Podcast appearances and mentions of peter ames carlin

Scott McCaughey discusses Oar On, Penelope! by the Minus 5, the vast collection of records in his Dungeon of Horror, the recently departed folk artist Michael Hurley, how suffering a stroke 2017 has impacted him as a musician and songwriter with a penchant for music production perfectionism, songs about the sky, Neko Case's memoir and Peter Ames Carlin's recent book about R.E.M. and Scott's thoughts about resurgent interest in his old band the odds of them reconvening, new songs and touring, other future plans, and much more.EVERY OTHER COMPLETE KREATIVE KONTROL EPISODE IS ONLY ACCESSIBLE TO MONTHLY $6 USD PATREON SUPPORTERS. This one is fine, but please subscribe now on Patreon so you never miss full episodes. Thanks!Thanks to the Bookshelf, Planet Bean Coffee, and Grandad's Donuts. Support Y.E.S.S., Pride Centre of Edmonton, and Letters Charity. Follow vish online. Support vish on Patreon!Related episodes/links:Ep. #954: Peter Ames Carlin on R.E.M.Ep. #928: VerbötenEp. #889: Rick White and The SadiesEp. #803: The Replacements' ‘Tim: Let it Bleed Edition' with Bob Mehr, Jason Jones & Ed StasiumEp. #692: WilcoEp. #586: Spencer TweedyEp. #425: Michael HurleySupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

Back to normal! No guests this week, just a bunch of books to talk about, including some big names. Is Sam's mic kind of wonky early? Yes. Just get by that. It doesn't last long. And you really want to hear about: -  "Great Big Beautiful Life," by Emily Henry, which is just enough different from her previous beach reads to make a great beach read. It's a ridiculous biography contest set in Georgia.  - "The Name of this Band is R.E.M.," by Peter Ames Carlin, which Sam found a little boring, but it's hard to tell if that's just because R.E.M. is a boring band.  - "Raising Hare," by Chloe Dalton, which really is about raising a bunny, but not a bunny, a hare, which is a different mysterious kind of animal. Better than that sounds, though.  - "Everything is Tuberculosis," by John Green, which has a terrible name, but is very readable because John Green can write like crazy. This leads to talk about Reddit forums detailing woo-woo mom forum posting, for reasons, and discussion of the term "vlogger."  - "Whyte Python World Tour," by Travis Kennedy, an absolutely absurd and often funny tale of a hair-metal band secretly working for the CIA to bring down the Wall in the late 1980s. Sam doesn't know what to make of it.  - "Emily Wilde's Encyclopaedia of Faeries," by Heather Fawcett, which is delightful, about an academic cataloging faeries in Norway. It's cozy and quite charming.  Also, no, we didn't get this posted in time for Bookstore Day or the Literary Festival, but just try to look past that. It's already happened and you missed it. But there will be other stuff that's awesome in the future, we promise. 

Rock historian Peter Ames Carlin discusses his new book, The Name Of This Band Is R.E.M.

EVERY OTHER KREATIVE KONTROL EPISODE IS ONLY ACCESSIBLE TO MONTHLY $6 USD PATREON SUPPORTERS. This one is fine, but please subscribe now on Patreon so you never miss full episodes. Thanks!Emmalia Bortolon-Vettor and Sarafina Bortolon-Vettor from Bonnie Trash are back to discuss their new album Mourning You, the narrative aspects of Emma's instrumental pieces, Sara's personal lyrics, and track list typography on Mourning You, how to get revenge on death, Diamanda Galás, comedy in horror, and kissing symbolism, Emma Howarth-Withers and Dana Bellamy joining as the rhythm section, Sara's octopad liberation but not yet performing like Michael Stipe and Eddie Vedder, touring, writing new songs, other future plans, and much more.Support vish on Patreon! Thanks to Blackbyrd Myoozik, the Bookshelf, Planet Bean Coffee, and Grandad's Donuts. Support Y.E.S.S., Pride Centre of Edmonton, and Letters Charity. Follow vish online.Related episodes/links:Ep. #954: Peter Ames Carlin on R.E.M.Ep. #734: Bonnie TrashEp. #628: The OBGMsEp. #334: Change of HeartEp. #308: Bonnie TrashSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

EVERY OTHER KREATIVE KONTROL EPISODE IS ONLY ACCESSIBLE TO MONTHLY $6 USD PATREON SUPPORTERS. Enjoy this excerpt and please subscribe now via this link to hear this full episode. Thanks!Peter Ames Carlin is here to discuss his new book, The Name of This Band is R.E.M., his background as a fledgling musician and culture writer, developing lovely rapports with Brian Wilson and Bruce Springsteen but not so much with Paul Simon, why he wanted to write a definitive book about the rather private R.E.M. and why they chose to participate only from a distance, the quiet manner in which R.E.M. broke up and also why they seem to be popping up a lot these days, Carlin's forthcoming book about Springsteen, other future plans, and much more.Support vish on Patreon! Thanks to the Bookshelf, Planet Bean Coffee, and Grandad's Donuts. Support Y.E.S.S., Pride Centre of Edmonton, and Letters Charity. Follow vish online.Related episodes/links:Ep. #928: VerbötenEp. #875: Ann PowersEp. #577: Thurston MooreEp. #402: Dave ItzkoffEp. #395: Robert HilburnEp. #252: Bob Mehr on The ReplacementsEp. #222: Peter GuralnickEp. #84: Charles R. CrossSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

Esta semana dedicamos la tertulia a R.E.M. con motivo de la salida del libro ‘Este Grupo Se Llama R.E.M.' de Peter Ames Carlin, que en España acaba de publicar Editorial Contra con traducción de Tito Pintado.En el programa de hoy repasamos su carrera a través de su discografía, desde sus inicios en 1980 hasta su separación en 2011, y nos preguntamos ¿Hacen bien R.E.M. en no volver?Para debatirlo, hemos invitado a dos grandes fans del grupo: Abel González, el que fuera cantante de Corn Flakes y desde hace años uno de los responsables de contratación de Primavera Sound, y también Amable Sierra, conocido como DJ Amable, DJ residente de la sala Razzmatazz de Barcelona desde hace 25 años. Y como siempre también hacemos un repaso a algunas noticias destacadas de la semana, la agenda de conciertos, los charts, y al final, las recomendaciones de Oído, Visto, Leído.

We look back at the singular story of a great American band, with Peter Ames Carlin, author of the new book The Name of This Band Is R.E.M.: A Biography, joining host Brian Hiatt Learn more about your ad choices. Visit podcastchoices.com/adchoices

Charlie Brooker sits down with us to discuss two of his incredible TV creations – the mind-bending “Black Mirror” and the hilarious documentarian Philomena Cunk. Kyle Chayka tells us how algorithms and social media are flattening our culture in his book “Filterworld.” Author Peter Ames Carlin talks about the trail-blazing band from Athens, Georgia that helped create alternative rock – R.E.M.

True magic was worked in "The Name Of This Band Is R.E.M." as author Peter Ames Carlin came up with an absolutely engaging way to weave the four band members personal stories into the broader presentation about the band. His writing just made you feel like you were right there. And REM's humble beginnings was a great way to get an up close feel for the four members of the group and their untraditional rise to crazy stardom. This Month's SHOUT OUT goes to -Long Live The ABB NewsletterAllman Brothers fans this one is for you! I guarantee you will not find better ABB content anywhere that can top the in-depth, passionate, informative and original material covered in this newsletter. Conversation from the crossroads of Southern music, history, and culture from historian Bob Beatty, author of 'Play All Night! Duane Allman and the Journey to Fillmore East. Check Out this great newsletter-https://substack.com/@longlivetheabbWant to win a free copy of the number two best book of the year, Robyn Hitchcock's memoir 1967? It's easy, just send me an email to sign up. You can find a link to my email address below. *Reminder this is for US citizens only*Support the showemail Big Rick at:info@rocktalkstudio.com

Peter Ames Carlin – The name of this band is REM: A Biography…with TRE's Anna Glowinski

Music writer Peter Ames Carlin explores the lives of four college friends—Michael Stipe, Peter Buck, Mike Mills, and Bill Berry—whose bond was unbreakable, even as their fame grew and they became one of the biggest rock bands in the world. Peter's new book is "The Name of This Band is R.E.M."

fakeshow-ep 755 Peter Ames Carlin-REM by thefakeshow

An electrifying cultural biography of the greatest and last American rock band of the millennium, whose music ignited a generation-and reasserted the power of rock and rollIn the spring of 1980, an unexpected group of musical eccentrics came together to play their very first performance at a college party in Athens, Georgia. Within a few short years, they had taken over the world - with smash records like Out of Time, Automatic for the People, Monster and Green. Raw, outrageous, and expressive, R.E.M.'s distinctive musical flair was unmatched, and a string of mega-successes solidified them as generational spokesmen. In the tumultuous transition between the wide-open 80s and the anxiety of the early 90s, R.E.M. challenged the corporate and social order, chasing a vision and cultivating a magnetic, transgressive sound. In this rich, intimate biography, critically acclaimed author Peter Ames Carlin looks beyond the sex, drugs, and rock'n'roll to open a window into the fascinating lives of four college friends - Michael Stipe, Peter Buck, Mike Mills and Bill Berry - who stuck together at any cost, until the end. Deeply descriptive and remarkably poetic, steeped in 80s and 90s nostalgia, The Name of This Band is R.E.M. paints a cultural history of the commercial peak and near-total collapse of a great music era, and the story of the generation that came of age at the apotheosis of rock.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

R.E.M. considered themselves missionaries against the prevailing pop culture – no solos, no old-school stagecraft, no printed lyrics, no lip-syncing, no hard-sell videos, no obvious leader – and mapped out a whole new route to international success. Peter Ames Carlin, whose books include biographies of Springsteen, Brian Wilson and Paul Simon, talks to us here about ‘The Name of this Band is R.E.M.', what they pioneered and how it rearranged the rock and roll furniture. Which involves … … why their Letterman Show was a statement of intent. … “rather than bending to the mainstream, they did what they wanted ‘til the mainstream bent to them.” … where you can see “the R.E.M. model” - from Sleater-Kinney to Taylor Swift. … when ‘Mike Stipe' became Michael. … Stipe's first TV appearance, dressed as Frank-N-Furter at a Rocky Horror Show screening. … why rock critics connected with them.  … the strategies they share with U2, Radiohead and Coldplay.  … “Springsteen = Elvis + Dylan”. … what was in the water in Athens, Georgia, that produced such unconventionalacts - R.E.M., the B-52's, Pylon, Love Tractor. … their ‘straight' but supportive parents – Stipe's dad in the military, Mills' dad a marine helicopter pilot. … how R.E.M. “channelled popular culture”. … their pioneering approach to record deals, royalties, videos, mixing and song-writing. … and which of them most wants a reunion. Order ‘The Name Of This Band Is R.E.M.' here:https://www.amazon.co.uk/Name-This-Band-M-Biography/dp/0385546947Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

R.E.M. considered themselves missionaries against the prevailing pop culture – no solos, no old-school stagecraft, no printed lyrics, no lip-syncing, no hard-sell videos, no obvious leader – and mapped out a whole new route to international success. Peter Ames Carlin, whose books include biographies of Springsteen, Brian Wilson and Paul Simon, talks to us here about ‘The Name of this Band is R.E.M.', what they pioneered and how it rearranged the rock and roll furniture. Which involves … … why their Letterman Show was a statement of intent. … “rather than bending to the mainstream, they did what they wanted ‘til the mainstream bent to them.” … where you can see “the R.E.M. model” - from Sleater-Kinney to Taylor Swift. … when ‘Mike Stipe' became Michael. … Stipe's first TV appearance, dressed as Frank-N-Furter at a Rocky Horror Show screening. … why rock critics connected with them.  … the strategies they share with U2, Radiohead and Coldplay.  … “Springsteen = Elvis + Dylan”. … what was in the water in Athens, Georgia, that produced such unconventionalacts - R.E.M., the B-52's, Pylon, Love Tractor. … their ‘straight' but supportive parents – Stipe's dad in the military, Mills' dad a marine helicopter pilot. … how R.E.M. “channelled popular culture”. … their pioneering approach to record deals, royalties, videos, mixing and song-writing. … and which of them most wants a reunion. Order ‘The Name Of This Band Is R.E.M.' here:https://www.amazon.co.uk/Name-This-Band-M-Biography/dp/0385546947Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

R.E.M. considered themselves missionaries against the prevailing pop culture – no solos, no old-school stagecraft, no printed lyrics, no lip-syncing, no hard-sell videos, no obvious leader – and mapped out a whole new route to international success. Peter Ames Carlin, whose books include biographies of Springsteen, Brian Wilson and Paul Simon, talks to us here about ‘The Name of this Band is R.E.M.', what they pioneered and how it rearranged the rock and roll furniture. Which involves … … why their Letterman Show was a statement of intent. … “rather than bending to the mainstream, they did what they wanted ‘til the mainstream bent to them.” … where you can see “the R.E.M. model” - from Sleater-Kinney to Taylor Swift. … when ‘Mike Stipe' became Michael. … Stipe's first TV appearance, dressed as Frank-N-Furter at a Rocky Horror Show screening. … why rock critics connected with them.  … the strategies they share with U2, Radiohead and Coldplay.  … “Springsteen = Elvis + Dylan”. … what was in the water in Athens, Georgia, that produced such unconventionalacts - R.E.M., the B-52's, Pylon, Love Tractor. … their ‘straight' but supportive parents – Stipe's dad in the military, Mills' dad a marine helicopter pilot. … how R.E.M. “channelled popular culture”. … their pioneering approach to record deals, royalties, videos, mixing and song-writing. … and which of them most wants a reunion. Order ‘The Name Of This Band Is R.E.M.' here:https://www.amazon.co.uk/Name-This-Band-M-Biography/dp/0385546947Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This week we look at the history of a little band from Athens. Most of the information on this episode was taken from the new book "The name of the Band is R.E.M." by Peter Ames Carlin and I could not recommend reading it more. I loved it. Check out the entire mixtape on Spotify @ https://open.spotify.com/playlist/1sEeB7LdkPldhVD1f590PN?si=877855dfb84648ff

The Name of This Band Is R.E.M. by Peter Ames Carlin chronicles the band's precipitous rise to fame, shining a comprehensive light on their journey. Carlin joins us to talk about his start in music journalism, telling important stories, the lasting influence of songs and more with Miwa Messer, host of Poured Over. This episode of Poured Over was hosted by Miwa Messer and mixed by Harry Liang.                     New episodes land Tuesdays and Thursdays (with occasional Saturdays) here and on your favorite podcast app Featured Books (Episode): The Name of This Band Is R.E.M. by Peter Ames Carlin Mystery Train by Greil Marcus The Electric Kool-Aid Acid Test by Tom Wolfe

An electrifying cultural biography of the greatest and last American rock band of the millennium, whose music ignited a generation-and reasserted the power of rock and rollIn the spring of 1980, an unexpected group of musical eccentrics came together to play their very first performance at a college party in Athens, Georgia. Within a few short years, they had taken over the world - with smash records like Out of Time, Automatic for the People, Monster and Green. Raw, outrageous, and expressive, R.E.M.'s distinctive musical flair was unmatched, and a string of mega-successes solidified them as generational spokesmen. In the tumultuous transition between the wide-open 80s and the anxiety of the early 90s, R.E.M. challenged the corporate and social order, chasing a vision and cultivating a magnetic, transgressive sound. In this rich, intimate biography, critically acclaimed author Peter Ames Carlin looks beyond the sex, drugs, and rock'n'roll to open a window into the fascinating lives of four college friends - Michael Stipe, Peter Buck, Mike Mills and Bill Berry - who stuck together at any cost, until the end. Deeply descriptive and remarkably poetic, steeped in 80s and 90s nostalgia, The Name of This Band is R.E.M. paints a cultural history of the commercial peak and near-total collapse of a great music era, and the story of the generation that came of age at the apotheosis of rock. Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

This week, hosts Jim DeRogatis and Greg Kot discuss the music, history and legacy of R.E.M. with biographer Peter Ames Carlin.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:R.E.M., "Losing My Religion," Out of Time, Warner Bros., 1991The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967R.E.M., "It's the End of the World As We Know It (And I Feel Fine)," Document, I.R.S., 1987R.E.M., "Orange Crush," Green, Warner Bros., 1988R.E.M., "The One I Love," Document, I.R.S., 1987R.E.M., "Radio Free Europe," Murmur, I.R.S., 1983R.E.M., "Begin the Begin," Lifes Rich Pageant, I.R.S., 1986R.E.M., "Low," Out of Time, Warner Bros., 1991R.E.M., "Bittersweet Me," New Adventures in Hi-Fi, Warner Bros., 1996R.E.M., "Everybody Hurts," Automatic for the People, Warner Bros., 1992R.E.M., "Imitation of Life," Reveal, Warner Bros., 2001R.E.M., "Shiny Happy People," Out of Time, Warner Bros., 1991R.E.M., "Strange Currencies," Monster, Warner Bros., 1994R.E.M., "What's the Frequency, Kenneth?," Monster, Warner Bros., 1994R.E.M., "Man on the Moon," Automatic for the People, Warner Bros., 1992Juluka, "Scatterlings of Africa," Scatterlings, Warner Bros., 1982See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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Adam chats with Peter Ames Carlin to discuss music biographies, legendary musicians, and his new book, The Name Of This Band Is R.E.M..Peter is an acclaimed author and biographer, known for his deep dives into the lives of music legends like Bruce Springsteen, Paul McCartney, and Brian Wilson. His books are celebrated for their meticulous research, insightful storytelling, and the way they capture the complex journeys of these iconic artists.Peter has new book out, called The Name Of This Band is R.E.M. It offers an intimate look at the rise, evolution, and legacy of R.E.M. Adam and Peter explore how he gets inside the minds of these music legends, the challenges of capturing their stories, what he's learned along the way about the creative forces that shape our culture, and what his R.E.M. biography offers that others perhaps don't. They talk about the socio-political position of the band, what they represent, and how that progressed over time.  The Name of This Band is R.E.M. is out on November 5th in the US, and a little later in other territories.Our next episode is out on Monday November 11th and will see us provide commentary for the band's performance at Glastonbury 1999!Join the conversation on:Twitter: https://twitter.com/whatismusicpodInstagram: https://www.instagram.com/whatismusicpodE-mail: whatismusicpod@gmail.comTry your 30-day free trial of Zinio Unlimited today!Follow this link: https://bit.ly/4f9M6puGet access to more shows, exclusive bonus content, ad-free episodes of this show, and more music discussion by subscribing to our Patreon!Head to patreon.com/whatismusicpod and receive up to two new episodes of our various shows every week (including shows about Manic Street Preachers and monthly themed playlists!), ad-free archives of What Is Music?, and access to our Patron-only Discord server for even more music (and non-music) discussion!Support our show when starting your own podcast!By signing up to Buzzsprout with this link: https://www.buzzsprout.com/?referrer_id=780379Check out our merch!https://whatismusicpod.redbubble.comDonate to our podcast!https://ko-fi.com/whatismusichttp://whatismusic.buzzsprout.com/Support the show

It's Bruce Springsteen's 75th birthday and to honor the occasion, None But The Brave co-hosts Hal Schwartz and Flynn McLean are joined by Peter Ames Carlin, author of the 2012 Springsteen biography Bruce, and Brian Hiatt, author of Springsteen: The Stories Behind The Songs and senior writer at Rolling Stone, for a roundtable discussion about Bruce's legacy, his work over the past 10 years, and what might be still to come. For more information on exclusive NBTB content via Patreon, please visit: Patreon.com/NBTBPodcast This show is sponsored by DistroKid. Use this link to support the show and get 30% off your first year: http://distrokid.com/vip/nbtb Learn more about your ad choices. Visit megaphone.fm/adchoices

The definitive illustrated book on "The Boss"-- Springsteen: Album by Album (Palazzo Editions, 2024) is now updated to celebrate Bruce Springsteen's 75th birthday! Renowned for his passionate songwriting, galvanizing live shows, and political activism, Bruce Springsteen stands astride the rock 'n' roll stage like a colossus--and the iconic rocker shows no signs of slowing down. With in-depth reviews of 21 studio albums spanning over 6 decades of music history, Springsteen delves into every aspect of the superstar's career. Richly photographed, and featuring brilliant writing by one of America's top music critics as well as an introduction by Peter Ames Carlin (author of the bestselling biography Bruce). Ryan White has been writing cultural features for over twenty years, and is the author of Jimmy Buffett: A Good Life All the Way. Ryan on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. 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

The definitive illustrated book on "The Boss"-- Springsteen: Album by Album (Palazzo Editions, 2024) is now updated to celebrate Bruce Springsteen's 75th birthday! Renowned for his passionate songwriting, galvanizing live shows, and political activism, Bruce Springsteen stands astride the rock 'n' roll stage like a colossus--and the iconic rocker shows no signs of slowing down. With in-depth reviews of 21 studio albums spanning over 6 decades of music history, Springsteen delves into every aspect of the superstar's career. Richly photographed, and featuring brilliant writing by one of America's top music critics as well as an introduction by Peter Ames Carlin (author of the bestselling biography Bruce). Ryan White has been writing cultural features for over twenty years, and is the author of Jimmy Buffett: A Good Life All the Way. Ryan on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The definitive illustrated book on "The Boss"-- Springsteen: Album by Album (Palazzo Editions, 2024) is now updated to celebrate Bruce Springsteen's 75th birthday! Renowned for his passionate songwriting, galvanizing live shows, and political activism, Bruce Springsteen stands astride the rock 'n' roll stage like a colossus--and the iconic rocker shows no signs of slowing down. With in-depth reviews of 21 studio albums spanning over 6 decades of music history, Springsteen delves into every aspect of the superstar's career. Richly photographed, and featuring brilliant writing by one of America's top music critics as well as an introduction by Peter Ames Carlin (author of the bestselling biography Bruce). Ryan White has been writing cultural features for over twenty years, and is the author of Jimmy Buffett: A Good Life All the Way. Ryan on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

The definitive illustrated book on "The Boss"-- Springsteen: Album by Album (Palazzo Editions, 2024) is now updated to celebrate Bruce Springsteen's 75th birthday! Renowned for his passionate songwriting, galvanizing live shows, and political activism, Bruce Springsteen stands astride the rock 'n' roll stage like a colossus--and the iconic rocker shows no signs of slowing down. With in-depth reviews of 21 studio albums spanning over 6 decades of music history, Springsteen delves into every aspect of the superstar's career. Richly photographed, and featuring brilliant writing by one of America's top music critics as well as an introduction by Peter Ames Carlin (author of the bestselling biography Bruce). Ryan White has been writing cultural features for over twenty years, and is the author of Jimmy Buffett: A Good Life All the Way. Ryan on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

The definitive illustrated book on "The Boss"-- Springsteen: Album by Album (Palazzo Editions, 2024) is now updated to celebrate Bruce Springsteen's 75th birthday! Renowned for his passionate songwriting, galvanizing live shows, and political activism, Bruce Springsteen stands astride the rock 'n' roll stage like a colossus--and the iconic rocker shows no signs of slowing down. With in-depth reviews of 21 studio albums spanning over 6 decades of music history, Springsteen delves into every aspect of the superstar's career. Richly photographed, and featuring brilliant writing by one of America's top music critics as well as an introduction by Peter Ames Carlin (author of the bestselling biography Bruce). Ryan White has been writing cultural features for over twenty years, and is the author of Jimmy Buffett: A Good Life All the Way. Ryan on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

The definitive illustrated book on "The Boss"-- Springsteen: Album by Album (Palazzo Editions, 2024) is now updated to celebrate Bruce Springsteen's 75th birthday! Renowned for his passionate songwriting, galvanizing live shows, and political activism, Bruce Springsteen stands astride the rock 'n' roll stage like a colossus--and the iconic rocker shows no signs of slowing down. With in-depth reviews of 21 studio albums spanning over 6 decades of music history, Springsteen delves into every aspect of the superstar's career. Richly photographed, and featuring brilliant writing by one of America's top music critics as well as an introduction by Peter Ames Carlin (author of the bestselling biography Bruce). Ryan White has been writing cultural features for over twenty years, and is the author of Jimmy Buffett: A Good Life All the Way. Ryan on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

While three of the band's four members (John Phillips, Michelle Phillips, and Denny Doherty) have told their side of the story, Shea sorts through the fact, fiction, and finger-pointing to tell us how the artistic and commercial success of the Mamas & the Papas was often fueled by the unending interpersonal drama and sexual liaisons that nearly sunk the group before it even started. Front and center is the tragic story of "Mama Cass" Elliot, whose incredible talent gave the group an iconic sound that set it apart--and who John Phillips never wanted in the group. Shea draws on new interviews with former bandmates, session musicians, family members, and many others. A new interview with Jill Gibson (who briefly replaced Michelle when John discovered that Michelle was having an affair with Gene Clark of The Byrds) sheds new light on the group-and a short, but meaningful London meeting in 1966 between the group and three of the Beatles and Mick Jagger and Keith Richards of the Rolling Stones. Readers of popular music biographies by Peter Ames Carlin and Jonathan Gould (among others) are sure to admire Shea's ability to balance his unflinching account of the band's history with a true understanding and appreciation of their music. Like Carlin and Gould, Shea tells the story as narrative nonfiction. We're thrust back into the era of the Mamas & the Papas, connecting with the emotions of the band members as their story unfolds and unravels. It's one of the reasons why ALL THE LEAVES ARE BROWN has already been optioned for film and TV.

While three of the band's four members (John Phillips, Michelle Phillips, and Denny Doherty) have told their side of the story, Shea sorts through the fact, fiction, and finger-pointing to tell us how the artistic and commercial success of the Mamas & the Papas was often fueled by the unending interpersonal drama and sexual liaisons that nearly sunk the group before it even started. Front and center is the tragic story of "Mama Cass" Elliot, whose incredible talent gave the group an iconic sound that set it apart--and who John Phillips never wanted in the group. Shea draws on new interviews with former bandmates, session musicians, family members, and many others. A new interview with Jill Gibson (who briefly replaced Michelle when John discovered that Michelle was having an affair with Gene Clark of The Byrds) sheds new light on the group-and a short, but meaningful London meeting in 1966 between the group and three of the Beatles and Mick Jagger and Keith Richards of the Rolling Stones. Readers of popular music biographies by Peter Ames Carlin and Jonathan Gould (among others) are sure to admire Shea's ability to balance his unflinching account of the band's history with a true understanding and appreciation of their music. Like Carlin and Gould, Shea tells the story as narrative nonfiction. We're thrust back into the era of the Mamas & the Papas, connecting with the emotions of the band members as their story unfolds and unravels. It's one of the reasons why ALL THE LEAVES ARE BROWN has already been optioned for film and TV.

As Set Lusting Bruce hits 1000 episodes, Jesse is joined by Peter Ames Carlin @peteramescarlin. Peter is a writer and the author of several books, including HOMEWARD BOUND: THE LIFE OF PAUL SIMON, published in October, 2016 and BRUCE, a biography of Bruce Springsteen published in October, 2012. They discuss his writing, his fandom and his plans for future books. https://www.peteramescarlin.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

As Set Lusting Bruce hits 1000 episodes, Jesse is joined by Peter Ames Carlin @peteramescarlin. Peter is a writer and the author of several books, including HOMEWARD BOUND: THE LIFE OF PAUL SIMON, published in October, 2016 and BRUCE, a biography of Bruce Springsteen published in October, 2012. They discuss his writing, his fandom and his plans for future books. https://www.peteramescarlin.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

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

Sonic Boom: The Impossible Rise of Warner Bros. Records

The roster of Warner Brothers Records and its subsidiary labels reads like a roster of the Rock & Roll Hall of Fame: Jimi Hendrix, the Grateful Dead, Joni Mitchell, Neil Young, James Taylor, Fleetwood Mac, the Eagles, Prince, Van Halen, Madonna, Tom Petty, R.E.M., Red Hot Chili Peppers, and dozens of others. But the most compelling figures in the Warner Bros. story are the sagacious Mo Ostin and the likely crew of hippies, eccentrics, and enlightened execs who were the first in the music business to read the generational writing on the wall in the mid-60s. How did they do it? And what can we learn about the the industry today and to come from these unique operators? Journalist and music biographer Peter Ames Carlin joined us to celebrate the story of this innovative label, in conversation with musician and Tom Petty biographer Warren Zanes. Contained in his book, Sonic Book: The Impossible Rise of Warner Bros. Records, from Hendrix to Fleetwood Mac to Madonna and Prince, Carlin captured the rollicking story of what is arguably the most successful record label in the history of rock and roll. He explored how newly tapped label president Mo Ostin called his team together in 1967 to share his grand strategy for the struggling company: “We need to stop trying to make hit records. Let’s just make good records and turn those into hits.” He introduced a raucous and inspiring story: of how one prolific company conquered the music business by focusing on the music rather than the business. With the knowledge of that seemingly groundbreaking business model, Carlin and Zanes considered how the label’s history intersects with the role of record companies for artists and music lovers of today and tomorrow. Peter Ames Carlin is a writer and the bestselling author of several books, including Homeward Bound: The Life of Paul Simon and Bruce, the biography of Bruce Springsteen. Carlin has also been a free-lance journalist, a senior writer at People in New York City, and a television columnist and feature writer at The Oregonian in Portland. A regular speaker on music, writing, and popular culture, Carlin lives in Portland, Oregon. Warren Zanes is a bestselling author and Grammy-nominated documentary producer. The former Executive Director of Steven Van Zandt’s Rock and Roll Forever Foundation and VP of Education and Programs at The Rock and Roll Hall of Fame and Museum, Zanes has taught at several American universities and is presently teaching at New York University. His writing has appeared in the Los Angeles Times, Rolling Stone, the Oxford American, and more. He is the editor of collections on Jimmie Rodgers and Tom Petty, and has written books including Dusty in Memphis, Revolutions in Sound: Fifty Years of Warner Bros. Records, and Petty: The Biography. Buy the Books:  Sonic Book: The Impossible Rise of Warner Bros. Records, from Hendrix to Fleetwood Mac to Madonna and Prince Petty: The Biography Presented by Town Hall Seattle. To become a member or make a donation click here. 

For three decades, one record company ruled the music charts. But in the blink of an eye, their reign was over. After crafting in-depth biographies of music legends like Brian Wilson and Bruce Springsteen, New York Time best-selling author Peter Ames Carlin decided to tackle his most sweeping subject yet: the history of Warner Bros. Records. Through a series of wide-ranging interviews with industry legends Mo Ostin, Lenny Waronker, and many others, Peter wrote the book "Sonic Boom", the amazing story of a record label that put artists before commerce, and in the process built a musical dynasty. Join Nick and Peter as they discuss the tumultuous history of Warner Bros. Records, from its formation as a way to keep the studio's actors from making money for other companies, through the heyday of the 1970's psychedelic rock era, to the corporate machinations that tanked the label in the 1990s. HIGHLIGHTS: [02:00] Peter explains how his childhood record collection led him to write his new book, "Sonic Boom" [05:26] Legendary producer Lenny Waronker returned to Warners Music, on the sole condition that he could get his first job back, as a low-level A&R guy [08:22] Peter explores the origins of Warner Bros. Records under the watch of Jack Warner [10:52] Peter faced a challenge in writing his book, in trying to balance the Mo Ostin part of his story with the Warner Bros. Music part [13:13] Peter realized early on that the personalities running the company were going to be the heart of the book [15:45] Peter put a lot of work into his book proposal to convince the major players to get on board [18:54] Writing about Paul Simon and Bruce Springsteen exposed Peter to the rivalries between Warner Bros. Records and other record labels [21:52] Mo Ostin broke open the "no rock 'n roll" floodgates at Warner Bros./Reprise by signing The Kinks [25:37] Mo Ostin realized that Top 40 radio wasn't going to be the future of music, because Baby Boomers wanted more sophisticated rock music [26:37] Warner Bros. gave artists the time to build an audience and a back catalog [28:47] Stan Cornyn, who hated advertising, created a unique and humorous marketing voice for Warner Bros. Music that appealed to younger people [33:04] Warner Bros. Records missed the punk/new wave trend, but they bought Sire Records and suddenly had Talking Heads and Madonna on their roster [35:34] Mo Ostin was candid about his difficult business relationship with Seymour Stein, the founder of Sire Records [40:14] Warner Bros. Records was finally done in by Corporate America, and it ended in the most "soap opera way" ever [48:41] When Peter was a TV critic, he came to the realization that every culture-changing show was an accident that evolved from the creators working without corporate intervention [51:05] Peter describes his creative writing process, and the "creative calculus" he uses to come up with an angle that inspires him   Thanks for listening! Tune in next week and don't forget to take a minute to review the podcast. In this incredibly competitive podcasting world, every piece of feedback helps. Follow our social media channels for last-minute announcements and guest reveals @theradicalpod on Instagram and Facebook.   Find out more about today's guest, Peter Ames Carlin Find out more about your host, Nick Terzo   MENTIONED IN THIS EPISODE: @nytimes @warnermusic @VerveRecords @sirerecords @RepriseRecords @AtlanticRecords @seymourstein @GeffenRecords @RollingStones @springsteen @Madonna @neilYoungNYA @fleetwoodmac @PaulSimonMusic @EricClapton @jonimitchell @JamesTaylor_com @RandyNewman @thevandykeparks @remhq @TalkingHeadsHQ @TheKinks @thebeatles @GratefulDead @Prince @JimiHendrix @franksinatra Mo Ostin  Lenny Waronker Michael Ostin  Ahmet Ertegun   

My guest today is renowned author and writer Peter Ames Carlin who joins me to discuss his 2009 book 'Paul McCartney - A Life' One of the few books which covers Paul's post Beatle life with enough depth and thought - Peter's book was built on years of research and contains numerous fresh interviews and perspectives - I really enjoyed talking to him.We also discuss his current book 'Sonic Boom' a thrilling telling of the Warner Brothers Records story - maybe the most famous label in rock n roll. Peter's books can be viewed and ordered from https://www.peteramescarlin.com/books

Peter Ames Carlin - Sonic Boom: The Impossible Rise of Warner Bros. Records, from Hendrix to Fleetwood Mac to Madonna to Prince...with TRE's Ger Sweeney

A new book tells the story of how Mo Ostin and a crew of hippies, eccentrics, and enlightened executives transformed Warner Bros. Records from an out-of-touch company into one of the most successful record labels in American history. Author Peter Ames Carlin joins us to discuss his book, Sonic Boom: The Impossible Rise of Warner Bros. Records, from Hendrix to Fleetwood Mac to Madonna to Prince.

Author Peter Ames Carlin joins Joe & Kristen to discuss the Rock Hall potential of bluesy swamp rock band Little Feat. Peter also talks up his new book Sonic Boom, which chronicles the rise and dominance of Warner Bros. Records during the reign of legendary executive (and Rock Hall inductee himself) Mo Ostin. This show is part of Pantheon Podcasts.

Author Peter Ames Carlin joins Joe & Kristen to discuss the Rock Hall potential of bluesy swamp rock band Little Feat. Peter also talks up his new book Sonic Boom, which chronicles the rise and dominance of Warner Bros. Records during the reign of legendary executive (and Rock Hall inductee himself) Mo Ostin. This show is part of Pantheon Podcasts.

Author Peter Ames Carlin joins Joe & Kristen to discuss the Rock Hall potential of bluesy swamp rock band Little Feat. Peter also talks up his new book Sonic Boom, which chronicles the rise and dominance of Warner Bros. Records during the reign of legendary executive (and Rock Hall inductee himself) Mo Ostin. This show is part of Pantheon Podcasts.

Author Peter Ames Carlin joins Joe & Kristen to discuss the Rock Hall potential of bluesy swamp rock band Little Feat. Peter also talks up his new book Sonic Boom, which chronicles the rise and dominance of Warner Bros. Records during the reign of legendary executive (and Rock Hall inductee himself) Mo Ostin. This show is part of Pantheon Podcasts.

Bruce Springsteen was a local favorite and a darling of the critics, but that sort of thing doesn't cut any ice when you're Columbia Records and your artist has already released two albums without scoring any hits. But Springsteen had an epiphany about what his next album should sound like, from both a lyrical and a sonic sense, and it was the start of his reputation as a serious perfectionist when it came to his recordings. The result was the album Born to Run, and its title track, which were both released on the same day: August 25, 1975. The album went to Number 3 and just a couple of weeks later, Springsteen made a kind of history by being the first rock star to land on the cover of both Time and Newsweek Magazines during the same week, on October 27. According to biographer Peter Ames Carlin, that wasn't a coincidence: Jay Cocks of Time found out that Maureen Orth of Newsweek was doing a piece about Springsteen and convinced his editor to run a piece as well. Time's piece was all about his music, though, while Newsweek concentrated on the publicity machine that put someone like Springsteen on the map. I, being only 12 years old at the time, remember seeing the covers but didn't read either magazine because we didn't have a subscription. But a pretty big deal was made about it in the newspapers and on TV at the time, so I have a memory of that too. And as promised, here's the video of the Springsteen pastiche that appeared on Sesame Street: Next week's show was inspired by a suggestion from a listener. In the meantime, have fun with this week's show: Click here for a transcript of this episode. Click here to become a Patron of the show.

Episode 18: Libraries ROCK! Summer Reading is in full swing and in this episode we take that theme literally with biographer Peter Ames Carlin as we discuss his biographies of Paul Simon, Bruce Springsteen, Paul McCartney and Brian Wilson. Plus Professor Karl Alexander, co-editor of “The Summer Slide: What We Know and Can Do About Summer Learning Loss” provides insight into why summer educational efforts like Summer Reading are so important for student acheivement.

Do we sound a little verklempt this week? Our show is full of fond farewells, from Paul Simon's goodbye tour to our own producer Aaron Scott's departure for green Field Guide pastures. But it's not all tears. Before Aaron goes, he'll tell what he’s learned reporting on arts for the better part of a decade. We also chirp with the writer who followed Paul Simon’s life story, and mix it up with one of the top practitioners of pop criticism working today.Reconsidered: Johnny Cash's "At Folsom Prison" Album at 50 - 1:08In May 1968, Johnny Cash made a record that opened America’s eyes to life behind bars. But are those songs still relevant today? A group of Oregon musicians and artists, under the name Luther’s Boots, are re-staging the concert at prisons around the state to find out.To help fund their Folsom50 tour, they’re putting on a concert for those on the outside at Portland’s Polaris Hall May 20.Pop Culture Talk with Chuck Klosterman - 8:33If the first eighteen years of the century have left you gasping for breath, take heart. The post-Avengers, post-Kapernick, post-#MeToo, post-Beyonce era is not just an amazing time for pop culture; it's also a golden age of pop culture critics. Chuck Klosterman is one of the best. His bracing essays on music and sports in the "New York Times," the "Washington Post," "Esquire," and "Grantland."Klosterman will read from his latest book, “Chuck Klosterman X: A Highly Specific, Defiantly Incomplete History of the Early 21st Century,” at Powell's in Portland next week.Paul Simon’s Farewell Tour - 19:17This summer concert season is rife with acts doing farewell tours — Joan Baez, Elton John, Yassiin Bey (Mos Def) — but one of the most significant is legendary singer-songwriter Paul Simon. His "Homeward Bound Tour" hits the Moda Center May 19. To send him off, we listen back to our interview with Peter Ames Carlin, author of the biography “Homeward Bound: The Life of Paul Simon,” at Wordstock 2016.Aaron Scott’s Greatest Hits - 30:32It’s our bittersweet duty to inform you that this is State of Wonder producer Aaron Scott’s last week on the show. He is moving on to report and produce stories for "Oregon Field Guide." We're totally excited for him and couldn't resist the chance to pull him in front of the mic one more time to talk about some of his favorite moments, and trends he's observed in the regional arts ecosystem as he's reported on it for the better part of a decade.

In anticipation for Wordstock 2017, which announced its return on Nov. 11, we take a step into the time machine and revisit last year's wordsmiths. The big news is that the subject of one of their books, a musician you might know from the soles of his shows, is coming to Oregon.Peter Ames Carlin on Paul SimonPeter Ames Carlin has written about some of the most iconic musicians of the 20th century — Bruce Springsteen, Paul McCartney, the Beach Boys’ Brian Wilson — and his new book is no exception.Paul Simon soundtracked the 1960s, together with his soul mate, frenemy and long-time musical partner, Art Garfunkel. But as Carlin’s book “Homeward Bound” shows, the road to Graceland was strewn with contradictions, and the man who gave us some of the sweetest harmonies of the 20th century was not the guy you would want to cross over song royalties. But if he's someone you want to see, you can catch Paul Simon in all his glory at the Les Schwab Ampitheater in Bend on June 24.Lindy WestHow exactly is it Lindy West ended up at the center of so many white-hot flash points in pop culture? She has thought through difficult subjects with rigor, creativity and brio: misogyny in comedy, fat acceptance, trolling on Twitter and more. The celebrated columnist for "The Guardian" talks to us about her memoir, “Shrill: Notes From a Loud Woman,” her roots at Seattle’s alt-weekly "The Stranger," and how her parents contributed to the fireproofing that lets her fight her battles.Rivka GalchenThe exquisite essays and stories of Rivka Galchen delight readers of the "New Yorker," the "New York Times" and other hot spots. All great writers meet their match, and Galchen nearly hit her own wall four years ago. Her elegantly constructed idea for a book comparing two medieval Japanese women writers was neatly derailed by the birth of her daughter. Onstage at Wordstock, Galchen tells us how she learned to embrace the kind of thoughts she was having in the throes of baby inebriation.The resulting book, “Little Labors,” is a series of short, splendid essays that perfectly describe the altered state of maternity.

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He is one of the most recognizable names in music history. Paul Simon has had a long and illustrious career both as part of the duo Simon & Garfunkel and as a solo artist. Simon has earned 16 Grammy awards, and has been inducted into the Rock and Roll Hall of Fame twice, first with Simon & Garfunkel in 1990 and then solo in 2001. A new book explores Paul Simon's journey to musical greatness -- a journey that essentially begins in Queens, New York where Simon grew up. Peter Ames Carlin, the author of Homeward Bound: The Life of Paul Simon, is our guest to this week's show.

“Life is like a box of chocolates,” is one of the most memorable lines in cultural history a play on an earlier line penned by the brilliant author Winston Groom in his iconic novel FORREST GUMP. Groom joins Halli on The Halli Casser-Jayne Show to talk about his latest work EL PASO. Also joining Halli is bestselling author, veteran rock biographer Peter Ames Carlin out with his new controversial PAUL SIMON HOMEWARD BOUND: THE LIFE OF PAUL SIMON, the first major biography of American music icon.Winston Groom is the author of twenty previous books, including CONVERSATIONS WITH THE ENEMY (Pulitzer Prize finalist). As embodied by Tom Hanks on-screen, Winston Groom's FORREST GUMP is perhaps one of the most identifiable fictional characters of the last thirty years. EL PASO marks Groom's triumphant return to form: a swirling, unstoppable saga set against the panorama of the Mexican Revolution and its march into the American Southwest, a you cannot put this one down sweeping novel. The first major biography of American music icon, PAUL SIMON, has arrived! Interviewing more than 100 people from Simon's world, veteran rock biographer Peter Ames Carlin, the bestselling author of the Bruce Springsteen biography, BRUCE, brings us the new book: HOMEWARD BOUND: THE LIFE OF PAUL SIMON. With meticulous detail, Carlin fully reveals one whose life and career, in so many ways, exemplifies the American experience from 1950 through today.For more information visit Halli Casser-Jayne dot com.

The toast of the literary season is Portland’s book festival, Wordstock. This week we bring you the first of several shows we taped: a bang-up time with three exceptional authors, and one song that left us starry-eyed, recorded in front of a packed audience at the Winningstad Theater. Peter Ames Carlin on Paul Simon - 1:00Peter Ames Carlin has written about some of the most iconic musicians of the 20th century: Bruce Springsteen, Paul McCartney, the Beach Boys’ Brian Wilson. His new book taps into one of the most complex characters in pop history. Paul Simon soundtracked the 1960s, together with his soul mate, frenemy, and long-time musical partner, Art Garfunkel. But as Carlin’s book, “Homeward Bound” shows, Simon’s path is piled with contradictions. The road to Graceland was strewn with misunderstandings, and the man who gave us some of the sweetest harmonies of the 20th century was not the guy you would want to cross over song royalties.We also invited Portland singer-songwriter Luz Elena Mendoza, the incredible voice behind the bands Y La Bamba and Tiburones, to interpret Simon's iconic hits "The Sound of Silence" and "Bridge Over Troubled Water," with bandmate Philip Rogers, as well as play an original of her own.Lindy West - 22:38How exactly is it Lindy West ended up at the center of so many white-hot flash points in pop culture? She has thought through difficult subjects with rigor, creativity and brio: misogyny in comedy, fat acceptance, trolling on Twitter, and more. The celebrated columnist for The Guardian talks to us about her memoir, “Shrill: Notes From a Loud Woman,” her roots at Seattle’s alt-weekly, The Stranger, and how her parents contributed to the fireproofing that lets her fight her battles.Rivka Galchen - 36:12The exquisite essays and stories of Rivka Galchen delight readers of the New Yorker magazine, the New York Times, and other hot spots. All great writers meet their match, and Galchen nearly hit her own wall four years ago. Her elegantly constructed idea for a book comparing two medieval Japanese women writers was neatly derailed by the birth of her daughter. Onstage at Wordstock, Galchen tells us how she learned to embrace the kind of thoughts she was having in the throes of baby inebriation. The resulting book, “Little Labors,” is a series of short, splendid essays that both speak to and perfectly describe the altered state of maternity.

.Our interview with author Peter Ames Carlin on his terrific and much needed Paul Simon biography. If you cannot see the audio controls, your browser does not support the audio element

I talk about the Peter Ames Carlin book "Catch a wave". A lot of emotions around this one. Get in touch via www.facebook.com/beachboyspodcast or beachboyspodcast@gmail.com

I love talking to Frank because It the kind of stuff you only hear if you were there .Frank Stefanko is a fine art photographer with connections to New Jersey performers Patti Smith and Bruce Springsteen. Stefanko's seminal photographs, taken in the 1960s through the 80s, reveal the emerging careers of the two artists.In Franks own words,Summer of 2012: Danny Clinch and I had a Gallery Show in Stockholm, and Gothenberg, Sweden.*While in Gothenberg, Danny and I were invited to photograph Bruce Springsteen during his performance at Ullevi Stadium.When in Sweden, I hooked up with old friend Willie NIle.Over the last year, I have been asked to contribute my photography to several new books on Bruce ,"Talk About a Dream" by Christopher Phillips and Louis P. Masur ,"Bruce" by Peter Ames Carlin,"Springsteen on Springsteen" by Jeff Burger. Traveled to Kauai, Maine, and Nova Scotia, to do more landscape photographs.I've also started a series called The Swamps of Jersey inspired from "Rosalita" by Bruce Springsteen.There's been said many things are buried and lost in those swamps.The Metropolitan Museum of Art used one of my Patti Smith photographs in their exhibit "Punk: Chaos to Couture" and The Smithsonian is using another Patti Smith photograph in their exhibit catalog at the National Portrait Gallery called "American Cool". John Varvatos is using one of my Patti Smith photographs in his new book "Rock in Fashion.Make sure to tune in!

Peter Ames Carlin, just released the most comprehensive book on the life of one of Rock and Roll's lasting legends, Bruce Springsteen. Peter spoke with Bruce's mom Adele, as well as his friends, his family, ex-girlfriends and band mates. There have been many books on Springsteen's life but none ever had the blessing of Bruce Springsteen himself. In "Bruce" by Peter Ames Carlin, he talks about he and his father's troubled relationship growing up as a kid in New Jersey, he talks about his own battle with depression, his short lived marriage to Julianne Phillips, his life with wife Patti Scialfa, and his little encounter with Janis Joplin as a teenager (it kind of scared the crap out of him). This is one of the books you will not be able to put down. As I told Peter, I can't wait to devour it! Peter has also written books on Brian Wilson and Paul McCartney. Get the book on Amazon http://www.amazon.com/Bruce-Peter-A-Carlin/dp/1439191824/ref=sr_1_1?ie=UTF8&qid=1351609953&sr=8-1&keywords=bruce+peter+ames+carlin Reach out to Peter and hear an audio excerpt from the book on Peter's website at www.peteramescarlin.com/