Podcasts about My Shadow

Poems by and biographies of inmates of the Dachau Concentration Camp, testimonies to the persistence of the humanity and creativity of the individual in the face of extreme suffering. The concentration camp at Dachau was the first established by the Nazis, opened shortly after Hitler came to power in 1933. It first held political prisoners, but later also forced laborers, Soviet POWs, Jews, and other "undesirables." More than 30,000 deaths were documented there, with many more unrecorded. In the midst of the horror, some inmates turned to poetry to provide comfort, to preserve their sense of humanity, or to document their experiences. Some were or would later become established poets; others were prominent politicians or theologians; still others were ordinary men and women. My Shadow in Dachau: Poems (Camden House, 2014) contains 68 poems by 32 inmates of Dachau, in 10 different original languages and facing-page English translation, along with short biographies. A foreword by Walter Jens and an introduction by Dorothea Heiser from the original German edition are joined here by a foreword by Stuart Taberner of theUniversity of Leeds. All the poems, having arisen in the experience or memory of extreme human suffering, are testimonies to the persistence of the humanity and creativity of the individual. They are also a warning not to forget the darkest chapter of history and a challenge to the future not to allow it to be repeated. Dorothea Heiser holds an MA from the University of Freiburg. Stuart Taberner is Professor of Contemporary German Literature, Culture, and Society at the University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Poems by and biographies of inmates of the Dachau Concentration Camp, testimonies to the persistence of the humanity and creativity of the individual in the face of extreme suffering. The concentration camp at Dachau was the first established by the Nazis, opened shortly after Hitler came to power in 1933. It first held political prisoners, but later also forced laborers, Soviet POWs, Jews, and other "undesirables." More than 30,000 deaths were documented there, with many more unrecorded. In the midst of the horror, some inmates turned to poetry to provide comfort, to preserve their sense of humanity, or to document their experiences. Some were or would later become established poets; others were prominent politicians or theologians; still others were ordinary men and women. My Shadow in Dachau: Poems (Camden House, 2014) contains 68 poems by 32 inmates of Dachau, in 10 different original languages and facing-page English translation, along with short biographies. A foreword by Walter Jens and an introduction by Dorothea Heiser from the original German edition are joined here by a foreword by Stuart Taberner of theUniversity of Leeds. All the poems, having arisen in the experience or memory of extreme human suffering, are testimonies to the persistence of the humanity and creativity of the individual. They are also a warning not to forget the darkest chapter of history and a challenge to the future not to allow it to be repeated. Dorothea Heiser holds an MA from the University of Freiburg. Stuart Taberner is Professor of Contemporary German Literature, Culture, and Society at the University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Poems by and biographies of inmates of the Dachau Concentration Camp, testimonies to the persistence of the humanity and creativity of the individual in the face of extreme suffering. The concentration camp at Dachau was the first established by the Nazis, opened shortly after Hitler came to power in 1933. It first held political prisoners, but later also forced laborers, Soviet POWs, Jews, and other "undesirables." More than 30,000 deaths were documented there, with many more unrecorded. In the midst of the horror, some inmates turned to poetry to provide comfort, to preserve their sense of humanity, or to document their experiences. Some were or would later become established poets; others were prominent politicians or theologians; still others were ordinary men and women. My Shadow in Dachau: Poems (Camden House, 2014) contains 68 poems by 32 inmates of Dachau, in 10 different original languages and facing-page English translation, along with short biographies. A foreword by Walter Jens and an introduction by Dorothea Heiser from the original German edition are joined here by a foreword by Stuart Taberner of theUniversity of Leeds. All the poems, having arisen in the experience or memory of extreme human suffering, are testimonies to the persistence of the humanity and creativity of the individual. They are also a warning not to forget the darkest chapter of history and a challenge to the future not to allow it to be repeated. Dorothea Heiser holds an MA from the University of Freiburg. Stuart Taberner is Professor of Contemporary German Literature, Culture, and Society at the University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Poems by and biographies of inmates of the Dachau Concentration Camp, testimonies to the persistence of the humanity and creativity of the individual in the face of extreme suffering. The concentration camp at Dachau was the first established by the Nazis, opened shortly after Hitler came to power in 1933. It first held political prisoners, but later also forced laborers, Soviet POWs, Jews, and other "undesirables." More than 30,000 deaths were documented there, with many more unrecorded. In the midst of the horror, some inmates turned to poetry to provide comfort, to preserve their sense of humanity, or to document their experiences. Some were or would later become established poets; others were prominent politicians or theologians; still others were ordinary men and women. My Shadow in Dachau: Poems (Camden House, 2014) contains 68 poems by 32 inmates of Dachau, in 10 different original languages and facing-page English translation, along with short biographies. A foreword by Walter Jens and an introduction by Dorothea Heiser from the original German edition are joined here by a foreword by Stuart Taberner of theUniversity of Leeds. All the poems, having arisen in the experience or memory of extreme human suffering, are testimonies to the persistence of the humanity and creativity of the individual. They are also a warning not to forget the darkest chapter of history and a challenge to the future not to allow it to be repeated. Dorothea Heiser holds an MA from the University of Freiburg. Stuart Taberner is Professor of Contemporary German Literature, Culture, and Society at the University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

Poems by and biographies of inmates of the Dachau Concentration Camp, testimonies to the persistence of the humanity and creativity of the individual in the face of extreme suffering. The concentration camp at Dachau was the first established by the Nazis, opened shortly after Hitler came to power in 1933. It first held political prisoners, but later also forced laborers, Soviet POWs, Jews, and other "undesirables." More than 30,000 deaths were documented there, with many more unrecorded. In the midst of the horror, some inmates turned to poetry to provide comfort, to preserve their sense of humanity, or to document their experiences. Some were or would later become established poets; others were prominent politicians or theologians; still others were ordinary men and women. My Shadow in Dachau: Poems (Camden House, 2014) contains 68 poems by 32 inmates of Dachau, in 10 different original languages and facing-page English translation, along with short biographies. A foreword by Walter Jens and an introduction by Dorothea Heiser from the original German edition are joined here by a foreword by Stuart Taberner of theUniversity of Leeds. All the poems, having arisen in the experience or memory of extreme human suffering, are testimonies to the persistence of the humanity and creativity of the individual. They are also a warning not to forget the darkest chapter of history and a challenge to the future not to allow it to be repeated. Dorothea Heiser holds an MA from the University of Freiburg. Stuart Taberner is Professor of Contemporary German Literature, Culture, and Society at the University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

En nuestra centésimo décima entrega os traemos a un clásico reciente, Orson Scott Card, y comentamos una selección de sus obras: - Introducción. Breve biografía. (0:06:00) - Un Planeta Llamado Traición. (0:17:45) - El Juego de Ender. (0:55:00) - La adaptación al cine de "El Juego de Ender". (2:04:00) - La Voz de los Muertos. (3:05:15) - Wyrms. (4:12:00) - Comentarios de los oyentes y despedida. (4:51:30) La música de fondo es el mix "Space Traveling" (https://www.youtube.com/watch?v=3ST4fDVyAzA) y cerramos con los Tubeway Army de Gary Numan y su "My Shadow in Wain". La sintonía, como siempre, es el "Spectre Detector" de los Tiki Tones. Síguenos y contacta con nosotros a través de Facebook (www.facebook.com/retronautas), Twitter (@losretronautas), Bluesky (@losretronautas.bsky.social) o escríbenos a nuestro correo electrónico: losretronautas@gmx.com Puedes también unirte a nuestro canal de Telegram. Contacta con nosotros para facilitarte el enlace. Si te ha gustado este programa y quieres invitarnos a un café, puedes hacerlo a través de: https://ko-fi.com/retronautas Y si estás comprometido con la C-F viejuna puedes unirte a la infantería móvil retronaútica en: https://www.patreon.com/losretronautas o aquí mismo, en Ivoox. Como patrocinador, serás informado de nuestros planes de vuelo, y tendrás acceso anticipado a los podcast "Micronautas". Saludos desde los días del futuro pasado.

A fifth-grade teacher at La Costa Heights Elementary School in California read aloud the book, My Shadow is Pink, which urges children to question their own gender identity. When the parents requested notice and opt-outs from similar teaching in the future, the school district denied their requests. First Liberty is fighting back to protect the students' right to religious freedom.

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MDJ Script/ Top Stories for August 22nd Publish Date:  August 22nd    BREAK: COBB INTERNATIONAL FAIR From the BG AD Group Studio, Welcome to the Marietta Daily Journal Podcast.    Today is Thursday, August 22nd and Happy heavenly Birthday to Stormin' Norman Scharzkopf. 08.22.24 – BIRTHDAY – NORMAN SCHARZKOPF*** I'm Dan Radcliffe and here are the stories Cobb is talking about, presented by Credit Union of Georgia.  Cupid: County to Accept Judge's Ruling, Switch to State Map Sex Assault Fugitive Caught in Cobb Cobb Approves New Baseball Complex   Plus, Leah McGrath from Ingles Markets on cereals.   All of this and more is coming up on the Marietta Daily Journal Podcast, and if you are looking for community news, we encourage you to listen and subscribe!    BREAK: CU of GA STORY 1:  Cupid: County to Accept Judge's Ruling, Switch to State Map Cobb County Chairwoman Lisa Cupid has announced that the county will accept Cobb Superior Court Judge Kellie Hill's ruling striking down its "home rule" map as unconstitutional. Cupid plans to add an agenda item to formalize this decision and adopt the 2022 maps passed by the Georgia Legislature. This follows Hill's denial of the county's request to intervene in a case related to the map, which has led to orders for special elections for the District 2 and District 4 seats on the Cobb Board of Commissioners. The county had argued that these elections could cost up to $1.5 million and leave half the commission without representation, but Hill clarified that current commissioners would retain their seats until their successors are elected. The special elections are scheduled for either April 29 or June 17, 2025, depending on whether there is a runoff in the November general election. STORY 2:  Sex Assault Fugitive Caught in Cobb Ric Allen Gayton, 55, of Marietta, was arrested on August 16 in Cobb County on charges of being a fugitive from sex assault charges in Bexar County, Texas. He was located at the intersection of Black Bear Drive and Powers Ferry Road and was booked into the Cobb County Adult Detention Center. Texas authorities plan to extradite him. Gayton remains in custody. STORY 3:  Cobb Approves New Baseball Complex The Cobb Board of Commissioners approved a new baseball complex in east Cobb with a 4-0 vote, Commissioner Keli Gambrill was absent. The complex, proposed by Blake Bondurant, will be built on three parcels totaling 12 acres and include two baseball fields, concessions, a batting cage, a barn dominium, and a playground. Located near East Cobb Baseball Georgia, the facility aims to supplement existing services. Site improvements will involve grading, tree removal, and paved parking. The property requires adherence to stormwater management and buffer regulations due to its proximity to Wilson Lake. Construction is expected to take a few months once underway.   We have opportunities for sponsors to get great engagement on these shows. Call 770.799.6810 for more info.    We'll be right back  BREAK: DRAKE STORY 4:  Man Accused of Sex Act in Kennesaw Church William Clinton Dixon Causey, 31, from Waycross, was arrested on August 16 for allegedly committing a sex act in the Adoration Chapel of St. Catherine of Siena Catholic Church in Kennesaw on August 14. He faces charges of public indecency and vandalism of a place of worship. Causey was booked into the Cobb County Adult Detention Center and remains in custody without bond. STORY 5:  16 States Sound Alarm on Polices Used to Fire Cobb Teacher This week, the U.S. Department of Justice and 16 states plus the District of Columbia expressed concerns about Cobb County's policies used to fire former Due West Elementary teacher Katie Rinderle. Rinderle was dismissed in 2023 for reading the book “My Shadow is Purple,” which the district deemed in violation of new policies on instructional materials and controversial issues. The DOJ is urging the court to examine the impact of these policies on education and their compliance with Title IX. They argue that retaliating against teachers could deter students from reporting discrimination. The 17 jurisdictions supporting Rinderle's lawsuit believe these policies foster homophobia and harm LGBTQ students, affecting educational outcomes and potentially imposing financial burdens on other states. The Cobb County School District has declined to comment on the litigation but stands by its decision. We'll be back in a moment    BREAK: COBB INTERNATIONAL FAIR – INGLES 10   And now here is Leah McGrath from Ingles Markets on cereals.   ***LEAH INTERVIEW ON CEREALS***   We'll have closing comments after this.   BREAK: Marietta Theater (BONNIE & CLYDE)   Signoff-   Thanks again for hanging out with us on today's Marietta Daily Journal Podcast. If you enjoy these shows, we encourage you to check out our other offerings, like the Cherokee Tribune Ledger Podcast, the Marietta Daily Journal, or the Community Podcast for Rockdale Newton and Morgan Counties. Read more about all our stories and get other great content at mdjonline.com Did you know over 50% of Americans listen to podcasts weekly? Giving you important news about our community and telling great stories are what we do. Make sure you join us for our next episode and be sure to share this podcast on social media with your friends and family. Add us to your Alexa Flash Briefing or your Google Home Briefing and be sure to like, follow, and subscribe wherever you get your podcasts. Produced by the BG Podcast Network   Show Sponsors: ingles-markets.com cuofga.org drakerealty.com mariettatheatresquare.com Cobb International Fair   #NewsPodcast #CurrentEvents #TopHeadlines #BreakingNews #PodcastDiscussion #PodcastNews #InDepthAnalysis #NewsAnalysis #PodcastTrending #WorldNews #LocalNews #GlobalNews #PodcastInsights #NewsBrief #PodcastUpdate #NewsRoundup #WeeklyNews #DailyNews #PodcastInterviews #HotTopics #PodcastOpinions #InvestigativeJournalism #BehindTheHeadlines #PodcastMedia #NewsStories #PodcastReports #JournalismMatters #PodcastPerspectives #NewsCommentary #PodcastListeners #NewsPodcastCommunity #NewsSource #PodcastCuration #WorldAffairs #PodcastUpdates #AudioNews #PodcastJournalism #EmergingStories #NewsFlash #PodcastConversationsSee omnystudio.com/listener for privacy information.

(2:00) Assange FreedWhat was the compromise — both for him and for Free Press/Speech in general?The fake charges, false predictions of releases, and cynical politics of candidatesTrump's betrayal and denial that he didn't even know WikiLeaks or AssangeAssange — the endless wars to launder money and criminal operations in Afghanistan and now in Ukraine(25:48) Federal Reserve Hacked!! — or was it?33 Terrabytes of information claimed hacked by ransomware group — others have their doubtsCyberattacks are exploding — is it merely ransomware or warning shots from Russia?  Can we tell?  Either way, be prepared for infrastructure fragilityYet another fast food restaurant, this one in business for 30 years, taken down by Trump's lockdown and Gavin Nuisance's explosion in minimum wages for fast foods.  Is there a hidden agenda behind the targeted mandate?(38:36) Trump added twice as much to federal debt as Biden.  Both of them are bankrupting us with corruption, cronyism, and bribery — from the Payroll Protection fraud of the "pandemic" to the welfare fraud of student loan "forgiveness" (48:55) Boeing: LOST IN SPACEThese leaks aren't from whistleblowers but threaten the return of astronauts using the troubled Boeing Starliner spaceshipWater leaks in spacesuits as well cancel yesterday's space walk and nearly drowned an astronaut last year(56:58) Record labels sue AI music programs Suno and Udio over copyright violations (1:00:22) AI fails...the irony that Facebook's AI program would tag REAL pictures as "Made with AI", driving professional photographers crazyMcDonald's killed its AI order taker.  Wendy's and other fast-food chains are continuing with the expensive programs that alienate customers in order to get rid of employees(1:05:23) Candidate Trump now portrays himself as the great savior of crypto to get millions in contributions.  Do the billionaires giving him money remember how opposed President Trump was to crypto? (1:13:45) The AI Bubble and the Debt Bubble — in Search of a Pin (1:22:11) How many US banks are circling the drain and how large are their losses? (1:23:21) If the US really has all the gold it claims, what would the price of gold have to be to cover the debt?  And what would happen in today's society if we had something like the Great Depression? (1:27:25) The Iterative March Toward Cashless Mark-of-the-Beast GlobalIDVISA and now MasterCard have signed a contract with PayEyeJapan's deal with AppleWhat will be the world's "New Reserve Asset"?(1:33:47) Vaccines Already in Food and The Bioweapon Shot: 74% DiedThey tried to cover it up but one study conducting autopsies found 74% of the people were killed by complications from the TrumpShot"In the Line of Duty" — 24 yr old soldier abandoned by military after "debilitating heart condition" from the mandated jabPhotographer injured by vax talks about treatments that have helped himIt wasn't only the shots, medical protocols killed says researcherBigAg has been mRNA vaccinating pigs for a while — studies show the mRNA is likely transferrable to humans that eat the meat(2:02:58) INTERVIEW The Saudi Swindle: The Deception Surrounding Saudi Oil The Green movement, 9/11, the "Pandemic", BRICS, AI, and especially the petrodollar  — are they all part of the deception surrounding Saudi oil? In this well-researched book, independent investigative journalist Susan Bradford argues they are.  "The Saudi Swindle: How the Deception Surrounding Saudi Oil Gave Rise to the Green New Steal, the Looting of Nations, and a Global Lockdown Kindle Edition" available at SusanBradford.org (2:29:23) Mutilations of Minors Heads to Supreme CourtTennessee's law protecting minors from transgender mutilation surgeries and drugs is headed to the Supreme Court.  Does the court have jurisdiction? And Vanderbilt is at the center of one transgender scandal after another (2:53:38) Elementary School FORCES 5th Graders to Groom Kindergarteners with "My Shadow is Pink".   Using 11 year olds to groom 5 year oldsFind out more about the show and where you can watch it at TheDavidKnightShow.comIf you would like to support the show and our family please consider subscribing monthly here: SubscribeStar https://www.subscribestar.com/the-david-knight-showOr you can send a donation throughMail: David Knight POB 994 Kodak, TN 37764Zelle: @DavidKnightShow@protonmail.comCash App at: $davidknightshowBTC to: bc1qkuec29hkuye4xse9unh7nptvu3y9qmv24vanh7Money should have intrinsic value AND transactional privacy: Go to DavidKnight.gold for great deals on physical gold/silverFor 10% off Gerald Celente's prescient Trends Journal, go to TrendsJournal.com and enter the code KNIGHTBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-david-knight-show--2653468/support.

(2:00) Assange FreedWhat was the compromise — both for him and for Free Press/Speech in general?The fake charges, false predictions of releases, and cynical politics of candidatesTrump's betrayal and denial that he didn't even know WikiLeaks or AssangeAssange — the endless wars to launder money and criminal operations in Afghanistan and now in Ukraine(25:48) Federal Reserve Hacked!! — or was it?33 Terrabytes of information claimed hacked by ransomware group — others have their doubtsCyberattacks are exploding — is it merely ransomware or warning shots from Russia?  Can we tell?  Either way, be prepared for infrastructure fragilityYet another fast food restaurant, this one in business for 30 years, taken down by Trump's lockdown and Gavin Nuisance's explosion in minimum wages for fast foods.  Is there a hidden agenda behind the targeted mandate?(38:36) Trump added twice as much to federal debt as Biden.  Both of them are bankrupting us with corruption, cronyism, and bribery — from the Payroll Protection fraud of the "pandemic" to the welfare fraud of student loan "forgiveness" (48:55) Boeing: LOST IN SPACEThese leaks aren't from whistleblowers but threaten the return of astronauts using the troubled Boeing Starliner spaceshipWater leaks in spacesuits as well cancel yesterday's space walk and nearly drowned an astronaut last year(56:58) Record labels sue AI music programs Suno and Udio over copyright violations (1:00:22) AI fails...the irony that Facebook's AI program would tag REAL pictures as "Made with AI", driving professional photographers crazyMcDonald's killed its AI order taker.  Wendy's and other fast-food chains are continuing with the expensive programs that alienate customers in order to get rid of employees(1:05:23) Candidate Trump now portrays himself as the great savior of crypto to get millions in contributions.  Do the billionaires giving him money remember how opposed President Trump was to crypto? (1:13:45) The AI Bubble and the Debt Bubble — in Search of a Pin (1:22:11) How many US banks are circling the drain and how large are their losses? (1:23:21) If the US really has all the gold it claims, what would the price of gold have to be to cover the debt?  And what would happen in today's society if we had something like the Great Depression? (1:27:25) The Iterative March Toward Cashless Mark-of-the-Beast GlobalIDVISA and now MasterCard have signed a contract with PayEyeJapan's deal with AppleWhat will be the world's "New Reserve Asset"?(1:33:47) Vaccines Already in Food and The Bioweapon Shot: 74% DiedThey tried to cover it up but one study conducting autopsies found 74% of the people were killed by complications from the TrumpShot"In the Line of Duty" — 24 yr old soldier abandoned by military after "debilitating heart condition" from the mandated jabPhotographer injured by vax talks about treatments that have helped himIt wasn't only the shots, medical protocols killed says researcherBigAg has been mRNA vaccinating pigs for a while — studies show the mRNA is likely transferrable to humans that eat the meat(2:02:58) INTERVIEW The Saudi Swindle: The Deception Surrounding Saudi Oil The Green movement, 9/11, the "Pandemic", BRICS, AI, and especially the petrodollar  — are they all part of the deception surrounding Saudi oil? In this well-researched book, independent investigative journalist Susan Bradford argues they are.  "The Saudi Swindle: How the Deception Surrounding Saudi Oil Gave Rise to the Green New Steal, the Looting of Nations, and a Global Lockdown Kindle Edition" available at SusanBradford.org (2:29:23) Mutilations of Minors Heads to Supreme CourtTennessee's law protecting minors from transgender mutilation surgeries and drugs is headed to the Supreme Court.  Does the court have jurisdiction? And Vanderbilt is at the center of one transgender scandal after another (2:53:38) Elementary School FORCES 5th Graders to Groom Kindergarteners with "My Shadow is Pink".   Using 11 year olds to groom 5 year oldsFind out more about the show and where you can watch it at TheDavidKnightShow.comIf you would like to support the show and our family please consider subscribing monthly here: SubscribeStar https://www.subscribestar.com/the-david-knight-showOr you can send a donation throughMail: David Knight POB 994 Kodak, TN 37764Zelle: @DavidKnightShow@protonmail.comCash App at: $davidknightshowBTC to: bc1qkuec29hkuye4xse9unh7nptvu3y9qmv24vanh7Money should have intrinsic value AND transactional privacy: Go to DavidKnight.gold for great deals on physical gold/silverFor 10% off Gerald Celente's prescient Trends Journal, go to TrendsJournal.com and enter the code KNIGHTBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-real-david-knight-show--5282736/support.

We're sharing an episode from our friends at the Adult ISH podcast. In light of the latest number of attempted book bans as tracked by the American Library Association (ALA), Adult ISH hosts Nyge Turner and Dominique “Dom” French speak to Traci Thomas, host of “The Stacks” podcast, and Scott Stuart, author of “My Shadow is Purple,” about how removing access to books can cause harm. Want more great ideas about teaching and learning? Subscribe to the MindShift newsletter https://www.kqed.org/newsletters/mindshift

Welcome back to the Leading with Joy podcast!We conclude our series dedicated to Joy and Hope, diving into the creative and reflective world of Ben Wakeman, an accomplished author, musician, and innovator whose work reawakens the forgotten joys of life. Ben's artistry spans nearly 200 songs, five albums, and several novels, with performances alongside legends like John Mayer, Jennifer Nettles, and Gillian Welch.In today's episode, Ben Wakeman illumines on: ⓵ Joy as Our Natural State: Ben shares why he believes we are born with a capacity for joy, a state vividly reminded by his interactions with his children. ② The Impact of Youthful Awareness: Reflecting on his teenage years, Ben explores how growing self-awareness and societal pressures can dim our innate joy, offering insights into navigating these transformative years. ③ Storytelling and Human Connection: Ben discusses how personal experiences and societal issues intertwine in his compelling storytelling, particularly in his novel, The Memory of My Shadow available on Substack  ④ Technology's Role in Modern Storytelling: We discuss the evolving potential for AI and technological innovation to bridge traditional storytelling gaps. ⑤ Art of Parenthood in the Digital Age: Ben discusses the challenges and rewards of fostering a love for reading and storytelling in his children amidst the digital revolution.

MDJ Script/ Top Stories for Mar 26th             Publish Date:  Mar 26th            Commercial: From the Ingles Studio, Welcome to the Marietta Daily Journal Podcast.    Today is Tuesday, March 26th, and Happy 79th Birthday to singer Diana Ross. ***03.26.24 – BIRTHDAY – DIANA ROSS*** I'm Dan Radcliffe and here are the stories Cobb is talking about, presented by Credit Union of Georgia.  Man Indicted in Death of Disabled Elderly Woman Two Indicted for Murder After Child Dies with Fentanyl in System Historic McAfee House Barn Engulfed by Flames   All of this and more is coming up on the Marietta Daily Journal Podcast, and if you are looking for community news, we encourage you to listen and subscribe!    BREAK: CUofGA   STORY 1: Man Indicted in Death of Disabled Elderly Woman Gary Allen Williams, a 66-year-old east Cobb man, was indicted by a Cobb grand jury for murder and neglect following the death of Addreinne Gordon, a disabled elderly woman in his care, who died from sepsis in November 2021. Williams is accused of neglecting Gordon, who was bedridden and paralyzed on her left side, resulting in severe injuries including bed sores, matted hair, untrimmed nails, and feces accumulation. Despite being her sole caretaker, Williams denied seeing her injuries. Gordon died the next day after being admitted to the hospital. Williams is currently detained at the Cobb County Adult Detention Center on $110,220 bond for murder and $16,720 bond for neglecting a disabled adult. STORY 2: Two Indicted for Murder After Child Dies With Fentanyl in System A grand jury has indicted Jocelyn Romero and Pablo Calihua-Garcia on charges of murder and drug trafficking, including substances such as fentanyl and methamphetamine. This follows the tragic death of a child, discovered with fentanyl in his system, in an apartment complex on Cobb Parkway during the period between October and November 2023. Romero faces separate murder charges after the child's demise in the same apartment, underscored by a toxicology report confirming fentanyl exposure. The discovery of fentanyl within the premises has led to additional scrutiny of the accused's activities. Both Romero and Calihua-Garcia are charged with felony murder and drug trafficking charges, highlighting the endangerment of a toddler through their alleged fentanyl trafficking operations. They are currently detained without bond at the Cobb County Adult Detention Center, awaiting trial as co-defendants. STORY 3: Historic Barn Destroyed by Fire A historic barn on the property of the McAfee House caught fire over the weekend. Cobb County Fire crews swiftly responded to the blaze, which was extinguished within an hour. While the house itself, built in the 1840s and serving as a Civil War headquarters, was spared, the barn suffered significant damage and is considered a total loss. The property, owned by a family that hasn't occupied it for over a decade, is up for sale as a commercial development site. Cobb Landmarks hopes to relocate the house and remaining barn to preserve its historical significance amid surrounding developments, though legal protections for its heritage are lacking.   We have opportunities for sponsors to get great engagement on these shows. Call 770.799.6810 for more info.    We'll be right back    Break: HENRY CO SHERIFFS – DRAKE   STORY 4: Fired Cobb Teacher Appeals in Cobb Superior Court A Cobb County fifth-grade teacher fired for reading a book about gender identity to students has appealed her termination to Cobb Superior Court after the Georgia Board of Education upheld her firing. The appeal contends the Cobb school board's decision was arbitrary and lacking evidence. Rinderle was dismissed for reading "My Shadow is Purple," which features a nonbinary character, despite a tribunal recommending against termination. She's also filed a discrimination lawsuit against the school district. The state board's decision rejected claims of policy vagueness. Rinderle's firing coincided with the district's removal of certain books, sparking accusations of homophobia, which the district denies, citing a focus on curriculum standards. The case reflects broader concerns about educational policies and LGBTQ+ themes. STORY 5: Atlanta Braves Unveil New Seating Offering for the 2024 Season The Atlanta Braves have recently announced the introduction of the Lexus Premium Boxes, a premier seating option set to be available from the 2024 season. This unveiling is part of a broader initiative involving multimillion-dollar renovations at Truist Park, reflecting the organization's commitment to enhancing the fan experience through first-class amenities and partnerships. The Lexus Premium Box offers an exclusive hospitality experience for groups ranging from 8 to 14 guests. The Terrace Level will be rebranded as the Lexus Level, further solidifying this collaboration. Located in specific sections across Truist Park, the Lexus Premium Boxes will provide guests with several luxury amenities. These include complimentary premium parking, a private entrance, flexible seating options featuring cushioned seats and high-top seating, as well as unlimited access to the Xfinity Club. Additionally, guests can enjoy exclusive menu and beverage packages delivered directly to their boxes, ensuring an unparalleled game-day experience. Despite the high demand, all season leases for the Lexus Premium Boxes have already been sold out, highlighting their popularity and the anticipation surrounding this new offering. However, there is a limited opportunity for daily rentals. Interested parties are encouraged to contact the Braves directly via phone, visit the official website, or email for more information on securing a daily rental. We'll be back in a moment    Break: CURIOSITY LAB BIKE RACE – INGLES 9   STORY 6: VA Regional Office renamed for Johnny Isakson The Atlanta Veterans Affairs Regional Office was officially renamed in honor of the late U.S. Sen. Johnny Isakson during a ceremony in Decatur. Isakson, who passed away in 2021, served as chairman of the Senate Veterans' Affairs Committee from 2015 to 2019. Sen. Jon Ossoff highlighted Isakson's bipartisan approach and commitment to veterans' issues during the ceremony, emphasizing his influence on the Senate's work ethic and cooperation. Isakson, known for bridging partisan divides, was honored for his dedication to national interests and veterans' welfare. Ossoff sponsored the bipartisan bill to rename the VA office after Isakson, which was passed by the Senate in 2022. STORY 7: Acworth K-9 Catches First Suspect During a traffic stop on Main Street in Acworth, Christopher Lance Hammitt fled on foot from Officer Anthony Trapani. Acworth Police K-9 Robuck was deployed and successfully tracked Hammitt, leading to his apprehension near the Bartow County line. Hammitt was wanted for various offenses including methamphetamine trafficking and fraud. Robuck's acquisition was made possible by a donation from Regina Robuck, and this successful track marked Robuck's first operation with the Acworth Police Department. The department expressed gratitude to Regina Robuck for her generous contribution.   Break: ATL HEALTH FAIR   Signoff-   Thanks again for hanging out with us on today's Marietta Daily Journal podcast. If you enjoy these shows, we encourage you to check out our other offerings, like the Cherokee Tribune Ledger Podcast, the Gwinnett Daily Post, the Community Podcast for Rockdale Newton and Morgan Counties, or the Paulding County News Podcast. Read more about all our stories and get other great content at MDJonline.com.     Did you know over 50% of Americans listen to podcasts weekly? Giving you important news about our community and telling great stories are what we do. Make sure you join us for our next episode and be sure to share this podcast on social media with your friends and family. Add us to your Alexa Flash Briefing or your Google Home Briefing and be sure to like, follow, and subscribe wherever you get your podcasts.   Produced by the BG Podcast Network   Show Sponsors: ingles-markets.com cuofga.org drakerealty.com henrycountysheriffga.gov peachtreecornersga.gov/385/Curiosity-Lab-Criterium-2024 acc.org/ATLHealthFair   #NewsPodcast #CurrentEvents #TopHeadlines #BreakingNews #PodcastDiscussion #PodcastNews #InDepthAnalysis #NewsAnalysis #PodcastTrending #WorldNews #LocalNews #GlobalNews #PodcastInsights #NewsBrief #PodcastUpdate #NewsRoundup #WeeklyNews #DailyNews #PodcastInterviews #HotTopics #PodcastOpinions #InvestigativeJournalism #BehindTheHeadlines #PodcastMedia #NewsStories #PodcastReports #JournalismMatters #PodcastPerspectives #NewsCommentary #PodcastListeners #NewsPodcastCommunity #NewsSource #PodcastCuration #WorldAffairs #PodcastUpdates #AudioNews #PodcastJournalism #EmergingStories #NewsFlash #PodcastConversations See omnystudio.com/listener for privacy information.

Children's book author Scott Stuart wrote a book for his son called My Shadow is Pink all about his son's love of dresses. He wrote the book to start conversations and allow greater acceptance of all the ways our children can express themselves. But walking the walk wasn't always easy. Scott talks to Maggie about his own hang ups about gender identity and how he overcame them.  LINKS: Scott Stuart on Instagram. https://www.instagram.com/scottcreates/  You'll find all of Scott's books on his website. https://scottstuart.co/books/  See omnystudio.com/listener for privacy information.

The Dean's List with Host Dean Bowen – I delve into the importance of studying great books in elementary school rather than destructive literature such as My Shadow is Pink. Jeff Minick describes it this way: “An adolescent nourished by the biographies of American figures such as Sojourner Truth, Thomas Jefferson, and Boone will have a healthier worldview than the one fed a diet of rap music and pop culture.”

PLAYLIST: Pacific St Blues & AmericanaFebruary 11, 2024Podcasts: https://podomatic.com/podcasts/KIWRblues 1. Ann Peebles / Feel Like Breaking Up Somebody's Home2. Darrell Nulisch / Tore My Playhouse Down 3. Solomon Burke / Everybody Needs Somebody to Love4. Aretha Franklin / Today, I Sing the Blues 5. Joyann Parker / Fainltly Optimistic6. Samatha Fish / All Ice No Whiskey7. Chris O'Leary/ Lay These Burdens Down8. Stephen Monroe / Storm 9. Joanne Shaw Taylor / Sweet Little Lies10. Susan Tedeschi / Mama, He Treats Your Daughter Mean 11. Jimi Hendrix Experience (Noel Redding) / Little Miss Strange12. Jimmy Thackery / Still Raining, Still Dreaming13. Bernard Allison / A Change Must Come14. Gary Clark Jr. / This is Who We Are 15. Sue Foley / Walking Home 16. Rissi Palmer / Seeds17. Beth Hart / Good Times, Bad Times 18. Eric Gales / Trampled Under Foot 19. Hadden Sayers / Little Bit of Love 20. Joe Bonamassa / Walk in My Shadow

Brian 'Licorice' Locking's sister Babs Wilson joins us to talk about her book "Me and My Shadow".

Jill Smith is the author of "My Shadow, My Friend - A Path to Authentic Self Healing," illustrated by Lindsey Ridgeway. This book is a practical guide to processing emotions and holds deep medicine for the inner child within us all. We discuss how the book came to be, Jill reads it to us, and we have a very soothing conversation about life's challenges, feeling our emotions, the joy found on the other side of life's darkest moments, and how we can remind ourselves that we are safe to feel everything.  You can buy Jill's book on Amazon https://a.co/d/dTc1TY3You can follow Jill on IG at @jillyillybean.................................Follow Wendy on IG:  @light.alwayswinsWatch LAW Youtube videos @lightalwayswins33Want to support my work in other ways? - Find LAW shirts and my Sabian Symbol Readings in the shop: https://the-light-always-wins-shop.square.site/You can donate to support my work at https://www.paypal.com/donate/?hosted_button_id=GDQLECW7HEM8AIf you love this podcast please leave us a 5-star review and write something nice!  Thank you so much for listening!

Heidi Kraay is a playwright and writer across disciplines. Her work examines the connection between brain and body, seeking empathy with fractured characters. She pulls myth, metaphor and monsters together to attempt connections across difference. Her plays, including Unwind: Hindsight is 2020, see in the dark, How to Hide Your Monster, New Eden, Me and My Shadow, Kilgore, as well as co-devised plays, plays for young audiences, one-acts and short plays, have been presented nationally and internationally.   Learn more about Heidi and her work at: http://www.heidikraay.com/  Wolf/Girl: https://www.morrisoncenter.com/events/detail/wolf-girl 

Episode 2.4 - Rolling Corpse PathetiqueTracks Featured:Ruined PianoYou & YoursBallastOblastMan Godiva & the Rolling CorpseSkinny Soul StealingHowlIn the Second part, Molly O'Brien (Da Music Enjoyer, host of And Introducing and Infinite Cast) reacts to the new record and talks baby shoes, British actors, and the Firm. Shortly after recording, Molly and her husband Chris wrapped up their podcast Infinite Cast, and launched new episodes of their podcast about music/words, Molly can be found on Twitter, The Molly Zone Blog, I Enjoy Music, and The Alternative.Music featured in the second half:There is by Box Car RacerCat Like Thief by Box Car RacerOy Como Va (mono) by SantanaOscillations by Silver ApplesEyesore by WomenI Want You To Suffer by Cindy LeeCochise by AudioslaveSee, My Shadow by Kee AvilThe Alien by Ben Salisbury & Geoff BarrowIngenue by Atoms for PieceTiny Tears by TindersticksTruth Ray by Thom YorkeThe Firm Main Theme by Dave GrusinThe inception Sound (youtube clip) by Greg PorterStranded the Line by Jonny Greenwood Hosted on Acast. See acast.com/privacy for more information.

On this story time we are talking about a very dedicated with and her lion/dove/human husband and the "controversial" book My Shadow is Purple by Scott Stuart. Two very different but totally equally important things.

MDJ Script/ Top Stories for August 19th sat Publish Date: Aug 18 fri   Commercial: Henssler :15   From the Henssler Financial Studio, Welcome to the Marietta Daily Journal Podcast Today is saturday August 19th and happy 34th birthday to NFL QB Kirk Cousins ***Cousins*** I'm Dan Radcliffe and here are the stories Cobb is talking about, presented by Credit Union of Georgia 1. Cobb School Board votes to fire teacher who read book about gender identity 2. Man accused of crashing into Dairy Queen during police chase 3. And Cobb sheriff beefing up courthouse security with new tech Plus, Brian Giffin will have a Cobb Sports Report, Powered by Powers Electrical Solutions   All of this and more is coming up on the Marietta Daily Journal Podcast, and if you are looking for community news, we encourage you to listen and subcribe! Commercial : CUofGA   STORY 1 fire   Katie Rinderle, an elementary school teacher in Cobb County, has been terminated by the school district despite the recommendation of a disciplinary tribunal against firing her. The controversy stemmed from Rinderle reading the picture book "My Shadow is Purple," which touched on topics of gender fluidity. The book's content sparked debate among parents. The school district rejected the tribunal's advice, leading to Rinderle's termination. While the teacher's certification remains intact, she plans to explore her legal options and appeal to the state board of education. The case highlights debates surrounding book selection, teacher autonomy, and parents' rights in education. ......................……... read more about this at mdjonline.com   Story 2: chase   Rodriguez Butler, an Atlanta man, is facing multiple charges after a police chase resulted in a crash into a Dairy Queen. During the chase, Butler allegedly fled from police, drove on the wrong side of the road at high speeds, crashed into the Dairy Queen, and attempted to flee on foot. He had to be tasered before being apprehended. Butler was found in possession of a stolen firearm. Additionally, he fled the scene of a wreck he caused, which resulted in injuries to a passenger. He is charged with various offenses, including eluding police, obstruction, criminal damage, and theft of a firearm, and is currently in custody on a $15,000 bond.   Story 3: tech   Cobb County Sheriff Craig Owens has introduced advanced security technology, the Smiths Detection HI-SCAN 6040 CTiX, to enhance safety at the Cobb County court complex. The new machines, similar to those used at airports, are designed to detect weapons and explosives using computerized tomography (CT) to produce three-dimensional images. This upgrade from the older two-dimensional X-ray machines allows for better identification of objects and materials. The new scanners have built-in artificial intelligence to identify potential threats. In addition to the larger scanners, six smaller, less advanced machines are being added across the complex. The investment of about $3.26 million is funded by a special 1% sales tax..…..(pause)   We have opportunities for sponsors to get great engagement on these shows. Call 770.874.3200 for more info.   we'll be right back   Break: Drake – Dayco - Elon   STORY 4: safety   Mayor Michael Owens of Mableton, Georgia, has announced that the city will continue relying on Cobb County for essential services such as police, fire, and emergency medical services (EMS). Owens emphasized the partnership's benefits, enabling Mableton to focus on its growth and development while ensuring the safety of its citizens. Despite the city's growth, there are no plans to take control of police, fire, and public safety services. The collaboration between Mableton and Cobb County's public safety leadership aims to provide a high level of service to residents. Public safety officials will periodically attend Mableton's City Council meetings to provide updates and maintain the partnership's collaborative spirit....program reminder, we'll have a feature interview with Mayor Owens on Sunday's Cobb Life Podcast.   STORY 5: refresh   Brittney Gray, the executive director of Visit Marietta, discussed the impact of travel and tourism on Cobb County's economy during a talk to the Cobb Chamber of Commerce. Gray highlighted that travel and tourism contribute a $2.2 billion economic impact to the area, generating $135.9 million in state and local taxes and supporting 23,830 jobs. She emphasized the importance of visitors to the local economy and outlined the efforts of Visit Marietta to promote the city as a destination, increase economic growth, and serve visitors. Gray also plans to rebrand Visit Marietta and conduct research to better understand the city's visitors and their preferences.   Story 6: music   The 2023 Georgia Country Music Fest, the largest red dirt country music festival in Georgia, will take place from September 1st to 3rd at Jim R. Miller Park in Marietta. The festival will feature over 30 artists, including national recording artists and emerging talents. The event will include multiple stages, with performances by artists such as Koe Wetzel, Cody Jinks, Turnpike Troubadours, Ashley McBryde, and more. Each day will have a different theme night and showcase a variety of musicians. The festival is rain or shine, and attendees must have ID to drink. General admission, Main Stage VIP, and Super VIP tickets are available for purchase on the festival's website.   We'll be back in a moment   Break: Powers – Ingles 1 - ESOG   Story 7: warriors   North Cobb High School's football team, ranked No. 10 in Class 7A, has built a challenging schedule to prepare for its competitive region. The team will face No. 8 Westlake followed by games against top-ranked Buford and rival Marietta. The coach, Shane Queen, emphasizes improvement in avoiding mental mistakes and penalties, aiming for success in the fourth quarter. The upcoming Westlake game is expected to be decided in the trenches, as both teams have strong lines. Junior quarterback Nick Grimstead, in his first full season as a starter, and senior David Eziomume, a Clemson commit, are key players for North Cobb. Westlake boasts a defense with multiple Division I talents committed to FBS programs.   Story 8: Bucs   Allatoona High School's football team enters the 2023 season with new coach Brad Smith, replacing the long-time coach Gary Varner. The team faces North Paulding in their first game under Smith's leadership. Despite a young and inexperienced lineup, Smith is optimistic about his team's performance. Allatoona has undergone changes in coaching staff and offensive/defensive schemes, adapting to a spread offense and multiple front defense. The upcoming match against North Paulding, the 2022 Region 3 7A champions, poses a significant challenge. North Paulding's well-coached and talented team will be a test for Allatoona, which is starting several sophomores.   Story 9: Football   Back The 2023 high school football season began in Cobb County with the newly renamed Corky Kell-Dave Hunter Classic, featuring Kell hosting Parkview Wednesday. The MDJ introduces "Kickoff '23," a 164-page football preview containing team previews for every Georgia High School Association program in Cobb and Cherokee counties, as well as Kennesaw State and Reinhardt. The main feature focuses on whether it's east Cobb's time to win a state championship, with an exploration of the county's football history and aspirations. The Dynamite Dozen showcases top football players in Cobb, with interactive QR codes for more information. The issue is also available online. The full color issue is a must read for all Cobb County High School Football fans……Back with final thoughts after thisthis…..   Break: JRM - Ted's - Henssler 60 Signoff- Thanks again for hanging out with us on today's Marietta Daily Journal podcast. If you enjoy these shows, we encourage you to check out our other offerings, like the Cherokee Tribune Ledger Podcast, the Gwinnett Daily Post, the Community Podcast for Rockdale Newton and Morgan Counties, or the Paulding County News Podcast. Read more about all our stories, and get other great content at MDJonline.com. Did you know over 50% of Americans listen to podcasts weekly? Giving you important news about our community and telling great stories are what we do. Make sure you join us for our next episode and be sure to share this podcast on social media with your friends and family. Add us to your Alexa Flash Briefing or your Google Home Briefing and be sure to like, follow, and subscribe wherever you get your podcasts. www.henssler.com  www.ingles-markets.com  www.cuofga.org  www.drakerealty.com  www.daycosystems.com  www.powerselectricga.com  www.esogrepair.com  www.elonsalon.com  www.jrmmanagement.com See omnystudio.com/listener for privacy information.

MDJ Script/ Top Stories for August 18th friday Publish Date: Aug 17 thursday   Commercial: Henssler :15   From the Henssler Financial Studio, Welcome to the Marietta Daily Journal Podcast Today is friday August 18th and happy 66th birthday to actor Dennis Leary ***Leary*** I'm Dan Radcliffe and here are the stories Cobb is talking about, presented by Engineered Solutions of Georgia 1. Brookhaven parks director arrested in Cobb during underage sex sting 2. Cobb school board members mum in teacher book case 3. And Cobb tax bills issued with payments due Oct. 15 Plus, Brian Giffin will have a Cobb Sports Report, Powered by Powers Electrical Solutions   All of this and more is coming up on the Marietta Daily Journal Podcast, and if you are looking for community news, we encourage you to listen and subcribe! Commercial : ESOG   STORY 1 sting   Patrick Nalley, the former director of Brookhaven Parks and Recreation, has been arrested in Cobb County for allegedly attempting to meet a person he believed to be a 14-year-old girl. Nalley is charged with enticing a child and obscene internet contact with a child. He had recently relocated to Georgia for the Brookhaven job and had been parks director for about three months before his arrest. Nalley was taken into custody during an underage sex sting operation in Marietta, where he contacted an undercover police officer. The city of Brookhaven promptly fired Nalley upon learning of his arrest due to concerns for public safety. ......................……... read more about this at mdjonline.com   Story 2: mum   The Cobb County Board of Education is still reviewing the transcripts of former teacher Katie Rinderle's fair dismissal hearing, where Superintendent Chris Ragsdale sought to fire her for reading a gender-themed book to her class. Three board members are still evaluating the case, one declined to comment, and the remaining three didn't respond to requests for comment. The tribunal, after a two-day hearing, voted against Ragsdale's recommendation to fire Rinderle. The tribunal's findings will be submitted to the board, which will vote on whether to reinstate her. The book "My Shadow is Purple" sparked the controversy, but the board's decision is awaited.   Story 3: tax   Cobb Tax Commissioner Carla Jackson has announced that 2023 property tax bills have been issued to residents and businesses in Cobb County, with payments due by October 15th. A total of 269,795 tax bills amounting to $1.183 billion have been calculated. The city of Mableton was included in this year's tax calculation, along with the Homeowners Relief Tax Grant, offering over $60 million in tax savings. Payments can be made online, by phone, or through mail. Payment drop boxes are available at multiple locations. For inquiries, residents can contact tax@cobbtax.org or visit cobbtax.org for further information on tax bills.…..(pause)   We have opportunities for sponsors to get great engagement on these shows. Call 770.874.3200 for more info.   we'll be right back   Break: Drake – Dayco - Elon   STORY 4: home rule   A Cobb County Superior Court judge has ruled that a lawsuit challenging the constitutionality of Cobb County's "home rule" Board of Commissioners map can proceed. The county's attempt to have the case dismissed was denied. However, Judge Ann Harris ruled that Commissioner Keli Gambrill, the original plaintiff, lacks standing to sue. Two Cobb residents, Catherine and David Floam, were added as plaintiffs and were found to have standing. The case will continue with the Floams as the only plaintiffs. The lawsuit centers on the county's use of home rule powers to redraw district lines, affecting voters' representation.   STORY 5: diesel   At the Southern Museum of Civil War and Locomotive History, a lecture by Kennesaw State University history professor Albert Churella explored the transition from steam-powered to diesel-powered trains and its impact on the railroad industry. Churella discussed how many railroad executives resisted the switch to diesel engines, leading to their decline in the industry. The transition was driven by companies like the Electro-Motive Division of General Motors and General Electric, which recognized the value of diesel technology. Churella's lecture highlighted the importance of managerial culture in driving technological change. Attendees found the lecture accessible and informative about the progression of rail technology.   Story 6: commish   Republican Cobb Commissioner Keli Gambrill's lawsuit to uphold the Cobb redistricting map has taken a new turn. The lawsuit challenges the adoption of a new map by Democratic Commission Chairwoman Lisa Cupid and her allies, which drew Democratic Commissioner Jerica Richardson out of her district. Gambrill's attorney, Ray Smith III, has been indicted in a separate legal matter involving Donald Trump and others attempting to overturn the 2020 presidential election results in Georgia. Despite this, Gambrill continues to have Smith represent her in the redistricting battle. Gambrill asserts that the Democratic majority on the Cobb Board of Commissioners acted on the advice of county attorneys in enacting home rule powers to redraw the maps. The legal case is ongoing, and there are differing opinions about Smith's involvement and its impact on the lawsuit.   We'll be back in a moment   Break: Powers – Ingles 1 - JRM   Story 7: Sports   And now, Leah McGrath, corporate dietician at Ingles Markets talks with Bruce Jenkins about foods for swollen feet   ***Leah***     Back with final thoughts after this…..   Break: Henssler 60 Signoff- Thanks again for hanging out with us on today's Marietta Daily Journal podcast. If you enjoy these shows, we encourage you to check out our other offerings, like the Cherokee Tribune Ledger Podcast, the Gwinnett Daily Post, the Community Podcast for Rockdale Newton and Morgan Counties, or the Paulding County News Podcast. Read more about all our stories, and get other great content at MDJonline.com. Did you know over 50% of Americans listen to podcasts weekly? Giving you important news about our community and telling great stories are what we do. Make sure you join us for our next episode and be sure to share this podcast on social media with your friends and family. Add us to your Alexa Flash Briefing or your Google Home Briefing and be sure to like, follow, and subscribe wherever you get your podcasts. www.henssler.com  www.ingles-markets.com  www.cuofga.org  www.drakerealty.com  www.daycosystems.com  www.powerselectricga.com  www.esogrepair.com  www.elonsalon.com  www.jrmmanagement.com See omnystudio.com/listener for privacy information.

Hi, I'm Grace, and this is the Peter Piper Picked a Peck of Pickled Poems Podcast. It's a poetry podcast by a kid, for kids. Are you ready for today's Pickled Poem? Email pickledpoemspodcast@gmail.com and let me know what you thought about today's episode. I'd love to hear YOUR favorite poem, too, so make sure to include that in the email and it might show up in a future episode. Make sure your parents have subscribed to this podcast, and ask them to leave a rating and review so more kids and families can enjoy pickled poems.  Oh, and I should mention that this podcast is sponsored by the Homeschool Conversations with Humility and Doxology podcast, which is hosted by my Mom. So if you have a parent listening, they should probably check that one out, too.  Now go pick a peck of pickled poems! I'll see you next week! My Shadow by Robert Louis Stevenson    I have a little shadow that goes in and out with me, And what can be the use of him is more than I can see. He is very, very like me from the heels up to the head; And I see him jump before me, when I jump into my bed.   The funniest thing about him is the way he likes to grow— Not at all like proper children, which is always very slow; For he sometimes shoots up taller like an india-rubber ball, And he sometimes gets so little that there's none of him at all.   He hasn't got a notion of how children ought to play, And can only make a fool of me in every sort of way. He stays so close beside me, he's a coward you can see; I'd think shame to stick to nursie as that shadow sticks to me!   One morning, very early, before the sun was up, I rose and found the shining dew on every buttercup; But my lazy little shadow, like an arrant sleepy-head, Had stayed at home behind me and was fast asleep in bed.

Peter Piper picked a peck of pickled poems, A peck of pickled poems, Peter Piper picked; If Peter Piper picked a peck of pickled poems, Where's the peck of pickled poems that Peter Piper picked? Hi, I'm Grace, and this is the Peter Piper Picked a Peck of Pickled Poems podcast! Or you can just call it the Pickled Poems Podcast for short if you want. I'm a kid like you, and I really love poems. And I hope you do, too. Or if you don't know if you like them yet, I hope you'll at least be willing to listen to my podcast and take a chance.  It's ok if you don't like pickles. But I think you should at least be willing to give poetry a try. I like silly poems and serious poems. Poems that make me laugh, and poems that make me cry. Long poems that tell a story, and short poems that are kind of like jokes. Once, when I was little, I got a little overwhelmed at the playground. Do you know what I did? I found a quiet corner and recited “My Shadow” (one of my FAVORITE poems, by the way) to my mom. That poem helped me feel happier, and I went back to playing. Because another thing about me you should know? I LOVE climbing REALLY HIGH on things like trees and playgrounds and anywhere else it might be kind of dangerous but also really fun. My mom says I'm basically a monkey. (I wonder…do you think monkeys like poems, too?) So, what can you look forward to with my brand new Peter Piper Picked a Peck of Pickled Poems podcast? Every week I'll bring you a new poem to enjoy. I'll read it twice (maybe 3 times if it is super short). And that's all there is to it! You can listen every day if you want to memorize them, or just listen once if you want.  There's no lessons. No homework. Just another kid sharing her favorite poems with YOU!  Make sure you're subscribed to this podcast so you don't miss a single poem. And I would love to hear what poems YOU enjoy! Do you have a favorite? Email me at pickledpoemspodcast@gmail.com and let me know. Maybe your favorite poem will show up on a future episode! So, to review: This is a poetry podcast by a kid, for kids Every week, I'll bring a new poem for you to enjoy, so make sure your family is subscribed to this podcast feed and you've told all your cousins and friends, too Email me your favorite poem, and I might add it to a future podcast episode! Oh, and I should mention that this podcast is sponsored by the Homeschool Conversations with Humility and Doxology podcast, which is hosted by my Mom. So if you have a parent listening, they should probably check that one out, too.  Until next time, go pick a peck of pickled poems for yourself!

Scott Stuart is a dad and the author of a whole bunch of children's books including My Shadow is Pink. On this episode of The Juggling Act, he chats to Mel and Jules about the importance of empowering our children and how to teach them that sometimes our brain isn't always right. Have things to say about this episode? Join our Facebook group and share your thoughts! Want to see more of Mel and Jules? You can find them on TikTok via @thejugglingactpodcastSee omnystudio.com/listener for privacy information.

I'm 12 years old. It's summertime, and we're on our annual family trip to Bainbridge Island off the coast of Seattle. I love going on these trips, and one of my favorite things about them is getting to see family friends Bob and Denise perform in a different play. This particular summer they're doing The Pirates of Penzance. After the show is over, Bob and Denise walk up to me and ask, “Kymberlee, what was your favorite part?” I'm thinking that since they're both in it, I don't really want to pick sides. So I talk about everything: the amazing set design, Bob's incredible costume, Denise's epic singing, the cool set, the fantastic dancing, the memorable characters... After each mention, Bob and Denise just stare at me. But I can't pick just one thing; I love it all! Years later, I realize that what I loved most was… The live experience of story! Seeing it played out right in front of my eyes and ears made each story unforgettable. My special guest today, Mary Lauren, tells stories in multifaceted ways. She directs them, writes them, produces them, performs them, and choreographs them. And in this episode of the Storytelling School podcast, we dive into her tips and techniques on bringing stories to life with questions like: How do you know if a particular story you want to tell is important? What should you always do when you get handed a script for your role? What's the benefit of playing darker characters? And what can you do when you're struggling to connect to your story? What you will learn in this episode: How you can bring truth to a character in your story What storytelling aspect can initially stymie a new storyteller Why listening is the key to everything as a performer and storyteller Who is Mary? Mary Lauren is a passionate and multifaceted artist who loves to tell stories. She has had work seen Off-Broadway and regionally as a director, writer, performer, producer, and choreographer. She's a proud member of the Actors' Equity Association (AEA) with a Bachelor of Fine Arts degree. Mary has written several new works, in addition to choreographing and acting as the lead dancer in the short film Dream of Spring (which has been featured in festivals all over the world). Some other acting credits include: The Last 5 Years, Gypsy, Sarah Was Mine, Sophia!, My Shadow and Me, and Hamlet. For almost 20 years, Mary has directed and educated artists. As artistic director of Heart String Theatrical, she created the streaming live/filmed piece Loving You Always. Her cabarets have raised money for artists and for organizations including the NAACP and ACLU. Mary also serves as the Youth Artistic Director at AMT Theatre, a new Off-Broadway Theater in Times Square. She loves working with young artists and finds inspiration from their exuberance and stories. Over 50 productions with young artists have been directed by her including original pieces and published works like Seussical, Annie, Thoroughly Modern Millie, Beauty and the Beast, and more. Links and Resources: Mary Lauren @MaryLaurenW on Instagram @MaryLaurenOnline on Facebook AMT Theatre @HeartStringTheatrical on Instagram Storytelling School Website @storytellingschool on Instagram @storytellingSchool on Facebook

يتم عرض الأفلام في Riverside Theatre بباراماتا. وسيكون فيلم الافتتاح بعنوان بغداد في مخيلتي أو Baghdad in My Shadow للمخرج السويسري العراقي سمير، فيما سيكون فيلم الختام للمخرجة المصرية ايتن أمين بعنوان سعاد.

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT Brad Koerner is a Harvard-trained architect who has spent decades looking at how technology affects and defines built environments. He has a specific interest in technologies like lighting and digital displays. An American based now in beautiful Amsterdam, Koerner works with both end-users and technology companies. By his own admission, he's obsessed by the question of how digital and interactive technologies are starting to disrupt centuries-old thinking about architectural design. We met recently at Integrated Systems Europe, where he did a well-received talk on his ideas and observations. He later sent me the presentation deck, and it was pretty clear I needed to get him on this podcast. In our chat, we get into a whole bunch of things - but focus quite a bit on the terms immersive and experiential ... what they mean and how they get applied. Subscribe to this podcast: iTunes * Google Play * RSS TRANSCRIPT Brad, thank you for joining me from Amsterdam. Can you give me a background on what you do and what Koerner Design is all about? Brad Koerner: Yeah, thanks, Dave, for having me. It's really an honor. So Koerner Design is my own design firm, and I focus on the future of the built environment, iSPAN, architectural lighting, digital signage, and circular economy product design. What would be a typical engagement? If there is such a thing as typical.  Brad Koerner: A typical engagement for me is working with lighting design companies to create sustainable products. I've been engaged with a few digital signage and marketing firms looking at trends in digital media. I'm also working with DC Power folks, thinking about sort of infrastructure-level improvements that help lighting and digital signage. So a company would come to you saying, we are thinking about doing this, but we don't have our heads wrapped around how it would all come together?  Brad Koerner: Yeah I speak a lot. I talk about the future of the built environment through a variety of different channels, and a lot of people find inspiration in the pieces that I do. For example, I just spoke at Integrated Systems Europe on immersive digital environments, and an earlier presentation I gave was called “Every surface is a screen, now what?”  The year before that I presented at Integrated Systems Europe, also on DC Power Systems. These videos go out there and they get people really inspired. They start to see these industries in new ways. They look at their problems with a fresh mind, and they really want to engage them in an innovation process, right? A proper design-driven innovation process. So I help them do a future envisioning session: what are the trends, what are the options, what do they have? Then we turn that into a sort of proper wishlist of product concepts or new business concepts, and then we drive it into the roadmap where it's scoped and prioritized, and they focus on that.  I also then take it all the way out and help 'em with product marketing and marketing communications for those new launches. So they would come to you because you're not selling them anything other than your insight and expertise as opposed to trying to angle them toward how they're gonna use a fine-pitch LED wall?  Brad Koerner: Correct. I'm agnostic when it comes to all the technologies and equipment.  You talk in your presentations a lot about immersive digital experiences and I'm very curious about how you define immersive because I just wrote the other day about a company that described a billboard along a roadway as immersive, and I thought, boy, that's really stretching to call that immersive, but maybe I'm wrong. Brad Koerner: I think it's helpful for your audience to understand by background. I'm an architect. I have two degrees in architecture, and when I was young, I always wanted to be a Disney Imagineer as a kid, and that's what drove me into architecture, and then as a side interest, I took up theater lighting and stage set design. So I really think of immersive digital experiences from that sort of the architectural point of view where you are in physical places, you are surrounded by six surfaces and in today's world, all of those can become digital, they can become luminous, they can become a portal to the internet or to the digital world in some form or another. I've said this because I cross over between architectural lighting and digital signage a lot in my work.  Every pixel is a light source and every light source is a pixel in these modern building projects. And a lot of people still don't quite understand that concept yet. An immersive digital experience is becoming how you design an architectural space, and I think particularly a lot of architects and interior designers are really trailing behind the technology. They look at signage as a thing that's applied after the fact almost like a typical signage project, non-digital signage. They don't yet understand how to take everything they've been taught about architecture placemaking, creating thresholds, creating progression, creating a sense of space or wonder, efficiency or economy for working environments, or branded retail experience. They don't know how to take what they're so good at and apply digital to it and mix digital into that and use digital to create something really engaging placemaking. That's what I mean by immersive digital experiences.  You say they don't know how, but is it the case that they do want to? Brad Koerner: Some for sure, some absolutely not. I saw Michael Schneider from Gensler speak at the Integrated Systems Europe show a few years ago, and Gensler has a whole group now that's called the Digital Experience Design Group, and this is exactly what they're focused on. Gensler hired the Head of Imagineering at Disney. Brad Koerner: Bob Weiss, right? So they get it. For every Gensler, that's out there, There are a lot of architects that think of digital experience design as well, “Don't put a TV on my wall that's gonna show a Coke ad”, right? And they don't get it right. They still think of architecture as concrete and steel and glass and like Le Corbusier's famous quote, “It's the magnificent play of forms bathed in light”, and I've inverted that many times and I've spoken and I said you know what happens when the forms themselves emit light and they become digital, how are you gonna design that? How do you design the element of time?  And with the element of time, you get this sort of very active storytelling capacity within architectural placemaking. So it's no longer enough for you to design a wall and it just sits there forever. You have to think about how that wall will change over time, right? These sorts of cycles of time, whether it's days, weeks, seasons, hours, minutes, or whatever that is, that wall can change dynamically. So why will you change it? How will you use that for placemaking and creating engaging experiences? I don't think most traditionally educated architects and interior designers can really get their heads around that yet. Even lighting designers have this sort of classic preset scene notion when it comes to controls. They're struggling with getting their heads around digital media and that live data stream, live media, and sort of interactivity.  But you seem to be suggesting that this is a matter of time as opposed to maybe it'll happen because I keep writing and talking about how that time is coming fairly quickly when architects and people who design physical spaces are thinking about LED and projection and other technologies as design materials, as design considerations.  Brad Koerner: Yeah. I think it's inevitable. The best science fiction has shown this for decades now. It's shown this amazing potential world we can live in, both the positive and the dystopian use of it like Children of Men. I just spoke in Integrated Systems Europe and I started my presentation by saying, “The future is now!” You look at Blade Runner, you look at Minority Report, you look at Star Trek, and all of those things that everybody still thinks of as like out there decades away in the future, now in fact, is decades behind us, right? And people haven't admitted to where we are, right? The future is already here. It's just unevenly distributed and digital signage is definitely a world where that is super true, right? You go to the trade shows and a few years ago Sony had an 8k native-resolution digital wall that was eight meters wide and four meters tall, and it was hyperrealistic. That technology exists, but then you go to clients out there and you know they can't afford at any budget, anything, or they simply won't choose to do that, and I think it's inevitable. These architects that are afraid of it, I think what happens is somebody will put a digital sign in their space whether they like it or not for other reasons, and the worst-case scenario is it does become an ad, right? And that's not what they want in their space. So they better get their head around it and integrate it actively into their design concepts and really look at the poetics of it. How can they use simple things like beautiful motion graphics and beautiful textures? Just like an interior designer would make a material sample board, a swatch board, they need to think of the digital media like that. What is the sort of swatches of digital media that they're presenting to their clients when they're designing these grand lobbies or offices or retailers or whatever? I wonder though, with Gensler, they are an extremely well-established company with huge clients and everything else, and they work with Fortune 100s, fortune 500s, giant airports, and everything else. But there's a whole bunch of designers that are working with like a regional insurance company or something like that, and they're just saying, we get what you're saying, but our customers aren't gonna spend that money. They want a defined ROI. They don't want something that's just artistic and ethereal and vague in terms of what this does. Brad Koerner: I think you're talking about a couple of things, right? So first off, there's just cheap, right? You'll always have customers that can never be cheap enough, right? But you have to segment the market, right? There are always customers at the high end of the range that wants the newest, the coolest, the hottest things at the beginning of the cycle. I joke that it's the sort of corporate lobby art budget crowd that always seems to have the money to do those sorts of fanciful things. But the technology keeps plummeting in price, right? A lot of this technology was indeed available even 20 years ago, but it was at such a price point no one could afford it unless you're like U2 going on a concert tour with a LED screen with the width of a football field. They could afford it but no one else.  Or Comcast and their lobby because they were a cable company before streaming!  Brad Koerner: Yeah, the Comcast lobby, right? What is that already 15 years ago, right?  It's like I said, the future is here. It's just unevenly distributed. So the price points just keep coming down until they become more and more common. Could you have imagined even a decade ago that every little restaurant and coffee shop, and donut shop would have digital menu boards? It's amazing how fast that swept through the market, and right now we have these sorts of virtual production spaces, right? I think it was, what, just three years ago, the Mandalorian showed sort of the first instance of that, and there was that movie First Man Before, I think was the first that used an LED screen in camera on film. Now it's everywhere, right? Every studio around the world is installing these virtual production facilities within a year.  The accelerating rate of technological innovation is a term that's thrown around, and I don't think people understand what accelerating rate means. AI image generation six months ago exploded onto the scene, and now everyone is using it every designer is thinking about how it's gonna disrupt them, and every content producer is thinking about how they can suddenly reduce the cost of their content generation using this sort of AI image generation, or increase their margin. That was just six months ago, so I think with the technology becoming so cheap, it's low cost to visualize the concepts. It's such a low cost to design, commission, and program them. The hardware is continually plummeting in costs, so you to open up new opportunities, right? The menu boards in little mom-and-pop restaurants. There will always be the high end of the market going down into the middle end of the market, and they will use these, right? And they will have very smart design teams that come up with real ROI stories for why these things work, and it becomes fanciful and sci-fi today or yesterday, tomorrow just becomes normal and accepted. People don't even think about it anymore. The bottom end of the market will always be cheap. There'll always be people who can never save enough money or be stingy enough. That's in every market, right? Lighting, construction, you name it. It's always like that.   You're suggesting in your presentation that the digital and physical worlds are fusing in that with physical spaces being portals to a virtual world. I'm curious about what you mean by that, and maybe you can give me a couple of examples of how that's actually playing out. Brad Koerner: Let me go back to when I was in school. I have a Master's in Architecture from Harvard, and when I was there, I did a thesis titled ‘Active Object Surfaces and Zones' I looked at using physical interactive controls for retail displays and lighting, and this was in 1999. So I was a bit ahead of the scene on that one.  But in the early 200s, I believed that physical spaces would become the best interface to the internet which is, I know, a wild concept for many now. But you have to remember back then we were still using 20-inch Sony Trinitron screens were like the hot technology, and people were still using three-and-a-half-inch floppy discs and dial-up modems but the internet showed so much promise and there were a lot of designers doing really amazing websites and that was very spatial, right? And even just the notion of hypertext itself is very spatial.  So I kept imagining that physical spaces and using your body as the control and creating progression and threshold and a lot of the sort of architectural principles that you see in the internet experience could be combined. But then, in 2007, Steve Jobs launched the iPhone, and little black mirrors hijacked our internet experience, right? Now though, I think people are over that, and we're saturated with personal devices and little black mirrors everywhere, the retailers are finally waking up to say, Hey, we need that digital in our physical experience, and so are the hospitality providers and healthcare providers. And they're starting to think, wait for a second, now we can tie all this digital data o tour spaces, right? And we can take all these great media that we have on our little black mirrors, and we can put it into our physical spaces. We can create these great experiences, and we can complete this cycle of gathering data from the real world, using it to drive great media content creation, live and interactivity and use it to drive behavior back in the real world, right? And it completes that virtuous cycle, and that's what I mean when I say architecture becomes a portal to the virtual world. A portal you can go back and forth between, right? The digital might come from into the space, and the spatial actions might drive digital data, right? Can you give me some examples of where you've seen this applied and you think it really works because I've walked into some spaces that retail spaces and other spaces that are called immersive and experiential and thought to myself, being an old fart, cranky and everything that that's nice, but I don't see the point of this and I sometimes struggle with how they're gonna see a return out of this?  Brad Koerner: Yeah, I haven't seen many. Long story short: I think you just have this great divide where you have, for example, a lot of startups doing smart buildings, right? And they're deploying all these sensors, and they're gathering up all this data, but then they don't return that data back to the spaces. The data does very little to act on the physical space. Then you have all this great media content that's out there and you'll throw up media content on these screens, and it's not tied to anything that's happening in the space, right? So it has no recognition of if somebody's even looking at it or not, much more if that person is gazing at it or wanting to engage it. There's been a lot of crazy stuff. There's indoor GPS positioning using lighting systems and apps. That was a flop. People have tried to tie app experiences into the real world. Not a lot of that has any real success story. You see a lot of these sorts of art-driven installations where I call it the be in Me and My Shadow problem. You can put a stereo vision camera system in space and track people exactly, but then, all they do is show the person's presence on some huge digital wall, and it's like me in my shadow, and there's no other point to it, so you have to think about why you need interaction in a space, right? I say for lighting and digital media, you can deliver the right light or the right content at the right place at the right time. You can use it to create really memorable human experiences, or you can use it to drive action, right? And those are areas that are not well explored yet, right? You don't have a lot of good designers out there connecting all of those systems together to create genuinely good experiences.  I actually worked with a startup called Digi Valet that makes a hotel room control system for luxury hotel rooms. So they make an app that sits on an iPad, but the other half of their system is this black box that interfaces with every physical control system in a modern hotel room like the thermostat, the blinds, the lighting, the media, everything that's Bluetooth, the Bluetooth controlled faucet on the bathtub, the Bluetooth coffee maker, the Bluetooth perfume/scent sprayer, and all that stuff. And it was great because they asked me to help them. This had a lot of customers, these hotel chains wanted to develop a brand of digital media and lighting experiences as part of this iPad app, right? And it was a fascinating way to think about it. So you're in this hotel room, and you click, I want to watch a movie. It immediately says on your iPad, okay, can we set the cinema lighting? Yes. Can we lower the blinds? Yes. Would you like us to order you champagne and popcorn? Yes.  It totally changes the way you think of the room, right? You don't have lighting control pads and blinds, and you don't have to find the remote control for the TV. It's all about having this really smart butler that just knows what to do when you want to watch a movie.  So if you're a frequent flier or whatever, you travel between different Marriotts, and you use your loyalty card, and it just sets it up in your room. So you don't even do anything; that's your configuration.  Brad Koerner: That's the next level, right? That's future beyond that when you can add in the CRM systems on top of that so it remembers your preferences. Then the next level beyond that is there's almost this genie-like ability where they begin to understand your desires so well that they can start  to add magic to your experience that you are not even expecting or the hotel can't do it at scale, right? I just think that's fascinating, like how could you take those principles of experience design and apply them into high-end retail or high-end healthcare, or even just a commercial office environment, right? It's a beautiful UX/UI experience in a space. We desperately need to see more intelligence and creativity around using digital in physical spaces.  Yeah, I wanted to ask about the discipline that needs to be enforced at the start of these things. When I've done consulting in my dark past, I would try to ensure the first question out of my mouth that I would throw at the customer or a client was: why are you doing this? What do you want to see out of it? And so on.  Is that the sort of thing that needs to be addressed super early so that it's not just, “We've seen these big video walls and other lobbies, we want one too.”  Brad Koerner: Usually, the first question I ask is, what's your budget? But that doesn't work too well. Can you afford me?  Brad Koerner: It's both of those, right? It's what's your budget and why? I think that, first off, many of these companies have a lot more budgets if they want. They just don't want to at first, they don't understand what is possible, they don't understand what it would cost, and they don't understand the ROI on that investment. So it's a real uphill battle, and that tail is as old as time, that's an architect preaching an upgraded finish on the oak panels, or that's a lighting designer preaching adding dimming into the system. It's always like that in these construction projects, and you are right, about the why, you can have all this technology in the world, right? Anything you can dream, you can do, right? So technology is not the limiting factor. It's imagination, right? Imagination is the limiting factor and thinking is almost like a movie director or the early stages of any media content where you have to think in storyboards, right? You have to think in moments of time. You have to think about their journey, what's the user journey, and what's the user experience, right? If you've seen any of these big design firms, they map user journeys, right? Throughout the omnichannel retail experience, they create these huge flow charts that take up a whole wall. You have to think about that in physical places now. So if you're walking into the shopping mall, do you put signage at the door's threshold? Classically, in retail design, you don't put anything really important at the threshold of the door because you need a sort of decompression zone where people charge into a space. Then they slow down, and then they look around, right?  There's just a lot of classic common sense design stuff that is not being employed in digital signage, particularly in any interactivity, right? You need these new combinations of skill sets that just don't exist yet. You almost need to take a game designer with a world-class architect and make them work together and see what happens, right? You need to take a Hollywood storyboard artist and combine them with a technologist and make them work together and see what happens., and that's what's missing right now from all of this, and I think you have companies like Moment Factory and Gensler and some out there are on that bleeding edge that they are trying to do that. Here in Amsterdam, there's Purple Storytelling, and there are lots of little groups that see the future that they struggle with, right? I think they struggle to see, and get the clients to understand the potential. I think things like Unreal Engine and live rendering and that sort of starting with a game engine, which is so powerful with live rendering, is going to make visualizing these scenarios so much faster, so much more profound, instead of starting with a classic architectural sketch, and then you went to an architectural photorealistic rendering, but it didn't move. Now architects are using things like Unreal Engine to make these animations, particularly in the luxury real estate marketing firm. Have you ever seen what some of these high-end luxury real estate developments are doing for their marketing? It's unreal. It's Hollywood-grade special effects from just 10 years ago, and they're using it just to sell condos.  You start to take the power of that, and you add it into very specific segments. So, retailers, have their very specific sort of customer flows, customer journeys, and ROI expectations, and hospitality operators have their very specific desires, healthcare facilities, have very different customer journeys. With Unreal Engine, you can now tie together these professions. It's the first time in my career that I've seen this flow complete, that you can use architectural models in BIM in Unreal Engine, and you can show these scenarios. You can animate them, you can set up the interactivity, right? Cuz it's a game engine at heart, and then you can use that for commissioning these systems. I think that will be the next step in all of this.  But are people like architects and those who design physical spaces, are they conditioned and trained and understanding about the ROI needs of their clients? Is that something they've always had to address, or is this new because of this more mysterious ROI that you would see out of an immersive space?  Brad Koerner: It's a great question. I don't think they are. I have two degrees in architecture. I was never trained to think of a business scenario. Again, it's combining different skill sets, right? It's almost like you need to combine an architect with an MBA and think about why, what's the point? It's a real challenge, right? Obviously, if you're a high-end real estate developer and you're doing luxury condos, you know that if you add marble to the lobby, you're going to get a certain ROI. You might not have it calculated, but you understand your customers, and you understand it's going to help with sales. You understand that it's worth it, right? You can't just put chipboard and cheap carpet in, you have gotta do the upgraded finishes, but you also know where not to spend the money, and you know where it's not going to get return value to you. And there's an intuitive aspect to that you can never just set up in a spreadsheet, and $5,223.32 will be your ROI in 32 days. You'll never get that precise, and that's why you need a creative mind and a business mind, and they need to come together to figure these things out, but it will happen, right? If you create a great experience for a hospitality provider, right? They'll know it. They'll know it from the customer feedback, reviews, and qualitative comments on that, right? And eventually, that drives revenue for them. But those sort of attribution problems for ROI is vexing in every industry. Marketing goes through this all the time, but it will happen more and more in physical placemaking with these systems, and I think it's a skill. Again, people have to get good at this. It doesn't exist now, and it's tricky because it combines several skill sets that have never worked together in the past and you have to fuse them to sort these things.  Yeah, I listened to a panel at Digital Signage Experience, and I believe it was somebody from Moment Factory who was saying that in terms of a return, they're now starting to hear from the HR departments of companies who are saying that having an experiential aspect to their lobby and their overall space is incredibly important in terms of recruitment and retainment of employees these days that particularly in technology jobs where you may have several choices as to who you're going to work for, what that space looks like and how you feel in it matters. Brad Koerner: Yeah. It's like in the commercial office section, right? I forget the exact numbers, but it's $3 a square foot, $30 a square foot, and $300 a square foot, right? Three bucks are your cost of energy, and 300 is your cost of salary, right? So should you focus on saving a few pennies of energy, or should you focus on saving hundreds of dollars of efficiency for your employees and salaries? That's just the concept that has to be employed everywhere. There's this sort of scale of effect that is critical to ROI. Understanding that is often siloed, right? You get a salesperson running in with some smart building system. They're talking about saving energy because we'll turn all the lights off more. And they don't understand that will create a lousy experience for the workers, right? And it will really damage the effectiveness of the workers and retention and all that, right? Same thing with digital signage, anything, right? If you put a big LED wall into a commercial office, will you just put a waterfall on it? Is that going to help make your employees happy? Maybe, maybe it's as dumb as that. But could you do something more sophisticated with it? Could you recognize employee accomplishments live? Could you show employee performance live depending on what your business or industry is, do you give people a pat on the back instantaneously? There are so many scenarios that could be developed around these technologies when, again, when the surfaces you're surrounded by become digital. You need to think about what they do, how they react to you, and how people react to those surfaces.? What is that cycle of action-reaction?  It sounds like you're saying there's more to this stuff than eye candy. Brad Koerner: Eye candy's great. I'm not going to argue against eye candy. There's a lot in this world that is just for eye candy's sake, and that makes a big difference, right? This is a classic design. This is architecture, this is interior design, this is a brand design, and retail design. Some of it is just eye candy, and people know how to justify that, right? That's a tale as old as time, right? It's making a statement. It's making a brand, culture, making, and experience. Why does Starbucks charge $8 for a coffee when they spend 50 cents on it? Because they've invested heavily in how their stores look, they feel and smell and sound, and there's just a lot of eye candy there, right? They consciously built all that so that they could charge that price premium. So yeah, it will just be eye candy for some of the digital stuff. I joke about the waterfalls, but can you beat the waterfall? In terms of your media content, it's mesmerizing, right? It's biomimetic, it makes you feel comfortable. I think humans have these deep-seated connections to natural effects. Maybe you just put a glorious force scene on your huge LED wall, and somehow the best thing you can show, right? I don't know. It could be as dumb as that. You have to test it.  I think the other thing people have to get savvy on is that you don't just build it and walk away. You have to build and operate it, and these teams that are developing these concepts will have to work with the operators, whoever it is to tweak it, right? To look at, we're going to make a whole bunch of assumptions, right? There are cycles of time, there's media content, there's interactivity, there are all these new things that people have to figure out. They can simulate it upfront. Nowadays, they can go into the virtual world during the construction project and get it mostly right or pretty close. But then, who will fine-tune that in the field over time or refresh it over time? Most people don't even think of the media budget. How many people forget about, oh wait, you mean we need a media budget for all these screens we've built? They can't even do that, and it's a long way before you're going to have clients actively spending the money to tweak this stuff and make sure it's optimal over time.  All right. Great conversation. I think we could have gone on for three hours, but gotta cut it off at some point. If people want to find out more about your company or perhaps bring you out to speak to their company or a conference, where do they find you online?  Brad Koerner: They can find me on LinkedIn just Brad Koerner or KoernerDesign.com.  All right. Thank you very much for spending some time with me. Brad Koerner: Great. Thanks, Dave.

Far on the outskirts of the big, bad city where Eraserhead probably took place, in the black and white foggy haze of White Plains, Robert, a painter, struggles with the sudden demise and grisly resurrection of his best friend, a Rabbit named Shadow. Now, all Robert wants to do is take the-girl-next-door Sydney to the Jovial Halloween Ball and have a good time. But it's hard to have fun when your best friend aspires to be a rock n roll singer and won't stop eating the people you know. The story is named after the song "My Shadow" by Jay Reatard off his debut solo album, "Bloodvisions." FRUMESS is POWERED by www.riotstickers.com/frumess GET 1000 STICKERS FOR $79 RIGHT HERE - NO PROMO CODE NEED! JOIN THE PATREON FOR LESS THAN A $2 CUP OF COFFEE!! https://www.patreon.com/Frumess

Gayle Brandeis is the award-winning author of the memoir “The Art of Misdiagnosis: Surviving My Mother's Suicide”, the novel in poems “Many Restless Concerns", as well as several novels, a poetry collection, and a writing guide. Her essay collection “Drawing Breath” will be released in 2023. Gayle's work has appeared in The New York Times, Washington Post, Salon, and more. In this episode, Gayle talks about healing from her mother's suicide, living with her delusions, and using writing to instigate change. From Gayle's mom Arlene, we learn about using art and creativity as a source of meaning and joy, listening to your intuition, and knowing that your voice can make a difference. We also learn about the importance of setting boundaries, and the art of navigating conflicts. Gayle mentions “American Foundation for Suicide Prevention” as one of the most important resources that helped her with her healing process. For more information, please visit their website. For more information on Gayle and her work, please visit following links: Gayle's website: http://gaylebrandeis.com Gayle's forthcoming book, Drawing Breath: Essays on Writing, The Body, and Loss from Overcup Books (February, 2023) An essay from the collection, "My Shadow son: A stranger insisted he was my child for more than a decade" Gayle's Twitter: https://twitter.com/gaylebrandeis To contact Ana, to be a guest, or suggest a guest, please send your mail to: info@thankyoumama.net For more about “Thank You, Mama" and to subscribe to the newsletter, please visit: http://www.thankyoumama.net To connect with Ana on social media: https://www.instagram.com/anatajder/ https://www.facebook.com/ana.tajder https://www.linkedin.com/in/anatajder/ https://twitter.com/tajder

Heidi Kraay is a playwright and writer across disciplines. Her work examines the connection between brain and body, seeking empathy with fractured characters. She pulls myth, metaphor and monsters together to attempt connections across difference. Her plays, including Unwind: Hindsight is 2020, see in the dark, How to Hide Your Monster, New Eden, Me and My Shadow, Kilgore, as well as co-devised plays, plays for young audiences, one-acts and short plays, have been presented nationally and internationally.   Learn more about Heidi and her work at: http://www.heidikraay.com/

Heidi Kraay is a playwright and writer across disciplines. Her work examines the connection between brain and body, seeking empathy with fractured characters. She pulls myth, metaphor and monsters together to attempt connections across difference. Her plays, including Unwind: Hindsight is 2020, see in the dark, How to Hide Your Monster, New Eden, Me and My Shadow, Kilgore, as well as co-devised plays, plays for young audiences, one-acts and short plays, have been presented nationally and internationally.   Learn more about Heidi and her work at: http://www.heidikraay.com/

Tula Jane and her Mother in the Wild read "My Brother, My Shadow", by Fabiana Rocha --- Send in a voice message: https://anchor.fm/mother-in-the-wild/message

David W. Williams discusses some of the records released this summer while the podcast was on hiatus.  This is part one of a three part summer recap series that covers all the albums from the Blind Tiger Record Club Record Of The Month program, the Spotlight Album, several New Store Additions, and the Headbangers Album for June, July, and August.  This episode covers June's records and presents new releases from Bear's Den, Liam Gallagher, Bastards Of Soul, Def Leppard, The Hellacopters, Weird Nightmare, AWOLNATION, and many more   The albums are discussed and clips of songs from the albums are played.  We will not be going as deep on all of these albums as we normally would on our club episodes, but its a great recap of albums released on the shows break this summer.       Here are the albums included in this episode of the Blind Tiger Record Club Podcast: Singer Songwriter June Record of the Month:  Bear's Den | Blue Hours (Ltd. Ed. White Vinyl) Rock & Alternative June Record of the Month:  Liam Gallagher | C'mon You Know (Ltd. Ed. Clear Vinyl) Jazz Soul & Blues June Record of the Month:  Bastard's Of Soul | Corners  Classics June Record of the Month:  Def Leppard | Pyromania  June Spotlight Album - Weird Nightmare | Weird Nightmare (Ltd. Ed. Cotton Candy Swirl Vinyl) BONUS ALBUM - AWOLNATION | My Echo, My Shadow, My Covers and Me (Gatefold Jacket) June Headbanger - The Hellacopters | Eyes of Oblivion (Ltd. Ed. Silver & Gold Vinyl) Whether or not you are a member of Blind Tiger Record Club, the B.T.R.C. Podcast is a great way to get introduced to some new artists and discover some albums that you may not be familiar with.  All the music in our subscription program and that we discuss on this show are on vinyl and have been released or reissued in the last 30 - 60 days.  The show is designed to be a discovery platform for new music "on vinyl", but even if you do not collect or listen to vinyl, it's still a fun way to explore new music. *The Blind Tiger Record Club Podcast is sponsored by 85 Supply.  Go to 85supply.com or email info@85supply.com to get started. For 5% off of your first order, simply mention "Blind Tiger Record Club" via email or over the phone with your rep. It's that simple. Hosts: David W. Williams Executive Producer - David W. Williams A Blind Tiger Entertainment, LLC Production This episode was edited and mixed by the team at Sound On Studios Theme song written and produced by Jasen Rauch Headbanger Intro theme by Love & Death For more information on becoming a member of the Blind Tiger Record Club, shopping the thousands of titles in the record store, or listening to previous episodes of the podcast, go to BlindTigerRecordClub.com. 

Poems Every Child Should Know by Mary E. Burt audiobook. This anthology of poetry, published in 1904, contains such favorites as The Raven, My Shadow, and The Village Blacksmith, as well as many lovely poems that may be unfamiliar. Most of the poems in this collection are short enough for children to memorize.

“The Wire Season 2 of 2022.” In this episode the guys discuss Chainsmokers in Space, artists editing songs post-release and the pull of comfort vs. the inevitability of change. They discuss resets, reinventions and the Wire Season 2 of albums. Plus they play an amazing lineup of songs with guitar solos galore! Songs Played In This Episode: Kate Bollinger - Who Am I But Someone from Look at it in the Light out now via Ghostly International Alvvays - Pharmacist from Blue Rev out October 7th on Polyvinyl CARRTOONS & Nigel Hall - Groceries from Homegrown out now via Wichita Recordings. Art d'Ecco - Run Away from After The Head Rush out now on Paper Bag Records Quinton Brock - My Shadow from My Shadow out now via Shadow Panther. Panda Bear & Sonic Boom - Go On from Reset out August 18th on Domino Recording Co. Photo Credits: Kate Bollinger by Jonathan Roensch Alvvays by Eleanor Petry CARRTOONS by Press Art d'Ecco by Press Quinton Brock by Alex Harold Panda Bear & Sonic Boom by Ian Witchell

We were very fortunate to have Quinton Brock on the podcast to talk about his new album, "My Shadow". Enjoy! Quinton Brock Socials: Twitter: https://twitter.com/QuintonBrock_ Instagram: https://www.instagram.com/youknowq/ Apple Music: https://music.apple.com/us/artist/quinton-brock/1459289174 Spotify: https://open.spotify.com/artist/1abW5Py6b6FSSpirm5Fkqq Bandcamp: https://quintonbrock.bandcamp.com/ Good Noise Podcast Socials: Twitter: https://twitter.com/good_noise_cast Instagram: https://www.instagram.com/goodnoisepodcast/ Facebook: https://www.facebook.com/goodnoisepod Discord: https://discord.gg/nDAQKwT YouTube: https://www.youtube.com/channel/UCFHKPdUxxe1MaGNWoFtjoJA Spotify: https://open.spotify.com/show/04IMtdIrCIvbIr7g6ttZHi All other streaming platforms: http://hyperurl.co/GoodNoisePodcast Patreon: https://www.patreon.com/goodnoisepodcast Bandcamp: https://goodnoiserecords.bandcamp.com/

This week is all about bands playing other bands' songs… that are completely awesome and radical! Whether they are playing it straight note-for-note, or whether they are re-interpreting it; bands love to pay tribute to great songs that they love! In this episode, we showcase the diversity of how a band can take an 80s classic hit and make it their own.What's this InObscuria thing? We're a podcast that exhumes obscure Rock n' Punk n' Metal and puts them in one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. From metal bands heavying up classic 80s rock standards to punk bands speeding up 80's pop… we got ya covered! Songs this week include:The Night Flight Orchestra – “Just Another Night” from Amber Galactic (2017)Queensrÿche – “Synchronicity II” from Take Cover (2007)Powerman 5000 – “Electric Avenue” from Copies, Clones, & Replicants (2011)Dave Rude – “Sledgehammer” from Deep Cuts & Rarities (2018)Devil's Train – “Word Up” from Ashes & Bones (2022)Sodom – “Hazy Shade Of Winter” from ‘Til Death Do Us Unite (1997)L.A. Guns – “Break My Stride” from Covered In Guns (2009)AWOLNATION & Rise Against – “Beds Are Burning” from My Echo, My Shadow, My Covers & Me (2022)We The Kings – “Caught Up In You” from Punk Goes Classic Rock (2010)Please subscribe everywhere that you listen to podcasts!Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://twitter.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/inobscuria/og-shop

Quinton Brock is a one-of-a-kind singer songwriter and producer from Buffalo, New York.Currently residing in Brooklyn, Quinton is fresh off his new album 'My Shadow', which is guaranteed to melt the minds of indie heads all around the world.We discuss his songwriting process, believing in oneself, and how he got Pink Siifu and Portugal. The Man on his new album!Please welcome, Quinton Brock!@youknowq@parkerwierling@onthatnote_podcastThank you to our sponsor @uptogoodenergyhttps://uptogoodenergy.com/

Born in Malaga, Caravaca´s style travels across house, tech house, and other sub-genres of house, afro melodic and techno. Smooth, lively, and playful, his sound brings about a fantastic deep journey embracing a dark but seductive atmosphere with massive basslines. 01. Sabo & Hot Oasis - Bakhu (Dj Chus Remix) 02. Metrika & Sabo - Imagine feat. Basel Khoury (Abel Ray Remix) 03. Band&dos - La Montaña 04. Joeski - Mother Africa 05. FEX (IT) - Viaggio Astrale 06. The Deepshakerz & Rion S - Sirens 07. Lucky Soda - Cry 08. Trekkah & Hardihood - Uzima feat. Tina Ardor 09. Caravaca - Tree of My Shadow 10. Moojo - Healing

Aaron Bruno of AWOLNATION and Rise Against's Tim McIlrath join Mike Jones to talk about the new covers album 'My Echo, My Shadow, My Covers & Me', their version of "Beds Are Burning", the random songs on the album, knowing all of the videos on MTV and how Tim is doing with his college classes!

In episode 210 UNP founder and curator Grant Scott is in his shed reflecting on the documentation of the everyday, the latest NFT news, not needing rules and listening to young photographers. Plus this week photographer Edmund Clark takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' Edmund Clark worked as a researcher in London and Brussels before gaining a postgraduate diploma in photojournalism at the London College of Communication. Clark's research-based work combines a range of references and forms including bookmaking, installations, photography, video, documents, text and found images and material; whatever is conceptually and formally relevant to investigating the subject and communicating with an audience. Recurring themes include developing strategies for reconfiguring how subjects are seen and engaging with state censorship to explore unseen experiences, spaces and processes of control and incarceration in the ‘Global War on Terror' and elsewhere. Clark's work has been published in seven books My Shadow's Reflection (2018), In Place of Hate (2017), Negative Publicity: Artefacts of Extraordinary Rendition(2017), Control Order House (2016), The Mountains of Majeed (2014), Guantanamo: If the Light Goes Out (2010), and Still Life Killing Time (2007). His work has been exhibited widely including at the International Center of Photography Museum, New York, and the Imperial War Museum, London. His work has been acquired for national and international collections including the ICP Museum and the George Eastman House Museum in America and the National Portrait Gallery, and the National Media Museum in Great Britain. Awards include the Royal Photographic Society Hood Medal for outstanding photography for public service, the British Journal of Photography International Photography Award and, together with Crofton Black, an ICP Infinity Award and the inaugural Rencontres d'Arles Photo-Text Book Award. For four years he was the artist-in-residence in Europe's only wholly therapeutic prison, HMP Grendon. He is is represented by the Flowers Gallery, London and New York, the East Wing Gallery, Dubai and the Parotta Contemporary, Stuttgart and Berlin. Today Clark teaches postgraduate students at the London College of Communication, London. www.edmundclark.com Dr. Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). © Grant Scott 2022

My guest today is the author of Christmas Stories:  7 Original Short Stories.  He had his first children's picture book, Me and My Shadow,  released in May of 2021.  And, he has two books coming in 2022 "The Book of Souls", a mystical ghost story and its sequel "The Book of Demons" (think Harry Potter meets the Exorcist).  The Book of Souls is Moore's first full length novel.  He considers this a "self-help book - based on a true event which just happens to be a paranormal thriller."   Could that description be any more intriguing? He had his play "Conversations From The Sports Arena" performed at the HBO Theater in Hollywood. Welcome to Authors Over 50, Kevin Moore.Kevin Moore's Amazon Page Kevin Moore's Press Kit Kevin Moore's Colorado Parent Article Kevin Moore's Instagram: Kevin Moore's Facebook Page: Guest Post by Kevin Moore:  Julia Daily's Twitter: Julia Daily's Facebook: Julia Daily's Instagram Julia Daily's Linked In Julia Daily's Goodreads Authors Over 50 Podcast LinksAmazon MusicSpotifyApple PodcastsGoogle Podcasts - authors over 50WebsiteThank you, Holly Shannon, Zero to Podcast coach and host of Culture Factor 2.0. https://hollyshannon.com and  Sean McNulty, Sound Engineer.

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"]

Season 1, Episode 3 includes: How the Whale Got His Throat from Just So Stories by Rudyard Kipling; My Shadow by Robert Louis Stevenson; Precocious Piggy, lyrics from a poem by Thomas Hood, music by Jessie McKeon; The Sleeping Beauty's Dream by Mrs. M. H. Spielman; Raggedy Auntie Reads Theme and Closing Song written and recorded by Jessie McKeon. "Organ Ambience, Calm, A.wav" by InspectorJ (www.jshaw.co.uk) patreon.com/raggedyauntie

Sarah Brokensha is an actor and producer from Eight Mile Creek, South Australia, and a mother of 2 boys.Acting since the age of 23, Sarah has performed numerous times with Patch Theatre Company, including an off-Broadway season in New York City. She performed in Mutzenball which was awarded the 2008 Green Room Theatre Award for Best Cabaret Ensemble, Other shows include Ruby Bruise, Emily Loves to Bounce, Me and My Shadow, Yo Diddle Diddle and The Girl Who Cried Wolf.Her film and television credits include Wanted Season 3, Wolf Creek 2 and Rabbit (feature film).Sarah created her own production company, Control Party Theatre, and received rave reviews for her one woman show "The World is Looking for You" in August 2021.In addition to all this she runs a farm with her husband Liam, which incorporates a free range egg farm The Splendid EggWe discuss how covid has levelled the playing field in the theatre industry, how important support for expectant and new mums is in the industry in keeping your sense of identity, and building resilience in her children, and herself.Connect with Sarah hereMore info about The World is Looking For YouPodcast - instagram / websiteAudio of the promo video for The World is Looking for You that appears in the intro, is used with permissionMusic used with permission in this episode is from Alison Newman and Alemjo

Welcome to another episode of the BodPod! Today, we are excited to be chatting with Scott Stuart, a best-selling children's book author from Melbourne, Australia. Scott is on a mission to create content that empowers young kids to be their unique selves and encourage parents to accept their children. His books have appeared on many best-seller lists and have garnered numerous nominations including Children's Book of the Year and Picture Book of the Year for My Shadow is Pink. After a video of Scott and his son Collin both dressed as Queen Elsa from the Frozen films went viral, he began posting about Collin's adventures with fashion and about breaking down the stigmas with parenting, gender, and much more. In this episode, Scott will discuss his new book called The Very First You and the importance of representation in children's books. He will also talk about the way in which his son inspired the diversity in his books, helped him realize his own biases, and how dressing up as Queen Elsa together turned into one of the most beautiful experiences. Last but not least, Scott will open up about how uncomfortable he was with his body while growing up, how that changed when he became a parent, and the advice he offers his son about remaining true to himself. Keep listening to hear how Scott is inspiring others to work through their own discomfort and challenge their own biases.Instagram: @scottcreatesTikTok: @scott.creates Website: https://scottstuart.co/

Welcome to season two of Story Surprise. This season, we are focused on impactful stories and inclusion! To get things started, join Anthony & Lauren with guest reader Juan Gomez for ‘My Shadow is Pink'. This story is about daring to be different and being true to who you really are. Scott Stuart wrote this story when he was forced to confront his own thoughts on gender stereotypes when his three-year-old son developed a love for Elsa from Frozen. In the story, the child has a secret. The child isn't like the dad. The Dad has a blue shadow. And the child, has a pink shadow. Juan, our guest has experienced having a shadow of many shades and colours. We are very excited they have joined us to help us share this important story with your family! Parent's and Carers, if you'd like to learn a little more about Juan and why Anthony and Lauren felt Juan would be best to represent the themes of breaking gender stereotypes in this episode, check out our interview with Juan in our new video series. It's called ‘Sit Down Sessions with Story Surprise': https://youtu.be/7rwHdCsnrbo Mick's Mates: A brand new segment in season 2 where Mick the Story Surprise teddy sits down with a listener and finds out what important lesson they took away from the story. First up, we have Mick's Mate, Nate! And of course, we couldn't leave you without a song! Drum roll please, on your knees…. It's time for season two! Story: ‘My Shadow is Pink' by Scott Stuart https://scottstuart.co/ Song: ‘Who Could You Be!' By Anthony & Lauren Guest Reader: Juan GomezMick's Mate: Nate Belleville Introductions: Pippa and Baxter Riley This podcast is proudly presented by The Moonee Valley City Council Clocktower for the podcast studio residency program, in conjunction with Little Rockers Radio. Our Links @storysurpriseauWebsite: www.storysurprise.com.auYouTube: https://www.youtube.com/c/storysurpriseauInstagram: https://www.instagram.com/storysurpriseauFacebook: https://www.facebook.com/storysurpriseauTik Tok: www.tiktok.com/@storysurpriseau