Podcasts about Lei

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Latest podcast episodes about Lei

China EVs & More
Episode #83 - Tu and Lei finally meet, the Detroit Auto show

China EVs & More

Play Episode Listen Later Sep 27, 2022 44:59 Transcription Available


In this episode recorded at TechTown Detroit, Lei heads to Detroit to meet Tu in person for the first time!They spend the busy week participating in both auto show and non-auto show related events. 

Web Rádio Censura Livre
ECONOMIA É FÁCIL | Lei de Cotas, 10 anos: houve mudanças sociais pela educação?

Web Rádio Censura Livre

Play Episode Listen Later Sep 26, 2022 62:48


Nesta segunda-feira 26/09 ao vivo às 18h | Mais uma edição do programa Economia É Fácil pelas plataformas web da Rádio Censura Livre. A economia na sua linguagem e o destaque das notícias dos últimos dias analisadas pela ótica dos trabalhadores.

The Gary Null Show
The Gary Null - 09.26.22

The Gary Null Show

Play Episode Listen Later Sep 26, 2022 61:44


Videos : Those who speak out are shouted down until they are proved right, says Neil Oliver – 10:06 Gad Saad: Why Rational People Fall for ‘Parasitic' Ideas | American Thought Leaders CLIP – 9:11 Scientist Carl Sagan testifying to the U.S. Senate in 1985 on the greenhouse effect: – 2:44 Parent Eviscerates School Board Over Censorship– 4:59 Vitamin C supplementation associated with improved lung function in COPD Medical College of Lanzhou University (China), September 23 2022. The International Journal of Chronic Obstructive Pulmonary Disease published a systematic review and meta-analysis of clinical trials that found improvement in lung function among chronic obstructive pulmonary disease (COPD) patients who received vitamin C. The disease is characterized by airflow limitation and persistent respiratory symptoms. Ting Lei of Medical College of Lanzhou University in Lanzhou, China and associates identified 10 randomized, controlled trials that included a total of 487 adults with COPD for the meta-analysis. The trials compared lung function and/or antioxidant enzyme or nutrient levels of COPD patients who received vitamin C to a placebo or control group. The meta-analysis found improvement in forced expiratory volume in one second as a percentage (FEV1%, a measure of lung function) in association with vitamin C supplementation. When dosage was analyzed, it was determined that consuming more than 400 milligrams vitamin C per day was needed experience a significant benefit. The ratio of FEV1 to forced vital capacity (another lung function assessment), and levels of vitamin C and glutathione, both of which are antioxidants, also improved among participants who received vitamin C supplements. The authors remarked that oxidative stress, which is a disturbance of the oxidant to antioxidant balance, has been suggested as playing a role in the development of COPD. The current investigation is the first systematic review and meta-analysis to assess the effect of vitamin C supplementation in people with COPD. “We found that supplementing vitamin C to patients with COPD demonstrated vital clinical significance,” Lei and associates concluded. “Vitamin C supplementation could increase the levels of antioxidation in serum (vitamin C and glutathione) and improve lung function (FEV1% and FEV1/FVC), especially in patients treated with vitamin C supplementation greater than 400 mg/day.” Single Flavanoid (Found in 6 Foods) Reduces Cognitive Impairment Drastically Fourth Military Medical University (China), September 19, 2022 A singular flavanoid can protect the brain against cognitive deficit and other cellular damage, according to studies from the Fourth Military Medical University. The news comes from Xi'an, People's Republic of China, and shows great promise for those suffering from mental impairment due to Alzheimer's disease, vascular dementia, and other debilitating cognitive conditions. The study abstract concludes: “Our results provide new insights into the pharmacological actions of rutin and suggest that rutin has multi-targeted therapeutical potential on cognitive deficits associated with conditions with chronic cerebral hypoperfusion such as vascular dementia and Alzheimer's disease.” Rutin is a biologically active flavonoid found in the following foods:  Buckwheat – Possibly the best source of rutin, and much better than boiled oats, uncooked buckwheat leaf flower offers about 675 mg in a 1.1 cup serving. Uncooked buckwheat groats contain 230 mg of rutin per 1 kg, dark buckwheat flour has 218 mg per 1 kg and buckwheat noodles provide 78 mg. Elderflower Tea – When dried, the white flowers of the elderflower make a delicious and rutin-filled tea. According to the Czech Journal of Food Science, elderflower tea contains approximately 10.9g/kg of rutin per brewed cup. Amaranth Leaves – In Western cultures, most people are familiar with the edible seeds of amaranth, though in Chinese and Southeast Asian cooking the leaves are also gaining traction, partly due to their high rutin content. You can expect around 24.5g/kg from the dried leaves. Seeds only contain trace amounts of the important nutrient. Unpeeled Apples – Keep the peel on your apples to enjoy lots of rutin. Just be sure that they are organic, since apple peels are especially prone to pesticide build-up. Apple skins are 6x as powerful as the flesh at preventing high blood pressure due to this flavanoid, too. • Unfermented Rooibos Tea – While rooibos tea contains fewer antioxidants than black or green teas, it is a good source of rutin, providing around 1.69 mg/g. • Figs – These little gems contain about the same amount of rutin as apples, so be sure to add them to your diet. The scientists found that rutin works primarily through anti-inflammatory mechanisms, and reducing hypofusion in the brain. Resistance-breathing training found to lower blood pressure University of Colorado and University of Arizona, September 23, 2022 A team of researchers with members from the University of Colorado, the University of Arizona and Alma College, has found that resistance-breathing training can lower blood pressure as much as some medicines and/or exercises. The study is published in the Journal of Applied Physiology. Hypertension, also known as chronic high blood pressure, can lead to a wide variety of health problems, from loss of vision to strokes and heart attacks. For that reason, doctors take it seriously. Typically, patients are directed to modify their diet and to exercise more. If that does not fix the problem, medications are prescribed. In this new effort, the researchers looked into a new type of therapy to reduce blood pressure levels—resistance-breathing training. Resistance-breathing training involves breathing in and out of a small device, called, quite naturally, a POWERbreathe, every day for several minutes. The device forces the patient to use their breathing muscles to push and pull air through it, making them stronger. And that, the researchers found, also reduces blood pressure. The device has been in use for several years as a means to assist athletes, singers and people with weak lung muscles. Several groups of healthy volunteers practiced the training for a few minutes every day for six weeks. Each was breathed in and out with the device 30 times each session. Each of the volunteers had their blood pressure measured before and after the training. The researchers found a sustained average drop of 9 mmHg in systolic blood pressure (the top number in blood pressure readings)—normal pressure is defined as 120/80. They describe the change as significant, as much as some patients see with medication. They also note that it is similar to changes in many patients who begin an aerobic exercise regimen, such as walking, cycling or running. They suggest such training could be used by patients of all ages who are unable to exercise to lower their blood pressure. How To Maintain Peak Brain Health: Scientists Say It Comes Down To These 3 Factors Norwegian University of Science and Technology, September 23, 2022 What's the best way to maintain peak brain health as we age? There are countless studies detailing ways to prevent cognitive decline, so scientists in Norway sought to simplify the science of managing strong brain health to three recommendations. This report is something of a summation covering modern science's current understanding of how best to cultivate robust brain health. The team at NTNU cite 101 references to prior articles in this latest theoretical perspective paper. “Three factors stand out if you want to keep your brain at its best,” Prof. Sigmundsson adds. The three identified keys to strong brain health are: Physical exercise Social activity Strong, passionate interests and hobbies It's common knowledge that spending all day on the couch isn't healthy for the body, but physical activity is also key to brain health. “An active lifestyle helps to develop the central nervous system and to counteract the aging of the brain,” according to study authors. Researchers add that consistency is essential. Do your best to get in at least a little movement each and every day. Even if you work a sedentary job that requires lots of sitting, get moving every hour or so for just a few minutes at the very least. Some people are naturally more social than others, but researchers stress that no one is an island. Even if you prefer a quiet night in to attending a party, make an effort to stay in touch with the people who matter to you. Our brains thrive on social interactions and connections. “Relationships with other people, and interacting with them, contribute to a number of complex biological factors that can prevent the brain from slowing down,” Prof. Sigmundsson explains. Just like bicep curls help us build muscle, keeping the brain active promotes strong lifelong cognition. Consider taking up a new hobby, or learning a new skill. Perhaps most importantly, though, don't force it; find something you're actually passionate about. It's never too late in life to learn something new! “Passion, or having a strong interest in something, can be the decisive, driving factor that leads us to learn new things. Over time, this impacts the development and maintenance of our neural networks,” Prof. Sigmundsson says. “Brain development is closely linked to lifestyle. Physical exercise, relationships and passion help to develop and maintain the basic structures of our brain as we get older,” Prof. Sigmundsson concludes. Calcium supplements may support a healthy colon: Harvard study Harvard School of Public Health, September 18, 2022 Supplements of calcium or non-dairy products fortified with the mineral may reduce the risk of colorectal cancer, according to meta-analysis of prospective observational studies by researchers at Harvard School of Public Health. For every 300 mg increase in calcium from supplements was associated with a 9% reduction in risk, wrote NaNa Keum and her co-authors in the International Journal of Cancer . Every 300 mg increase in total calcium was associated with a similar reduction in risk (8%), they added. “Our findings have several important clinical and public health implications,” they explained. “First, according to the 2003 to 2006 National Health and Nutrition Examination Survey, a nationally representative cross-sectional survey in the U.S., median total calcium intake of adults aged over 50 years was approximately 650 mg/day for no calcium-supplement users and 1,000 mg/day for calcium-supplement users. “As the benefit of calcium intake on CRC is expected to continue beyond 1,000 mg/day, not only non-supplement users but also supplement users may further reduce their CRC risk through additional calcium intake.” “Second, while dairy products, especially milk, are the major sources of calcium in many countries, they are a substantial source of calories and contain potentially harmful factors such as saturated fat, hormones, and casein proteins. Since our analyses provide evidence for an equivalent benefit of dietary and supplementary calcium, the benefit of calcium on CRC risk may be obtained through supplements and non-dairy products fortified with calcium.” The Boston-based scientists conducted dose-response meta-analyses of 15 studies involving 12,305 cases of colorectal cancer and calcium intakes ranging from 250-1,900 mg/day. The studies varied in duration from 3.3 to 16 years. The data indicated that both total and supplemental calcium were associated with reductions in the risk of colorectal cancer. “In conclusion, both dietary and supplementary calcium intake may continue to decrease colorectal cancer risk beyond 1,000 mg/day,” wrote Keum and her co-authors. Yoga's Age-Defying Effects Confirmed by Science Defence Institute of Physiology and Allied Sciences (India), September 21st 2022 While yoga's longevity promoting effects have been the subject of legend for millennia, increasingly modern science is confirming this ancient technology for spiritual and physical well-being actually can slow aging and stimulate our regenerative potential. One particularly powerful study published lin the journal Age titled, “Age-related changes in cardiovascular system, autonomic functions, and levels of BDNF of healthy active males: role of yogic practice”, found that a brief yoga intervention (3 months) resulted in widespread improvements in cardiovascular and neurological function. Indian researchers studied healthy active males of three age groups (20-29, 30-39, and 40-49 years) by randomly assigning them to practice one hour of yoga daily for 3 months. The observed significant differences between the younger and older participants in the study, specifically: “Significantly higher values of heart rate (HR), blood pressure (BP), load in heart (DoP), myocardial oxygen consumption (RPP), and total cholesterol (TC) were noted in senior age group.” The yogic practice resulted in significant reductions in all of these parameters (HR, BP, DoP, RPP and TC). Also observed in the older participants were decreases in high frequency (HF), total power (TP), all time domain variables of heart rate variability (HRV), and skin conductance (SC) — all of which increased following yogic practice. Higher levels of catecholamines (“stress hormones”) and low frequency (LF) power of HRV were noted in advancement of age, both of which decreased following yogic practice. Additionally, the senior age group had highest levels of cortisol and adrenocorticotrophic hormone (ACTH), both of which decreased following yogic practice. Finally, brain-derived neurotropic factor (BDNF), serotonin, and dopamine were low in higher age group, but these increased following yogic practice; an indication of improved brain function and cognition. The researchers concluded: ‘This study revealed that yogic practices might help in the prevention of age-related degeneration by changing cardiometabolic risk factors, autonomic function, and BDNF in healthy male.” There are a number of promising studies revealing the age-defying potential of this ancient practice. Here are some additional benefits confirmed in 2014 alone: Age-Related Respiratory Problems: A 2014 study from the journal of Human Kinetics found that a 3 month yoga intervention in 36 elderly women (average age 63.1) significantly improved pulmonary (respiratory) function. Age-Related Brain Cognitive Decline: A review in the Journals of Gerontology, involving a two month Hatha yoga intervention in the elderly (average age 62.0) resulted in significant improvements in “executive function measures of working memory capacity and efficiency of mental set shifting and flexibility compared with their stretching-strengthening counterparts.” Age-Related Hormone Insufficiency: A study published in Evidence Based Complementary and Alternative Medicine found that a 3 month yogic intervention in men (average age 42.8) and women (average age 44.75) resulted in improvements in the level of growth hormone and DHEAS, two essential hormones that drop off precipitously as we age. Age-Related Sleep Problems: Astudy published in Alternatives Therapies in Health and Medicine found a 12 week yogic intervention (yoga 2x a week) resulted in significant improvements in the quality of sleep in older individuals (average age 60). Age-Related Depression: From the Chinese Journal of Nursing found that not only did yoga improve sleep as found in the study above but also significantly reduced the depressive symptoms of elderly participants…after 6 months. “ This is just a small sampling of the literature. There is older research revealing that yoga has even more benefits for aging populations.

CBN Vitória - Entrevistas
Centro: empresas terão isenção de IPTU e redução do ISS

CBN Vitória - Entrevistas

Play Episode Listen Later Sep 26, 2022 28:51


Empresas que atuam nas áreas de locação e gestão de mão de obra e vigilância, representação comercial, coworking e serviços combinados para apoio a edifícios (exceto condomínios), passarão a contar com redução de alíquota no Imposto Sobre Serviço (ISS), fixando sua alíquota ao menor patamar admitido pela legislação (2%). Outra proposta é a isenção do pagamento do Imposto Sobre a Propriedade Predial e Territorial Urbana (IPTU) pelo período de cinco anos para imóveis que atenderem aos requisitos da Lei de Retrofit. Em entrevista à CBN Vitória, o prefeito de Vitória, Lorenzo Pazolini, detalha as mudanças.

Jovens Cronistas
Debatendo o Debate: Sem Lula, SBT reúne presidenciáveis para debate

Jovens Cronistas

Play Episode Listen Later Sep 25, 2022 176:18


Sem a participação do líder nas pesquisas de intenção de voto, o debate realizado pelo pool SBT, VEJA, jornal O Estado de S. Paulo, rádios Eldorado e Nova Brasil, portal Terra e CNN Brasil reúne os presidenciáveis Jair Bolsonaro (PL), Ciro Gomes (PDT), Simone Tebet (MDB), Luiz Felipe D'Ávila (NOVO), Soraya Thronicke (UNIÃO) e Padre Kelmon (PTB). Ao longo da semana, Lula (PT) justificou a ausência no segundo encontro entre candidatos à Presidência da República por motivos de agenda de campanha, apesar de o debate estar marcado desde o mês de março e sua assessoria ter participado de reuniões que trataram de suas regras. A organização do debate convidou apenas as postulações com bancada de pelo menos cinco parlamentares na Câmara de Deputados, como prevê a Lei das Eleições. Por esta razão, Vera Lúcia (PSTU), Sofia Manzano (PCB), Léo Péricles (UP) e Eymael (DC) não participam do encontro. Com apresentação dos cronistas Adriano Garcia e Claudio Porto, o Debatendo o Debate analisa e discute a participação de cada candidatura nos debates realizados por emissoras de rádios e televisão, jornais impressos e portais. A melhor e mais completa cobertura independente das eleições de outubro você encontra no Eleições no JC, com programas especiais, transmissões AO VIVO de eventos de campanha e o acompanhamento em tempo real da apuração no dia do pleito. Torne-se membro(a) do canal: https://bit.ly/3cs3Mfe​ PIX: pix@jcronistas.com. IBAN: BR8733923798000000473970238C1.

Legends From The Pacific
112: The Japanese Mermaid - Ningyo

Legends From The Pacific

Play Episode Listen Later Sep 25, 2022 8:50


Discover the Japanese creature that became a PT Barnum attraction. Featured Song: "Falling" by Lei Melket, courtesy of HI*Sessions Join our email list https://legendsfromthepacific.ck.page/32ca50bd23 *We respect your privacy. We will not share your email. You can unsubscribe at any time. Visit our store: https://legendsfromthepacific.com/store Theme Song: "Mystery" by Tavana, courtesy of HI*Sessions Sound Effects: Sound Effects Factory Music Coordinator: Matt Duffy AKA DJ TripleBypass Link to this episode on our website https://legendsfromthepacific.com/112-ningyo Please give us a rating, write a review, subscribe, follow us, and share us with your friends and family. ***** Join our email list and claim your exclusive unaired episode today: "Hawaii's Faceless Ghost - Mujina" (Unaired Episode) https://legendsfromthepacific.ck.page/32ca50bd23 *We respect your privacy. We will not share your email. You can unsubscribe at any time. Listen to Kamu's unaired paranormal experiences by becoming a Patreon supporter today: https://www.patreon.com/legendsfromthepacific Send your unusual Pacific experience to be shared on a future episode. https://legendsfromthepacific.com/feedback  Visit our Fan Art Section: https://legendsfromthepacific.com/fan-artwork Instagram: legendsfromthepacific Twitter: LegendsPacific Follow Legends from the Pacific wherever you listen to audio. → Follow via Apple Podcasts: https://podcasts.apple.com/us/podcast/legends-from-the-pacific/id1501091122 → Follow via Google Podcasts: https://podcasts.google.com/search/legends%20from%20the%20pacific → Follow via Spotify: https://open.spotify.com/show/5qhdkYUl8R7hSw6OZYJLye → Here's our RSS feed: https://legendsfromthepacific.libsyn.com/rss www.LegendsFromThePacific.com

Ka Leo o ka Uluau
Nā Ala Kūpuna: Hui Ala Kūpuna

Ka Leo o ka Uluau

Play Episode Listen Later Sep 25, 2022 67:11


Leiokekoʻolani, Kauʻi, and La from HaKū join Lei and Drew to share about ala kūpuna, Hawaiian trail systems.

Palavra Amiga do Bispo Macedo
Paz para todos os que creem - Meditação Matinal 24/09/22

Palavra Amiga do Bispo Macedo

Play Episode Listen Later Sep 24, 2022 14:57


"Apega-te, pois, a Ele, e tem paz, e assim te sobrevirá o bem. Aceita, peço-te, a Lei da Sua Boca, e põe as Suas Palavras no teu coração. "Jó 22:21-22

Direito Civil - Gustavo Kloh
Lei 14.454, cobertura dos planos de saúde volta a não ser limitada a lista da ANS.

Direito Civil - Gustavo Kloh

Play Episode Listen Later Sep 24, 2022 5:26


Reflexões Para Cada Dia, Na Voz De Reginaldo Lucas.
23-9 Resumo de Lc 9,18-22 - Jesus é o Cristo.

Reflexões Para Cada Dia, Na Voz De Reginaldo Lucas.

Play Episode Listen Later Sep 23, 2022 11:54


...(v22) “...'O Filho do Homem deve sofrer muito, ser rejeitado pelos anciãos, chefes dos sacerdotes e doutores da Lei, ser morto e ressuscitar ao terceiro dia'” --- Send in a voice message: https://anchor.fm/reginaldo-lucas-rodrigues/message

Palavra do Dia
Palavra do dia - Lc 9,18-22 - 23/09/22

Palavra do Dia

Play Episode Listen Later Sep 23, 2022 2:58


Aconteceu que Jesus 18estava rezando num lugar retirado, e os discípulos estavam com ele. Então Jesus perguntou-lhes: “Quem diz o povo que eu sou?” 19Eles responderam: “Uns dizem que és João Batista; outros, que és Elias; mas outros acham que és algum dos antigos profetas que ressuscitou”. 20Mas Jesus perguntou: “E vós, quem dizeis que eu sou?” Pedro respondeu: “O Cristo de Deus”. 21Mas Jesus proibiu-lhes severamente que contassem isso a alguém. 22E acrescentou: “O Filho do Homem deve sofrer muito, ser rejeitado pelos anciãos, pelos sumos sacerdotes e doutores da Lei, deve ser morto e ressuscitar no terceiro dia”.

DEUS AMA EM VOCÊ!
Há tempo pra TUDO nessa vida!

DEUS AMA EM VOCÊ!

Play Episode Listen Later Sep 23, 2022 2:09


Primeira Leitura: Eclesiastes 3,1-11 Leitura do livro do Eclesiastes – 1Tudo tem seu tempo. Há um momento oportuno para tudo que acontece debaixo do céu. 2Tempo de nascer e tempo de morrer; tempo de plantar e tempo de colher a planta. 3Tempo de matar e tempo de salvar; tempo de destruir e tempo de construir. 4Tempo de chorar e tempo de rir; tempo de lamentar e tempo de dançar. 5Tempo de atirar pedras e tempo de as amontoar; tempo de abraçar e tempo de se separar. 6Tempo de buscar e tempo de perder; tempo de guardar e tempo de esbanjar. 7Tempo de rasgar e tempo de costurar; tempo de calar e tempo de falar. 8Tempo de amar e tempo de odiar; tempo de guerra e tempo de paz. 9Que proveito tira o trabalhador de seu esforço? 10Observei a tarefa que Deus impôs aos homens, para que nela se ocupassem. 11As coisas que ele fez são todas boas no tempo oportuno. Além disso, ele dispôs que fossem permanentes; no entanto, o homem jamais chega a conhecer o princípio e o fim da ação que Deus realiza. – Palavra do Senhor. Salmo Responsorial: 143(144) Bendito seja o Senhor, meu rochedo! 1. Bendito seja o Senhor, meu rochedo. / Ele é meu amor; meu refúgio, / libertador, fortaleza e abrigo. / É meu escudo: é nele que espero. – R. 2. Que é o homem, Senhor, para vós? † Por que dele cuidais tanto assim / e no filho do homem pensais? / Como o sopro de vento é o homem, / os seus dias são sombra que passa. – R. Evangelho: Lucas 9,18-22 Aleluia, aleluia, aleluia. Veio o Filho do Homem, a fim de servir / e dar sua vida em resgate por muitos (Mc 10,45). – R. Proclamação do Evangelho de Jesus Cristo segundo Lucas – Aconteceu que Jesus 18estava rezando num lugar retirado e os discípulos estavam com ele. Então, Jesus perguntou-lhes: “Quem diz o povo que eu sou?” 19Eles responderam: “Uns dizem que és João Batista; outros, que és Elias; mas outros acham que és algum dos antigos profetas que ressuscitou”. 20Mas Jesus perguntou: “E vós, quem dizeis que eu sou?” Pedro respondeu: “O Cristo de Deus”. 21Mas Jesus proibiu-lhes severamente que contassem isso a alguém. 22E acrescentou: “O Filho do Homem deve sofrer muito, ser rejeitado pelos anciãos, pelos sumos sacerdotes e doutores da Lei, deve ser morto e ressuscitar no terceiro dia”. – Palavra da salvaçã

Homilias - IVE
Homilia Padre Jaime Villavicencio, IVE: "São Padre Pio de Pietrelcina" 23.09.2022

Homilias - IVE

Play Episode Listen Later Sep 23, 2022 4:15


Evangelho de Jesus Cristo segundo Lucas 9,18-22 Aconteceu que, Jesus estava rezando num lugar retirado, e os discípulos estavam com ele. Então Jesus perguntou-lhes: 'Quem diz o povo que eu sou?' Eles responderam: 'Uns dizem que és João Batista; outros, que és Elias; mas outros acham que és algum dos antigos profetas que ressuscitou.' Mas Jesus perguntou: 'E vós, quem dizeis que eu sou?' Pedro respondeu: 'O Cristo de Deus.' Mas Jesus proibiu-lhes severamente que contassem isso a alguém. E acrescentou: 'O Filho do Homem deve sofrer muito, ser rejeitado pelos anciãos, pelos sumos sacerdotes e doutores da Lei, deve ser morto e ressuscitar no terceiro dia.' Palavra da Salvação.

Web Rádio Censura Livre
ANÁLISE LIVRE - ‘Os 172 anos da Lei de Terras e a luta dos camponeses, quilombolas e indígenas' (23/09)

Web Rádio Censura Livre

Play Episode Listen Later Sep 23, 2022 23:45


NESTA sexta-feira (23/09), às 10h15, na Web Rádio Censura Livre, haverá nova edição do quadro ANÁLISE LIVRE, produzido e apresentado por DANIELLE BORNIA, do Movimento Mulheres em Luta. Tema: ‘Os 172 anos da Lei de Terras e a luta dos camponeses, quilombolas e indígenas' (23/09) Assista aqui

Padre José Marcos.
23 – SEXTA-FEIRA SÃO PIO DE PIETRELCINA PRESBÍTERO Evangelho: Lucas 9,18-22

Padre José Marcos.

Play Episode Listen Later Sep 23, 2022 6:02


E acrescentou: “O Filho do Homem deve sofrer muito, ser rejeitado pelos anciãos, pelos sumos sacerdotes e doutores da Lei, deve ser morto e ressuscitar no terceiro dia”. --- Send in a voice message: https://anchor.fm/jo-marcos-nascimento-lima/message

Boletim da CMO
Vereadores discutem Projeto de Lei que cria a campanha Outubro Rosa Pet

Boletim da CMO

Play Episode Listen Later Sep 23, 2022 7:26


Vereadores discutem Projeto de Lei que cria a campanha Outubro Rosa Pet; Senac Osasco comemora 30 anos de história e recebe homenagem da Câmara; Osasco celebra Semana da Cultura Racional.

Liturgia Diária
Jesus perguntou: “E vós, quem dizeis que eu sou?” Pedro respondeu: “O Cristo de Deus”. Lc 9,18-22

Liturgia Diária

Play Episode Listen Later Sep 22, 2022 5:29


23SET2022 COR LITÚRGICA: VERDE 25ª Semana do Tempo Comum | São Pio de Pietrelcina | Sexta-feira Evangelho (Lc 9,18-22) — O Senhor esteja convosco. — Ele está no meio de nós. — Proclamação do Evangelho de Jesus Cristo + segundo Lucas. — Glória a vós, Senhor. Aconteceu que Jesus 18estava rezando num lugar retirado, e os discípulos estavam com ele. Então Jesus perguntou-lhes: “Quem diz o povo que eu sou?” 19Eles responderam: “Uns dizem que és João Batista; outros, que és Elias; mas outros acham que és algum dos antigos profetas que ressuscitou”. 20Mas Jesus perguntou: “E vós, quem dizeis que eu sou?” Pedro respondeu: “O Cristo de Deus”. 21Mas Jesus proibiu-lhes severamente que contassem isso a alguém. 22E acrescentou: “O Filho do Homem deve sofrer muito, ser rejeitado pelos anciãos, pelos sumos sacerdotes e doutores da Lei, deve ser morto e ressuscitar no terceiro dia”. — Palavra da Salvação. — Glória a vós, Senhor. --- Send in a voice message: https://anchor.fm/pe-jose-vicente/message

Superior Tribunal de Justiça
Súmulas & Repetitivos: Tema 1.120

Superior Tribunal de Justiça

Play Episode Listen Later Sep 22, 2022 1:50


A Terceira Seção do Superior Tribunal de Justiça decidiu que é possível a remição parcial da pena para presos que, em razão da pandemia da Covid-19, ficaram impossibilitados de continuar o trabalho ou os estudos. Esse entendimento foi firmado sob o rito dos recursos especiais repetitivos. Isso significa que ele servirá de base para os demais tribunais do país, quando julgarem casos semelhantes. O julgamento trouxe nova interpretação do STJ para o artigo 126 da Lei de Execução Penal nos casos envolvendo a hipótese excepcional da pandemia da Covid-19. O STJ sempre entendeu que o fato de o Estado não proporcionar ao preso meios para trabalhar ou estudar não era motivo suficiente para reconhecer em seu favor a remição ficta da pena. No julgamento do recurso repetitivo, o relator, ministro Ribeiro Dantas, propôs que se fizesse uma distinção entre essa hipótese consagrada na jurisprudência e os casos em que o Estado não pôde proporcionar meios de trabalho ou estudo devido à crise sanitária. O magistrado afirmou que negar aos presos que já trabalhavam ou estudavam antes da pandemia o direito de continuar a descontar sua pena seria medida injusta, pois eles pertencem à mesma sociedade que, embora tenha sofrido com a crise sanitária, foi compensada com algumas medidas jurídicas.No entanto, Ribeiro Dantas ressaltou que é preciso analisar caso a caso a situação dos presos.

Bola na Rede
Lei do Mercado #40 - O futuro de Manuel Ugarte, Gonçalo Ramos e Álex Grimaldo

Bola na Rede

Play Episode Listen Later Sep 22, 2022 32:44


A Lei do Mercado está de regresso para nova temporada e falamos sobre o que pode acontecer nos próximos mercados de transferências. Manuel Ugarte, Gonçalo Ramos e Álex Grimaldo são alguns dos nomes em destaque. Ouve o podcast e confirma tudo!

Heimsglugginn
Ítalía og Íran, kosningar og mótmæli

Heimsglugginn

Play Episode Listen Later Sep 22, 2022


Kosningar verða á Ítalíu á sunnudag og kannanir benda til sigurs hægri flokka. Fari svo verður Giorgia Meloni næsti forsætisráðherra. Hún er leiðtogi Fratelli d'Italia, flokks sem á ættir að rekja til fasistahreyfingarinnar á Ítalíu. Fratelli d'Italia, Bræður Ítalíu eða Bræðralag Ítalíu, er í bandalagi með tveimur öðrum hægriflokkum, Lega og Forza Italia. Leiðtogar þeirra eru Matteo Salvini og Silvio Berlusconi, fyrrverandi forsætisráðherra. Þetta ræddu Þórunn Elísabet Bogadóttir og Björn Þór Sigbjörnsson við Boga Ágústsson í Heimsglugga vikunnar. Víðtæk mótmæli í Íran voru einnig til umræðu. Þau hófust eftir að lát ungrar konu spurðist í síðustu viku. Hún var í haldi ,,siðgæðislögreglu" klerkastjórnarinnar í landinu. Yfirvöld segja að konan, Mahsa Amini, hafi fengið hjartaáfall en allt bendir til þess að hún hafi verið barin til bana. Guardian segir sneiðmyndir af höfði Amini sýna beinbrot, blæðingu inn á heila og heilabjúg. Amini var handtekin fyrir meint brot á ströngum lögum klerkastjórnarinnar um klæðaburð kvenna, slæða hennar hafi ekki verið í samræmi við reglurnar að mati ,,siðgæðislögreglunnar". Mótmælt hefur verið í flestum borgum og bæjum landsins og samstaða kvenna virðist mikil. Margir óttast að klerkastjórnin eigi eftir að bregðast við af mikilli grimmd eins og hún hefur gert áður. Þannig voru víðtæk mótmæli 2009 brotin á bak aftur með mikilli hörku þar sem tugir manna féllu og þúsundir voru hnepptar í fangelsi.

O Antagonista
Cortes do Papo - Exclusivo: associação de Malafaia é condenada a pagar 25 milhões

O Antagonista

Play Episode Listen Later Sep 22, 2022 5:41


A primeira turma do Carf (Conselho Administrativo de Recursos Fiscais) rejeitou recurso especial da Associação Vitória em Cristo (Avec), fundada por Silas Malafaia. A entidade tentava suspender uma cobrança de R$ 25,4 milhões em autuações da Receita, após suspensão de sua imunidade tributária sobre IRPJ, CSLL, PIS e Cofins. O caso se arrastava no Carf desde 2018. De acordo com os autos do processo administrativo, obtido por O Antagonista, "a imunidade que a contribuinte usufruía, relativamente ao ano-calendário de 2010, foi suspensa por meio do Ato Declaratório Executivo nº 41/2015 publicado em 11 de maio de 2015". A suspensão foi decidida após a fiscalização constatar que a Avec violou dispositivos da Lei nº 9.532/1997, que garante isenção tributária a instituições de educação ou assistência social, desde que cumpridos alguns requisitos -- como não remunerar dirigentes e aplicar integralmente seus recursos na manutenção e desenvolvimento de seus objetivos sociais. "Em síntese, a fiscalização concluiu que a contribuinte teria remunerado dirigentes da associação; aplicado recursos em desacordo com os objetivos sociais da entidade; e deixado de recolher imposto de renda retido na fonte de diversos pagamentos de forma a contribuir para que terceiros praticassem ilícitos fiscais..." Inscreva-se e receba a newsletter: https://bit.ly/2Gl9AdL​ Confira mais notícias em nosso site: https://www.oantagonista.com​ Acompanhe nossas redes sociais: https://www.fb.com/oantagonista​ https://www.twitter.com/o_antagonista​ https://www.instagram.com/o_antagonista No Youtube deixe seu like e se inscreva no canal: https://www.youtube.com/c/OAntagonista

Devocionais
Salmos 119

Devocionais

Play Episode Listen Later Sep 21, 2022 19:56


Excelência da Lei divina

Web Rádio Censura Livre
ACESSANDO LUCÍLIA - O 21 de Setembro - Lutas e desafios das pessoas com deficiência (20/09)

Web Rádio Censura Livre

Play Episode Listen Later Sep 20, 2022 51:24


Na véspera do Dia Nacional de Luta da Pessoa com Deficiência, 20/09, o Podcast Acessando Lucília conversa sobre esta questão, uma das principais razões para este espaço de debate existir. A data foi oficializada em 2005, por intermédio da Lei 11.133, mas já havia sido instituída pelos movimentos sociais em 1982, em sua busca pelo respeito aos direitos das pessoas com deficiência em nosso país. A reflexão é sobre os avanços desses direitos e quais as perspectivas para uma inserção, de fato, das pessoas com deficiência na sociedade brasileira. A nossa convidada é a psicanalista Maria Paula Teperino, que há várias décadas é ativista pela inclusão e acessibilidade no Rio de Janeiro e dividirá conosco seu precioso conhecimento e experiência. O bate-papo será transmitido ao vivo, às 18h, na página da Web Rádio Censura Livre, no Youtube (youtube.com/c/Censuralivre), no Facebook facebook.com/webradiocensuralivre/), site (www.clwebradio.com) e nos aplicativos: RadiosNet (http://l.radios.com.br/r/100204), no App exclusivo da emissora (http://webapp.hoost.com.br/clwebrad/) e também no Twitter@wrcensuralivre. #audiodescrição Card de fundo preto com detalhes em rosa, verde e letras brancas. Na parte superior à esquerda, a figura de um microfone estilizado e ao centro: Podcast Acessando Lucília À direita, dentro de círculos verde e rosa, a foto da titular do Podcast: uma mulher branca, de cabelo castanho escuro e blusa branca, à frente de um microfone com detalhe vermelho À esquerda, dentro de círculos verde e rosa, a foto de mulher branca sorridente, de cabelo castanho claro. Ela usa uma blusa rosa, um colar no pescoço e atrás dela tem uma estante de madeira com livros. Ao centro: O 21 de Setembro e os Desafios e Lutas da Pessoa com Deficiência Maria Paula Teperino Na parte inferior à esquerda: http://facebook.com/webradiocensuralivre/ http://youtube.com/c/CensuraLivre https://twitter.com/wrcensuralivre Mais à direita: 20/09 – 18h Você pode ouvir a Web Rádio Censura Livre no aplicativo RadiosNet (http://l.radios.com.br/r/100204), no App exclusivo da emissora (http://webapp.hoost.com.br/clwebrad/) ou no site www.clwebradio.com @radiocensuralivre WhatsApp: (21) 9 6553-8908 Ouça o podcast dos programas em: Anchor FM, Spotify e Google Podcast. #AcessandoLucília #O21deSetembro #LutasedesafiosdasPessoasComDeficiência #WebRádioCensuraLivre #AVozDaClasseTrabalhadora

Devocional Florescer
Romanos 9:19-33 A soberania de Deus - Devocional 589

Devocional Florescer

Play Episode Listen Later Sep 20, 2022 5:53


Devocional Edificai Como vimos nos versículos anteriores, a salvação e a santificação não é por mérito humano, mas por misericórdia divina. Portanto, Deus é soberano tanto sobre a justiça como sobre a salvação. Temos que entender que a misericórdia de Deus por nós não nos foi dada por algum tipo de merecimento. No início desta carta, Romanos 3:23, fica claro que todos pecamos: “Porque não há distinção, pois todos pecaram e carecem da glória de Deus, sendo justificados gratuitamente, por sua graça, mediante a redenção que há em Cristo Jesus”. Como pecadores, o que merecemos de Deus é a sua ira, mas Deus, pela sua graça, concede salvação através de Jesus a todos nós pecadores. Graça é um favor imerecido, um dom gratuito de Deus. Mas isso não quer dizer que a misericórdia é um direito nosso, Deus não deve misericórdia a nenhum homem. Quer recebamos o que merecíamos, ou seja, o juízo de Deus, ou quer recebamos o que não merecíamos, ou seja, a misericórdia de Deus, em nenhum dos casos Deus está sendo injusto. A justiça de Deus não é como a justiça humana, nela não existe perversidade, vingança, rancor ou amargura, mas sua justiça é santa e boa. Deus é bom o tempo todo, quando Ele exerce misericórdia e justiça. E quem somos nós para discutir com Deus a respeito de sua justiça e misericórdia? (vs 19-21). Deus é o oleiro e nós somos o barro, o oleiro é Senhor sobre o barro, e ele manuseia o barro como lhe convém, assim o barro não pode se colocar no lugar do oleiro e nem questioná-lo. Assim como o oleiro tem direito sobre o barro, o Senhor tem ainda mais direito sobre toda a sua criação, todo governo está em suas mãos. “Que diremos, se Deus, querendo mostrar a sua ira e dar a conhecer o seu poder, suportou com muita paciência os vasos de ira, preparados para a destruição, a fim de que também desse a conhecer as riquezas da sua glória nos vasos de misericórdia, que de antemão preparou para glória? (vs 22-23). Os vasos de ira são aqueles que rejeitam a graça, que se endureceram, que rejeitaram e por isso foram rejeitados, ainda assim Deus os suportou com paciência e os fez conhecer o poder de seu juízo. Os vasos de misericórdia foi quem Deus escolheu por sua graça, por seu favor, para sobre eles derramar a sua misericórdia. A salvação de qualquer pessoa se deve a maravilhosa graça e amor de Deus. A citação de Oséias mostra a graça de Deus: “Chamarei de ‘meu povo' ao que não era meu povo; e de ‘amada' à que não era amada. E no lugar em que lhes foi dito: ‘Vocês não são o meu povo', ali mesmo serão chamados ‘filhos do Deus vivo'."(vs. 25-26). É Deus quem concede graça, e para isso não existe um critério, o Senhor chamou para si pessoas não somente dentre os judeus, mas também dentre os gentios, concedendo salvação a um povo que não era o seu povo, e os tornando filhos do Deus vivo. Israel deveria ter crido no evangelho e confiado em Cristo, mas grande parcela se recusou a fazê-lo. Eles buscavam a justificação pelo mérito das obras, ou seja, a aprovação diante de Deus por meio da obediência à Lei, mas falharam em alcançá-la. Já os gentios alcançaram a justificação por meio da fé em Cristo Jesus. Olhar somente para Lei, fez os judeus tropeçarem na pedra, que era Jesus e desprezarem o seu sacrifício. Aqueles que buscam estabelecer justiça própria não veem a necessidade de crer em Cristo. Somente aqueles que confessam que precisam de um salvador, reconhecem a Jesus e recebem a salvação. “Como está escrito: "Eis que ponho em Sião uma pedra de tropeço e rocha de ofensa, e aquele que nela crê não será envergonhado." (vs 33) Somente em Cristo há salvação e justificação. Aqueles que confiam em Cristo jamais serão envergonhados! Pra. Nathália F. Tonezer IEQ Sede Hortolândia

Maconhômetro
Política | Eleições 2022: Candidaturas Antiproibicionistas de Pernambuco (Débora Aguiar, Ivan Moraes e Marco Smoke)

Maconhômetro

Play Episode Listen Later Sep 20, 2022 74:19


Esse é o Maconhômetro Política, um projeto do Cannabis Monitor de entrevistas com agentes políticos que mobilizam a pauta antiproibicionista nos espaços da política institucional. Neste mês de setembro de 2022, no período de campanhas eleitorais para o pleito de outubro, nós estamos realizando uma série de entrevistas com candidaturas de todo o país que têm a pauta antiproibicionista como bandeira política. Nossa proposta é conversar com essas figuras que propõe disputar a pauta da política de drogas nas casas legislativas brasileiras e entender como são atravessados por esse tema e porque se projetam politicamente através dessa luta. Deste modo, buscamos trazer para os ouvintes do Maconhômetro uma aproximação com os atores que representam a nossa causa nos espaços políticos de exercício da democracia. Neste episódio, a socióloga, pesquisadora e assessora parlamentar para políticas de drogas na ALERJ, Monique Prado, entrevista três candidates antiproíbas do estado de Pernambuco, que são: - Débora Aguiar, que é articuladora política na Rede Nacional de Feministas Antiproibicionistas, a RENFA. Representa a luta das mulheres negras, mães, periféricas e jovens que precisam se virar para lutar pelo acesso à educação, saúde, qualidade de vida para seus filhos e para toda sociedade. Defende uma democracia forte e participativa com a presença de mulheres, cis, trans, travestis, negras, indígenas no poder. Está candidata a deputada federal pela Rede Sustentabilidade. - Ivan Moraes, que é pai, jornalista, escritor e defensor de Direitos Humanos. Atualmente é vereador em Recife, estando em seu segundo mandato na Câmara Municipal da capital. É co-autor do Projeto de Lei sobre o uso da Maconha Medicinal na câmara recifense, proposta inédita na capital. Milita e atua politicamente junto a organizações e movimentos sociais. Está candidato a deputado estadual pelo PSOL. - Marco Smoke, que é ativista e defensor da maconha em todos os âmbitos, militante pela descriminalização e a distribuição gratuita do óleo de cannabis para pacientes. Ele se intitula um representante dos usuários de maconha no estado de Pernambuco e pretende ser um defensor aguerrido na luta pela regulamentação do cultivo e consumo pessoal. Está candidato a deputado estadual pelo Avante. Neste papo eles nos falam sobre seus lugares de fala dentro da luta antiproibicionista, seus vínculos com os movimentos sociais e motivações para adotarem essa pauta como uma das suas principais bandeiras políticas, além das suas perspectivas sobre o avanço do tema na sociedade e suas propostas concretas para garantir os avanços que queremos nos espaços institucionais. Confira! Apoia-se: apoia.se/cannabismonitor

Notícias Brasil de Fato MG
Em luta contra governo Zema, Prefeitura de BH decreta Serra do Curral como sujeito de direitos

Notícias Brasil de Fato MG

Play Episode Listen Later Sep 20, 2022 5:33


A queda de braço entre a população de Belo Horizonte e o governo de Minas Gerais com relação à proteção da Serra do Curral, teve um importante marco neste mês. No último dia 9, a prefeitura instituiu o dia do Pico Belo Horizonte. O monte integra a serra e é um dos símbolos históricos da cidade. A Lei 11.403/22 também institui a Serra do Curral como sujeito de direitos, garantindo ao patrimônio proteção jurisdicional. Para a ambientalista Jeanine Oliveira, apesar de importante, a decisão tem um caráter simbólico e pouco efetivo. No entanto, há outras iniciativas em andamento, como a intenção da Prefeitura de Belo Horizonte de recorrer ao Supremo Tribunal Federal para julgar a legitimidade do licenciamento dado pelo governo do estado à Tamisa. “A gente já ultrapassa uma dezena de ações contra a mineração na Serra e quando elas correm dentro de Minas Gerais a decisão é sempre favorável à mineração, à destruição ambiental'', denuncia a integrante do Movimento Tira o Pé da Minha Serra.

China EVs & More
Episode #82 - Auto sales summary, NIO earnings and Lei's trip to Detroit for the show

China EVs & More

Play Episode Listen Later Sep 20, 2022 46:54 Transcription Available


Tu and Lei start out the podcast with a final recap of August sales and the 16 EV makers that made up a large percentage of total sales. The broader lesson is that the EV sector keeps chugging along despite all of the continuing challenges with BYD leading the way into a likely record 4Q. They then move to NIO earnings and the disappointing guidance for 3Q but the extremely upbeat 4Q sales forecast. NIO is looking at ~70K 4th quarter. Tu is skeptical and believes that Bin Li is calling on his Ops/Manufacturing team to step up and deliver NIO a recording setting quarter driven by ET5 sales. As an aside, Tu & Lei unpack the surprise announcement by Mobileye using NIO ES8s to test in Detroit and all of the implications of that announcement happening on the eve of the Detroit Auto show. Tu then switches over to a discussion about GM's new import division that's launching the Durant Guild in the Chinese market. Lei closes out the pod by talking about his upcoming trip to Detroit and being able to meet Tu for the first time in real life!

Saúde Digital
#Ep.164 - O castigo para quem não se interessa pela política

Saúde Digital

Play Episode Listen Later Sep 20, 2022 49:47


SD164 - O castigo para quem não se interessa pela política. Começando este episódio com a citação do economista britânico Arnold Toynbee, hoje a conversa é com a autora da Lei da Telemedicina no Brasil, Deputada Federal Adriana Ventura. Vamos falar sobre política, porquê devemos nos interessar pelo assunto, principalmente em ano de eleição de formação do Congresso Nacional, como funciona o sistema, corrupção e, claro, sobre a lei 13989, que aprovou a Telemedicina no Brasil durante a pandemia de Covid-19. A citação: "O maior castigo para aqueles que não se interessam por política, é que serão governados pelos que se interessam". (Arnold Toynbee,1852-1883) Neste episódio, o que você vai encontrar: O background da Adriana  Administradora pública. Professora da FGV, empreendedora, sem histórico de interesse pela política. Em 2017/2018, começou a ajudar a organizar o Partido Novo em SP e cedeu uma sala sala para as reuniões em seu espaço Multicultural. Tornou-se candidata em 2018 para completar a cota de candidatas mulheres para o partido não perder candidados e foi a 2ª mais votada. Seu espírito empreendedor fez com que ela se tornasse a autora da Lei 13989, que aprovou a prática da telemedicina no Brasil durante a pandemia de Covid-19. Serendipidade "Empreendedor é obstinado, resiliente, faz acontecer". O que seria uma candidatura para ajudar outros a se elegerem, depois de um tempo, tornou-se também um trabalho intenso para promover a própria eleição. Como se elege um deputado(a) Uma cadeira de deputado em SP requer 300.000 votos. Para eleger: somam-se todos os votos de todos os candidatos do partido + todos os votos na legenda e apura-se quantas cadeiras foram conquistadas. Ocupam as cadeiras os 3 mais votados. Uma trava importante: só ocupa a cadeira o(a) deputado(a) que tiver conquistado para si pelo menos 10% do total de votos do total da cadeira. + Uma trava A Mini Reforma Política de 2021 fez com que o(a) candidato(a), para concorrer pelas "sobras de votos", tenha recebido para si próprio pelo menos 20% do total de votos da cadeira.  A luta pela Telemedicina O partido considera que, dentro do que seria uma política pública para o país, a saúde está no eixo central entre as 5 áreas principais. Adriana assumiu a causa e negociou com todos os participantes da comissão da saúde para propôs o avanço da pauta sobre telemedicina. Ela considera que foi um trabalho coletivo, mas, claro, sente orgulho de ver a lei aprovada. Empreendendo na política: um paralelo Ouvir o "cliente": um exemplo foi o pedido do cidadão Maurício para que se evitasse fraudes na liberação de verbas durante a pandemia de Covid-19. A deputada propôs e aprovou o projeto de lei 1485/2020 para dobrar as penas por corrupção em tempos de calamidade pública. Os processos ordenados e organizados: nem toda lei vai a plenário, fica nas comissões e é aprovada por ali. A produção de leis é imensa e muitas leis não conversam entre si e até se contradizem. Os deputados participam normalmente de 2 comissões e nem ficam sabendo da maioria das leis que foram aprovadas. Scrum Master: os Presidentes da Câmara e do Senado têm poder de decidir o que vai ou não vai a plenário para ser votado, qual a pauta, quem será relator. E isso faz com que algumas pautas fiquem anos sem receber qualquer atenção. Previsibilidade: os deputados não sabem o que vai ser votado, então não podem estudar o projeto com antecedência. Às vezes está na pauta, mas não há relatório. Cultura organizacional: muitas coisas acontecem ao mesmo tempo e não há clareza de intenção, o que faz com que o ambiente não seja de confiança. Não há clareza nas regras e nem transparência. Acompanhar o seu parlamentar O cidadão deve acompanhar o seu parlamentar: "O preço da liberdade é a eterna vigilância." (John Philpot Curran - 1750-1817) Orçamento Ouça para entender como funciona! E aproveite para acompanhar o trabalho da deputada, acessando @adriventurasp Comunidade Online Saúde Digital Podcast Você é médico? Quer interagir com o Lorenzo Tomé e com outros colegas inovadores da medicina digital?  Entre na Comunidade do Podcast Saúde Digital na SD Conecta! Assista este episódio também em vídeo no YouTube no nosso canal Saúde Digital Ecossistema! ACESSE AQUI! Episódios Anteriores - Acesse!   SD163 - Tá de Clinicagem - História e Trajetória SD162 - Os avanços e desafios do ecossistema brasileiro de startups SD161 - A inovação na entrega dos laudos médicos SD160 - Novas metodologias para retenção do conhecimento educacional SD159 - Por trás das fusões e aquisições Músicas | Declan DP & KODOMOi - Jellyfish | Declan DP - Fireworks | Declan DP - Friendship "Music © Copyright Declan DP 2018 - Present. https://license.declandp.info | License ID: DDP15906    

Mamaste with Tanika Ray
Here Comes Baby with While They Nap

Mamaste with Tanika Ray

Play Episode Listen Later Sep 20, 2022 17:25


If you've ever given birth, how much did you really know about the process beforehand? Were you prepared for the pain? How long the whole thing might last? The mommy-sized diapers?! So much of mommyhood is shrouded in mystery until we actually get there, but there's no reason for that to be the case. By opening up about our experiences, we can demystify it for those who come after us. Today, I welcome Chen and Lei, the hosts of the While They Nap podcast. Chen and Lei are two mamas navigating their way through this crazy thing we call mommyhood—and podcasting about it!Tune in and listen to episode 47 of Mamaste with Tanika Ray. Chen, Lei, and I are talking about the tumultuous time for women that we're living in, what it's like for them as women in Canada, and why it's so important for us mamas to have a support group.In This Episode, You Will Learn:Why it's so important to work toward a sense of peace, especially if it means tuning out all the other distractions (04:42)Healthy boundaries are integral in maintaining your sanity (05:43)How the tone change in the US has become palpable over the last few years (08:01)Why we have to look beyond formal education to teach our children about their culture and their power (09:33)How Chen and Lei met and started While They Nap (13:49)Connect with Chen & Lei:While They Nap on IGListen to WTNResources mentioned:Because of Them We Can subscription boxMocha MomsBlack Moms ConnectionBlack Queens of DurhamUnlearnLet's Connect!WebsiteFacebookInstagramYouTubeTwitter Hosted on Acast. See acast.com/privacy for more information.

Italian language
Come si usano questo e quello?

Italian language

Play Episode Listen Later Sep 17, 2022 8:30


Do you know how to use this, these, that, and those in Italian? If you are struggling with those words, don't worry, you are not alone! I noticed over time that many of my students have the same problem, even those who speak Italian well.But as usual, I have the solution for you: a new episode called "Come si usano questo e quello?" with a simple explanation that will allow you to use these demonstrative adjectives and pronouns with no stress and mistakes.Read the script here: https://ilazed.com/2022/09/17/questo-o-quello/________________________________________You might be interested in:Tu, Lei, Voi: i pronomi allocutivi:- audio: https://www.spreaker.com/episode/18063899- script: https://ilazed.com/2019/01/20/tu-lei-voi-i-pronomi-allocutivi/La forma di cortesia Lei:- audio: https://www.spreaker.com/episode/18064046- script: https://ilazed.com/2019/01/27/la-forma-di-cortesia-lei/L'aggettivo vecchio in italiano:- audio: https://www.spreaker.com/episode/19364182- script: https://ilazed.com/2019/10/05/laggettivo-vecchio-in-italiano/_____________________________Read more about the Italian language and culture!!https://ilazed.com____________________________________Follow me on my socials:https://www.facebook.com/italianwithilazed/https://www.instagram.com/ila_zed/https://twitter.com/ila_zedhttps://www.pinterest.it/ilalazed/________________________________________Do you want to learn Italian with me?You can find me on: www.ilazed.com

O Poder da Oração
1° dia da Novena de São Padre Pio - O Amor

O Poder da Oração

Play Episode Listen Later Sep 16, 2022 7:32


PRIMEIRO DIA Pedi e ser-vos-á dado! O Padre Pio cultivou desde criança, e manteve durante toda a vida, um grande amor a Deus e ao próximo. Esse é o segredo da verdadeira felicidade. Rezemos esta Novena com fé, pedindo, antes de tudo, o maior dos dons: o amor. (Cântico) Em nome do Pai e do Filho e do Espírito Santo. Amen. SALMO 25, 1-7 A Ti, Senhor, elevo a minha alma. Em Ti confio, meu Deus. Que eu não fique envergonhado, e os meus inimigos não triunfem sobre mim! Mostra-me os teus caminhos, Senhor, ensina-me as tuas veredas. Guia-me com a Tua verdade. Ensina-me, pois Tu és o meu Deus salvador, e em Ti espero durante todo o dia. Senhor, lembra-te da Tua compaixão e do Teu amor, que existem desde sempre. Não Te lembres dos meus desvios, nem dos pecados da minha juventude. Lembra-Te de mim, conforme o Teu amor, por causa da Tua bondade, Senhor. Glória ao Pai e ao Filho e ao Espírito Santo. Como era no princípio, agora e sempre. Amen. ORAÇÃO DE LOUVOR Deus Amigo, muito obrigado pela Vossa presença na nossa vida, pelos amigos e amigas que temos, e porque mesmo quando sofremos e até quando somos abandonados, Vós estais ao nosso lado, e não deixais de nos oferecer o Vosso alento. Muito obrigado, Senhor, pela vida, pelos exemplos e pela intercessão do Santo Padre Pio, que percebia a Vossa presença nos que sofrem. Ajudai-nos a imitar o exemplo desse grande santo. Amen. LEITURA BÍBLICA (Mt 7, 7-12) «Pedi e ser-vos-á dado! Procurai e encontrareis! Batei e abrir-vos-ão a porta! Pois todo aquele que pede, recebe; quem procura, acha; e a quem bate, a porta será aberta. Quem de vós dá ao filho uma pedra, quando ele pede um pão? Ou lhe dá uma cobra, quando ele pede um peixe? Se vós que sois maus, sabeis dar coisas boas aos vossos filhos, quanto mais o vosso Pai que está no Céu dará coisas boas aos que Lhas pedirem! Tudo o que desejais que os outros vos façam, fazei-o também a eles. Pois nisso consistem a Lei e os Profetas.» PRECES Ensinai-nos, Senhor, a pedir o melhor para nós e para os nossos irmãos: - Por intercessão de São Pio, atendei-nos, Senhor. Dai-nos, Senhor, o Vosso amor, e que nunca nos afastemos de Vós: - Por intercessão de São Pio, atendei-nos, Senhor. Que ao rezarmos esta novena o nosso coração se abra para fazermos a Vossa vontade: - Por intercessão de São Pio, atendei-nos, Senhor. ORAÇÃO: Ó São Pio de Pietrelcina, venero a vossa vida de santidade, de íntima união com Deus e de sincero amor ao próximo. Viveste tão unido a Jesus, e foste tão sensível ao sofrimento dos mais humildes, a ponto de terdes em vosso corpo as chagas semelhantes àquelas que Nosso Senhor teve no Seu corpo por nosso amor. Ó Padre Pio, sei com que grande zelo ouvíeis todos aqueles que estavam aflitos e procuravam o perdão de Deus e a orientação para as suas vidas, por isso, neste momento especial da minha vida, peço a vossa intercessão, para que apresenteis a Jesus o meu pedido (fazer o pedido). Mas que antes se faça a votade de Deus e não a minha. Amen. Pai-Nosso... Avé-Maria... Glória.. Ler mais: https://www.nadateespante.com/products/novena-a-s%C3%A3o-padre-pio-de-pietrelcina/

Momento Agrícola
2022.09.17- Bloco 1 Notícias da semana comentadas

Momento Agrícola

Play Episode Listen Later Sep 16, 2022 13:17


Ricardo Arioli comenta as principais notícias da semana ligadas ao Agro. União Europeia aprova Lei do Desmatamento, e inclui mais produtos brasileiros na Lista. A situação energética da Europa continua fazendo vítimas.

Monday Morning Minutes
MMM Episode 83: Not Before I've Had My Coffee

Monday Morning Minutes

Play Episode Listen Later Sep 16, 2022 30:49


DoubleLine's Sam Lau and Eric Dhall, a trader and quantitative analyst on the firm's Cross Asset team who is subbing for Jeff Mayberry, wake up to a lot of red in the markets in this episode, recorded before end of trading on Sept. 16, 2022. Investors continued to react to Tuesday's CPI print, with the S&P 500 tumbling (1:49) and the U.S. Treasury yield curve marking big moves higher, especially on the shorter end of the curve (3:53). The Agg was down almost a point week-to-date (5:32), underscoring that there was nowhere to hide in Fixed Income Land. There was also no love to be found in commodities (6:23) and Bitcoin (7:43). Gold's low price, its cheapest level in some time, prompts Eric to wonder if goldbugs are being drawn to bonds' improved yields: “Maybe they'd rather have some coupon in their pocket rather than just the pet rock to look at.” In terms of Macro, the higher than expected CPI print overshadowed all other data, and Sam and Eric break down some of the concerning numbers, including those for medical care services and shelter (9:27). On the positive side, the labor market remains the U.S. economy's one bright star (19:31). Next week will bring LEI, and manufacturing and services data, but the FOMC meeting and a possibly hefty rate hike looms large (26:17).

JB Carvalho
#375 - A Lei da Fé - Você pode viver além das suas circunstâncias - JB Carvalho

JB Carvalho

Play Episode Listen Later Sep 15, 2022 65:37


#375 - A Lei da Fé - Você pode viver além das suas circunstâncias - JB Carvalho by JB Carvalho

Elevate Eldercare
DEI Beyond Workshops: Creating Real Belonging

Elevate Eldercare

Play Episode Listen Later Sep 14, 2022 55:08


Organizations in all industries have embraced the value of diversity, equity, and inclusion (DEI) in their operations – but how can eldercare organizations go beyond trainings and workshops to create truly inclusive cultures? We asked that question to a variety of leaders at the Pioneer Network conference this past July. Join an all-star team of voices from across the eldercare spectrum for a challenging, honest, and open conversation about the barriers that people of color, LGTBQ folks, and others still face when taking a seat at the table – and how we can work to make our communities welcome to all. You'll hear from: Marvell Adams, Jr., founder and CEO of W Lawson and Green House Project board member  Deke Cateau, CEO of A.G. Rhodes Ykeytta Spriggs, HR professional, Green House intern, and rising eldercare leader Sherrill Wayland, director of special initiatives at SAGE and program lead for the Long-Term Care Equality Index (LEI)  Dan Stewart, associate director of the Aging Equality Project at the Human Rights Campaign Foundation and LEI program co-lead   Learn about the Long-Term Care Equality Index: https://thelei.org/the-lei Connect with Marvell Adams, Jr.: https://www.wlawsoncompany.com/ Read Brush Fire, Deke Cateau's book about his experiences at A.G. Rhodes during COVID: https://www.amazon.com/Brush-Fire-Covid-19-Nursing-Homes/dp/1638606692 Show notes/call to action: Learn more about The Green House Project: www.thegreenhouseproject.org

Samfélagið
Rusl á hafsbotni, stéttamunur í námsvali, nýtt orgel málfar og vísindi

Samfélagið

Play Episode Listen Later Sep 14, 2022


Leiðangrar sem farnir hafa verið á vegum Hafrannsóknastofnunar til að mynda hafsbotninn allt frá árinu 2004 hafa leitt í ljós talsvert af rusli á hafsbotninum í kringum landið. Aðallega veiðarfæri sem flest eru úr plastefnum. Petrún Sigurðardóttir líffræðingur hefur rannsakað þetta. Samhliða framþróun í menntamálum hefur meðal menntunarstig aukist töluvert, semsagt fleiri eru með háskólagráður en áður. Þrátt fyrir það er töluverður munur á menntunarstöðu ólíkra félagshópa og þau sem tilheyra hærri stéttum líklegust til að ljúka meiri menntun. VIð ætlum að ræða við Öddu Guðrúnu Gylfadóttur félagsfræðing sem rannsakaði stéttamun í námsvali á Íslandi meistararitgerð sinni í Oxford skóla. Við fræðumst um nýtt orgel í Grafarvogskirkju. Það verður vígt næsta sunnudag en söfnun hefur staðið yfir í nokkurn tíma. Svona orgel kostar nefnilega skildinginn. Svo verður málfarsmínútan á sínum stað og Edda Olgudóttir spjallar um vísindi. Að þessu sinni um hreyfingu og Parkinson sjúkdóminn.

A History Of Rock Music in Five Hundred Songs
Episode 153: “Heroes and Villains” by the Beach Boys

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Sep 13, 2022


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

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