Podcasts about made for these times

"Detroit Soul" The six-time Grammy-Award winning Don Was' resume has more highlights than a Steph Curry career retrospective. It's just three pointer after three pointer with this guy. The Detroit-born musician, producer, film composer, documentarian and record executive got his start in the high school outfit The Saturns, but his band Was (Not Was) is the one that put him on the musical map. A kind of New Wave soul outfit, Was (Not Was) put out a handful of fabulous albums, and had a few hits before calling it a day. From there he became the music director and consultant for movies like Thelma and Louise, Toy Story, Honeymoon in Vegas and The Paper. He produced albums by the B-52's, Iggy Pop, Bonnie Raitt, The Rolling Stones, Kris Kristofferson, and Bob Dylan, directed the Brian Wilson documentary I Just Wasn't Made For These Times, and snagged an Emmy for his work on the CBS special "The Beatles: The Night That Changed America." Remember, this is just a partial list. He's hosted a show on Sirius XM, been in a band with the Dead's Bob Weir, led the house band at the Library Of Congress and currently serves as the President of Blue Note Records. Oh, and he's the voice of Neville the Dog in the children's show Pete The Cat. His new band Don Was And The Pan-Detroit Ensemble play a raw blast of fevered R&B and kinetic soul. An energizing mix of originals and covers, their sound is a dynamic blend of feral grooves, prowling basslines and pure musical joy. They're on tour for the rest of the month and the beginning of June with more to come. www.instagram.com/donwas www.bombshellradio.com www.stereoembersmagazine.com www.alexgreenbooks.com Twitter: @emberseditor IG: @emberspodcast Email: editor@stereoembersmagazine.com

Mindfulness teacher, Kaira Jewel Lingo, chats with David Nichtern about the power of spiritual community and self-assessment.Today's podcast is sponsored by BetterHelp. Click to receive 10% off your first month with your own licensed professional therapist: betterhelp.com/beherenowIn this episode, David and Kaira discuss:The practice of sharing appreciations and regretsCommunity support within nunneries and monasteriesCo-regulating the nervous system to mitigate conflictSocial change and recognizing our shared humanityDoing the inner work to have a bigger impact on the worldLiving simply and being aligned with our purposeUsing resources to build a better futureNeuroscience & BuddhismKaira's upcoming books and events“There needs to be inner work for outer work to really have an impact.” – Kaira Jewel LingoDiscover the transformative practice of teaching mindfulness in a new FREE 30-page ebook by Senior Buddhist teacher and Emmy award-winning musician, David Nichtern. With its blend of humor, wisdom, and accessible approach, The Art of Teaching Mindfulness ebook is a must-read for anyone interested in sharing the life-changing practices of mindfulness with others.Already downloaded by over 15k people, visit dharmamoon.com/ebook to get YOUR free copy of The Art of Teaching Mindfulness!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

A conversation with Buddhist author and former nun Kaira Jewel Lingo.

Notes: Angela Gabriel's gospel-infused setting of Clarissa Pink Estés' fierce words is enough to lift me out of bed into the January cold! You'll hear me play with adding my voice in the looper with different tonal qualities so it sounds like we're singing with a crowd... and then at the end, I'll invite you to sing it simply with me, as a heartfelt duet. Patty said her art for this episode is inspired by the images of boats and wood from the Clarissa Estés letter... "and the idea of standing together, so here are the trees, rooted and strong in all weather." Songwriter Info:  Angela is a professional percussionist & pianist and community music/community singing facilitator. She lived in Santa Fe NM for the last 20 years, where she played with the opera, symphony, chamber music festival, as well as in African, Haitian, and samba gatherings, funk and ragtime bands.        She just moved to Bloomington, Indiana in the end of 2022. Angela's mission in life is to facilitate expressive creative, musical, and vocal experiences and to encourage folks to replace judgement with curiosity and open themselves to their unique, creative flow.     Part of how Angela does this is by singing and drumming online weekly with people living with Parkinson's and other movement disorders. This song is free to share but Angela always welcomes financial and/or networking support if/when folks are so moved. Links:  Letter to a Young Activist by Clarissa Pinkola Estés: https://www.mavenproductions.com/letter-to-a-young-activist Angela's website: www.AngelaGabriel.me Support Angela's work: find songs, rhythmic activities, and more at patreon.com/AngelaGabriel Check out Hidden Whale, Angela's old band (she's the drummer): https://youtube.com/channel/UCpxdVqwSxzEBhgUilN3qQLg Song Learning Time Stamps: Start time of teaching: 00:02:55 Start time of reprise: 00:12:49 Nuts & Bolts: 12:8, major, harmonized call & response Visit abreathofsong.com for lyrics, more of Patty's artwork, and a way to nominate songs or songwriters for the podcast. Join the A Breath of Song mailing list to receive a heads up as a new episode is released, plus a large version of the artwork, brief thoughts from my slightly peculiar brain... and occasional extras when they seem vitally important! No junk -- I will never sell your address. I read out all your names into my living room when I send new mailings... I appreciate the connection to you who are listening and singing these songs with me. Exchange energy with A Breath of Song with dollars at the Gratitude Jar (whoo-hoo!!!!), or by making comments, leaving reviews, suggesting songs or songwriters (including yourself) ..... your participation matters!

(Cambridge Insight Meditation Center)

(Cambridge Insight Meditation Center)

New Movie Trailers: Smile Beast The school of good and evil Hocus Pocus 2 The Invitation New "Mute it or Reboot it': The wood series Scream 6 update This week's hot topics: Roe vs Wade Rkelly Get Sentenced Verzuz battle P-Valley Controversy You Got McDonald's money Main topic: Hulu's Fresh --- Send in a voice message: https://anchor.fm/listentothisfam/message Support this podcast: https://anchor.fm/listentothisfam/support

'Fear not, dear friend. We were made for these times… ' Ian Watson 2021 It was an honour to interview Ian Watson who has worked in the wellbeing and personal transformation space for over 30 years. Ian has written numerous highly regarded homeopathy books and was the founder of The Lakeland College which provided professional training in homeopathy and related healing modalities. In 2011 Ian was introduced to the Three Principles understanding and found in the work of Sydney Banks a deep resonance with what he already knew to be true - Ian came to see that wellbeing is a constant within every human being, but due to the way our experience gets created it can often appear to be lost or diminished. Gaining insightful understanding into these principles brings about effortless transformation and truly sustainable change. We discuss: Why 'insight' is the most potent factor in healing Why healing doesn't have to be complicated or time consuming Whether everyone can heal What is susceptibility What are homeopathic 'miasms' The collective realisation on internal versus external authority Why first aid homeopathic prescribing has such impact Ian's favourite homeopathic remedy Why homeopathy will always survive despite attempts to discredit it Ian's website https://www.theinsightspace.com/ Intro music: Buddha by Kontekst https://soundcloud.com/kontekstmusic

For Paul and Arlo, existential crises and comic books often go hand-in-hand. Such is the case for this week's freestyle, wherein Paul's rumination on the erosion of his teenage self-confidence leads into a discussion of superhero mags. Paul tells Goblin punks to fuck off as he rocks out to Cody Ziglar and Justin Mason's Spider-Punk, goes undercover with Kelly Thompson and Elena Casagrande's recently wrapped run on Black Widow, and cloaks himself in Jed MacKay and Alessandro Cappuccio's Moon Knight. Meanwhile, Arlo rides on horseback through more goofy Silver Age Superman.   NEXT: we will continue to spiral.   MUSIC “I Just Wasn't Made For These Times” by The Beach Boys, Pet Sounds (1966) “Running Water” by Daniel Johnston, Hi, How Are You (1983) “A Horse with No Name” by America, America (1971)     GOBBLEDYCARES National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/  Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ The Trevor Project provides information and support to LGBTQ youth: thetrevorproject.org Trans Lifeline: https://translifeline.org/  US (877) 565-8860 Canada (877) 330-6366 National Center for Transgender Equality: transequality.org Advocate for writers who might be owed money due to discontinuance of royalties: https://www.writersmustbepaid.org/  Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://ripmedicaldebt.org/ Register to vote: https://vote.gov/

(San Francisco Insight Meditation Community)

(San Francisco Insight Meditation Community)

In troubling times, it is important to not lose heart.  Join Mandy as she discusses some of the old and new symbols and associations with the heart, and shares a personal story about the beauty of the human heart.  In a world "turned upside down" it is important to keep our hearts open, discerning and warm.  And not to worry, "we were made for these times!" Now, more than ever, it is important that we have hearts that reflect light and love.  

Episode one hundred and forty-two of A History of Rock Music in Five Hundred Songs looks at “God Only Knows" by the Beach Boys, and the creation of the Pet Sounds album. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Sunny" by Bobby Hebb. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. I have also referred to Brian Wilson's autobiography, I Am Brian Wilson, and to Mike Love's, Good Vibrations: My Life as a Beach Boy. For material specific to Pet Sounds I have used Kingsley Abbot's The Beach Boys' Pet Sounds: The Greatest Album of the Twentieth Century and Charles L Granata's I Just Wasn't Made For These Times: Brian Wilson and the Making of Pet Sounds.  I also used the 126-page book The Making of Pet Sounds by David Leaf, which came as part of the The Pet Sounds Sessions box set, which also included the many alternate versions of songs from the album used here. Sadly both that box set and the 2016 updated reissue of it appear currently to be out of print, but either is well worth obtaining for anyone who is interested in how great records are made. Of the versions of Pet Sounds that are still in print, this double-CD version is the one I'd recommend. It has the original mono mix of the album, the more recent stereo remix, the instrumental backing tracks, and live versions of several songs. 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. The YouTube drum tutorial I excerpted a few seconds of to show a shuffle beat is here. Transcript We're still in the run of episodes that deal with the LA pop music scene -- though next week we're going to move away from LA, while still dealing with a lot of the people who would play a part in that scene. But today we're hitting something that requires a bit of explanation. Most artists covered in this podcast get one or at the most two episodes. Some get slightly more -- the major artists who are present for many revolutions in music, or who have particularly important careers, like Fats Domino or the Supremes. And then there are a few very major artists who get a lot more. The Beatles, for example, are going to get eight in total, plus there will be episodes on some of their solo careers. Elvis has had six, and will get one more wrap-up episode. This is the third Beach Boys episode, and there are going to be three more after this, because the Beach Boys were one of the most important acts of the decade. But normally, I limit major acts to one episode per calendar year of their career. This means that they will average at most one episode every ten episodes, so while for example the episodes on "Mystery Train" and "Heartbreak Hotel" came close together, there was then a reasonable gap before another Elvis episode. This is not possible for the Beach Boys, because this episode and the next two Beach Boys ones all take place over an incredibly compressed timeline. In May 1966, they released an album that has consistently been voted the best album ever in polls of critics, and which is certainly one of the most influential even if one does not believe there is such a thing as a "best album ever". In October 1966 they released one of the most important singles ever -- a record that is again often considered the single best pop single of all time, and which again was massively influential. And then in July 1967 they released the single that was intended to be the lead-off single from their album Smile, an album that didn't get released until decades later, and which became a legend of rock music that was arguably more influential by *not* being released than most records that are released manage to be. And these are all very different stories, stories that need to be told separately. This means that episode one hundred and forty-two, episode one hundred and forty-six, and episode one hundred and fifty-three are all going to be about the Beach Boys. There will be one final later episode about them, too, but the next few months are going to be very dominated by them, so I apologise in advance for that if that's not something you're interested in. Though it also means that with luck some of these episodes will be closer to the shorter length of podcast I prefer rather than the ninety-minute mammoths we've had recently. Though I'm afraid this is another long one. When we left the Beach Boys, we'd just heard that Glen Campbell had temporarily replaced Brian Wilson on the road, after Wilson's mental health had finally been unable to take the strain of touring while also being the group's record producer, principal songwriter, and leader. To thank Campbell, who at this point was not at all well known in his own right, though he was a respected session guitarist and had released a few singles, Brian had co-written and produced "Guess I'm Dumb" for him, a track which prefigured the musical style that Wilson was going to use for the next year or so: [Excerpt: Glen Campbell, "Guess I'm Dumb"] It's worth looking at "Guess I'm Dumb" in a little detail, as it points the way forward to a lot of Wilson's songwriting over the next year. Firstly, of course, there are the lyrical themes of insecurity and of what might even be descriptions of mental illness in the first verse -- "the way I act don't seem like me, I'm not on top like I used to be". The lyrics are by Russ Titelman, but it's reasonable to assume that as with many of his collaborations, Brian brought in the initial idea. There's also a noticeable change in the melodic style compared to Wilson's earlier melodies. Up to this point, Wilson has mostly been writing what get called "horizontal" melody lines -- ones with very little movement, and small movements, often centred on a single note or two. There are exceptions of course, and plenty of them, but a typical Brian Wilson melody up to this point is the kind of thing where even I can hit the notes more or less OK -- [sings] "Well, she got her daddy's car and she cruised through the hamburger stand now". It's not quite a monotone, but it's within a tight range, and you don't have to move far from one note to another. But "Guess I'm Dumb" is incorporating the influence of Roy Orbison, and more obviously of Burt Bacharach, and it's *ludicrously* vertical, with gigantic leaps all over the place, in places that are not obvious. It requires the kind of precision that only a singer like Campbell can attain, to make it sound at all natural: [Excerpt: Glen Campbell, "Guess I'm Dumb"] Bacharach's influence is also noticeable in the way that the chord changes are very different from those that Wilson was using before. Up to this point, when Wilson wrote unusual chord changes, it was mostly patterns like "The Warmth of the Sun", which is wildly inventive, but mostly uses very simple triads and sevenths. Now he was starting to do things like the line "I guess I'm dumb but I don't care", which is sort of a tumbling set of inversions of the same chord that goes from a triad with the fifth in the bass, to a major sixth, to a minor eleventh, to a minor seventh. Part of the reason that Brian could start using these more complex voicings was that he was also moving away from using just the standard guitar/bass/drums lineup, sometimes with keyboards and saxophone, which had been used on almost every Beach Boys track to this point. Instead, as well as the influence of Bacharach, Wilson was also being influenced by Jack Nitzsche's arrangements for Phil Spector's records, and in particular by the way Nitzsche would double instruments, and have, say, a harpsichord and a piano play the same line, to create a timbre that was different from either individual instrument. But where Nitzsche and Spector used the technique along with a lot of reverb and overdubbing to create a wall of sound which was oppressive and overwhelming, and which obliterated the sounds of the individual instruments, Wilson used the same instrumentalists, the Wrecking Crew, to create something far more delicate: [Excerpt: Glen Campbell, "Guess I'm Dumb (instrumental and backing vocals)"] Campbell does such a good job on "Guess I'm Dumb" that one has to wonder what would  have happened if he'd remained with the Beach Boys. But Campbell had of course not been able to join the group permanently -- he had his own career to attend to, and that would soon take off in a big way, though he would keep playing on the Beach Boys' records for a while yet as a member of the Wrecking Crew. But Brian Wilson was still not well enough to tour. In fact, as he explained to the rest of the group, he never intended to tour again -- and he wouldn't be a regular live performer for another twelve years. At first the group were terrified -- they thought he was talking about quitting the group, or the group splitting up altogether. But Brian had a different plan. From that point on, there were two subtly different lineups of the group. In the studio, Brian would sing his parts as always, but the group would get a permanent replacement for him on tour -- someone who could replace him on stage. While the group was on tour, Brian would use the time to write songs and to record backing tracks. He'd already started using the Wrecking Crew to add a bit of additional musical colour to some of the group's records, but from this point on, he'd use them to record the whole track, maybe getting Carl to add a bit of guitar as well if he happened to be around, but otherwise just using the group to provide vocals. It's important to note that this *was* a big change. A lot of general music history sources will say things like "the Beach Boys never played on their own records", and this is taken as fact by people who haven't investigated further. In fact, the basic tracks for all their early hits were performed by the group themselves -- "Surfin'", "Surfin' Safari", "409", "Surfer Girl", "Little Deuce Coupe", "Don't Worry Baby" and many more were entirely performed by the Beach Boys, while others like "I Get Around" featured the group with a couple of additional musicians augmenting them. The idea that the group never played on their records comes entirely from their recordings from 1965 and 66, and even there often Carl would overdub a guitar part. And at this point, the Beach Boys were still playing on the majority of their recordings, even on sophisticated-sounding records like "She Knows Me Too Well", which is entirely a group performance other than Brian's friend, Russ Titelman, the co-writer of "Guess I'm Dumb", adding some percussion by hitting a microphone stand with a screwdriver: [Excerpt: The Beach Boys, "She Knows Me Too Well"] So the plan to replace the group's instrumental performances in the studio was actually a bigger change than it might seem. But an even bigger change was the live performances, which of course required the group bringing in a permanent live replacement for Brian. They'd already tried this once before, when he'd quit the road for a while and they'd brought Al Jardine back in, but David Marks quitting had forced him back on stage. Now they needed someone to take his place for good. They phoned up their friend Bruce Johnston to see if he knew anyone, and after suggesting a couple of names that didn't work out, he volunteered his own services, and as of this recording he's spent more than fifty years in the band (he quit for a few years in the mid-seventies, but came back). We've seen Johnston turn up several times already, most notably in the episode on "LSD-25", where he was one of the musicians on the track we looked at, but for those of you who don't remember those episodes, he was pretty much *everywhere* in California music in the late fifties and early sixties. He had been in a band at school with Phil Spector and Sandy Nelson, and another band with Jan and Dean, and he'd played on Nelson's "Teen Beat", produced by Art Laboe: [Excerpt: Sandy Nelson, "Teen Beat"] He'd been in the house band at those shows Laboe put on at El Monte stadium we talked about a couple of episodes back, he'd been a witness to John Dolphin's murder, he'd been a record producer for Bob Keane, where he'd written and produced songs for Ron Holden, the man who had introduced "Louie Louie" to Seattle: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] He'd written "The Tender Touch" for Richard Berry's backing group The Pharaos, with Berry singing backing vocals on this one: [Excerpt: The Pharaos, "The Tender Touch"] He'd helped Bob Keane compile Ritchie Valens' first posthumous album, he'd played on "LSD-25" and "Moon Dawg" by the Gamblers: [Excerpt: The Gamblers, "Moon Dawg"] He'd arranged and produced the top ten hit “Those Oldies but Goodies (Remind Me of You)” for Little Caesar and the Romans: [Excerpt Little Caesar and the Romans, "Those Oldies but Goodies (Remind Me of You)"] Basically, wherever you looked in the LA music scene in the early sixties, there was Bruce Johnston somewhere in the background. But in particular, he was suitable for the Beach Boys because he had a lot of experience in making music that sounded more than a little like theirs. He'd made cheap surf records as the Bruce Johnston Surfing Band: [Excerpt: Bruce Johnston, "The Hamptons"] And with his long-time friend and creative partner Terry Melcher he had, as well as working on several Paul Revere and the Raiders records, also recorded hit Beach Boys soundalikes both as their own duo, Bruce and Terry: [Excerpt: Bruce and Terry, "Summer Means Fun"] and under the name of a real group that Melcher had signed, but who don't seem to have sung much on their own big hit, the Rip Chords: [Excerpt: The Rip Chords, "Hey Little Cobra"] Johnston fit in well with the band, though he wasn't a bass player before joining, and had to be taught the parts by Carl and Al. But he's probably the technically strongest musician in the band, and while he would later switch to playing keyboards on stage, he was quickly able to get up to speed on the bass well enough to play the parts that were needed. He also wasn't quite as strong a falsetto singer as Brian Wilson, as can be heard by listening to this live recording of the group singing "I Get Around" in 1966: [Excerpt: The Beach Boys, "I Get Around (live 1966)"] Johnston is actually an excellent singer -- and can still hit the high notes today. He sings the extremely high falsetto part on "Fun Fun Fun" at the end of every Beach Boys show. But his falsetto was thinner than Wilson's, and he also has a distinctive voice which can be picked out from the blend in a way that none of the other Beach Boys' voices could -- the Wilson brothers and Mike Love all have a strong family resemblance, and Al Jardine always sounded spookily close to them. This meant that increasingly, the band would rearrange the vocal parts on stage, with Carl or Al taking the part that Brian had taken in the studio. Which meant that if, say, Al sang Brian's high part, Carl would have to move up to sing the part that Al had been singing, and then Bruce would slot in singing the part Carl had sung in the studio. This is a bigger difference than it sounds, and it meant that there was now a need for someone to work out live arrangements that were different from the arrangements on the records -- someone had to reassign the vocal parts, and also work out how to play songs that had been performed by maybe eighteen session musicians playing French horns and accordions and vibraphones with a standard rock-band lineup without it sounding too different from the record. Carl Wilson, still only eighteen when Brian retired from the road, stepped into that role, and would become the de facto musical director of the Beach Boys on stage for most of the next thirty years, to the point that many of the group's contracts for live performances at this point specified that the promoter was getting "Carl Wilson and four other musicians". This was a major change to the group's dynamics. Up to this point, they had been a group with a leader -- Brian -- and a frontman -- Mike, and three other members. Now they were a more democratic group on stage, and more of a dictatorship in the studio. This was, as you can imagine, not a stable situation, and was one that would not last long. But at first, this plan seemed to go very, very well. The first album to come out of this new hybrid way of working, The Beach Boys Today!, was started before Brian retired from touring, and some of the songs on it were still mostly or solely performed by the group, but as we heard with "She Knows Me Too Well" earlier, the music was still more sophisticated than on previous records, and this can be heard on songs like "When I Grow Up to Be a Man", where the only session musician is the harmonica player, with everything else played by the group: [Excerpt: The Beach Boys, "When I Grow Up to Be a Man"] But the newer sophistication really shows up on songs like "Kiss Me Baby", where most of the instrumentation is provided by the Wrecking Crew -- though Carl and Brian both play on the track -- and so there are saxophones, vibraphones, French horn, cor anglais, and multiple layers of twelve-string guitar: [Excerpt: The Beach Boys, "Kiss Me Baby"] Today had several hit singles on it -- "Dance, Dance, Dance", "When I Grow Up to be a Man", and their cover version of Bobby Freeman's "Do You Wanna Dance?" all charted -- but the big hit song on the album actually didn't become a hit in that version. "Help Me Ronda" was a piece of album filler with a harmonica part played by Billy Lee Riley, and was one of Al Jardine's first lead vocals on a Beach Boys record -- he'd only previously sung lead on the song "Christmas Day" on their Christmas album: [Excerpt: The Beach Boys, "Help Me Ronda"] While the song was only intended as album filler, other people saw the commercial potential in the song. Bruce Johnston was at this time still signed to Columbia records as an artist, and wasn't yet singing on Beach Boys records, and he recorded a version of the song with Terry Melcher as a potential single: [Excerpt: Bruce and Terry, "Help Me Rhonda"] But on seeing the reaction to the song, Brian decided to rerecord it as a single. Unfortunately, Murry Wilson turned up to the session. Murry had been fired as the group's manager by his sons the previous year, though he still owned the publishing company that published their songs. In the meantime, he'd decided to show his family who the real talent behind the group was by taking on another group of teenagers and managing and producing them. The Sunrays had a couple of minor hits, like "I Live for the Sun": [Excerpt: The Sunrays, "I Live for the Sun"] But nothing made the US top forty, and by this point it was clear, though not in the way that Murry hoped, who the real talent behind the group *actually* was. But he turned up to the recording session, with his wife in tow, and started trying to produce it: [Excerpt: Beach Boys and Murry Wilson "Help Me Rhonda" sessions] It ended up with Brian physically trying to move his drunk father away from the control panel in the studio, and having a heartbreaking conversation with him, where the twenty-two-year-old who is recovering from a nervous breakdown only a few months earlier sounds calmer, healthier, and more mature than his forty-seven-year-old father: [Excerpt: Beach Boys and Murry Wilson, "Help Me Rhonda" sessions] Knowing that this was the family dynamic helps make the comedy filler track on the next album, "I'm Bugged at My Old Man", seem rather less of a joke than it otherwise would: [Excerpt: The Beach Boys, "I'm Bugged at My Old Man"] But with Murry out of the way, the group did eventually complete recording "Help Me Rhonda" (and for those of you reading this as a blog post rather than listening to the podcast, yes they did spell it two different ways for the two different versions), and it became the group's second number one hit: [Excerpt: The Beach Boys, "Help Me, Rhonda"] As well as Murry Wilson, though, another figure was in the control room then -- Loren Daro (who at the time went by his birth surname, but I'm going to refer to him throughout by the name he chose).  You can hear, on the recording, Brian Wilson asking Daro if he could "turn him on" -- slang that was at that point not widespread enough for Wilson's parents to understand the meaning. Daro was an agent working for the William Morris Agency, and he was part of a circle of young, hip, people who were taking drugs, investigating mysticism, and exploring new spiritual ideas. His circle included the Byrds -- Daro, like Roger McGuinn, later became a follower of Subud and changed his name as a result -- as well as people like the songwriter and keyboard player Van Dyke Parks, who will become a big part of this story in subsequent episodes, and Stephen Stills, who will also be turning up again. Daro had introduced Brian to cannabis, in 1964, and in early 1965 he gave Brian acid for the first time -- one hundred and twenty-five micrograms of pure Owsley LSD-25. Now, we're going to be looking at acid culture quite a lot in the next few months, as we get through 1966 and 1967, and I'll have a lot more to say about it, but what I will say is that even the biggest proponents of psychedelic drug use tend not to suggest that it is a good idea to give large doses of LSD in an uncontrolled setting to young men recovering from a nervous breakdown. Daro later described Wilson's experience as "ego death" -- a topic we will come to in a future episode, and not considered entirely negative -- and "a beautiful thing". But he has also talked about how Wilson was so terrified by his hallucinations that he ran into the bedroom, locked the door, and hid his head under a pillow for two hours, which doesn't sound so beautiful to me. Apparently after those two hours, he came out of the bedroom, said "Well, that's enough of that", and was back to normal. After that first trip, Wilson wrote a piece of music inspired by his psychedelic experience. A piece which starts like this, with an orchestral introduction very different from anything else the group had released as a single: [Excerpt: The Beach Boys, "California Girls"] Of course, when Mike Love added the lyrics to the song, it became about far more earthly and sensual concerns: [Excerpt: The Beach Boys, "California Girls"] But leaving the lyrics aside for a second, it's interesting to look at "California Girls" musically to see what Wilson's idea of psychedelic music -- by which I mean specifically music inspired by the use of psychedelic drugs, since at this point there was no codified genre known as psychedelic music or psychedelia -- actually was. So, first, Wilson has said repeatedly that the song was specifically inspired by "Jesu, Joy of Man's Desiring" by Bach: [Excerpt: Bach, "Jesu, Joy of Man's Desiring"] And it's odd, because I see no real structural or musical resemblance between the two pieces that I can put my finger on, but at the same time I can totally see what he means. Normally at this point I'd say "this change here in this song relates to this change there in that song", but there's not much of that kind of thing here -- but I still. as soon as I read Wilson saying that for the first time, more than twenty years ago, thought "OK, that makes sense". There are a few similarities, though. Bach's piece is based around triplets, and they made Wilson think of a shuffle beat. If you remember *way* back in the second episode of the podcast, I talked about how one of the standard shuffle beats is to play triplets in four-four time. I'm going to excerpt a bit of recording from a YouTube drum tutorial (which I'll link in the liner notes) showing that kind of shuffle: [Excerpt: "3 Sweet Triplet Fills For Halftime Shuffles & Swung Grooves- Drum Lesson" , from https://www.youtube.com/watch?v=2CwlSaQZLkY ] Now, while Bach's piece is in waltz time, I hope you can hear how the DA-da-da DA-da-da in Bach's piece may have made Wilson think of that kind of shuffle rhythm. Bach's piece also has a lot of emphasis of the first, fifth, and sixth notes of the scale -- which is fairly common, and not something particularly distinctive about the piece -- and those are the notes that make up the bass riff that Wilson introduces early in the song: [Excerpt: The Beach Boys, "California Girls (track)"] That bass riff, of course, is a famous one. Those of you who were listening to the very earliest episodes of the podcast might remember it from the intros to many, many, Ink Spots records: [Excerpt: The Ink Spots, "We Three (My Echo, My Shadow, and Me)"] But the association of that bassline to most people's ears would be Western music, particularly the kind of music that was in Western films in the thirties and forties. You hear something similar in "The Trail of the Lonesome Pine", as performed by Laurel and Hardy in their 1937 film Way Out West: [Excerpt: Laurel and Hardy, "The Trail of the Lonesome Pine"] But it's most associated with the song "Tumbling Tumbleweeds", first recorded in 1934 by the Western group Sons of the Pioneers, but more famous in their 1946 rerecording, made after the Ink Spots' success, where the part becomes more prominent: [Excerpt: The Sons of the Pioneers, "Tumbling Tumbleweeds"] That song was a standard of the Western genre, and by 1965 had been covered by everyone from Gene Autry to the Supremes, Bob Wills to Johnnie Ray, and it would also end up covered by several musicians in the LA pop music scene over the next few years, including Michael Nesmith and Curt Boettcher, both people part of the same general scene as the Beach Boys. The other notable thing about "California Girls" is that it's one of the first times that Wilson was able to use multi-tracking to its full effect. The vocal parts were recorded on an eight-track machine, meaning that Wilson could triple-track both Mike Love's lead vocal and the group's backing vocals. With Johnston now in the group -- "California Girls" was his first recording session with them -- that meant that on the record there were eighteen voices singing, leading to some truly staggering harmonies: [Excerpt: The Beach Boys, "California Girls (Stack-O-Vocals)"] So, that's what the psychedelic experience meant to Brian Wilson, at least -- Bach, orchestral influences, using the recording studio to create thicker vocal harmony parts, and the old West. Keep that in the back of your mind for the present, but it'll be something to remember in eleven episodes' time. "California Girls" was, of course, another massive hit, reaching number three on the charts. And while some Beach Boys fans see the album it was included on, Summer Days... And Summer Nights!, as something of a step backward from the sophistication of Today!, this is a relative thing. It's very much of a part with the music on the earlier album, and has many wonderful moments, with songs like "Let Him Run Wild" among the group's very best. But it was their next studio album that would cement the group's artistic reputation, and which would regularly be acclaimed by polls of critics as the greatest album of all time -- a somewhat meaningless claim; even more than there is no "first" anything in music, there's no "best" anything. The impulse to make what became Pet Sounds came, as Wilson has always told the story, from hearing the Beatles album Rubber Soul. Now, we've not yet covered Rubber Soul -- we're going to look at that, and at the album that came after it, in three episodes' time -- but it is often regarded as a major artistic leap forward for the Beatles. The record Wilson heard, though, wasn't the same record that most people nowadays think of when they think of Rubber Soul. Since the mid-eighties, the CD versions of the Beatles albums have (with one exception, Magical Mystery Tour) followed the tracklistings of the original British albums, as the Beatles and George Martin intended. But in the sixties, Capitol Records were eager to make as much money out of the Beatles as they could. The Beatles' albums generally had fourteen songs on, and often didn't include their singles. Capitol thought that ten or twelve songs per album was plenty, and didn't have any aversion to putting singles on albums. They took the three British albums Help!, Rubber Soul, and Revolver, plus the non-album "Day Tripper"/"We Can Work It Out" single and Ken Thorne's orchestral score for the Help! film, and turned that into four American albums -- Help!, Rubber Soul, Yesterday and Today, and Revolver. In the case of Rubber Soul, that meant that they removed four tracks from the British album -- "Drive My Car", "Nowhere Man", "What Goes On" and "If I Needed Someone" -- and added two songs from the British version of Help!, "I've Just Seen a Face" and "It's Only Love". Now, I've seen some people claim that this made the American Rubber Soul more of a folk-rock album -- I may even have said that myself in the past -- but that's not really true. Indeed, "Nowhere Man" and "If I Needed Someone" are two of the Beatles' most overtly folk-rock tracks, and both clearly show the influence of the Byrds. But what it did do was remove several of the more electric songs from the album, and replace them with acoustic ones: [Excerpt: The Beatles, "I've Just Seen a Face"] This, completely inadvertently, gave the American Rubber Soul lineup a greater sense of cohesion than the British one. Wilson later said "I listened to Rubber Soul, and I said, 'How could they possibly make an album where the songs all sound like they come from the same place?'" At other times he's described his shock at hearing "a whole album of only good songs" and similar phrases. Because up to this point, Wilson had always included filler tracks on albums, as pretty much everyone did in the early sixties. In the American pop music market, up to the mid sixties, albums were compilations of singles plus whatever random tracks happened to be lying around. And so for example in late 1963 the Beach Boys had released two albums less than a month apart -- Surfer Girl and Little Deuce Coupe. Given that Brian Wilson wrote or co-wrote all the group's original material, it wasn't all that surprising that Little Deuce Coupe had to include four songs that had been released on previous albums, including two that were on Surfer Girl from the previous month. It was the only way the group could keep up with the demand for new product from a company that had no concept of popular music as art. Other Beach Boys albums had included padding such as generic surf instrumentals, comedy sketches like "Cassius" Love vs. "Sonny" Wilson, and in the case of The Beach Boys Today!, a track titled "Bull Session With the Big Daddy", consisting of two minutes of random chatter with the photographer Earl Leaf while they all ate burgers: [Excerpt: The Beach Boys and Earl Leaf, "Bull Session With the Big Daddy"] This is not to attack the Beach Boys. This was a simple response to the commercial pressures of the marketplace. Between October 1962 and November 1965, they released eleven albums. That's about an album every three months, as well as a few non-album singles. And on top of that Brian had also been writing songs during that time for Jan & Dean, the Honeys, the Survivors and others, and had collaborated with Gary Usher and Roger Christian on songs for Muscle Beach Party, one of American International Pictures' series of Beach Party films. It's unsurprising that not everything produced on this industrial scale was a masterpiece. Indeed, the album the Beach Boys released directly before Pet Sounds could be argued to be an entire filler album. Many biographies say that Beach Boys Party! was recorded to buy Brian time to make Pet Sounds, but the timelines don't really match up on closer investigation. Beach Boys Party! was released in November 1965, before Brian ever heard Rubber Soul, which came out later, and before he started writing the material that became Pet Sounds. Beach Boys Party! was a solution to a simple problem -- the group were meant to deliver three albums that year, and they didn't have three albums worth of material. Some shows had been recorded for a possible live album, but they'd released a live album in 1964 and hadn't really changed their setlist very much in the interim. So instead, they made a live-in-the-studio album, with the conceit that it was recorded at a party the group were holding. Rather than the lush Wrecking Crew instrumentation they'd been using in recent months, everything was played on acoustic guitars, plus some bongos provided by Wrecking Crew drummer Hal Blaine and some harmonica from Billy Hinsche of the boy band Dino, Desi, and Billy, whose sister Carl Wilson was shortly to marry. The album included jokes and false starts, and was overlaid with crowd noise, to give the impression that you were listening to an actual party where a few people were sitting round with guitars and having fun. The album consisted of songs that the group liked and could play without rehearsal -- novelty hits from a few years earlier like "Alley Oop" and "Hully Gully", a few Beatles songs, and old favourites like the Everly Brothers hit "Devoted to You" -- in a rather lovely version with two-part harmony by Mike and Brian, which sounds much better in a remixed version released later without the party-noise overdubs: [Excerpt: The Beach Boys, "Devoted to You (remix)"] But the song that defined the album, which became a massive hit, and which became an albatross around the band's neck about which some of them would complain for a long time to come, didn't even have one of the Beach Boys singing lead. As we discussed back in the episode on "Surf City", by this point Jan and Dean were recording their album "Folk 'n' Roll", their attempt at jumping on the folk-rock bandwagon, which included the truly awful "The Universal Coward", a right-wing answer song  to "The Universal Soldier" released as a Jan Berry solo single: [Excerpt: Jan Berry, "The Universal Coward"] Dean Torrence was by this point getting sick of working with Berry, and was also deeply unimpressed with the album they were making, so he popped out of the studio for a while to go and visit his friends in the Beach Boys, who were recording nearby. He came in during the Party sessions, and everyone was suggesting songs to perform, and asked Dean to suggest something. He remembered an old doo-wop song that Jan and Dean had recorded a cover version of, and suggested that. The group had Dean sing lead, and ran through a sloppy version of it, where none of them could remember the words properly: [Excerpt: The Beach Boys, "Barbara Ann"] And rather incredibly, that became one of the biggest hits the group ever had, making number two on the Billboard chart (and number one on other industry charts like Cashbox), number three in the UK, and becoming a song that the group had to perform at almost every live show they ever did, together or separately, for at least the next fifty-seven years. But meanwhile, Brian had been working on other material. He had not yet had his idea for an album made up entirely of good songs, but he had been experimenting in the studio. He'd worked on a handful of tracks which had pointed in new directions. One was a single, "The Little Girl I Once Knew": [Excerpt: The Beach Boys, "The Little Girl I Once Knew"] John Lennon gave that record a very favourable review, saying "This is the greatest! Turn it up, turn it right up. It's GOT to be a hit. It's the greatest record I've heard for weeks. It's fantastic." But the record only made number twenty -- a perfectly respectable chart placing, but nowhere near as good as the group's recent run of hits -- in part because its stop-start nature meant that the record had "dead air" -- moments of silence -- which made DJs avoid playing it, because they believed that dead air, even only a second of it here and there, would make people tune to another station. Another track that Brian had been working on was an old folk song suggested by Alan Jardine. Jardine had always been something of a folkie, of the Kingston Trio variety, and he had suggested that the group might record the old song "The Wreck of the John B", which the Kingston Trio had recorded. The Trio's version in turn had been inspired by the Weavers' version of the song from 1950: [Excerpt: The Weavers, "The Wreck of the John B"] Brian had at first not been impressed, but Jardine had fiddled with the chord sequence slightly, adding in a minor chord to make the song slightly more interesting, and Brian had agreed to record the track, though he left the instrumental without vocals for several months: [Excerpt: The Beach Boys, "Sloop John B (instrumental)"] The track was eventually finished and released as a single, and unlike "The Little Girl I Once Knew" it was a big enough hit that it was included on the next album, though several people have said it doesn't fit. Lyrically, it definitely doesn't, but musically, it's very much of a piece with the other songs on what became Pet Sounds: [Excerpt: The Beach Boys, "Sloop John B"] But while Wilson was able to create music by himself, he wasn't confident about his ability as a lyricist. Now, he's not a bad lyricist by any means -- he's written several extremely good lyrics by himself -- but Brian Wilson is not a particularly articulate or verbal person, and he wanted someone who could write lyrics as crafted as his music, but which would express the ideas he was trying to convey. He didn't think he could do it himself, and for whatever reason he didn't want to work with Mike Love, who had co-written the majority of his recent songs, or with any of his other collaborators. He did write one song with Terry Sachen, the Beach Boys' road manager at the time, which dealt obliquely with those acid-induced concepts of "ego death": [Excerpt: The Beach Boys, "Hang on to Your Ego"] But while the group recorded that song, Mike Love objected vociferously to the lyrics. While Love did try cannabis a few times in the late sixties and early seventies, he's always been generally opposed to the use of illegal drugs, and certainly didn't want the group to be making records that promoted their use -- though I would personally argue that "Hang on to Your Ego" is at best deeply ambiguous about the prospect of ego death.  Love rewrote some of the lyrics, changing the title to "I Know There's an Answer", though as with all such bowdlerisation efforts he inadvertently left in some of the drug references: [Excerpt: The Beach Boys, "I Know There's an Answer"] But Wilson wasn't going to rely on Sachen for all the lyrics. Instead he turned to Tony Asher. Asher was an advertising executive, who Wilson probably met through Loren Daro -- there is some confusion over the timeline of their meeting, with some sources saying they'd first met in 1963 and that Asher had introduced Wilson to Daro, but others saying that the introductions went the other way, and that Daro introduced Asher to Wilson in 1965. But Asher and Daro had been friends for a long time, and so Wilson and Asher were definitely orbiting in the same circles. The most common version of the story seems to be that Asher was working in Western Studios, where he was recording a jingle - the advertising agency had him writing jingles because he was an amateur songwriter, and as he later put it nobody else at the agency knew the difference between E flat and A flat. Wilson was also working in the studio complex, and Wilson dragged Asher in to listen to some of the demos he was recording -- at that time Wilson was in the habit of inviting anyone who was around to listen to his works in progress. Asher chatted with him for a while, and thought nothing of it, until he got a phone call at work a few weeks later from Brian Wilson, suggesting the two write together. Wilson was impressed with Asher, who he thought of as very verbal and very intelligent, but Asher was less impressed with Wilson. He has softened his statements in recent decades, but in the early seventies he would describe Wilson as "a genius musician but an amateur human being", and sharply criticise his taste in films and literature, and his relationship with his wife. This attitude seems at least in part to have been shared by a lot of the people that Wilson was meeting and becoming influenced by. One of the things that is very noticeable about Wilson is that he has no filters at all, and that makes his music some of the most honest music ever recorded. But that same honesty also meant that he could never be cool or hip. He was -- and remains -- enthusiastic about the things he likes, and he likes things that speak to the person he is, not things that fit some idea of what the in crowd like. And the person Brian Wilson is is a man born in 1942, brought up in a middle-class suburban white family in California, and his tastes are the tastes one would expect from that background. And those tastes were not the tastes of the hipsters and scenesters who were starting to become part of his circle at the time. And so there's a thinly-veiled contempt in the way a lot of those people talked about Wilson, particularly in the late sixties and early seventies. Wilson, meanwhile, was desperate for their approval, and trying hard to fit in, but not quite managing it. Again, Asher has softened his statements more recently, and I don't want to sound too harsh about Asher -- both men were in their twenties, and still  trying to find their place in the world, and I wouldn't want to hold anyone's opinions from their twenties against them decades later. But that was the dynamic that existed between them. Asher saw himself as something of a sophisticate, and Wilson as something of a hick in contrast, but a hick who unlike him had created a string of massive hit records. And Asher did, always, respect Wilson's musical abilities. And Wilson in turn looked up to Asher, even while remaining the dominant partner, because he respected Asher's verbal facility. Asher took a two-week sabbatical from his job at the advertising agency, and during those two weeks, he and Wilson collaborated on eight songs that would make up the backbone of the album that would become Pet Sounds. The first song the two worked on was a track that had originally been titled "In My Childhood". Wilson had already recorded the backing track for this, including the sounds of bicycle horns and bells to evoke the feel of being a child: [Excerpt: The Beach Boys, "You Still Believe in Me (instrumental track)"] The two men wrote a new lyric for the song, based around a theme that appears in many of Wilson's songs -- the inadequate man who is loved by a woman who is infinitely superior to him, who doesn't understand why he's loved, but is astonished by it. The song became "You Still Believe in Me": [Excerpt: The Beach Boys, "You Still Believe in Me"] That song also featured an instrumental contribution of sorts by Asher. Even though the main backing track had been recorded before the two started working together, Wilson came up with an idea for an intro for the song, which would require a particular piano sound. To get that sound, Wilson held down the keys on a piano, while Asher leaned into the piano and plucked the strings manually. The result, with Wilson singing over the top, sounds utterly lovely: [Excerpt: The Beach Boys, "You Still Believe in Me"] Note that I said that Wilson and Asher came up with new lyrics together. There has been some slight dispute about the way songwriting credits were apportioned to the songs. Generally the credits said that Wilson wrote all the music, while Asher and Wilson wrote the lyrics together, so Asher got twenty-five percent of the songwriting royalties and Wilson seventy-five percent. Asher, though, has said that there are some songs for which he wrote the whole lyric by himself, and that he also made some contributions to the music on some songs -- though he has always said that the majority of the musical contribution was Wilson's, and that most of the time the general theme of the lyric, at least, was suggested by Wilson. For the most part, Asher hasn't had a problem with that credit split, but he has often seemed aggrieved -- and to my mind justifiably -- about the song "Wouldn't it Be Nice". Asher wrote the whole lyric for the song, though inspired by conversations with Wilson, but accepted his customary fifty percent of the lyrical credit. The result became one of the big hits from the album: [Excerpt: The Beach Boys, "Wouldn't It Be Nice?"] But -- at least according to Mike Love, in the studio he added a single line to the song: [Excerpt: The Beach Boys, "Wouldn't it Be Nice?"] When Love sued Brian Wilson in 1994, over the credits to thirty-five songs, he included "Wouldn't it Be Nice" in the list because of that contribution. Love now gets a third of the songwriting royalties, taken proportionally from the other two writers. Which means that he gets a third of Wilson's share and a third of Asher's share. So Brian Wilson gets half the money, for writing all the music, Mike Love gets a third of the money, for writing "Good night baby, sleep tight baby", and Tony Asher gets a sixth of the money -- half as much as Love -- for writing all the rest of the lyric. Again, this is not any one individual doing anything wrong – most of the songs in the lawsuit were ones where Love wrote the entire lyric, or a substantial chunk of it, and because the lawsuit covered a lot of songs the same formula was applied to borderline cases like “Wouldn't it Be Nice” as it was to clearcut ones like “California Girls”, where nobody disputes Love's authorship of the whole lyric. It's just the result of a series of reasonable decisions, each one of which makes sense in isolation, but which has left Asher earning significantly less from one of the most successful songs he ever wrote in his career than he should have earned. The songs that Asher co-wrote with Wilson were all very much of a piece, both musically and lyrically. Pet Sounds really works as a whole album better than it does individual tracks, and while some of the claims made about it -- that it's a concept album, for example -- are clearly false, it does have a unity to it, with ideas coming back in different forms. For example, musically, almost every new song on the album contains a key change down a minor third at some point -- not the kind of thing where the listener consciously notices that an idea has been repeated, but definitely the kind of thing that makes a whole album hold together. It also differs from earlier Beach Boys albums in that the majority of the lead vocals are by Brian Wilson. Previously, Mike Love had been the dominant voice on Beach Boys records, with Brian as second lead and the other members taking few or none. Now Love only took two main lead vocals, and was the secondary lead on three more. Brian, on the other hand, took six primary lead vocals and two partial leads. The later claims by some people that this was a Brian Wilson solo album in all but name are exaggerations -- the group members did perform on almost all of the tracks -- but it is definitely much more of a personal, individual statement than the earlier albums had been. The epitome of this was "I Just Wasn't Made For These Times", which Asher wrote the lyrics for but which was definitely Brian's idea, rather than Asher's. [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] That track also featured the first use on a Beach Boys record of the electro-theremin, an electronic instrument invented by session musician Paul Tanner, a former trombone player with the Glenn Miller band, who had created it to approximate the sound of a Theremin while being easier to play: [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] That sound would turn up on future Beach Boys records... But the song that became the most lasting result of the Wilson/Asher collaboration was actually one that is nowhere near as personal as many of the other songs on the record, that didn't contain a lot of the musical hallmarks that unify the album, and that didn't have Brian Wilson singing lead. Of all the songs on the album, "God Only Knows" is the one that has the most of Tony Asher's fingerprints on it. Asher has spoken in the past about how when he and Wilson were writing, Asher's touchstones were old standards like "Stella By Starlight" and "How Deep is the Ocean?", and "God Only Knows" easily fits into that category. It's a crafted song rather than a deep personal expression, but the kind of craft that one would find in writers like the Gershwins, every note and syllable perfectly chosen: [Excerpt: The Beach Boys, "God Only Knows"] One of the things that is often wrongly said about the song is that it's the first pop song to have the word "God" in the title. It isn't, and indeed it isn't even the first pop song to be called "God Only Knows", as there was a song of that name recorded by the doo-wop group the Capris in 1954: [Excerpt: The Capris, "God Only Knows"] But what's definitely true is that Wilson, even though he was interested in creating spiritual music, and was holding prayer sessions with his brother Carl before vocal takes, was reluctant to include the word in the song at first, fearing it would harm radio play. He was probably justified in his fears -- a couple of years earlier he'd produced a record called "Pray for Surf" by the Honeys, a girl-group featuring his wife: [Excerpt: The Honeys, "Pray For Surf"] That record hadn't been played on the radio, in part because it was considered to be trivialising religion. But Asher eventually persuaded Wilson that it would be OK, saying "What do you think we should do instead? Say 'heck only knows'?" Asher's lyric was far more ambiguous than it may seem -- while it's on one level a straightforward love song, Asher has always pointed out that the protagonist never says that he loves the object of the song, just that he'll make her *believe* that he loves her. Coupled with the second verse, which could easily be read as a threat of suicide if the object leaves the singer, it would be very, very, easy to make the song into something that sounds like it was from the point of view of a narcissistic, manipulative, abuser. That ambiguity is also there in the music, which never settles in a strong sense of key. The song starts out with an A chord, which you'd expect to lead to the song being in A, but when the horn comes in, you get a D# note, which isn't in that key, and then when the verse starts, it starts on an inversion of a D chord, before giving you enough clues that by the end of the verse you're fairly sure you're in the key of E, but it never really confirms that: [Excerpt: The Beach Boys, "God Only Knows (instrumental)"] So this is an unsettling, ambiguous, song in many ways. But that's not how it sounds, nor how Brian at least intended it to sound. So why doesn't it sound that way? In large part it's down to the choice of lead vocalist. If Mike Love had sung this song, it might have sounded almost aggressive. Brian *did* sing it in early attempts at the track, and he doesn't sound quite right either -- his vocal attitude is just... not right: [Excerpt: The Beach Boys, "God Only Knows (Brian Wilson vocal)"] But eventually Brian hit on getting his younger brother Carl to sing lead. At this point Carl had sung very few leads on record -- there has been some dispute about who sang what, exactly,  because of the family resemblance which meant all the core band members could sound a little like each other, but it's generally considered that he had sung full leads on two album tracks -- "Pom Pom Play Girl" and "Girl Don't Tell Me" -- and partial leads on two other tracks, covers of "Louie Louie" and "Summertime Blues". At this point he wasn't really thought of as anything other than a backing vocalist, but his soft, gentle, performance on "God Only Knows" is one of the great performances: [Excerpt: The Beach Boys, "God Only Knows (vocals)"] The track was actually one of those that required a great deal of work in the studio to create the form which now seems inevitable. Early attempts at the recording included a quite awful saxophone solo: [Excerpt: The Beach Boys "God Only Knows (early version)"] And there were a lot of problems with the middle until session keyboard player Don Randi suggested the staccato break that would eventually be used: [Excerpt: The Beach Boys, "God Only Knows"] And similarly, the tag of the record was originally intended as a mass of harmony including all the Beach Boys, the Honeys, and Terry Melcher: [Excerpt: The Beach Boys, "God Only Knows (alternate version with a capella tag)"] Before Brian decided to strip it right back, and to have only three voices on the tag -- himself on the top and the bottom, and Bruce Johnston singing in the middle: [Excerpt: The Beach Boys, "God Only Knows"] When Pet Sounds came out, it was less successful in the US than hoped -- it became the first of the group's albums not to go gold on its release, and it only made number ten on the album charts. By any objective standards, this is still a success, but it was less successful than the record label had hoped, and was taken as a worrying sign. In the UK, though, it was a different matter. Up to this point, the Beach Boys had not had much commercial success in the UK, but recently Andrew Loog Oldham had become a fan, and had become the UK publisher of their original songs, and was interested in giving them the same kind of promotion that he'd given Phil Spector's records. Keith Moon of the Who was also a massive fan, and the Beach Boys had recently taken on Derek Taylor, with his strong British connections, as their publicist. Not only that, but Bruce Johnston's old friend Kim Fowley was now based in London and making waves there. So in May, in advance of a planned UK tour set for November that year, Bruce Johnston and Derek Taylor flew over to the UK to press the flesh and schmooze. Of all the group members, Johnston was the perfect choice to do this -- he's by far the most polished of them in terms of social interaction, and he was also the one who, other than Brian, had the least ambiguous feelings about the group's new direction, being wholeheartedly in favour of it. Johnston and Taylor met up with Keith Moon, Lennon and McCartney, and other pop luminaries, and played them the record. McCartney in particular was so impressed by Pet Sounds and especially "God Only Knows", that he wrote this, inspired by the song, and recorded it even before Pet Sounds' UK release at the end of June: [Excerpt: The Beatles, "Here, There, and Everywhere"] As a result of Johnston and Taylor's efforts, and the promotional work by Oldham and others, Pet Sounds reached number two on the UK album charts, and "God Only Knows" made number two on the singles charts. (In the US, it was the B-side to "Wouldn't it Be Nice", although it made the top forty on its own merits too). The Beach Boys displaced the Beatles in the readers' choice polls for best band in the NME in 1966, largely as a result of the album, and Melody Maker voted it joint best album of the year along with the Beatles' Revolver. The Beach Boys' commercial fortunes were slightly on the wane in the US, but they were becoming bigger than ever in the UK. But a big part of this was creating expectations around Brian Wilson in particular. Derek Taylor had picked up on a phrase that had been bandied around -- enough that Murry Wilson had used it to mock Brian in the awful "Help Me, Rhonda" sessions -- and was promoting it widely as a truism. Everyone was now agreed that Brian Wilson was a genius. And we'll see how that expectation plays out over the next few weeks.. [Excerpt: The Beach Boys, "Caroline, No"]

In this episode of Buddhist Geeks, Vince Fakhoury Horn is joined in dialogue with Kaira Jewel Lingo, mindfulness meditation teacher, mentor, and author of the recently released book, "We Were Made For These Times". Here they discuss the unique times of peril and opportunity that humanity current faces, and how the teachings on equanimity, or inclusiveness, might just be the only thing that we can reliably fall back on.Episode Links:

Mike recalls all the stories that past guests have shared on the Best Speech Podcast. Hear stories from:Grant Baldwin of The Speaker Lab (1:01)Ally Fallon of Find Your Voice (4:45)Jelani Memory of a kids book about... (9:36)Maya Elious of Built to Impact (15:43)Donald Miller of StoryBrand (18:16)James Clear, author of Atomic Habits (21:13)Courtney Carver of Be More with Less (24:05)Dominick Quartuccio of The Great Man Within (27:10)Justin Zoradi, author of Made For These Times (33:33)Paige Griffith of The Legal Paige (36:30)Ian Morgan Cron of the Typology Institute (43:53)Host Mike Pacchione can be found at bestspeech.co, where listeners can join the weekly email list, get free speaking tips or hire Mike to help your own storytelling skills. Follow Mike at @mpacc on social media.

Dharma teacher and author, Kaira Jewel Lingo, joins Konda in conversation around spirituality, social justice, community, Thich Nhat Hanh, acceptance, apocalypse, and collective healing.This podcast is brought to you by BetterHelp. Click to receive 10% off your first month with your own licensed professional therapist: betterhelp.com/beherenowKaira Jewel Lingo is a Dharma teacher who has a lifelong interest in blending spirituality and meditation with social justice. She received Lamp Transmission from Thich Nhat Hanh and became a Zen teacher in 2007, and is a teacher in the Vipassana Insight lineage through Spirit Rock Meditation Center. Kaira teaches and leads retreats internationally, provides spiritual mentoring, and interweaves art, play, nature, racial and earth justice, and embodied mindfulness practice in her teaching. She especially feels called to share the Dharma with Black, Indigenous, and People of Color, as well as activists, educators, youth, artists, and families. Check out her new book We Were Made for These Times: Ten Lessons on Moving Through Change, Loss, and Disruption, and discover more offerings at KairaJewel.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We Were Made For These Times: A conversation with Kaira Jewel Lingo   In this conversation with Kaira, we explore many rich topics including:   embodiment and mindfulness as not separate her new book We Were Made For These Times the practice of coming home to ourselves applying these teachings in the mess of real life rather than just a monastic situation social justice and mindfulness and how each of these need each other the mantras of True Love from Thich Nhat Hanh powerful teachings from 2 monks from Plum Village who attended COP26 the powerful practice of kissing the earth with your feet layered mindfulness and so much more   Kaira Jewel Lingo began practicing mindfulness in 1997 and teaches Buddhist meditation, secular mindfulness, and compassion internationally. After living as an ordained nun for 15 years in Thich Nhat Hanh's monastic community, Kaira Jewel teaches in the Zen lineage and the Vipassana tradition, at the intersection of racial, climate and social justice with a focus on activists, Black/Indigenous/People of Color, artists, educators, families, and youth. Now based in New York, she offers spiritual mentoring to individuals and groups. She is author of the just released We Were Made for These Times: Skilfully Moving through Change, Loss and Disruption from Parallax Press. Visit kairajewel.com to learn more.    Kaira is offering a retreat Dec 4 and 5, 2021, through Spirit Rock, on the same title as my new book: https://spirit-rock.secure.retreat.guru/program/we-were-made-for-these-times-kj1m21/?_ga=2.185343337.1993561752.1633760566-881770598.1633760566&lang=en   Along with her partner who is an Episcopal priest, she is offering a new Buddhist Christian community of study, practice and action that meets monthly. People can sign up here if they'd like more info. https://docs.google.com/forms/d/e/1FAIpQLSftoybrmY3MixFXo2qrFxGajc2p3bn82WPeqbuRoRWKhwkNcg/viewform  

In this episode, Alisha is sharing her conversation with Kaira Jewel Lingo about her recentlly published book “We were made for these times”. This week's Sponsor is Fike + Co. Connecting People and Culture! Do you have questions you want me to answer on the show? Email me at awielfaert@yokeandabundance.comIf you love the Yoke and Abundance Wise Women Podcast Consider Supporting us through Patreon.

Join me for an absorbing and inspiring conversation with someone who I now consider a personal teacher: Kaira Jewel Lingo, the author of the just-released book, We Were Made for These Times: Ten Lessons on Moving Through Change, Loss, and Disruption. Kaira Jewel is a gentle voice that quietly shares the deepest wisdom in the simplest way. It is my favorite kind of teaching. It shifts and moves inside you until you say ah-ha! And all the while you don't feel taught. I've used her book and her Insight Timer series to give me the courage and compassion to keep going in these shattered and dark times of mistrust, injustice, climate change, and an endless pandemic. Kaira Jewel shares her story of beginning a new life outside the monastery, after 15 years as a nun with Thich Nhat Hanh's monastic community. But, most importantly, she shares convincing lessons that prove we were, indeed, made for these times because "every moment is our moment to be here as fully as we can be."

“Rolling Stone is no longer like 50 Cameron Crowes, extolling the ‘never to be experienced again' majesty of the 70s rock age to anyone curious about music history.” Today, Pet Sounds is widely considered to be one of the greatest albums of all time, but it was met with a lukewarm response from American audiences. Since then, there have been many theories as to why: band infighting, bad marketing, or that it “just wasn't made for these times.” The album would fall into relative obscurity until it was reclaimed in the 90s as the holy grail of hipsterdom by cool older sisters and obnoxious record store guys alike. Krista tells Rosie the story of how Brian's passion project made the uncool cool… and how gatekeeping only furthered the legend. Rosie goes off on a DayQuil-fueled rant against the rock canon and Krista's dog insists on making his own pet sounds while she's recording. Both hosts cry over a 90s Doonesbury comic. SHOW NOTES & SOURCES — FOLLOW US:INSTAGRAM @beachgalspod TWITTER @beachgalspod EMAIL US AT pocketsymphonypod@gmail.com Art by @HVNNart Theme by @mikeylegend

Some lyrics fall apart if you look at them too closely. You can probably guess where this is headed. What does it mean to be made for one's times? Is the word “thing” interchangeable with the word “theremin”? Oh, and Cecilia presents her nominee for Beatles Song With Biggest Debt To PET SOUNDS. Honorable mentions: Ross and Phoebe's musical innovations on FRIENDS, the purpose of science fiction, and Paul Anka yet again. --- Support this podcast: https://anchor.fm/podsounds/support

Season 1 | Episode 5 This episode was recorded in April 2020 at the beginning of the Pandemic. In it, we dare to wonder if the experience of modern Yoga is an experiment that might not have worked. The questions posed and explored are: Can we let go of what we think that we know that Yoga is? Can we turn toward our practice as a bridge to trusting ourselves over external authority, to accessing our resilience in times of difficulty, to accepting the unknown not as an obstacle but as an opportunity? As the world starts to slowly crawl out from under the weight of the Coronavirus pandemic, we find these questions & reflections to be even more potent. We hope you enjoy. ----- www.virabhavayoga.com/podcast Use discount code PODCAST2021 to take 20% of anything on our website, including registration for our Online Yoga Teacher Trainings.

Special Guests featuring Jed, Lilith & MJ In this special episode of Seapod, Atticus & Ryan delve into MK Ultra, Charles Manson, Vincent Bugliosi, buttstuff, Alex Jones and give a shoutout to Ash B. Coffin

With the world being how it is in this moment, now is not the time to stick our heads in the sand. If you are here on the planet right now, I believe it's for a reason and a greater purpose. Sometimes, we need to turn to our Spiritual Team to help figure out what that is. When we find ourselves in situations where we feel overwhelmed, defeated, scared, anxious or worried it's helpful to remember the words of Clarissa Pinkola Estés; “We Were Made For These Times”. I believe that our lives have been preparing us for this moment. Sometimes, if you feel not up to the task, we can call upon the strength of the Divine, our Inner Teacher and our Spiritual Team to help us to “act well and wisely”. Today on The Karen Kenney Show, we're talking about knowing and stepping into our purpose. What are we adding to the world around us? What is it that we are bringing to the table? Each voice matters and I want to encourage you to use yours with the support of your Spiritual Team. KK's Key Takeaways Shame, Blame & Victimization (2:37) I Rest In God (6:06) We Could All Use A Little Help (14:25) Spiritual Toolkit (21:33) Joan of Arc (24:00) Please Use Me (27:41) Walking Each Other Home (33:21) Willing To Die For (36:38) Karen Kenney is a writer, speaker, spiritual teacher, host of The Karen Kenney Show Podcast, founder of Fearless Flow™ Mentoring & creator of THE NEST Spiritual Membership. KK is a certified Spiritual Mentor, a student of A Course in Miracles for 28+ years and a longtime practitioner of Passage Meditation. She's also a certified teacher & facilitator of the Gateless Writing Method and is currently working on a memoir. Teaching yoga since 1999, she became a certified Kripalu Yoga Teacher in 2001 and got certified in Thai Yoga Massage in 2008 from the Lotus Palm School in Montreal. KK grew up in Lawrence & Boston, MA and is known for her storytelling, her sense of humor, her love of the Divine and her “down-to-earth” approach to Spirituality. Her signature Yoga & Writing Workshops, Fearless Flow™ Retreats & 1:1 Mentoring Programs utilize her transformational Your Story to Your Glory™ process and have helped hundreds of people to let go of their old stories of victimization and suffering, so they can choose Love over fear and live a new kick-ass story from a place of power, forgiveness, freedom and Spirit. A sought-after expert, guest teacher and Spiritual Thought Leader for Live Events, Podcasts, Coaching Programs and Shows, Karen has been invited to speak and teach on various platforms across the country including the Omega Institute in NY. You can learn more & connect with KK at: www.karenkenney.com  

Do you long for a time that’s not this one? Maybe a time that was simple and there was less hates and there was less divide? The bad news for you is that time never did exist we have always been divided we have always had heat we have always had disagreements at most turns. So with that said if you are not feeling like you were made for the social media, outrage, constantly upset world I have some really good news for you. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/matt-hafer/message Support this podcast: https://anchor.fm/matt-hafer/support

Men At Work - Down Under (original version) (1980) I tell the sad story of this song's ultimate effect on one of it's creators.  Men At Work -Keypunch Operator (1980) Eve Plumb - When I'm 21 (1970) The Righteous Brothers - Woman, Man Needs Ya (1969)  The Righteous Brothers - Substitute (1975) Gloria Gaynor - Substitute (1978) Gilbert Neal and Ken Ray Wilemon - Rock and Roll Heaven (2016) Gilbert Neal and Ken Ray Wilemon - I Will Survive (2016) Rod Stewart - I'm Gonna Move To The Outskirts of Town (1964) Seals and Crofts - First Love (1980) Seals and Crofts - Unborn Child (1974) Tasty abortion song.  From Wikipedia: The project originated when Lana Bogan, wife of recording engineer Joseph Bogan, watched a TV documentary on abortion and she was inspired to write a poem from the perspective of the terminated fetus. According to Dash Crofts, Warner Bros. tried to warn them not to release the album, because the subject of abortion was highly controversial. Neither Seals nor Crofts cared about the money and stated they were making the record to save lives, while Warner was primarily concerned with making money. The duo also insisted that the song's message was more universally that one should not take life too lightly, and should consider its value before carrying out the procedure of abortion. Despite Warners' warnings, the album was released in February 1974 and the label's worst fears came true: the title track was deemed controversial at the time because of its pro-life stance and as a result, Unborn Child hurt the duo's popularity and it was criticized by music critics. According to Bill de Young, the duo crossed the thin line that separated their music from the Baha'i faith, a religion that disapproves of abortion, and abortion-rights advocates boycotted the album and the duo's concerts. Seals and Crofts - In Tune (1969) Gilbert Neal and Ken Ray Wilemon - We May Never Pass This Way Again (2016) Seals and Crofts - We May Never Pass This Way Again (2004) Seals and Crofts - Egypt, Israel & America (1980) Bobby Vinton - Polka Pose (1975) Eartha Kitt - Hurdy Gurdy Man (1970) Danny Bonaduce - I'll Be Your Magician (1973) Gilbert Neal and Ken Ray Wilemon - Moonlight Feels Right (2016) Peggy Lipton - I Guess I Just Wasn't Made For These Times (1970) Known for being in The Mod Squad TV series, and being Rashida Jones' mother.  Starland Vocal Band - Liberated Woman (1977) "Well, I'll help you with the dishes, and the daily chores..."  Scott Walker - Joanna (1970)  Scott Walker - Farmer in the City (1995)  Starbuck - City of the Future (1977) Starbuck - Drop A Little Rock (1976) 

In this episode, Sara offers a resiliency-cultivating and nourishing respite for the Change-makers, the Light-bearers, the Soul Workers, the Protestors, the Prophets and Truth-tellers and Spellcasters actively and deeply engaged in the beautiful work of imagining and co-creating a new and equitable world, with a reading of the open letter ‘We Were Made for These Times,' by Dr. Clarissa Pinkola Estes, http://www.grahameb.com/pinkola_estes.htm , with the help of Pining Instrumental Facebook: @gretchenpleussmusic & @adamreifsnyder Instagram:@gretchenpleuss & @adamreifsnydermusic As always, I would love to hear from you.

I interview Lori Hanau, CEO of Global Round Table Leadership about how this pandemic is calling us to rise into our gifts, talents, humanity and what she calls Shared Leadership.  Lori articulates her framework called The Four Pillars of Inclusion and how that relates to our evolution as a species, and to a recent case study from her work as coach, muse and trainer of company culture.  Support the show (https://visionarycoachingnh.com/tools)

Dr. Judith Rich is a pioneering teacher in the field of transformation and consciousness. For over forty years, her work has focused on the awakening of one’s dormant inner resources, empowering profound personal and professional breakthroughs for individuals and organizations throughout the United States, Europe, Asia, and South America. Judith received her Ph.D. in 1995, with her studies focused in Jungian and Archetypal psychology, also known as the “Psychology of the Soul”.   Her doctoral dissertation, “The Future of Feminism: Where Do We Go From Here?” explored the modern archetype of feminism and the implications for its evolution and relevance for women in the 21st century. Dr. Rich is also an accomplished corporate and educational consultant with forty years’ experience in training design, facilitation, executive coaching organizational transformation, and public speaking. She has presented programs worldwide on such topics as: commitment and personal responsibility, increasing communication effectiveness in the workplace, building high performing teams, accelerated learning, conflict resolution and problem-solving, strategic planning, change management, and organizational transformation. Dr. Rich utilizes accelerated learning principles, an interactive training technology, which increases the retention and application of information by accommodating all learning styles. Her work encourages contribution, participation, and discovery, which makes each individual an integral part of his or her own learning process. Dr. Rich’s clients have included executives in the building, banking, hotel management, pharmaceutical and educational industries, financial analysts, chambers of commerce and human resource professionals, and non-profit organizations. She also consults with several U.S. and international training companies and has worked extensively in Russia, Asia, South America, Puerto Rico as well as throughout the United States. Dr. Judith Rich is the author of the book "Beyond the Box: Lean Out, Break Free, Rise Up! " For more information visit www.judithrich.com In this episode you will learn: How to shift, pivot, and navigate in these times. To explore what is possible as your beauty unfolds. Why we were made for these times

As we navigate through our changing times, many of us are experiencing grief. Some of what we grieve we can name and recognize, perhaps we grieve the loss of connection, the absence of touch, the loss of work, the destruction of Nature, the passing of our Loved ones, or the life paths we’ve taken. There may be other times when we feel grief or perhaps sadness or anger and are unable to identify their roots. At these times, we may be tapping into the collective grief. Grief is a powerful, transformative experience that is essential to experiencing a full life. As Martín Prechtel writes in The Smell of Rain on Dust: “If we do not grieve what we miss, we are not praising what we love. We are not praising the life we have been given in order to love. If we do not praise whom we miss, we are ourselves in some way dead. So grief and praise make us alive.” And yet in our dominant culture, grief is often considered a weakness and something to pass through quickly, resulting in numbing and other coping mechanisms to help us deny our true feelings. If we want to live full, vibrant lives and particularly if we want to be co-creative partners with Nature, we are compelled to identify and heal our grief. Fortunately, the plants are willing to guide and support us through this process.Join O.N.E. Visioning Council members, Pam Montgomery and Jen Frey, as they delve into the depths of grief, sharing its beautiful and powerful role in our lives as well as Plant Allies who help us navigate through grief.Pam Montgomery is an author, teacher, and practitioner who has passionately embraced her role as a spokesperson for the green beings and has been investigating plants/trees and their intelligent spiritual nature for more than three decades. She is the author of two books one of which is the highly acclaimed Plant Spirit Healing; A Guide to Working with Plant Consciousness and Partner Earth; A Spiritual Ecology. She operates the Partner Earth Education Center at Sweetwater Sanctuary in Danby, Vermont where classes, plant research, and ceremonies take place. Pam also teaches internationally on plant spirit healing, spiritual ecology, and people as Nature Evolutionaries. She is a founding member of United Plant Savers and more recently the Organization of Nature Evolutionaries or O.N.E. Her latest passion is to engage ceremonially in full symbiosis within the plant/human matrix where the elder common plants and trees initiate and guide us into being truly human. www.wakeuptonature.comJen Frey is a Healer, Mentor, Earth Advocate, and Voice of the Plants. She is the Founder of Heart Springs Sanctuary, where she helps people deepen their connection with nature through plant communication. With over 20 years of experience with plant essences, energy work, and herbal practices her private consultations and plant-based protocols are known for helping clients through emotional life transitions, physical health crises, and chronic conditions. Jen has dedicated her life to the spiritual path of plant work. Her apprenticeship certification programs, ceremonies, retreats, and workshop offerings are designed for people wanting to open their hearts, fall in love with plants and deepen their relationship to the planet. www.brigidsway.comSupport the show (https://www.natureevolutionaries.com/donations)

369. I Just Wasn’t Made For These Times - The Beach BoysRelated links for 369. I Just Wasn’t Made For These Times - The Beach Boys: Reply to this episode on ykyz: https://ykyz.com/p/6726a6e349fcce04bb1bd5d074f4e31b1e25acf2 Music and Peace microcast: https://ykyz.com/c/microcast?&username=musicandpeace

A special episode highlighting the importance of connecting with Nature during this unprecedented time. By connecting with Nature, we feel calmer, more grounded, and more resilient, which helps us be of service to our family and community with grace and patience. In fact, the deep truth is that many of us have been preparing, even training in a way, for this moment when our mother, the Earth, would begin to heal herself. We are seeing this healing around the world- birds singing, wildlife returning, more breathable air, waters running clear and clean amidst us quieting our lives and slowing down. Let’s use this quiet to deepen our connection with Mother Earth, listen to what she is sharing and allow that to inform our way of life. Join Pam Montgomery (ONE’s founder) and Elyshia Holliday (ONE’s Executive Director) as they share their hearts and stories about their years working towards healing our relationship with Mother Earth and the gifts it brings to this time. Sit in circle with us and receive the gifts of their dialogue of gratitude, abundance, and love.Support the show (https://www.natureevolutionaries.com/donations)

"Struggling souls catch light from other souls who are fully lit and willing to show it."Esther 4:14 "Who knows but that you have come to your royal position for such a time as this?”Previous episode with Justin Zoradi on his book Made For These Times. About Called OutCalled Out is hosted by Tyler Braun. You can find Tyler on Twitter @tylerbraun, Instagram @tylerbraun, and Facebook.Called Out is a podcast helping the church live into its set apart reality so that they can share the hope of Christ with others.

In today’s episode I share wisdom from Dr. Clarissa Pinkola Estes about our world today and how we can see ourselves weathering this storm. --- Send in a voice message: https://anchor.fm/paintedgoddesspod/message Support this podcast: https://anchor.fm/paintedgoddesspod/support

Today's theme is, "Don't give up!" Ned shares a message of strength and hope while reflecting on the essay, We Were Made For These Times, by Dr. Clarissa Pinkola Estes. Dr. Estes is an American poet, psychoanalyst and post-trauma specialist; and author of the New York Times Best Seller, Women Who Run With the Wolves. Do you have a question or comment? Write an email or record a message using the voice memo app on your phone with your question and send it to connect@distractionpodcast.com. Distraction is created by Sounds Great Media. Our producer is Sarah Guertin (@sarahguertin) and our recording engineer/editor is Pat Keogh. Learn about our sponsor, Landmark College, HERE.

Today’s episode is a contemplative reflective reading of an original work by Dr. Clarissa Pinkola Estes entitled, We Were Made For These Times. YOUR HOST Danielle Patrice, RYT 200, is committed to creating and offering spaces for healing and presence through yoga, breath, meditation and sound. She particularly is drawn to infusing live sound and spoken word. She believes these rituals help to cultivate mindful connections and communion with self and others. As a yoga teacher, Danielle’s teaching centers around practices of stillness and gentle movement. Visit www.rootedblossoms.com JOIN THE COMMUNITY Visit website at www.rootedblossoms.comEmail: rootedblossoms@gmail.comSubscribe mailing list at www.rootedblossoms.com/connect Social Media: Facebook/Instagram @rootedblossoms THANK YOULogo and image cover photo by Gwendolynren.comEditing by hindsight101.com

First Hour  Differently – Marian Hill Inner City Blues (Make Me Wanna Holler) – Marvin Gaye Not Today – Mary J. Blige feat. Eve NO – Meghan Trainor Genghis Khan – Miike Snow Next Universe – Mos Def Bouncin’ Back (Bumpin’ Me Against The Wall) – Mystikal I Just Wasn’t Made For These Times – […]

Jimmy Mitchell - Eres Tu Grainger Hunt – Noah George Cromarty – Little Children Faraway Folk – Summertime Chris Smither – I Am A Child Hugh Masekela - I Just Wasn’t Meant (Made) For These Times Flatlanders – Keeper of the Mountain Kenny Knight - America Maggie and Terre Roche – Down to Dream

Au programme ce mercredi ! Musique encore pour toi par Maxime, une playlist imaginée par un de nos bénévoles, Maxime Les musiques de l'émission : 1) Bud Shank - Up in Velseyland 2) Bali musique pour le gong dédé - Galan Kangin 3) The Lively Ones - Let's Go Trippin' 4) Stu Philipps - Ceylon - Goyapana 5) The Beach Boys - I Just Wasn't Made For These Times 6) Piero Umiliani - Papete Aru (Exotic Mood) 7) Johnny Hawaii - New age on a board Crédit photo : Un dessin original de Judith Lecherbault, 4 ans et demi

Since the 1995 documentary “I Just Wasn’t Made For These Times” was released, ex Beach Boy Brian Wilson has deservedly undergone a resurgence in popularity. Musicians and fans have been reminded about the brilliance of Wilson’s melodies and arrangements as well as his troubled past. However, what most people don’t recall is that brother Dennis had also inherited some of that Wilson compositional brilliance. In 1977, he released an album called Pacific Ocean Blue – the only solo album released in his lifetime (Bambu was partly recorded, discarded, then released as a bootleg). In 2008, the album was given a brilliant CD re-release with Bambu and other bonus cuts - the ever so cheerful rock critic Robert Christgau rated it a "bomb". Yeah whatever, Rob.... I'm on my own for this episode (please take pity on me - the episode is mercifully short) to talk about the musical expectations of a solo album held for a Beach Boys drummer, Pacific Ocean Blue's themes, the troubled state of mind I imagine Wilson was in to write some of these songs, and how ultimately the two sides of the record reflect the two sides of Dennis himself. You can download the show from Spotify, iTunes (search for “Love That Album podcast”) or from the website at http://lovethatalbum.blogspot.com.   Send the show feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbum.   If you’d consider writing an iTunes review or recommending the show to a friend, I’d be immensely grateful.

We firmly believe that even the most selfish person has a deep desire to make a difference in the lives of people around them. Listen to Justin Zoradi share not only about how he leveraged his life to impact thousands of others, but also how you can too. Justin Zoradi—through the work of These Numbers Have Faces—has greatly changed the lives of thousands of people. On this episode Justin talks about how that work started, and also how you can begin to step into living the kind of life that changes others for the good. Here are a few links mentioned in the episode: These Numbers Have Faces: http://thesenumbers.org/ Justin’s recently released book Made For These Times: https://amzn.to/2Dh6APB If you made it to the end of the episode you heard a track from the upcoming album by New Harvest Worship, the worship team I help lead at my local church in Salem, Oregon. If you’re near Salem come out to our album release party and worship night this Sunday evening. More details here: http://manofdepravity.com/2018/09/introducing-the-way-of-the-cross-by-new-harvest-worship/ Have comments or feedback on the episode? Get in touch with the host of the show Tyler Braun: Tyler on Twitter: http://twitter.com/tylerbraun Tyler on Instagram: http://instagram.com/tylerbraun Tyler on Facebook: http://facebook.com/tylerbraunauthor

Award-winning social entrepreneur Justin Zoradi joins me on this broadcast to share about his new book Made for These Times: A Start-Up Guide to Calling, Character, and Work That Matters and to talk about the life-changing work of his organization These Numbers Have Faces. About the Book:  Award-winning social entrepreneur Justin Zoradi was once haunted by this question as a young person daunted by the world's needs, yet wanting to make a difference. But when some friends from across the world invited him to join them, Justin said yes - and felt a small spark ignite within. That spark led to the founding of These Numbers Have Faces, a social enterprise investing in the next generation of African leaders. Made For These Times is a field guide to help you find your own spark as you remember who you were made to be. Through 26 power-packed microchapters, you will learn how to bolster ambition with character, dig deep to find your grit, and rise up to the challenges of today. Along the way, Justin weaves together compelling narrative, historical anecdotes, practical tips, and a six-part road map to equip you to join God in the work he is already doing. The result is a hope-filled blueprint for fighting back against fear and building a life of purpose. A life of significance isn't about what you are doing, it's about who you are becoming. In these trying times, God is calling you to be brave. Made For These Times is a rallying declaration that we cannot rely on the heroes of the past to engage the challenges of today. It's your turn – let this book be the spark you've been waiting for. About the Author:  Justin Zoradi is the founder of These Numbers Have Faces, a social enterprise investing in the next generation of African leaders. He also serves as the president of GivingFuel, a fundraising platform empowering thousands of organizations worldwide. Justin lives with his family in Portland, Oregon. Connect with Justin: JustinZoradi.com TheseNumbers.org Facebook Twitter (@JustinZoradi) Instagram (@JustinZoradi) For additional show notes, visit ShaunTabatt.com/228.

Justin Zoradi believes with the strongest conviction that without exception, we were made for these times. That means you – and it means me. But many of us wonder how that can be true when we are saddled with self-doubt and the haunting voices of failures, abuses, and regrets from the past. Justin has a contagious and unique way of describing his belief – and you’ll enjoy hearing him explain it as he and Dane discuss the purpose every human being is intended to make in the world, on this episode of Converge. In the end, we are all our own worst enemies As human beings, it s true – we are often our own worst critics. The things we say to ourselves, in our own heads, are enough to discourage anyone regardless of background or upbringing. But Justin has discovered that when we are able to battle those voices of inner criticism and doubt effectively, a powerful force for good is unleashed on the world. That force is us. Find out how Justin has focused his efforts around this belief and the ways it s impacting the world, on this episode. Beating the comparison game: They have their story and I have mine It s been said that the tendency to compare another person s success over a long period of time with our own lack of success when just starting out, is one of the biggest mistakes we make as human beings. That idea sparked a question in Dane s mind that he was eager to ask Justin: What tools has Justin found to help him fight the comparison game effectively? Justin s answer was simple and powerful. Any time he s aware that he s beginning to compare himself to someone else, he repeats this phrase over and over as needed, They have their story and I have mine. Find out how this simple truth sets Justin free from the trap of comparison, by listening to this episode. What will it take for you to believe you are made for these times? Behind Justin s conviction that every person on the planet can make a powerful positive difference is a foundational truth: nobody was created by accident or without purpose. That means that even the timing of your birth and the place where you live are positionings that have inserted you into the world in such a way that you are able to make your unique impact. You really should hear the way Justin explains it in this conversation. It s well worth the time it will take you to listen. Ordinary is powerful. Don t listen to the voices that tell you differently As this conversation came to a close Dane asked Justin what he would say to the person who feels that they are nothing special, that they are just an ordinary person living an ordinary life. His response? Ordinary is powerful. Nobody in history who has made a significant difference started out as an above-average person. They had to fight their way up, through self-doubt and discouragement to become the powerful force they are known to be in history. The same will be true for all of us ordinary people – because we were made for these times. Outline of this great episode [0:21] How Zealots get a bad rap – and how the upset they cause leads to so much good [1:25] Why Justin Zoradi should be on your radar [4:56] How Justin struggled through personal doubts to find a purpose that matters [10:12] Beating the comparison game, even when it comes from well-meaning people [13:52] What does it mean to be made for these times? [19:13] Justin s encouragement to those who feel quite ordinary Resources & Links mentioned in this episode Fastermind LIVE – find out more Andrew Garfield Don Mclean song: Vincent BOOK: 12 Rules for Life Joseph Campbell Donald Miller The Hero s Journey George Gerbner s Mean World Syndrome BOOK: Amusing Ourselves To Death Jason Zoradi s Resources Justin s How To Start a Fire Course – it s free! Sign up to be notified when it s ready www.TheseNumbers.org BOOK: Made For These Times Connect with the Converge team: Website: www.Fastermind.co Facebook: https://www.facebook.com/followdane/ LinkedIn: https://www.linkedin.com/in/danesanders Twitter: https://twitter.com/danesanders   Audio Production and Show notes by PODCAST FAST TRACK The post S.4 Ep. 001 – We Were Made For These Times with Justin Zoradi appeared first on Fastermind.co.

Sermon delivered by Rev. Scott Aaseng on October 15, 2017. The times we live in are difficult, distracting, troubling. Yet our faith is grounded in deep roots which enable us to not only withstand the storms, but to become stronger by living into the solidarity of interdependence. As Clarissa Estes puts it, we are indeed made for these times. Rev. Aaseng was a musician, a community activist, and a Lutheran pastor (among other things) prior to discovering his call to Unitarian Universalist ministry. Today, he is Executive Director of the Unitarian Universalist Advocacy Network of Illinois (UUANI) and UTUUC's Community Minister. Scott graduated from the St. Olaf Paracollege with a degree in Peace Studies, and spent a year studying and traveling in South Africa during the apartheid years. He volunteered as a teacher in rural Tanzania, before returning to the U.S. and earning his M.Div. at the Lutheran School of Theology at Chicago. He interned at the University of Victoria in British Columbia, and served a small Lutheran congregation on the southwest side of Chicago for five years in the early 1990’s. He left ordained ministry to become primary caregiver for his two daughters, while becoming project director and then grant-writer for the Southwest Youth Collaborative, a community-based youth organization he helped found. He also served as musician for a number of church gospel choirs, and went on to serve as Village Musician at Holden Village, a Lutheran retreat center in the mountains of Washington state. Upon returning to Chicago in 2005, he became a project assistant with American Friends Service Committee, coordinating a nationally touring display of combat boots and civilian shoes showing the human cost of war. He also began attending Third Unitarian Church in Chicago with his family. Becoming a musician at Third Unitarian in 2009 re-awakened his call to ministry, now more clearly grounded in Unitarian Universalism. He took classes at both Starr King and Meadville Lombard seminaries, completed his internship at Unity Temple, and went on to serve as Unity Temple’s first Assistant Minister for Social Justice. He has since served as part-time Consulting Minister at the Unitarian Church of Quincy, Illinois and at First Unitarian Church of Hobart, Indiana. He now serves as Executive Director of the Unitarian Universalist Advocacy Network of Illinois.  Scott has lived on the west side of Chicago for 20 years with his spouse, Gale Holmlund, and their two teenage daughters, Sunniva and Brita. He enjoys bicycling, playing piano, being outdoors, and traveling with his family. The theme for October is how to be a people of courage. To read about our theme-based ministry, please visit http://www.unitytemple.org/faith-development/soul-connections on our website. 

On the third episode of MUSIC SAVED MY LIFE, Hayley & Matt discuss The Beach Boys’ "Pet Sounds" and Japanese Breakfast’s "Soft Sounds From Another Planet", two experimental pop albums put out 51 years apart. Also, Matt hates Beck. Be sure to check out the companion guide to the pod for lots of great music recommendations and more! Available on our website at this link; bit.ly/2vwSx4b Opening Track: "Wow" by Beck Interludes: "Be True to Your School" & "I Just Wasn’t Made For These Times" by The Beach Boys Closing Track: "Wouldn’t It Be Nice" by The Beach Boys

We're celebrating the release of Eddie O’Keefe’s film "Shangri-La Suite" with tracks picked by the director and film’s stars - Emily Browning, Luke Grimes & Avan Jogia. One Night — Elvis Presley Bringing it back to the classic early days of Elvis — not the latter-day one that the film’s main characters would set out to kill in 1974.  I Want You — Bob Dylan A love song from Bob Dylan’s 1966 classic double album “Blonde on Blonde.”  Last Kiss — Frank J Wilson and the Cavaliers The prototypical 1950s tragic teenage pop song. I Just Wasn’t Made For These Times — The Beach Boys This Beach Boys classic resonates no matter what times you were born in.  I Found A Reason (Demo) — The Velvet Underground A Dylan-esque alternate version of the track from The Velvet Underground’s final album in 1970.  Little Bit of Rain — Karen Dalton A great lost gem from Cherokee folk singer and guitarist Karen Dalton in the early 60s Greenwich Village scene. Half-Breed — Cher The film’s Native American characters are mirrored in Cher’s 1970s hit about the troubles faced by being part-Native and part-white in the USA. California Dreamin’ — The Mamas and The Papas What’s a film about 1970s America without California and The Mamas and The Papas?  Nights in White Satin — Moody Blues A staple of the “Shangri-La Suite” era. Cool Summer — Bob Lind Bob Lind is a deep-cut classic of the early 60s folk movement.  Girl From The North Country — Link Wray Electric guitar pioneer Link Wray covers Bob Dylan to upbeat and devastating effect. (Read Eddie’s in-depth discussion of this track at Aquarium Drunkard.) Hurt — Timi Yuro A soulful heartbreak classic. Not to be confused with the latter-day Johnny Cash song. (Also check out Eddie’s take on this song and three different versions of it at Aquarium Drunkard.)

Brian Wilson is, in many regards, the perfect musical artist for this moment. We need, for a dozen different reasons, the sweetness and sun of his best-known music. But what makes him more relevant is that undercurrent of melancholy which grew more and more prominent as his music grew less commercial. Who in 2017 does not identify with "I Just Wasn't Made For These Times," a song he wrote and recorded 51 years ago?Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

I talk about a few stories from the Charles L. Granata book; "I just wasn´t made for these times". 

It's another Super-Sized edition of the Ricochet Podcast as we're all over the map and all over the news to bring you very best in podcast punditry. First up, the great George Gilder (his new book The Scandal of Money: Why Wall Street Recovers but the Economy Never Does is a must read) stops by to talk about why conservatives have such a hard time winning the economic debate in the court of public opinion and (perhaps related), the rise of digital currencies. Then, our pal Toby Young (listen to London Calling, the podcast he hosts with James Delingpole) stop by to discuss the looming Brexit and the new book he just edited Just Say No: The Spectator On The 1975 Referendum. Should Britain head for the economic exit? Let us know in the comments below. Finally, each we week take post from Ricochet's  world renown Member Feed and give it some Ricochet Podcast love. This week's featured post from DocJay (welcome back, sir) is titled What Will Happen to the Conservative Pundits when they Are Completely Unstuck and suffice to say it kindles a --shall we say-- very passionate (but civil!) conversation. So come for the economics and stay for the punditry. You'll be glad you did. Music from this week's episode: I Just Wasn't Made For These Times by The Beach Boys The brand new opening sequence for the Ricochet Podcast was composed and produced by James Lileks. Yes, you should absolutely subscribe to this podcast. It helps! Support Our Sponsors! For a limited time The Great Courses Plus is offering Ricochet Podcast listeners a chance to stream their new Video Learning Service: The Great Courses Plus popular collection of business courses – Absolutely FREE! Go to thegreatcoursesplus.com/Ricochet Audible has more than 180,000 audiobooks and spoken-word audio products. Get a free 30 day trial and free audiobook at www.audible.com/RICOCHET     Get control of your inbox! Visit sanebox.com/ricochet today and they'll throw in an extra $25 credit on top of the two-week free trial. You don't have to enter your credit card information unless you decide to buy, so there's really nothing to lose. Learn more about your ad choices. Visit podcastchoices.com/adchoices

After two weeks apart the hosts of Voices Of Defiance are excited to reunite and discuss … well … everything, including Sean’s favorite Defiance Episode I Just Wasn’t Made For These Times. It wouldn’t be a Voices Of Defiance episode without Shannon mentioning her favorite show Warehouse 13 or Sean giving a seanscream for Starblazers or Stargate Pioneer giving his latest conspiracy theories including one about Indogenes and … Rafe McCawley? Sean, through his agent Stargate Pioneer as well as himself, extends his deepest and sincere apologies to Tricia Helfer for a previous comment 7 years ago and that he would love the opportunity to interview her if she ever would grant it. The trio give a shout out to Inteligaurd on the Defiance subreddit for the Voices Of Defiance love and also Sean’s mom (again). The Voices of Defiance trio also discuss the move of Trion to make Defiance free to play starting June 4th. Other quick discussions during the podcast include: Sean’s discovery of Wonder Woman in Doc Yewll’s office (and subsequent woman superhero discussion); the differences of the E-Rep in the game and the show; Sean pretends to be his favorite Tangled character; Sean and Shannon play scifi compare/contrast “I Win” games; Sean gets his Twilight on; Stargate Pioneer podcast gears out on Charlie Rovers’ Zoom H1; Shannon entices Sean with a Stahma-Terminator picture; Stargate Pioneer is willing to chip in for a Kickstarter for the movie Bravery Nine; Stargate Pioneer softens his soapbox on the lack of planes and flying in Defiance; Yewll’s amazing high definition tech eyes; and Jaime Murray’s lack of Defiance gameplay know how. Other mentions include: Robotech, The Rocketeer, Thundercats, Stargate, The Americans, Star Trek Enterprise, Battlestar Galactica, Riddick, McClintock (John Wayne), Skyrim, Titanfall, and Destiny. See you next week as the hosts discuss the next Defiance episode, If I Ever Leave This World Alive. Contact us: @VoicesODefiance - feedback@voicesofdefiance.com -  www.voicesofdefiance.com - www.facebook.com/voicesofdefiance -  612-888-ark1 or 612-888-2751.

AFTERBUZZ TV – Defiance edition, is a weekly “after show” for fans of SyFy's Defiance. In this show, host Matt Lieberman breaks down the episode in which Defiance receives a visitor: an astronaut from the year 2013 who has the potential to destroy the town. There to help Matt are co-hosts Nando Velasquez and Scott […] The post Defiance S:1 | I Just Wasn’t Made for These Times E:8 | AfterBuzz TV AfterShow appeared first on AfterBuzz TV Network.