Podcast appearances and mentions of Richard Goldstein

News From The Point of NO Return: Episode 84 – Report X   Welcome to the Event Horizon podcast, where we explore our world's dark and mysterious places, people, and practices. This episode is a Paranormal News show where I discuss the top three paranormal articles for the month. In this episode, we discuss:Japanese billionaire cancels planned Starship lunar mission. Jeff Foust.  June 2, 2024https://spacenews.com/japanese-billionaire-cancels-planned-starship-lunar-mission/William A. Anders, 90, Dies; Flew on First Manned Orbit of the Moon. Richard Goldstein. June 7, 2024https://www.nytimes.com/2024/06/07/science/william-a-anders-dead.htmlHave Scientists Found A ‘Mirror World' Parallel Universe That Explains Everything? The Truth Behind The Headlines. Jamie Carter. June 13, 2024. https://www.forbes.com/sites/jamiecartereurope/2022/06/13/have-scientists-found-a-mirror-world-parallel-universe-that-explains-everything-the-truth-behind-the-headlines/#:~:text=No%2C%20says%20a%20new%20theory,for%20a%20faster%20expansion%20rate.Did you know you can support the podcast by joining the Spreaker Supporter Club? For as little as $2.00 per month, you can help me grow the show and produce more episodes.  Go to the show page on Spreaker and click on the Supporter Club!  Click this link - https://www.spreaker.com/cms/shows/2860481/supporters-club/dashboard Follow Me On Social MediaCome with me and take a walk into the Event Horizon:Facebook at https://www.facebook.com/quantumAIradioTwitter at @EventHo14339589Instagram at @EventHorizonPlease join the community and share your thoughts.Follow My Other PodcastsIf you like Event Horizon and are a political junkie, you might like my podcast, "The Mark Peterson Show." Please check it out on Spreaker https://www.spreaker.com/show/the_mark_peterson_show. I just released an episode about the death of Angela Chao, sister-in-law of Senate Minority Leader Mitch McConnell.  You might also like my new podcast, "Movie Reviews from the Edge." Check it out at https://www.spreaker.com/show/movie-reviews-from-the-edge. Check out my latest review – Picard: Season One – Luciferin Transhumanism.   Buy My New BookI have a new book!  It is called Career Coaching Xs and Os: How To Master the Game of Career Development.  Transform your career trajectory with insider knowledge and actionable advice, all packed into one game-changing guide.   Get your copy on Amazon at https://a.co/d/f7irTMLBecome a supporter of this podcast: https://www.spreaker.com/podcast/event-horizon--2860481/support.

In this episode of Robin's Nest, Robin talks with Dr. Richard Goldstein, Chief Medical Officer at Zoetis. As a veterinarian, Dr. Goldstein is committed to enhancing animal welfare worldwide. His dedication extends across borders and species, exploring innovative approaches that address the diverse health challenges animals face. Zoetis is also a terrific partner and supporter of American Humane, listen as they discuss pet preparedness, especially ahead of storm and hurricane season, and so much more.

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comNeil is a writer and historian. He used to be a contributing columnist at The Week, and he now co-hosts the “Past Present” history podcast. His first book was We Gather Together: The Religious Right and the Problem of Interfaith Politics, and his new one is Coming Out Republican: A History of the Gay Right.For two clips of our convo — on when the Postal Service snooped on gay men's letters, and Trump's growing support among gays and lesbians — pop over to our YouTube page. Other topics: growing up a gay kid in a Baptist family in central Florida; college at Duke then Columbia while living in NYC for two decades; how gays are a unique minority because they're born randomly across the US; the Best Little Boy in the World syndrome; the libertarian tradition of gay activists; the Mattachine Society; the obscure importance of Dorr Legg and One magazine; the Lavender Scare; the courage of Frank Kameny; how “privileged” white men had more to lose by coming out; the fundraising power of Marvin Liebman; his close friendship with Bill Buckley; the direct-mail pioneer Terry Dolan; Bob Bauman's stellar career in the GOP until getting busted for prostitutes; Michael Barone; David Brock; Barney Frank's slur “Uncle Tom Cabin Republicans”; the AIDS epidemic; how the virus sparked mass outings and assimilation; gay groups decimated by the disease; why gay Republicans wanted to keep the bathhouses open; John Boswell's history on gay Christians; my conservative case for marriage in 1989; the bravery of Bruce Bawer and Jon Rauch; the early opposition to marriage by the gay left and Dem establishment; HRC's fecklessness; the lies and viciousness of gay lefties like Richard Goldstein; Randy Shilts despised by fellow gays; Bayard Rustin; war hero Leonard Matlovich; how DADT drummed out more gays from the military than ever before; Clinton's betrayal with DOMA; the peerless legal work of Evan Wolfson and reaching across the ideological aisle; how quickly the public shifted on marriage; the Log Cabin Republicans in the early ‘00s; Dubya's marriage amendment; his striking down of the HIV travel ban; PEPFAR; Ken Mehlman; Tim Gill; Kennedy's opinion in Obergefell; Gorsuch's opinion in Bostock; Buttigeig's historic run; the RNC's outreach to gays in 2019; Jamie Kirchick's book; Caitlyn Jenner; the groomer slur; the conflict between homosexuality and transness when it comes to kids; Tavistock; and the new conversion therapy.Coming up on the Dishcast: Eli Lake on Israel and foreign affairs, Kara Swisher on Silicon Valley, Adam Moss on the artistic process, George Will on Trump and conservatism, Johann Hari on weight-loss drugs, Noah Smith on the economy, Nellie Bowles on the woke revolution, Bill Maher on everything, and the great Van Jones! Please send any guest recs, dissents, and other pod comments to dish@andrewsullivan.com.

This week on Seizing Life® in observance of SUDEP Action Day on October 18th, we speak with Dr. Richard Goldstein, Associate Professor of Pediatrics at Harvard Medical School, about the program he directs conducting research into both Sudden Unexpected Death in Pediatrics (SUDP) and the grieving process of bereaved parents. The post Searching for Answers, Providing Support, and Understanding Grief After the Death of a Child appeared first on CURE Epilepsy.

This week on Seizing Life® Dr. Richard Goldstein, Associate Professor of Pediatrics at Harvard Medical School, discusses his research into both Sudden Unexpected Death in Pediatrics (SUDP) and the grieving process of bereaved parents. The post Searching for Answers, Providing Support, and Understanding Grief After the Death of a Child appeared first on CURE Epilepsy.

First broadcast on December 01, 1966. Studs interviews Dr. Timothy Leary about the three stages of the psychadelic experience: turning on, tuning in, and dropout. Leary discusses how his life changed from being a successful psychologist and professor at Harvard to renewing his life as a religious teacher. He shares how the drug LSD is used in the tribal communities who turn on and also explains the values of those who practice turning on. Leary also describes other methods used to turn on, which he considers a religious experience. Studs reads what Richard Goldstein said about Dr. Leary. Studs and Leary discuss how turning on can benefit society.

From 2015- Richard Goldstein, author of "Another Little Piece of my Heart: My Life of Rock and Revolution in the 60's." Goldstein was one of the first music critics to write seriously and perceptively about the rock music of his generation. His book is also a vivid memoir of much of what he experienced on a personal level during those years.

October is Sudden Infant Death Syndrome awareness month. Dr. Richard Goldstein, director of the Robert's Program on Sudden Unexplained Death in Pediatrics, provides an overview of Sudden Infant Death Syndrome (SIDS), including historical perspectives, definitions, current understanding of potential etiologies, and emerging research. Additionally, Dr. Goldstein offers practical tips for speaking with caregivers about SIDS. After this podcast, listeners will be able to: -Learn the historical background of Sudden Infant Death Syndrome (SIDS) -Describe key terminology regarding SIDS and Sudden Unexplained Death in Pediatrics -Identify some of the proposed mechanisms related to SIDS -Present practical advice for speaking with families and caregivers Publication date: October 21, 2022. Articles referenced: • Goldstein RD, Kinney HC, Guttmacher AE. Only Halfway There with Sudden Infant Death Syndrome. N Engl J Med. 2022;386(20):1873-1875. (0:44) • MacDorman MF, Rosenberg HM. Trends in infant mortality by cause of death and other characteristics, 1960-88. Vital Health Stat 20. 1993;(20):1-57. (2:40) • Mitchell EA, Thach BT, Thompson JMD, Williams S, for the New Zealand Cot Death Study. Changing Infants' Sleep Position Increases Risk of Sudden Infant Death Syndrome. Arch Pediatr Adolesc Med. 1999;153(11):1136–1141. (2:48) • Haynes RL, Frelinger AL 3rd, Giles EK, et al. High serum serotonin in sudden infant death syndrome. Proc Natl Acad Sci U S A. 2017;114(29):7695-7700. (17:20) • Kinney HC, Haynes RL, Armstrong DD, et. al. Abnormalities of the Hippocampus in Sudden and Unexpected Death in Early Life. In: Duncan JR, Byard RW, eds. SIDS Sudden Infant and Early Childhood Death: The Past, the Present and the Future. University of Adelaide Press; 2018. (19:09) • Koh HY, Haghighi A, Keywan C, et al. Genetic Determinants of Sudden Unexpected Death in Pediatrics. Genet Med. 2022;24(4):839-850. (22:50) • Miller MB, Huang AY, Kim J, et al. Somatic genomic changes in single Alzheimer's disease neurons. Nature. 2022;604(7907):714-722. (30:45) • Warland J, O'Leary J, McCutcheon H, Williamson V. Parenting paradox: parenting after infant loss. Midwifery. 2011;27(5):e163-e169. (36:10) • Kinney HC, Richerson GB, Dymecki SM, Darnall RA, Nattie EE. The brainstem and serotonin in the sudden infant death syndrome. Annu Rev Pathol. 2009;4:517-550. (42:01) Additional references: • Back to Sleep campaign: https://safetosleep.nichd.nih.gov/act... • https://www.childrenshospital.org/pro... • https://undiagnosed.hms.harvard.edu/ • https://www.broadinstitute.org/ • https://medicine.uiowa.edu/humangenet... • https://www.genomeweb.com/informatics... • https://med.nyu.edu/departments-insti... • https://www.australiangenomics.org.au.... • https://ojrd.biomedcentral.com/articles/10.1186/s13023-021-02089-5 Citation: Goldstein R, Daniel D, Wolbrink T. Sudden Infant Death Syndrome. 10/22. Online Podcast. OPENPediatrics. https://youtu.be/pu-gnSCHDhw. Please visit: www.openpediatrics.org OPENPediatrics™ is an interactive digital learning platform for healthcare clinicians sponsored by Boston Children's Hospital and in collaboration with the World Federation of Pediatric Intensive and Critical Care Societies. It is designed to promote the exchange of knowledge between healthcare providers around the world caring for critically ill children in all resource settings. The content includes internationally recognized experts teaching the full range of topics on the care of critically ill children. All content is peer-reviewed and open access-and thus at no expense to the user. For further information on how to enroll, please email: openpediatrics@childrens.harvard.edu

In this VETgirl online veterinary CE podcast, we interview Dr. Richard Goldstein, DACVIM, DECVIM on the role of artificial intelligence (AI) in the role of complete blood count (CBC) hematology in veterinary medicine. What's the role of AI in veterinary medicine, and how can this help when it comes to reviewing blood smears in dogs and cats? Learn about the importance of blood smears in veterinary medicine, and when a blood smear should be performed to supplement the automated CBC results. Tune in to learn how to improve your CBC interpretation, thanks to technology, and improve your clinic efficiency!

In this episode we welcome the great Richard Goldstein and invite him to relive his days as the Village Voice's "Pop Eye" columnist in the '60s — and his heady experiences in New York and California in that tumultuous decade.Richard takes us back to his Bronx youth and the early discovery of writers such as Joyce, Dostoyevsky and Voice co-founder Norman Mailer. He also recalls his subsequent exposure to Tom Wolfe and Susan Sontag — both of whom he knew — and explains their influence on his very personal writing style. The second piece he ever wrote for the Voice gives us the chance to discuss that most outré of '60s girl groups, the fabulous Shangri-Las, and to hear clips from Tony Scherman's 1993 audio interview with the trio's mentor-producer George "Shadow" Morton.From the "Las" we turn our attention to the Byrds and the dawning "rock" revolution Richard chronicled so adroitly. We also discuss his immersion in San Francisco's Haight-Ashbury scene — plus the attraction to hippie heroes such as Grateful Dead guitarist Bob Weir that indirectly led to his coming-out and to his militant fight for gay rights as he subsequently rose to the position of Executive Editor at the Voice.Notwithstanding his marvellous 2015 memoir Another Little Piece of My Heart — frequently cited in this episode — Richard poignantly explains how the deaths of Janis Joplin and others made it almost impossible to write any longer about music.Many thanks to special guest Richard Goldstein; find him at richardgoldsteinonline.com and buy his books, including Another Little Piece of My Heart, at any good bookshop.

In this episode we welcome the great Richard Goldstein and invite him to relive his days as the Village Voice's "Pop Eye" columnist in the '60s — and his heady experiences in New York and California in that tumultuous decade.Richard takes us back to his Bronx youth and the early discovery of writers such as Joyce, Dostoyevsky and Voice co-founder Norman Mailer. He also recalls his subsequent exposure to Tom Wolfe and Susan Sontag — both of whom he knew — and explains their influence on his very personal writing style. The second piece he ever wrote for the Voice gives us the chance to discuss that most outré of '60s girl groups, the fabulous Shangri-Las, and to hear clips from Tony Scherman's 1993 audio interview with the trio's mentor-producer George "Shadow" Morton.From the "Las" we turn our attention to the Byrds and the dawning "rock" revolution Richard chronicled so adroitly. We also discuss his immersion in San Francisco's Haight-Ashbury scene — plus the attraction to hippie heroes such as Grateful Dead guitarist Bob Weir that indirectly led to his coming-out and to his militant fight for gay rights as he subsequently rose to the position of Executive Editor at the Voice.Notwithstanding his marvellous 2015 memoir Another Little Piece of My Heart — frequently cited in this episode — Richard poignantly explains how the deaths of Janis Joplin and others made it almost impossible to write any longer about music.Many thanks to special guest Richard Goldstein; find him at richardgoldsteinonline.com and buy his books, including Another Little Piece of My Heart, at any good bookshop.Pieces discussed: Pop Eye: Soundblast '66 — The Byrds @ Yankee Stadium, The Shangri-Las: The Soul Sound from Sheepshead Bay, Shadow Morton audio, Thinking about the Sxities and Talking Heads Hyperventilate Some Clichés.

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

Many people mistakenly equate obituaries with death notices, but, as we'll hear in this episode, obituaries are not tales of death; they are tales of life. They are the CliffsNotes of someone's identity and relevance. And as much as we know we shouldn't, we are drawn to them as mirrors, which we figuratively stand in front of and ask, “How does my life compare to this individual's?” My guest today is Richard Goldstein. Since joining the New York Times in 1980, Richard worked as an editor and an obituary writer, focusing on figures from the military and sports world.

Our cats are living longer than ever before, but that means, just like us, they are experiencing more pain than ever before. So how can we identify and combat that pain for our aging kitties? Dr. Richard Goldstein of Zoetis shares the latest on how we're helping our cats live longer and more comfortable lives. Don't ever say we don't get the biggest celebrities. The grandson of Curly Howard from The Three Stooges joins us this week to talk about Curly's passion for animals and for entertaining. Steve helps listeners by phone and email.

We're learning a lot more about Veterinary Technicians this year because of an initiative from the North American Veterinary Community (NAVC) which is all about helping us understand their vital role better. Harold Davis, the President of NAVC, joins us to talk about the program. Better results faster. That is what is happening with some new technology that has been developed by Zoetis called VetScan that allows your veterinarian to get test results faster. That means answers more quickly so you and your veterinarian can figure out the best solutions. Dr. Richard Goldstein from Zoetis joins us to explain how it all works. Steve helps listeners by phone and email.

In this episode we welcome the excellent Devon Powers — beamed in from Philadelphia — and ask her to talk about The Village Voice, Red Hot Chili Peppers, the White Stripes… and music journalism since the turn of the century. Devon begins by talking about the music she loved when growing up in her native Michigan — and her first awareness of "rock critics". We hear about her move to New York City in 1999, her early pieces for the PopMatters site, and the Anglophilia that led to umpteen pieces about the likes of Clinic, Starsailor, Badly Drawn Boy and, yes, even Ocean Colour Scene. Citing a great 2003 piece she wrote about Red Hot Chili Peppers, who released a new album the week of this recording, we ask Devon what those punk-funk Californicators meant to her in the '90s and noughties. After a brief discussion of Devon's 2004 thinkpiece 'Is Music Journalism Dead?', we turn our attention to Writing the Record: The Village Voice and the Birth of Rock Criticism, the 2013 book which came out of her doctoral dissertation at NYU. She talks about the vital New York weekly paper, and the "rock critics" who were such a key part of its arts coverage — particularly Richard Goldstein, several of whose '60s Voice pieces we have on RBP. We then pay tribute to another Voice contributor, John Swenson, lost to us a few days before this recording, as well as to Foo Fighter Taylor Hawkins and Mighty Diamonds frontman "Tabby" Shaw. Two clips from Ira Robbins' 2001 audio interview with the White Stripes prompt a general chinwag about Jack, Meg, blues etc., after which Mark zips through the most notable of the interviews & reviews he's just added to the RBP library, including pieces about the Kingston Trio, Paul Revere & the Raiders, Canned Heat and Teddy Pendergrass. Barney then rounds things off by flagging up pieces on Marc Bolan, the Prodigy, Tony Hatch, Jack Good and the Descendents. Many thanks to special guest Devon Powers; visit her website at devonpowers.com and find Writing the Record in all good bookshops. The Rock's Backpages podcast is proud to be part of the Pantheon podcast network. Pieces discussed: The Village Voice and the Birth of Rock Criticism, PJ Harvey, Is Music Journalism Dead?, Red Hot Chili Peppers audio, Blood Sugar Sex Magik, Rick Rubin, The White Stripes audio, Taylor Hawkins audio, Foo Fighters, Crawdaddy, The Mighty Diamonds, Alexis Korner, Paul Revere, Disco, Teddy Pendergrass, Little Richard, Steve Paul, Canned Heat, Curtis Mayfield, Oasis, Marc Bolan audio, The Prodigy, Tony Hatch, Jack Good and the Descendents. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode we welcome the excellent Devon Powers — beamed in from Philadelphia — and ask her to talk about The Village Voice, Red Hot Chili Peppers, the White Stripes… and music journalism since the turn of the century.Devon begins by talking about the music she loved when growing up in her native Michigan — and her first awareness of "rock critics". We hear about her move to New York City in 1999, her early pieces for the PopMatters site, and the Anglophilia that led to umpteen pieces about the likes of Clinic, Starsailor, Badly Drawn Boy and, yes, even Ocean Colour Scene. Citing a great 2003 piece she wrote about Red Hot Chili Peppers, who released a new album the week of this recording, we ask Devon what those punk-funk Californicators meant to her in the '90s and noughties.After a brief discussion of Devon's 2004 thinkpiece 'Is Music Journalism Dead?', we turn our attention to Writing the Record: The Village Voice and the Birth of Rock Criticism, the 2013 book which came out of her doctoral dissertation at NYU. She talks about the vital New York weekly paper, and the "rock critics" who were such a key part of its arts coverage — particularly Richard Goldstein, several of whose '60s Voice pieces we have on RBP. We then pay tribute to another Voice contributor, John Swenson, lost to us a few days before this recording, as well as to Foo Fighter Taylor Hawkins and Mighty Diamonds frontman "Tabby" Shaw.Two clips from Ira Robbins' 2001 audio interview with the White Stripes prompt a general chinwag about Jack, Meg, blues etc., after which Mark zips through the most notable of the interviews & reviews he's just added to the RBP library, including pieces about the Kingston Trio, Paul Revere & the Raiders, Canned Heat and Teddy Pendergrass. Barney then rounds things off by flagging up pieces on Marc Bolan, the Prodigy, Tony Hatch, Jack Good and the Descendents.Many thanks to special guest Devon Powers; visit her website at devonpowers.com and find Writing the Record in all good bookshops.The Rock's Backpages podcast is proud to be part of the Pantheon podcast network.Pieces discussed: The Village Voice and the Birth of Rock Criticism, PJ Harvey, Is Music Journalism Dead?, Red Hot Chili Peppers audio, Blood Sugar Sex Magik, Rick Rubin, The White Stripes audio, Taylor Hawkins audio, Foo Fighters, Crawdaddy, The Mighty Diamonds, Alexis Korner, Paul Revere, Disco, Teddy Pendergrass, Little Richard, Steve Paul, Canned Heat, Curtis Mayfield, Oasis, Marc Bolan audio, The Prodigy, Tony Hatch, Jack Good and the Descendents.

Welcome back for another episode of Nick's Non-fiction with your host Nick Muniz! Poet, shaman, Dionysian drunk, and druggie, Doors lead singer Jim Morrison quickly achieved cult status after his death in 1971. In The Lizard King, Jerry Hopkins reassesses Jim Morrison's life and provides fresh insights into this powerful and troubled talent, considering him as a human being rather than the myth he has become. At the heart of the book is a series of interviews with Morrison by journalists Ben Fong-Torres and Richard Goldstein. Published uncut, they present a previously unseen Morrison: articulate, intelligent, witty, even self-deprecating. Hopkins includes updates on the people the "erotic politician" left behind. Subscribe, Share, Mobile links & Time-stamps below! 0:00 Introduction 6:35 About the Author 10:05 Ch1: The Child 17:00 Ch2: The Scholar 28:45 Ch3: The Poet 39:10 Ch4: The Rockstar 53:35 Ch5: The Drunk 1:03:20 Ch6: The Exile 1:13:55 Next Time & Goodbye! YouTube: https://youtu.be/GVrk1t1NmlU Patreon: https://www.patreon.com/user?u=44297973

In this episode we welcome the excellent Devon Powers — beamed in from Philadelphia — and ask her to talk about The Village Voice, Red Hot Chili Peppers, the White Stripes… and music journalism since the turn of the century. Devon begins by talking about the music she loved when growing up in her native Michigan — and her first awareness of "rock critics". We hear about her move to New York City in 1999, her early pieces for the PopMatters site, and the Anglophilia that led to umpteen pieces about the likes of Clinic, Starsailor, Badly Drawn Boy and, yes, even Ocean Colour Scene. Citing a great 2003 piece she wrote about Red Hot Chili Peppers, who released a new album the week of this recording, we ask Devon what those punk-funk Californicators meant to her in the '90s and noughties. After a brief discussion of Devon's 2004 thinkpiece 'Is Music Journalism Dead?', we turn our attention to Writing the Record: The Village Voice and the Birth of Rock Criticism, the 2013 book which came out of her doctoral dissertation at NYU. She talks about the vital New York weekly paper, and the "rock critics" who were such a key part of its arts coverage — particularly Richard Goldstein, several of whose '60s Voice pieces we have on RBP. We then pay tribute to another Voice contributor, John Swenson, lost to us a few days before this recording, as well as to Foo Fighter Taylor Hawkins and Mighty Diamonds frontman "Tabby" Shaw. Two clips from Ira Robbins' 2001 audio interview with the White Stripes prompt a general chinwag about Jack, Meg, blues etc., after which Mark zips through the most notable of the interviews & reviews he's just added to the RBP library, including pieces about the Kingston Trio, Paul Revere & the Raiders, Canned Heat and Teddy Pendergrass. Barney then rounds things off by flagging up pieces on Marc Bolan, the Prodigy, Tony Hatch, Jack Good and the Descendents. Many thanks to special guest Devon Powers; visit her website at devonpowers.com and find Writing the Record in all good bookshops. The Rock's Backpages podcast is proud to be part of the Pantheon podcast network. Pieces discussed: The Village Voice and the Birth of Rock Criticism, PJ Harvey, Is Music Journalism Dead?, Red Hot Chili Peppers audio, Blood Sugar Sex Magik, Rick Rubin, The White Stripes audio, Taylor Hawkins audio, Foo Fighters, Crawdaddy, The Mighty Diamonds, Alexis Korner, Paul Revere, Disco, Teddy Pendergrass, Little Richard, Steve Paul, Canned Heat, Curtis Mayfield, Oasis, Marc Bolan audio, The Prodigy, Tony Hatch, Jack Good and the Descendents.

In this episode we welcome the excellent Devon Powers — beamed in from Philadelphia — and ask her to talk about The Village Voice, Red Hot Chili Peppers, the White Stripes… and music journalism since the turn of the century.Devon begins by talking about the music she loved when growing up in her native Michigan — and her first awareness of "rock critics". We hear about her move to New York City in 1999, her early pieces for the PopMatters site, and the Anglophilia that led to umpteen pieces about the likes of Clinic, Starsailor, Badly Drawn Boy and, yes, even Ocean Colour Scene. Citing a great 2003 piece she wrote about Red Hot Chili Peppers, who released a new album the week of this recording, we ask Devon what those punk-funk Californicators meant to her in the '90s and noughties.After a brief discussion of Devon's 2004 thinkpiece 'Is Music Journalism Dead?', we turn our attention to Writing the Record: The Village Voice and the Birth of Rock Criticism, the 2013 book which came out of her doctoral dissertation at NYU. She talks about the vital New York weekly paper, and the "rock critics" who were such a key part of its arts coverage — particularly Richard Goldstein, several of whose '60s Voice pieces we have on RBP. We then pay tribute to another Voice contributor, John Swenson, lost to us a few days before this recording, as well as to Foo Fighter Taylor Hawkins and Mighty Diamonds frontman "Tabby" Shaw.Two clips from Ira Robbins' 2001 audio interview with the White Stripes prompt a general chinwag about Jack, Meg, blues etc., after which Mark zips through the most notable of the interviews & reviews he's just added to the RBP library, including pieces about the Kingston Trio, Paul Revere & the Raiders, Canned Heat and Teddy Pendergrass. Barney then rounds things off by flagging up pieces on Marc Bolan, the Prodigy, Tony Hatch, Jack Good and the Descendents.Many thanks to special guest Devon Powers; visit her website at devonpowers.com and find Writing the Record in all good bookshops.The Rock's Backpages podcast is proud to be part of the Pantheon podcast network.Pieces discussed: The Village Voice and the Birth of Rock Criticism, PJ Harvey, Is Music Journalism Dead?, Red Hot Chili Peppers audio, Blood Sugar Sex Magik, Rick Rubin, The White Stripes audio, Taylor Hawkins audio, Foo Fighters, Crawdaddy, The Mighty Diamonds, Alexis Korner, Paul Revere, Disco, Teddy Pendergrass, Little Richard, Steve Paul, Canned Heat, Curtis Mayfield, Oasis, Marc Bolan audio, The Prodigy, Tony Hatch, Jack Good and the Descendents.

In this week's episode, Judith and Alina continue their interview with Dr. Goldstein of the Roberts Program and learn all about his research in parental bereavement. They also ask him listener questions. Dr. Richard Goldstein is a pediatric palliative care pediatrician who devotes his career to helping families who must deal with the sudden unexpected death of their child. He has worked in general pediatrics, palliative care, bereavement support, and advocacy for families affected by sudden unexplained death. He brings his experience and clinical expertise to the families involved in Robert's Program, while leading efforts in research and improvements in the field - Dr. Goldstein's role is the Program Director of Robert's Program and he serves as the direct interface to families. Listen to our first episode with Dr. Goldstein here: https://open.spotify.com/episode/4MIsfsn6nAr0Ie5Ig35siq?si=oEUpX7eEReKCX9eB0w96ZQ&utm_source=copy-link ::: Transitional Objects of Grief The Grief of Mothers After the Sudden Unexpected Death of Their Infants The Roberts Program at Boston Children's Hospital Dr. Richard Goldstein and his work Infant health monitors (not linking, please do your own research): Owlet, Snuza ::: Follow As Long As I'm Living on Instagram at @aslongasimlivingpodcast, send us an email at aslongasimlivingpodcast@gmail.com, or visit us at anchor.fm/aslongasimliving! We would love to hear from you! ::: As Long As I'm Living is a podcast about life, love, and laughter after infant loss. Judith and Alina are rebuilding Happier Ever After one day at a time despite excruciating grief and trauma and offering support to grievers of all flavors, but especially those who have lost a baby to SIDS, infant death, birth accidents, stillbirth, TFMR, ectopic pregnancy, or miscarriage. --- Send in a voice message: https://anchor.fm/aslongasimliving/message

In this interview, Judith and Alina talk with their sons' doctor, Dr. Goldstein of the Roberts Program for Unexpected Death in Pediatrics at Boston Children's Hospital, to learn more about SIDS. This episode feels very important to us. Some of you following have been touched by SIDS in your life, others have not, but regardless, this episode is for everyone who has or will ever love a baby. Please listen. Dr. Richard Goldstein is a pediatric palliative care pediatrician who devotes his career to helping families who must deal with the sudden unexpected death of their child. He has worked in general pediatrics, palliative care, bereavement support, and advocacy for families affected by sudden unexplained death. He brings his experience and clinical expertise to the families involved in Robert's Program, while leading efforts in research and improvements in the field - Dr. Goldstein's role is the Program Director of Robert's Program and he serves as the direct interface to families. Listen to oursecond episode with Dr. Goldstein here: https://open.spotify.com/episode/0oHLQdyxztxLo2Hk2I2bal?si=RRDLgt8MSIqKvxtWoEk4kw&utm_source=copy-link ::: Things we talk about in this episode: The Roberts Program at Boston Children's Hospital Dr. Richard Goldstein and his work Dr. Joel Bass and their work on SIDS Dr. Nino Ramirez and their work on postnatal collapse Dr. Robin Haynes and their work on the link between serotonin and SIDS SIDS: Recommendations for a Safe Sleep Environment ::: Follow As Long As I'm Living on Instagram at @aslongasimlivingpodcast, send us an email at aslongasimlivingpodcast@gmail.com, or visit us at anchor.fm/aslongasimliving! We would love to hear from you! ::: As Long As I'm Living is a podcast about life, love, and laughter after infant loss. Judith and Alina are rebuilding Happier Ever After one day at a time despite excruciating grief and trauma and offering support to grievers of all flavors, but especially those who have lost a baby to SIDS, infant death, birth accidents, stillbirth, TFMR, ectopic pregnancy, or miscarriage. --- Send in a voice message: https://anchor.fm/aslongasimliving/message

Richard Goldstein is one of America’s first rock music journalists. A former editor of the Village Voice, Richard mentored our co-host Matthew and in this episode, they talk about his late father, Jacob, and growing up in the Bronx in the 50s and 60s. They discuss their own mentor/mentee relationship, how he approaches being a stepfather, grandfather, and great-grandfather and what he really thinks of his contemporary, Joan Didion.

In this episode of the RBP podcast, we welcome San Francisco Chronicle legend Joel Selvin into the virtual cupboard to talk about Hollywood Eden, his terrific new book about L.A.'s pop scene in the early '60s.After explaining how he first came to write for "the Chron" at the end of that decade, Joel recalls his early fascination with L.A. as the burgeoning "surf city" celebrated by Jan & Dean and the Beach Boys. Barney & Mark press him for stories about the scurrilous but brilliant "bottom feeder" Kim Fowley, after which we hear three audio clips from John Tobler's 1973 interview with (Jan &) Dean Torrence. (Among those namechecked along the way: Jan Berry, inevitably, and Lou Adler, Bruce Johnston, Terry Melcher & Jill Gibson...)Staying in a Southern California groove, Joel also reminisces about the troubled Jack Nitzsche, whom he interviewed for Melody Maker in 1978. We discuss Nitzsche's achievements as a producer-arranger, his big influence on the Rolling Stones, and his regrettable decline in the last years of his life. Handily, Joel also turns out to know his stuff when it comes to the role played in Stevie Wonder's synthesized '70s soul by the late Malcolm (Tonto's Expanding Head Band) Cecil, who passed away last week...Mark wraps matters up with observations on such recent RBP library additions as Maureen O'Grady's 1965 Rave interview with the visiting Byrds; Richard Goldstein's 1968 New York Times profile of the splendidly eccentric Van Dyke Parks; and — from 1980 — Glenn O'Brien's Interview interview with the Marianne Faithfull of Broken English.Many thanks to special guest Joel Selvin. Hollywood Eden is published by House of Anansi and Joel can be found online at joelselvin.com.Pieces discussed: Beach Boys, Lenny Waronker, Dean Torrence audio, Jack Nitzsche, Joel on Jack, Jack Nitzsche and the Stones, Stevie Wonder, Stubbs on Stevie, Tonto's Expanding Head Band, The Byrds, Bill Graham, Phil Spector, Phil Spector Again, The Stone Roses, Stash de Rola, Van Dyke Parks, Marianne Faithfull, Madonna, J.J. Fad, Brandy, Mariah Carey and Lenny Kravitz.

In this episode of the RBP podcast, we welcome San Francisco Chronicle legend Joel Selvin into the virtual cupboard to talk about Hollywood Eden, his terrific new book about L.A.'s pop scene in the early '60s. After explaining how he first came to write for "the Chron" at the end of that decade, Joel recalls his early fascination with L.A. as the burgeoning "surf city" celebrated by Jan & Dean and the Beach Boys. Barney & Mark press him for stories about the scurrilous but brilliant "bottom feeder" Kim Fowley, after which we hear three audio clips from John Tobler's 1973 interview with (Jan &) Dean Torrence. (Among those namechecked along the way: Jan Berry, inevitably, and Lou Adler, Bruce Johnston, Terry Melcher & Jill Gibson...) Staying in a Southern California groove, Joel also reminisces about the troubled Jack Nitzsche, whom he interviewed for Melody Maker in 1978. We discuss Nitzsche's achievements as a producer-arranger, his big influence on the Rolling Stones, and his regrettable decline in the last years of his life. Handily, Joel also turns out to know his stuff when it comes to the role played in Stevie Wonder's synthesized '70s soul by the late Malcolm (Tonto's Expanding Head Band) Cecil, who passed away last week... Mark wraps matters up with observations on such recent RBP library additions as Maureen O'Grady's 1965 Rave interview with the visiting Byrds; Richard Goldstein's 1968 New York Times profile of the splendidly eccentric Van Dyke Parks; and — from 1980 — Glenn O'Brien's Interview interview with the Marianne Faithfull of Broken English. Many thanks to special guest Joel Selvin. Hollywood Eden is published by House of Anansi and Joel can be found online at joelselvin.com. Pieces discussed: Beach Boys, Lenny Waronker, Dean Torrence audio, Jack Nitzsche, Joel on Jack, Jack Nitzsche and the Stones, Stevie Wonder, Stubbs on Stevie, Tonto's Expanding Head Band, The Byrds, Bill Graham, Phil Spector, Phil Spector Again, The Stone Roses, Stash de Rola, Van Dyke Parks, Marianne Faithfull, Madonna, J.J. Fad, Brandy, Mariah Carey and Lenny Kravitz.

In this episode of the RBP podcast, we welcome San Francisco Chronicle legend Joel Selvin into the virtual cupboard to talk about Hollywood Eden, his terrific new book about L.A.'s pop scene in the early '60s.After explaining how he first came to write for "the Chron" at the end of that decade, Joel recalls his early fascination with L.A. as the burgeoning "surf city" celebrated by Jan & Dean and the Beach Boys. Barney & Mark press him for stories about the scurrilous but brilliant "bottom feeder" Kim Fowley, after which we hear three audio clips from John Tobler's 1973 interview with (Jan &) Dean Torrence. (Among those namechecked along the way: Jan Berry, inevitably, and Lou Adler, Bruce Johnston, Terry Melcher & Jill Gibson...)Staying in a Southern California groove, Joel also reminisces about the troubled Jack Nitzsche, whom he interviewed for Melody Maker in 1978. We discuss Nitzsche's achievements as a producer-arranger, his big influence on the Rolling Stones, and his regrettable decline in the last years of his life. Handily, Joel also turns out to know his stuff when it comes to the role played in Stevie Wonder's synthesized '70s soul by the late Malcolm (Tonto's Expanding Head Band) Cecil, who passed away last week...Mark wraps matters up with observations on such recent RBP library additions as Maureen O'Grady's 1965 Rave interview with the visiting Byrds; Richard Goldstein's 1968 New York Times profile of the splendidly eccentric Van Dyke Parks; and — from 1980 — Glenn O'Brien's Interview interview with the Marianne Faithfull of Broken English.Many thanks to special guest Joel Selvin. Hollywood Eden is published by House of Anansi and Joel can be found online at joelselvin.com.Pieces discussed: Beach Boys, Lenny Waronker, Dean Torrence audio, Jack Nitzsche, Joel on Jack, Jack Nitzsche and the Stones, Stevie Wonder, Stubbs on Stevie, Tonto's Expanding Head Band, The Byrds, Bill Graham, Phil Spector, Phil Spector Again, The Stone Roses, Stash de Rola, Van Dyke Parks, Marianne Faithfull, Madonna, J.J. Fad, Brandy, Mariah Carey and Lenny Kravitz.

In this episode of the RBP podcast, we welcome San Francisco Chronicle legend Joel Selvin into the virtual cupboard to talk about Hollywood Eden, his terrific new book about L.A.'s pop scene in the early '60s. After explaining how he first came to write for "the Chron" at the end of that decade, Joel recalls his early fascination with L.A. as the burgeoning "surf city" celebrated by Jan & Dean and the Beach Boys. Barney & Mark press him for stories about the scurrilous but brilliant "bottom feeder" Kim Fowley, after which we hear three audio clips from John Tobler's 1973 interview with (Jan &) Dean Torrence. (Among those namechecked along the way: Jan Berry, inevitably, and Lou Adler, Bruce Johnston, Terry Melcher & Jill Gibson...) Staying in a Southern California groove, Joel also reminisces about the troubled Jack Nitzsche, whom he interviewed for Melody Maker in 1978. We discuss Nitzsche's achievements as a producer-arranger, his big influence on the Rolling Stones, and his regrettable decline in the last years of his life. Handily, Joel also turns out to know his stuff when it comes to the role played in Stevie Wonder's synthesized '70s soul by the late Malcolm (Tonto's Expanding Head Band) Cecil, who passed away last week... Mark wraps matters up with observations on such recent RBP library additions as Maureen O'Grady's 1965 Rave interview with the visiting Byrds; Richard Goldstein's 1968 New York Times profile of the splendidly eccentric Van Dyke Parks; and — from 1980 — Glenn O'Brien's Interview interview with the Marianne Faithfull of Broken English. Many thanks to special guest Joel Selvin. Hollywood Eden is published by House of Anansi and Joel can be found online at joelselvin.com. Pieces discussed: Beach Boys, Lenny Waronker, Dean Torrence audio, Jack Nitzsche, Joel on Jack, Jack Nitzsche and the Stones, Stevie Wonder, Stubbs on Stevie, Tonto's Expanding Head Band, The Byrds, Bill Graham, Phil Spector, Phil Spector Again, The Stone Roses, Stash de Rola, Van Dyke Parks, Marianne Faithfull, Madonna, J.J. Fad, Brandy, Mariah Carey and Lenny Kravitz.

Content warning: This episode contains discussion of domestic abuse and violence against women (33:50–37:42). In this episode, we talk to the amazing Adele Bertei about her career as a singer, songwriter and the author of two terrific books, Peter & the Wolves & the new Why Labelle Matters. Starting with her wild life as a gay teenager in Cleveland, Ohio, we hear about her friend & mentor Peter Laughner, founder member of Pere Ubu and a tragically self-destructive troubadour who died back in 1977.Adele then talks us through her move to New York's East Village and her participation in the city's No Wave punk-funk scene as a member of James White & the Contortions — and as the leader of the all-girl Bloods. This leads on to discussion of ZE Records & August "Kid Creole" Darnell, audio clips of whom we hear in a 2016 conversation with Larry Jaffee... which in turn takes us on to Adele's hymn of love for Labelle, the trailblazing trio who morphed from '60s girl group into '70s Afrofuturists. RBP's co-hosts ask Adele about the group's manager Vicki Wickham (hear Vicki's own RBP podcast episode) and about Laura Nyro, Bobby Womack's Poet II, and female power & resistance in the decades before #MeToo.Finally, after noting the passing of Sally Grossman — widow of Bob Dylan's manager Albert & the "lady in red" on the cover of Bob's Bringing It All Back Home — Mark rounds up the highlights of his recent additions to the RBP Library, including Richard Goldstein's review of The Band's Big Pink, Philip Elwood's prescient 1970 appreciation of a young Bruce Springsteen playing live in San Francisco & the recently-recruited Maureen O'Grady interviewing new Stones guitarist Mick Taylor. Jasper takes us out with thoughts on pieces about white appropriation of Black soul, plus an underwhelming 2000 "chart battle" between (insert polite cough) Westlife & Spice Girls...Many thanks to special guest Adele Bertei. Why Labelle Matters is published by UT Press and Peter & the Wolves by Smog Veil.Pieces discussed: Nona Hendryx, Labelle, Bobby Womack, August Darnell audio, Sally Grossman, Woodstock, Pere Ubu/Devo, Kid Creole, Chris Farlowe, The Monkees, The Band, Janis Joplin, ZZ Top, Love's Alone Again Or, Mick Taylor, Steel Mill, Ian Dury, Keith Levene, Millie Jackson, Screaming Lord Sutch, Westlife vs. Spice Girls, Le Tigre and Lily Allen/Joss Stone/Amy Winehouse.

Content warning: This episode contains discussion of domestic abuse and violence against women (33:50–37:42).  In this episode, we talk to the amazing Adele Bertei about her career as a singer, songwriter and the author of two terrific books, Peter & the Wolves & the new Why Labelle Matters. Starting with her wild life as a gay teenager in Cleveland, Ohio, we hear about her friend & mentor Peter Laughner, founder member of Pere Ubu and a tragically self-destructive troubadour who died back in 1977. Adele then talks us through her move to New York's East Village and her participation in the city's No Wave punk-funk scene as a member of James White & the Contortions — and as the leader of the all-girl Bloods. This leads on to discussion of ZE Records & August "Kid Creole" Darnell, audio clips of whom we hear in a 2016 conversation with Larry Jaffee... which in turn takes us on to Adele's hymn of love for Labelle, the trailblazing trio who morphed from '60s girl group into '70s Afrofuturists. RBP's co-hosts ask Adele about the group's manager Vicki Wickham (hear Vicki's own RBP podcast episode) and about Laura Nyro, Bobby Womack's Poet II, and female power & resistance in the decades before #MeToo. Finally, after noting the passing of Sally Grossman — widow of Bob Dylan's manager Albert & the "lady in red" on the cover of Bob's Bringing It All Back Home — Mark rounds up the highlights of his recent additions to the RBP Library, including Richard Goldstein's review of The Band's Big Pink, Philip Elwood's prescient 1970 appreciation of a young Bruce Springsteen playing live in San Francisco & the recently-recruited Maureen O'Grady interviewing new Stones guitarist Mick Taylor. Jasper takes us out with thoughts on pieces about white appropriation of Black soul, plus an underwhelming 2000 "chart battle" between (insert polite cough) Westlife & Spice Girls... Many thanks to special guest Adele Bertei. Why Labelle Matters is published by UT Press and Peter & the Wolves by Smog Veil. Pieces discussed: Nona Hendryx, Labelle, Bobby Womack, August Darnell audio, Sally Grossman, Woodstock, Pere Ubu/Devo, Kid Creole, Chris Farlowe, The Monkees, The Band, Janis Joplin, ZZ Top, Love's Alone Again Or, Mick Taylor, Steel Mill, Ian Dury, Keith Levene, Millie Jackson, Screaming Lord Sutch, Westlife vs. Spice Girls, Le Tigre and Lily Allen/Joss Stone/Amy Winehouse.

Content warning: This episode contains discussion of domestic abuse and violence against women (33:50–37:42). In this episode, we talk to the amazing Adele Bertei about her career as a singer, songwriter and the author of two terrific books, Peter & the Wolves & the new Why Labelle Matters. Starting with her wild life as a gay teenager in Cleveland, Ohio, we hear about her friend & mentor Peter Laughner, founder member of Pere Ubu and a tragically self-destructive troubadour who died back in 1977.Adele then talks us through her move to New York's East Village and her participation in the city's No Wave punk-funk scene as a member of James White & the Contortions — and as the leader of the all-girl Bloods. This leads on to discussion of ZE Records & August "Kid Creole" Darnell, audio clips of whom we hear in a 2016 conversation with Larry Jaffee... which in turn takes us on to Adele's hymn of love for Labelle, the trailblazing trio who morphed from '60s girl group into '70s Afrofuturists. RBP's co-hosts ask Adele about the group's manager Vicki Wickham (hear Vicki's own RBP podcast episode) and about Laura Nyro, Bobby Womack's Poet II, and female power & resistance in the decades before #MeToo.Finally, after noting the passing of Sally Grossman — widow of Bob Dylan's manager Albert & the "lady in red" on the cover of Bob's Bringing It All Back Home — Mark rounds up the highlights of his recent additions to the RBP Library, including Richard Goldstein's review of The Band's Big Pink, Philip Elwood's prescient 1970 appreciation of a young Bruce Springsteen playing live in San Francisco & the recently-recruited Maureen O'Grady interviewing new Stones guitarist Mick Taylor. Jasper takes us out with thoughts on pieces about white appropriation of Black soul, plus an underwhelming 2000 "chart battle" between (insert polite cough) Westlife & Spice Girls...Many thanks to special guest Adele Bertei. Why Labelle Matters is published by UT Press and Peter & the Wolves by Smog Veil.Pieces discussed: Nona Hendryx, Labelle, Bobby Womack, August Darnell audio, Sally Grossman, Woodstock, Pere Ubu/Devo, Kid Creole, Chris Farlowe, The Monkees, The Band, Janis Joplin, ZZ Top, Love's Alone Again Or, Mick Taylor, Steel Mill, Ian Dury, Keith Levene, Millie Jackson, Screaming Lord Sutch, Westlife vs. Spice Girls, Le Tigre and Lily Allen/Joss Stone/Amy Winehouse.This show is part of Pantheon Podcasts.

Content warning: This episode contains discussion of domestic abuse and violence against women (33:50–37:42).  In this episode, we talk to the amazing Adele Bertei about her career as a singer, songwriter and the author of two terrific books, Peter & the Wolves & the new Why Labelle Matters. Starting with her wild life as a gay teenager in Cleveland, Ohio, we hear about her friend & mentor Peter Laughner, founder member of Pere Ubu and a tragically self-destructive troubadour who died back in 1977. Adele then talks us through her move to New York's East Village and her participation in the city's No Wave punk-funk scene as a member of James White & the Contortions — and as the leader of the all-girl Bloods. This leads on to discussion of ZE Records & August "Kid Creole" Darnell, audio clips of whom we hear in a 2016 conversation with Larry Jaffee... which in turn takes us on to Adele's hymn of love for Labelle, the trailblazing trio who morphed from '60s girl group into '70s Afrofuturists. RBP's co-hosts ask Adele about the group's manager Vicki Wickham (hear Vicki's own RBP podcast episode) and about Laura Nyro, Bobby Womack's Poet II, and female power & resistance in the decades before #MeToo. Finally, after noting the passing of Sally Grossman — widow of Bob Dylan's manager Albert & the "lady in red" on the cover of Bob's Bringing It All Back Home — Mark rounds up the highlights of his recent additions to the RBP Library, including Richard Goldstein's review of The Band's Big Pink, Philip Elwood's prescient 1970 appreciation of a young Bruce Springsteen playing live in San Francisco & the recently-recruited Maureen O'Grady interviewing new Stones guitarist Mick Taylor. Jasper takes us out with thoughts on pieces about white appropriation of Black soul, plus an underwhelming 2000 "chart battle" between (insert polite cough) Westlife & Spice Girls... Many thanks to special guest Adele Bertei. Why Labelle Matters is published by UT Press and Peter & the Wolves by Smog Veil. Pieces discussed: Nona Hendryx, Labelle, Bobby Womack, August Darnell audio, Sally Grossman, Woodstock, Pere Ubu/Devo, Kid Creole, Chris Farlowe, The Monkees, The Band, Janis Joplin, ZZ Top, Love's Alone Again Or, Mick Taylor, Steel Mill, Ian Dury, Keith Levene, Millie Jackson, Screaming Lord Sutch, Westlife vs. Spice Girls, Le Tigre and Lily Allen/Joss Stone/Amy Winehouse.

During this episode, Richard Goldstein, MD, MHCM, SentryHealth co-founder, Chief Medical Officer for Northeast Medical Group and VP of Yale New Haven Health System, talks about the importance of having a chronic disease management program in the workplace. He discusses how these types of programs can help employers control costs and how COVID-19 has changed how we view the management of chronic conditions.

In this episode, Neil, Natalia, and Niki discuss “The 1776 Report” issued by the outgoing Trump administration. Support Past Present on Patreon: https://www.patreon.com/pastpresentpodcast Here are some links and references mentioned during this week’s show:  A day before President Trump left office, his administration issued “The 1776 Report” on American history, which President Biden promptly repudiated upon taking office. Natalia referred to her piece at NBC Think on the report and to her book, Classroom Wars: Language, Sex, and the Making of Contemporary Political Culture; Niki referred to her column at CNN and to Kevin Kruse’s column at MSNBC. Neil recommended Rebecca Onion’s analysis at Slate.   In our regular closing feature, What’s Making History: Natalia recommended Sarah Carr’s Boston Globe article, “For Schoolchildren Struggling to Read, Covid-19 Has Been a Wrecking Ball.” Neil discussed Richard Goldstein’s New York Times obituary, “Hank Aaron, Home Run King Who Defied Racism, Dies at 86.” Niki shared Jim Tankersley and Michael D. Shear’s New York Times article, “Biden Seeks to Define His Presidency by an Early Emphasis on Equity.”

Join us for an interview-style discussion with Richard Goldstein, DVM, DACVIM, DECVIM-CA, Vice President & Chief Medical Officer, Global Diagnostics at Zoetis. Together, we explore the new VETSCAN IMAGYST system and how it provides easier, more methodical fecal examinations.

In this episode we welcome acclaimed playwright Jez (Jerusalem) Butterworth into RBP's virtual cupboard to talk mainly about The Band – but also about Dolly Parton and other musical tastes shared with hosts Mark, Barney & Jasper. Barney gets the ball rolling by asking Jez how an early '90s conversation with Malcolm McLaren led to his first play Mojo – and how music has long played a part in his work. A Butterworth screenplay based on John Niven's peerless novella Music from Big Pink prompts discussion of The Band, taking in clips from Barney's 1991 audio interview with Al Aronowitz, the New York Post writer who first visited Big Pink to report on Bob Dylan's former backing group.A tangent takes the episode into the terrain of Jerusalem, not to mention Brexit and the rural vs. urban polarisation exemplified by the U.S. presidential elections (still bitterly undecided at the time this episode was recorded). A neat segue leads to a deep appreciation of Dolly Parton, about to publish her autobiography Storyteller. An early Parton interview on RBP's home page provides a perfect springboard for consideration of her unique voice, her politics (or lack thereof), and her cosmetic augmentations.There's no easy pivoting from Parton to Perry Farrell: suffice to say that – in 1996 audio clips about his Lollapalooza festival and the "spirits" of heroin and cocaine – the former Jane's Addiction and current Porno for Pyros frontman is barmy, brilliant and typically engaging. Last but far from least, Mark talks us through his personal highlights from the week's new intake of great interviews and reviews from the golden age(s) of music journalism – including the Daily Express' Ivor Davis dropping in on John Lennon during his "lost" L.A. weekend in 1973, the Village Voice's Richard Goldstein on the "meaning" of Bette Midler in 1975, NME's Paul Morley coaxing quotes out of Joy Division's Ian Curtis in 1979… and that same rag's Steven Wells lambasting pale and uninteresting Velvet Underground devotees in 1993. Jasper takes us out with quotes from a fabulous early interview with Ms. Amy Winehouse…Many thanks to special guest Jez Butterworth.The Rock's Backpages podcast is proud to be part of the Pantheon Podcast Network.Pieces discussed: The Band, Bob Dylan, Al Aronowitz audio, Dolly Parton, Dollier Parton, Dolliest Parton, Perry Farrell audio, Bob Dylan & the Hawks, Steve Winwood, John Lennon, Bette Midler, Manchester bands, Luther Vandross, Velvet Underground, Public Enemy, Amy Winehouse and Baron Wolman.

In this episode we welcome acclaimed playwright Jez (Jerusalem) Butterworth into RBP's virtual cupboard to talk mainly about The Band – but also about Dolly Parton and other musical tastes shared with hosts Mark, Barney & Jasper. Barney gets the ball rolling by asking Jez how an early '90s conversation with Malcolm McLaren led to his first play Mojo – and how music has long played a part in his work. A Butterworth screenplay based on John Niven's peerless novella Music from Big Pink prompts discussion of The Band, taking in clips from Barney's 1991 audio interview with Al Aronowitz, the New York Post writer who first visited Big Pink to report on Bob Dylan's former backing group.A tangent takes the episode into the terrain of Jerusalem, not to mention Brexit and the rural vs. urban polarisation exemplified by the U.S. presidential elections (still bitterly undecided at the time this episode was recorded). A neat segue leads to a deep appreciation of Dolly Parton, about to publish her autobiography Storyteller. An early Parton interview on RBP's home page provides a perfect springboard for consideration of her unique voice, her politics (or lack thereof), and her cosmetic augmentations.There's no easy pivoting from Parton to Perry Farrell: suffice to say that – in 1996 audio clips about his Lollapalooza festival and the "spirits" of heroin and cocaine – the former Jane's Addiction and current Porno for Pyros frontman is barmy, brilliant and typically engaging. Last but far from least, Mark talks us through his personal highlights from the week's new intake of great interviews and reviews from the golden age(s) of music journalism – including the Daily Express' Ivor Davis dropping in on John Lennon during his "lost" L.A. weekend in 1973, the Village Voice's Richard Goldstein on the "meaning" of Bette Midler in 1975, NME's Paul Morley coaxing quotes out of Joy Division's Ian Curtis in 1979… and that same rag's Steven Wells lambasting pale and uninteresting Velvet Underground devotees in 1993. Jasper takes us out with quotes from a fabulous early interview with Ms. Amy Winehouse…Many thanks to special guest Jez Butterworth.The Rock's Backpages podcast is proud to be part of the Pantheon Podcast Network.Pieces discussed: The Band, Bob Dylan, Al Aronowitz audio, Dolly Parton, Dollier Parton, Dolliest Parton, Perry Farrell audio, Bob Dylan & the Hawks, Steve Winwood, John Lennon, Bette Midler, Manchester bands, Luther Vandross, Velvet Underground, Public Enemy, Amy Winehouse and Baron Wolman.

In the fourth episode of our ‘Redundancies in focus' podcast series, Richard Goldstein, Ian Brown and Clare Fletcher discuss the pensions and incentives aspects of redundancy. They consider the potential implications for pension schemes, the approach taken by employers and what this means for their employees.

In this episode we welcome acclaimed playwright Jez (Jerusalem) Butterworth into RBP's virtual cupboard to talk mainly about The Band – but also about Dolly Parton and other musical tastes shared with hosts Mark, Barney & Jasper.  Barney gets the ball rolling by asking Jez how an early '90s conversation with Malcolm McLaren led to his first play Mojo – and how music has long played a part in his work. A Butterworth screenplay based on John Niven's peerless novella Music from Big Pink prompts discussion of The Band, taking in clips from Barney's 1991 audio interview with Al Aronowitz, the New York Post writer who first visited Big Pink to report on Bob Dylan's former backing group. A tangent takes the episode into the terrain of Jerusalem, not to mention Brexit and the rural vs. urban polarisation exemplified by the U.S. presidential elections (still bitterly undecided at the time this episode was recorded). A neat segue leads to a deep appreciation of Dolly Parton, about to publish her autobiography Storyteller. An early Parton interview on RBP's home page provides a perfect springboard for consideration of her unique voice, her politics (or lack thereof), and her cosmetic augmentations. There's no easy pivoting from Parton to Perry Farrell: suffice to say that – in 1996 audio clips about his Lollapalooza festival and the "spirits" of heroin and cocaine – the former Jane's Addiction and current Porno for Pyros frontman is barmy, brilliant and typically engaging.  Last but far from least, Mark talks us through his personal highlights from the week's new intake of great interviews and reviews from the golden age(s) of music journalism – including the Daily Express' Ivor Davis dropping in on John Lennon during his "lost" L.A. weekend in 1973, the Village Voice's Richard Goldstein on the "meaning" of Bette Midler in 1975, NME's Paul Morley coaxing quotes out of Joy Division's Ian Curtis in 1979… and that same rag's Steven Wells lambasting pale and uninteresting Velvet Underground devotees in 1993. Jasper takes us out with quotes from a fabulous early interview with Ms. Amy Winehouse… Many thanks to special guest Jez Butterworth. The Rock's Backpages podcast is proud to be part of the Pantheon Podcast Network. Pieces discussed: The Band, Bob Dylan, Al Aronowitz audio, Dolly Parton, Dollier Parton, Dolliest Parton, Perry Farrell audio, Bob Dylan & the Hawks, Steve Winwood, John Lennon, Bette Midler, Manchester bands, Luther Vandross, Velvet Underground, Public Enemy, Amy Winehouse and Baron Wolman.

The drive to achieve success, to reach the top of the ladder, requires daily commitment. To achieve success in the face of constant roadblocks requires even more of the human spirit. Bob Gibson is one such individual, a man who didn’t let a life surrounded by racism stop him from becoming one of baseball’s greatest pitchers. Bob Gibson: Determination Defined. Today on Rounders: A History of Baseball in America. Links to Learn More: Bob Gibson (Terry Sloope, SABR) Bob Gibson, Feared Flamethrower for the Cardinals, Dies at 84 (Richard Goldstein, NY Times) St. Louisans say goodbye to Bob Gibson, who stirred their childhood and stayed in their hearts (Bob Hochman, St. Louis Post-Dispatch) Follow Rounders on Social Media: Follow on Facebook Follow on Instagram Follow on Twitter --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app · Charity Promotion: BallotReady: The goal of this initiative is to increase voter education and encourage your listeners to get the vote out during the 2020 General Election this November. https://www.ballotready.org/ --- Send in a voice message: https://anchor.fm/rounders/message

In his latest podcast Richard Goldstein focuses on Brexit - specifically the actions pension schemes should be taking now in preparation for 1 January 2021, when the transition period comes to an end.

Richard Goldstein provides a useful round-up of recent developments in pensions law over the last month. Topics covered included the Pensions Regulator's guidance on reporting requirements, following the end of its COVID-19 related easements; the deadlines for fiduciary management and investment consultancy compliance statements; and the pensions impact of the Corporate Insolvency and Governance Act 2020.

Whenever I come across an obituary about a baseball player in The New York Times, I check the byline. More often than not these days, it’s been written by Richard Goldstein (Bruce Weber, a former Times staffer and author of As They See ‘Em: A Fan’s Travels in the Land of Umpires, about his experiences […]

We hear from Richard Goldstein, an important music critic from the late 1960's and early 70's whose memoir is titled "Another Little Piece of my Heart: My life of rock and revolution in the 60's." He writes of his encounters with such legends as Jim Morrison and Janis Joplin.

Visit ToughDecisions.net for complete show notes of each podcast episode. In this episode of Step Up Your Game with Dan, we interview Richard Goldstein, a patent attorney, author and entrepreneur. Richard is runs his own patent law firm: Goldstein Patent Law, and is the author of the best selling book The ABA Consumer Guide to Obtaining a Patent. Listen as they go over all you need to know about patents and trademarks.

Visit ToughDecisions.net for complete show notes of each podcast episode. In this episode of Step Up Your Game with Dan, we interview Richard Goldstein, a patent attorney, author and entrepreneur. Richard is runs his own patent law firm: Goldstein Patent Law, and is the author of the best selling book The ABA Consumer Guide to […]

One of the biggest challenges faced by entrepreneurs is deciding on the patents, trademarks and other protection mechanisms for their business. On this episode, Steve introduces Richard Goldstein, a patent attorney, entrepreneur and marketer. He is also the author of the American Bar Association's Consumer Guide to Obtaining a Patent. Here are more awesome takeaways on today’s episode: How Rich works with E-commerce sellers to help them protect their innovative products and avoid problems when sourcing. The abundance mindset and why he believes in it. Why relationship is the foundation of accomplishment. How product patent works, the steps in applying for a patent, the different types of patent and more. So subscribe to the Awesomers podcast and learn how you too can have patent protection for your business. Welcome to the Awesomers.com podcast. If you love to learn and if you're motivated to expand your mind and heck if you desire to break through those traditional paradigms and find your own version of success, you are in the right place. Awesomers around the world are on a journey to improve their lives and the lives of those around them. We believe in paying it forward and we fundamentally try to live up to the great Zig Ziglar quote where he said, "You can have everything in your life you want if you help enough other people get what they want." It doesn't matter where you came from. It only matters where you're going. My name is Steve Simonson and I hope that you will join me on this Awesomer journey. SPONSOR ADVERTISEMENT If you're launching a new product manufactured in China, you will need professional high-resolution Amazon ready photographs. Because Symo Global has a team of professionals in China, you will oftentimes receive your listing photographs before your product even leaves the country. This streamlined process will save you the time money and energy needed to concentrate on marketing and other creative content strategies before your item is in stock and ready for sale. Visit SymoGlobal.com to learn more. Because a picture should be worth one thousand keywords. You're listening to the Awesomers podcast. 1:30 (Steve introduces today’s guest, Rich Goldstein.) Steve: This is Awesomers.com podcast episode number 21 and as always to find show notes and details you can go to Awesomers.com/21, that's Awesomers.com/21. So today my guest is the great Rich Goldstein. Rich is a patent attorney, entrepreneur and a marketer. He would say marketer but I threw in the marketer because it's fun. He works with E-commerce sellers to help them better protect their innovative products as well as helping them avoid problems when sourcing products that they intend to sell. He is the author of the American Bar Association's Consumer Guide to Obtaining a Patent and that's a book I highly recommend for any entrepreneur to give you the basic overview of what the process of getting a patent is all about. We're really lucky to have somebody as smart and as capable as Rich joining us. To talk about the process of finding out about patents, learning if the product we want to sell’s already got a patent on it or even if it has a patent can we still sell, and if so on what conditions. There's so many things related to patents so this is going to be an exciting episode for you to learn lots about patents. Awesomers this is Steve Simonson and we're back on the Awesomers.com podcast today joined by special guest Rich Goldstein. Rich, how are you buddy? Rich: I'm doing well Steve. How are you? Steve: Doing great and thrilled to have you on today. And Awesomers, you're in for a treat today because so often we talk about product development and the intellectual property patent and all the headaches that go along with that. And today we're hoping that Rich is gonna

Richard Goldstein looks at the recent decision in the Box Clever case in which the Upper Tribunal held that it was reasonable for the Pensions Regulator to issue financial support directions in connection with the failure of a joint venture.

Richard Goldstein looks at the Pensions Regulator’s 2018 DB funding statement and guidance published by the government on the new rules on bulk transfers without consent of DC benefits.

Today Wade interviews Richard Goldstein, who has been training in the Martial Arts in a variety of styles for over 50 years. Richard also runs a family business called The Copy Shop and Printing Company in San Rafael — a business that has been in his family for over 43 years. The two parts of his world meld perfectly together to enrich all aspects of his life.   Richard began practicing in the Martial Arts from age eight in LA, at a Korean-based school. When he moved out to San Francisco in High School, he began studying Hapkido and Aikido. Now, he's branched out to many different styles and is well-versed in the Martial Arts world. To Richard, Martial Arts are not just about the technique, it's about understanding the depth of where the Martial Art came from and why. In this episode of Bay Area Martial Arts, Wade and Richard dive right into this topic, as well as discuss his business, his teaching philosophies, his advice to people wanting to get into Martial Arts, and his beliefs on how truly enriching training in a Martial Art can be.   Key Takeaways: [1:36] Richard's background in the Martial Arts. [4:43] Humbleness and learning in the Martial Arts. [7:46] Richard's family business, The Coffee Shop — the genesis, the development, and the tie between business and Martial Arts. [10:11] One of Richard's other passions: Music. [10:29] About his wife, the orchard lover. [12:19] How Richard balances his successful business, home life, and training in the Martial Arts. [16:56] The cultural richness of the Martial Arts. [19:52] What Richard is most proud of in his Martial Artist background. [21:30] Richard's teaching philosophies. [26:22] Richard's advice to people wanting to get into the Martial Arts. [32:05] Something that Richard has noticed in business lately. [33:33] How to learn more about Richard, his parting tips on how to get into the Martial Arts, and how Martial Arts can enrich your life.   Richard Goldstein's Links: GMRichGoldstein@gmail.com Facebook page for The Copy Shop and Printing Company in San Rafael, CA

Richard Goldstein was the world's first rock critic. He wrote the "Popeye" column for the Village Voice during the British invasion of New York, rubbing shoulders with the Stones, Dylan, Janis Joplin and Brian Wilson. His book "Another Little Piece Of My Heart" is a unique record of a tumultuous era seen up-close. He talked about it to Mark Ellen and David Hepworth at Word In Your Ear is Islington. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.