ... Haunted by figurines ... Work at Hallmark ... Work at the Gap ... Gift wrap ... Year-round Christmas store ...  PART TWO   Cast Rundown ... The Expositional Challenge ... Plot Mop-Up ... Wrecked toilet ... Daffy final third ... Real-ish growth ... More nuance, still confused ... Maximize Your Tropes: Milkshake theft; "my values"; giant fake belly; lake surfing; anchored together; stunt coordinator ...   PART THREE  Spot the Angel: Bestie Sasha or old Minnie ... Eat Your Heart Out: Gym shake; workout negroni; cheese fries, tendies, gym; Costco cheeseballs jar; butane-roasted cauliflower; contemporary pizza; chip smuggling, snack confiscation ...   PART FOUR  The Hallmark Expanded Universe: Decommissioned Summer Camp Belt (Episode 57) ... Overdetermined: Ex Liza's arrival; Jared's "work"; stunt-training; homecoming gown; "her rules" ... Crossover: Chris Hemsworth's paunch workout; Ben Affleck quitting Dunkin; Kate's Most Dangerous Game ...     PART FIVE    Hallmark Bechdel Test: Barely! ... Hallmark Voight-Kampff Test: Rick; Jared; maybe everyone; Minnie ... Who's the Real Villain: Fat-shaming/bad science ... Rating: 3.5 ... A flow state of assumed chemistry ... Giant thumbs-down sticker ... Into sticker-shaming ... Snotty table turning ...  PART SIX The Leftovers: 70% of the population has a dad-bod ... Good locations ... Minnie is a ghost ... IMDB Dive: Christie Will Wolf, W. Stuart, Reacher's brother ... Going to Hogwarts ... Race to Save the World at Midnight ... Avocado green ... Driftwood ... Bad cornhole ... Plugs! ... Merry Christmas!  All music by Chris Collingwood of Look Park and Fountains of Wayne, except: "Orchestral Sports Theme" by Chris Collingwood and Rick Murnane, "Hooray for Hollywood," by John Williams and the Boston Pops and "Pump It Up (Instrumental)" by The HotRats. More from Casey: Twitter HERE • Book HERE • Newsletter HERE • Instagram HERE

We discuss an article recommended by Professor Plinio regarding the wondrous waters at Fatima. Our Lady is never outdone in generosity.

In this week's episode, Paige and Maribeth discuss The Fountains of Silence by Ruta Sepetys. This work of historical fiction follows the far-reaching fallout of the period following the death of Spain's dictator, Francisco Franco. Throughout their discussion, Paige and Maribeth also talk about the repercussions of countries failing to deal with the darker parts of their history. Be sure to follow us on Instagram @offthepaigewithmb --- Support this podcast: https://anchor.fm/offthepaige/support

This week Steve picked a bunch of songs about air travel.  You know, flying in a plane or a helicopter.  Lots of great songs from these artists: 20/20, Pulsars, Receiver, Blondie, The Last Shadow Puppets, Fountains of Wayne, Guster, The Confusions, New Order, Led Zeppelin, The Motors, Cast, Stiff Little Fingers, XTC. On the Air on Bedford 105.1 FM Radio      *** 5pm Friday ***      *** 10am Sunday ***      *** 8pm Monday *** Stream live at http://209.95.50.189:8178/stream Stream on-demand most recent episodes at https://wbnh1051.podbean.com/category/suburban-underground/ And available on demand on your favorite podcast app! Twitter: @SUBedford1051  ***    Facebook: SuburbanUndergroundRadio   ***    Instagram: SuburbanUnderground   ***     

Fox 4 anchor and reporter Matt Stewart says not so fast, and he has the receipts! In his new book, Unique Eats and Eateries of Kansas City (Reedy Press), you'll not only learn why nearly 90 KC-area eateries decided to open their restaurants in the City of Fountains, but also the stories behind their food. In today's discussion, Matt shares the backstory to this fun book, as well as his works of fiction touching on the sci-fi and mystery genres. Matt is also author of The Walk-On: Inside Northwestern's Rise From Cellar Dweller To Big Ten Champ, chronicling his time as a walk-on on the legendary out-of-nowhere Northwestern Wildcats that went from years in the basement to two Big Ten championships. Finally, Matt shares the story of his wife Chrissy's valiant fight against a rare and aggressive cancer. Unique Eats and Eateries of Kansas City is available wherever books are sold. However, we ask that you purchase your softback copies directly from his website (autographed!) to help him get the maximum royalty per sale, as funds help pay the medical bills. Learn more by watching this excerpt from Fox 4. Visit Matt's website: MattStewartBooks.com. You can buy books, #StewartStrong and KC Foodie t-shirts. Visit Alex's new author website: JAlexanderGreenwood.com. Buy Alex Greenwood's books on Amazon.com or email him to order your autographed copies here or visit https://jalexandergreenwood.com/shop. Original theme music "Mysterious Goings On" by Jamie Green. Want an excellent score for your podcast or website? Contact Jamie at Greenhouse Consulting. Check out Jamie's interview on the show here. Opening and closing announcer: Mary McKenna. Listen to her guest appearance on the show here. You should hire Mary for your voiceover needs. Contact her at mmckennakc(at)gmail.com. This Mysterious Goings On Podcast episode was recorded and mixed at Green Shebeen Studios in beautiful Kansas City, Missouri. Copyright 2022, all rights reserved. No reproduction, excerpting, or other use without written permission. We are an Amazon Associates seller; some of our links may earn us a commission. --- Send in a voice message: https://anchor.fm/j-alexander-greenwood/message

Lehi's vision in Ch 2 of 1 Nephi in the Book of MormonVideo podcastBook of Mormon study by Bob Bobit  notes for 1 Nephi ch2Scripture Search and Study http://www.restoredgospel.comThe Bible Project http://bibleproject.comContact us with comments or questions at:http://restoredgospelpodcast@gmail.comOr call us and leave a voice message at our podcast line816-379-6454

Today's episode is sort of a hybrid between my earlier solo episodes and the new Cliffs Notes version. We will cover 7 things, but they will all follow a theme that braid them together.Today's 7 things are:1) A quote from Cleo Wade2) The definition of TRUE friendship3) Words by Charles Cooley4) "Poopy LeAnna"5) Fountains and Drains6) Voluntary vs. Involuntary Chaos7) Community and True Belonging****Here's the GoFundMe page for Lisha and her girls:https://www.gofundme.com/f/lisha-miya-and-matilda-hope-for-a-futureFollow LeAnna and Curating the Curious:Instagram: @curating.the.curious @leanna_azzolini_photographyWebsite:leannaazzoliniphoto.com

Adding a soothing, relaxing feature of a fountain or living pond to your home?  Know the difference between them.  Plus learn about the latest homeowner scams.  A follow up on adding antifreeze to concrete or mortar in colder climates.  Homeowner questions on earthship homes (we explain what they are), insulation, recaulking shower corners and more!

JONATHAN KATZ and SAM ADLER-BELL sail into history aboard the USS Christmas (2020), but first:  Let's go get hot chocolate! THEME: "Fuck You If You Don't Like Christmas," from Crudbump, by Drew Fairweather PART ONE  Meet Jon, Sam, Sam's grandma and Jon's mom! ... Happy story, death machine ... Cast Rundown ... Niven ... The Dual Expositional Challenge ... Was this fun? ... Can't think past the meatball ... Bald evangelism ... Cool planes ... Hanoi Hilton ... Ruin movies with college ... Not much USO ... Vietnam ...       Break: "I Bombed Korea," by Cake PART TWO   Journalismism: The Moore-Bacon wedding; less important work; firefighter baby; staffed paper; "Mr. Bailey"; Maddie ruins lives; public-records incompetence; FOIA; stealing documents; New Yorker-ass paper; headlines; Maddie's email; streaming entertainment ...             Break: Original music by Chris Collingwood PART THREE  Spot the Angel: Captain Chet ... A real talk about trauma ... MILF hunter ... Marines plane, yuletide ship ... Nick Frost ... Eat Your Heart Out: Dinner rolls; bacon; shared milkshake; NYC bistro in Wilmington, NC; NYC Waffle House; mistletoe martini; abundant hot chocolate; sucky chestnuts; candy cane gnawing  ...  Break: Original music by Chris Collingwood PART FOUR  The Hallmark Expanded Universe ... Overdetermined: Wine toss; ditched rival; the Grinch; trauma swappin'; "Daddy's Girl"; scared of Christmas ... Join the Patreon! ... Crossover: Flight of the Intruder; USS Milius; Man in the High Castle; Captain Chet Red Octobers it; a U-571 Christmas ... The Hallmark Voight-Kampff Test: Grinch Billy, troubled reader; every character; Maddie's horny widow mom, who only likes one child ...    Break: "Drop Da Bomb," by Party Posse PART FIVE Who's The Real Villain?: Disliking the military; facing reality; generational trauma; news' novelty bias ... Rating: 3 ... It's a Wonderful Boat! ... Jen Lilley gas face ... Niven didn't bring it ... Know Your Enemy Appreciation Station ... Break: Original music by Chris Collingwood PART SIX The Leftovers: Aircraft carriers in NYC ... IMDB Dive ... Q-pilled Dorothy with clone Sam ... Joni Mitchell Appreciation Station ... Podcaster beefcake ... LBJ! ... Anna Chennault ... Robert Strange McNamara ... Smedley Butler ... Plugs! ... TYFYS ... Merry Christmas!   All other music by Chris Collingwood of Look Park and Fountains of Wayne, except: "Orchestral Sports Theme" by Chris Collingwood and Rick Murnane and "Take My Breath Away" by Berlin. Follow Sam on Twitter: @SamAdlerBell Follow Jon on Twitter: @KatzOnEarth Order Jon's book here.