Podcast appearances and mentions of Richard Henderson

In this intriguing "What If" episode, we explore an alternate history where the Transylvania Colony, founded in 1775 by land speculator Richard Henderson and his Transylvania Company, became its own state. What might the political and cultural landscape of the United States look like today if this frontier experiment had succeeded?Join us as we delve into the fascinating history of the colony, its ambitious goals, and the key figures who tried to establish it as a separate state. We'll also discuss the challenges it faced, from conflicts with Virginia and North Carolina to resistance from Native American tribes, and speculate on the ripple effects its statehood could have had on Kentucky and the nation.This thought-provoking episode combines historical insight with creative speculation to reimagine Kentucky's early history. Don't miss it!Our Links: https://linktr.ee/Kyhistorypod

James and Chris sit down with Richard Henderson, lifelong outdoorsman, and 12th member of the Alaska Trappers Association! He shares his many stories about hunting, trapping and a life lived in the wild!   Today's discussion includes:   Alaska before the pipeline Super cubs and 70” moose Polar bear hunting in Barrow Trapping across the interior   To keep up with all content from The Northern Hunter Media check out our website: thenorthernhunter.com   And follow our socials Facebook: facebook.com/thenorthernhunter Instagram: instagram.com/the.northern.hunter   Contact us on our website, socials, or by email at info@thenorthernhunter.com with any and all questions about hunting in Alaska to get featured in a future episode!   BROUGHT TO YOU BY:   HAMMER BULLETS @hammerbullets Use code: THENORTHERNHUNTER for 10% off and drop the Hammer on your next hunt! Made in America and CNC lathed, these bullets are extremely accurate, deadly and reliable! hammerbullets.com   60 INCH CLUB @60inchclub Use code: THENORTHERNHUNTER for 10% off all services and products offered on their website. Gain access to over 30 years of moose & caribou hunting experience to amplify your DIY hunt in Alaska!  60inchclub.com   BAIT'EM 907 @baitem907 Use code: TNHP at checkout for 10% off on their massive selection of bear attractants, moose and trapping lures! Manufactured right here in Alaska but ships everywhere!  baitem907.com   WEATHERBY @weatherby Shop the Weatherby Mark V line up for the finest quality hunting rifles on the market! Designed and manufactured in the USA! weatherby.com

Remember Valentine's Day before the Parkland Florida shooting at Marjory Stoneman Douglas High School? How many memories survive for the parents who lost children at that horrific event? One father, Manuel Oliver, has made a mission of continuing his son Joaquin's activism against gun violence and has filed an international lawsuit condemning the American laws and corrupt culture that allow gun violence like the Parkland Massacre to flourish. The suit is Joaquin Oliver vs. the USA for the right to live free from gun violence, brought by Global Action Against Gun Violence. In this episode, Manny talks to Radio GAG about the suit. Our In Memoriam is for Richard Henderson, who died not far from his home in Brooklyn, NY, standing up to bullies on the subway train. Check out the Gun Violence Prevention news and a feature on Enough Plays to End Gun Violence with Sean Stefanic and Sarah Germain Lilly. Josh Tjaden and Ti Cersley host.

Brian gets real loose lipped after recording two episodes in a row. Look out for new hit single "buy me a sleeping bag" later in the episode.

For the 55th anniversary of Van Dyke Parks' debut solo album, SONG CYCLE, we take a detailed look at how it was made. After being born in the South, Parks grew up studying music and working as a child actor before settling in Los Angeles, California in the early 1960s. While playing guitar in different folk groups around town, he got his first job as an arranger on “The Bare Necessities” for Disney's The Jungle Book. Parks began working as a session musician for Producer Terry Melcher, who later introduced him to Brian Wilson of the Beach Boys. Parks was hired as a lyricist for the Beach Boys SMILE project, but ultimately left due to the rapidly deteriorating recording sessions and resistance from other members of the Beach Boys about the new lyrical direction. Producer Lenny Waronker then signed Parks to a contract with Warner Bros. as they recorded the first single “Donovan's Colours” before beginning work on a full-length album. In this episode, Van Dyke Parks reflects on his fascination with the developing technology of recorded music in the late 1960s. He also describes his fragile emotional state after the death of his brother and how traumatic personal and political events of the era informed his songwriting. Richard Henderson, author of the 33 1/3 book Song Cycle, offers his perspective on Parks' working methods at the time and how he was able to convince Warner Bros. to bankroll this massively expensive project. From the gold rush of Laurel Canyon to confirming his fellow struggling artists in song to the recording studio as an instrument to the orchestra as pop art to an insulting marketing campaign in the wake of SONG CYCLE's release, we'll hear the stories of how the record came together. Intro/outro music by ings from her song, "Love You." Episode art by Scott Arnold.

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

What would prompt a person to travel to one of the most dangerous places on earth to help a bunch of complete strangers? Let's find out from Dr. Richard Henderson.

The Hoppy Boys couldn't find anyone else to cover this bracket so they resorted to Richie. He reluctantly came on the show and didn't seem to enjoy a minute of it. Hopefully there is at least one salvageable minute of content in this 2 hour extravaganza. Brian accidentally gets wasted which is always good for the pod.

In this episode, we speak with Nobel Prize winner Dr. Richard Henderson. Dr. Richard Henderson discusses the ins-and-outs of science, career choices, philosophy, spirituality, his work with the electron microscope. For more information about the St Andrew's Society of Los Angeles visit www.standrewsla.org This podcast was produced and edited by Simply Podcasting www.simplypodcasting.io

Holidays can be murder! Join us for an episode that will make you very thankful for your own crazy family, we know we are grateful for ours! 

In this episode of the Better Future SPOTLIGHT, our Founder Mark Bergin sits down with Richard Henderson of R-Co Brand for a generous conversation about their respective and collective expeditions into a better future.Both Mark and Richard are "in the business of design, not in the design business" and they are interested in how we can all use design to "bring strategies to life". Their conversation champions imagination as the tool that catapults us out of the past and into the future. With imagination setting the foundation, they also discuss the excitement of the unknown, the power of collaboration, the transcendence of good culture, the necessity of vulnerability, and more.Richard is ever-respectful of those on whose shoulders he stands and there is no doubt that his knowledge, and generosity in sharing it, will mean that many in turn will be standing on his shoulders as we head into a better future together. View the episode and highlights here. 

"On our Journey up the Natchez Trace we are getting close to what was the destination for many who traveled along this road so many years ago -- Nashville, Tennessee. "In 1775, at the Treaty of Sycamore Shoals, Richard Henderson, a North Carolina businessman, purchased from the Cherokee Indians, lands in the great bend of the Cumberland River. He called this land west of the Appalachian Mountains, Transylvania and advertised for settlers to journey to a site where this old Indian trail joined the Cumberland River; the site of a salt lick, where a much older trading post had been, a site that we know today as Nashville, Tennessee. "James Robertson and John Donelson were chosen to lead two settlement parties from Fort Patrick Henry in what is now northeastern Tennessee. Robertson lead the men and boys of the party overland with livestock. They arrived at the site of the Big Salt Lick on Christmas Day in 1779 and crossed a frozen Cumberland River to begin building Fort Nashborough. "Donelson lead a flotilla of boats down the Tennessee River, and up the Ohio and Cumberland Rivers to join Robertson's settlement party on April 24, 1780... their journey was a hard one, troubled by bad weather, disease and hostile Indians. "Join us on our next program when we will look further at the history of Nashville, Tennessee. I'm Frank Thomas, your guide along the Natchez Trace, a road through the wilderness." For more about Natchez Trace: A Road Through the Wilderness, visit eddieandfrank.com

#22 — In this episode of The Microscopists, we're joined by molecular biologist, biophysicist and Nobel Laureate Richard Henderson from the MRC Laboratory of Molecular Biology. We'll discuss some of his earlier career challenges in biophysics and what attracted him to biology, his pioneering work in the field of electron microscopy, his favorite comic books, and passion for electronics.Watch or Listen to all episodes of The Microscopists here: https://themicroscopists.bitesizebio.com/

#22. In this episode of The Microscopists, we’re joined by molecular biologist, biophysicist and Nobel Laureate Richard Henderson from the MRC Laboratory of Molecular Biology. We’ll discuss some of his earlier career challenges in biophysics and what attracted him to biology, his pioneering work in the field of electron microscopy, his favorite comic books, and passion for electronics. Watch or Listen to all episodes of The Microscopists here: http://bit.ly/the-microscopists-pds

PART 2 PART 2 PART 2!!! Brian and Brendan are clearly running out of friends as they have on another returning guest, Richard Henderson, to decide the second finalist in this Malt Madness Tournament. They do their best to stay on the topic at hand, but naturally diverge into other hot topics. Once done babbling about how scabby and full of rashes Brendan used to get in his friends shag-basement, the trio eventually gets around to deciding a winner of the MillerCoors region.  The hosts encourage that you fast forward to the end to find the results instead of listening.

After jumping into the abyss of indexation, we’re now smacking directly into BlackRock bottom. The world’s largest asset, which oversees $8.67 trillion, has grown at an unimaginable scale and pace—thanks in no small part to their fintech platform Aladdin on which sits at least $21.6 trillion from major clients. Those are astronomical numbers, but this episode brings their impacts down to earth. We discuss this monstrosity of finance, how BlackRock’s big black box is consuming the world’s wealth, and the plans of its CEO, Larry Fink, to solve climate change while making a hefty profit in the process. Some stuff we reference: • Is BlackRock the New Vampire Squid? by Kate Aronoff https://newrepublic.com/article/158263/blackrock-climate-change-fossil-fuel-investments • BlackRock’s Black Box: The Technology Hub of Modern Finance by Richard Henderson and Owen Walker https://www.ft.com/content/5ba6f40e-4e4d-11ea-95a0-43d18ec715f5 • Larry Fink Letter to CEOs 2021 https://www.blackrock.com/corporate/investor-relations/larry-fink-ceo-letter Subscribe to hear more analysis and commentary in our premium episodes every week! patreon.com/thismachinekills Hosted by Jathan Sadowski (twitter.com/jathansadowski) and Edward Ongweso Jr. (twitter.com/bigblackjacobin). Production / Music by Jereme Brown (twitter.com/braunestahl).

This week's guest is Richard Henderson. Richard has applied lean in various settings, and he shared some of what he's learned over the years. Richard also plays and coaches soccer, and he and Ron discussed how lean relates to sports. A MP3 audio version of this episode is available for download here. In this episode you'll learn:  The quote that inspires Richard (2:31) Richard's background (4:04) His journey with lean (11:47) What he's looking forward to in regards to lean (16:58) Richard's success with lean (21:04) How he was able to experiment (25:47) Advice for those new to lean (29:39) Richard's thoughts on "specializing" in sports (31:38) Podcast Resources Right Click to Download this Podcast as an MP3 Download a Free Audio Book at Audible.com Richard on LinkedIn Richard's Website Subscribe & Never Miss New Episodes! Click to Subscribe in iTunes If you enjoyed this podcast please be sure to subscribe on iTunes. Once you're a subscriber all new episodes will be downloaded to your iTunes account and smartphone. The easiest way for iPhone users to listen to the show is via the free, and incredible, Podcast app.  NEW! You can now follow the podcast on Spotify here.  You can also subscribe via Stitcher which is definitely Android friendly. What Do You Think? How else might lean relate to sports? What about the lean mindset in particular is powerful?

Fiona Marshall got fascinated with GPCRs after attending a lecture on how the beta-adrenergic receptor in the heart is activated by adrenaline, during her undergraduate studies at Bath University. She then pursued her Ph.D. in neuroscience from Cambridge University. An expert in GPCR biology, Fiona published the first description of the cloning and structural requirements of the GABAB receptor. One of her career path defining moments came from when she visited Dr. Chris Tate and Dr. Richard Henderson at the Laboratory of Molecular Biology in Cambridge, UK. As a co-founder of Heptares Therapeutics, now called Sosei Heptares, a GPCR focused drug discovery and development biotechnology company, Fiona and her team made considerable breakthroughs in the field of GPCR stabilization and structure-based drug design. Today, Dr. Marshall is the VP Head of Neuroscience Discovery and Head of Discovery UK, Global Head of Neuroscience discovery research leading teams in West Point, Boston, and London at MSD. Join me and learn more about her fascinating career trajectory.

US election day begins as Americans brace themselves for what could be a drawn-out result, Nvidia’s $40bn deal for the UK-based chip designer Arm is facing fresh problems in China, and Volkswagen will be within only “a gram or so” of tough new EU carbon emission limits. Plus, the FT’s US capital markets correspondent, Richard Henderson, explains which policies from Mr Trump and Joe Biden are most appealing to investors. Democrats fight back as Trump pledges to challenge result in courthttps://www.ft.com/content/fd0ed792-2945-48a1-a896-efd0ecc7586fTrump vs Biden: 4 policy plans US stock investors are watchinghttps://www.ft.com/content/4930af61-c51a-4782-a1cd-a0cd1a9a0cde?shareType=nongiftBattle at Arm China threatens $40bn Nvidia dealft.com/content/49889c43-70b8-45d7-b0b0-44e98d3bf89f?Volkswagen within ‘a gram’ of compliance with EU carbon targetsft.com/content/b8751714-fe99-4cd6-9935-2fb4ad9929f4? See acast.com/privacy for privacy and opt-out information.

A Nobel Prize. Some would say it represents the pinnacle of scientific achievement in any given field. In this episode, we're lucky enough to be joined by Joachim Frank, one of a very small number of scientists that can say they have won the prestigious award. Joachim was born and educated in Germany, before completing postdoctoral research in the United States and at the Cavendish Laboratory in Cambridge, U.K., where he worked on problems of electron optics and image processing. His current position at Columbia University as a Professor of Biochemistry and Molecular Biophysics and of Biological Sciences, is one that he has held since 2008. In 2017, Joachim recieved the Nobel Prize for Chemistry, alongside his colleagues Jacques Dubochet and Richard Henderson, for the development of cryo-electron microscopy, which both simplifies and improves the imaging of biomolecules. This method moved biochemistry into a new era. Timestamps 00:15 - Who is Joachim Frank? 01:05 - Initial interested in science? 04:34 - A degree in Physics? 06:25 - How do you stumble upon Nobel Prize winning research? 07:30 - The seeds & The process. 16:48 - What are the implications of the work? 21:55 - Receiving a Nobel Prize. 22:48 - Does the prize open doors? 27:35 - Advice for PhD students? 29:50 - What is your favourite book?

In this episode, Christian is joined by Richard Henderson to discuss how to create a culture of excellence and belonging.  Richard Henderson is a native of Scotland who has translated to the US. Before coming to the US, Richard played fours years of professional Soccer in Scotland. He has several degrees related to coaching and Physical Education. Richard has done his Masters work in leadership, and has worked in Higher Education for the last eight years. For 15 years he has coached elite youth soccer at the highschool, college, and semi-professional level.  Richard is the owner, and Principal consultant at the Nevada Networking Institute.    In this episode: How Richard found his way to leadership Leadership archetypes What an environment of excellence and belonging looks like Resolving conflict quickly  Getting to the root cause Accountability Individual and systemic coaching Building high performance Psychological safety .

Our guest on the podcast is investment consultant and author Charley Ellis. In 1972, Ellis founded Greenwich Associates, an investment consultant to institutional investors, government organizations, and wealthy families. His seminal book about the benefits of passive investing, Winning the Loser's Game, is in its seventh edition. Ellis has also authored or coauthored books about investment policy and strategy, the retirement system in the United States, and large investment firms, including Goldman Sachs and Capital Group. He has taught investment management courses at the Yale School of Management and Harvard Business School and was the successor trustee of Yale University, where he chaired the university's investment committee with David Swensen. He also served on the board of directors at The Vanguard Group. Ellis was awarded the Graham & Dodd Award of Excellence from the Financial Analysts Journal and is one of only 12 people recognized by the CFA Institute for lifetime contributions to the investment profession. He received his undergraduate degree from Yale College, his Master of Business Administration from Harvard Business School, and his doctorate in financial economics at New York University.BackgroundCharley Ellis bioCharley Ellis books "The Loser's Game," by Charles D. Ellis, Financial Analysts Journal, July/August 1975. "Words From the Wise: Charley Ellis on Challenges Facing Investors," by Antti Ilmanen and Rodney N. Sullivan, AQR Insights, June 5, 2015. Passive vs. Active Management"How to Decide Where to Hire Active Managers," by Alex Bryan, Morningstar.com, April 8, 2020.Regulation Fair Disclosure (Reg FD) Jim Simons bio "Index Funds Aren't Too Big, but Asset Managers Might Be," by John Rekenthaler, Morningstar.com, Jan. 17, 2020. "The Secret History of Index Mutual Funds," by Stephen Mihm, InvestmentNews, Sept. 6, 2016. ESG Investing"David Blood and Al Gore Want to Reach the Next Generation," by Imogen Rose-Smith, Institutional Investor, Sept. 8, 2015. "The ESG Fund Universe Is Rapidly Expanding," by Jon Hale, Morningstar.com, March 19, 2020. Private Equity"Vanguard Moves into Private Equity with HarbourVest Partnership," by Chris Flood, Robin Wigglesworth, and Richard Henderson, Financial Times, Feb. 5, 2020. "The Cons (and Pros) of Vanguard's Decision to Offer Private Equity," by John Rekenthaler, Morningstar.com, Feb. 25, 2020. "Fran Kinniry: Applying the Vanguard Approach to Private Equity," by Christine Benz and Jeffrey Ptak, Morningstar's The Long View podcast, April 1, 2020. "SEC Looking to Open Private Markets to a Wider Audience,” by Hazel Bradford, Pensions & Investments, Oct. 28, 2019. David Swensen/Yale EndowmentDavid Swensen bio David Swensen books Yale University Endowment Yale's Strategy 

The 'Boys are back to chat with former college roomate, Richie, about their freshman year ventures into the "Rita-verse." The trio discuss pee strategies, reminisce their first kisses, and talk about how Lime-A-Rita is the George Washington of Hard Seltzers! Fan/enemy of the show, Clyde, returns.

Today's guests, Richard Henderson from Lastline and Mario Vuksan of ReversingLabs share their incredible insights into the complex ecosystem that is the Internet. They share real-life stories of cybercrime and the engineering and human challenges of Defending the Digital Universe. They are great examples of "Unsung Cyber Heroes".

Charles Gwathmey was a native of North Carolina and got interested in architecture at an early age. Charlie, as he was known, studied architecture at the University of Pennsylvania and at Yale University under Paul Rudolph, then went into partnership with Richard Henderson and later Robert Siegel.  Over a career spanning five decades, Charlie and Bob designed some of the country's most iconic Modernist houses (for celebrities and CEO's such as Jerry Seinfeld, Steven Spielberg, and Michael Dell) and buildings such as the Guggenheim addition and the US Mission to the UN, both in New York. Gwathmey died in 2009 but the firm lives on as Gwathmey Siegel Kaufman. Today we talk with Gwathmey’s daughter Annie Gwathmey, an actress, producer, and teacher known for films such as Romeo Must Die and My Father's House. She attended Cornell and Sarah Lawrence College and joins us from LA. With us in the studio, guest co-host Paige Wagoner Claassen, an architectural historian whose Instagram architecture feed Claasshaus has happy fans all over the world.

Apple commits more than $6bn for original shows and movies ahead of the launch of its new video streaming service and UK prime minister Boris Johnson intensifies his efforts to jettison the Irish border backstop from the Brexit withdrawal agreement. Also, Facebook and Twitter move to curb Chinese state-backed disinformation campaigns that target pro-democracy Hong Kong protesters, the Trump administration gives Huawei a temporary reprieve, the US trade commission head says it would be difficult to break up Facebook and court papers reveal that Jeffrey Epstein signed a will two days before he died. Plus, the FT’s Richard Henderson explains why the group of top US executives comprising the Business Roundtable are ditching “shareholder primacy”. See acast.com/privacy for privacy and opt-out information.

European leaders agree to back Christine Lagarde as president of the European Central Bank and Ursula von der Leyen as president of the European Commission, Tesla reports record production and delivery figures for its latest quarter, the Trump administration abandons its efforts to include a citizenship question in the 2020 census and President Donald Trump says he will nominate Fed critic Judy Shelton and St Louis Fed official Christopher Waller to the board of the Federal Reserve. Plus, the FT’s Richard Henderson explains a radical shift taking place in capital markets. See acast.com/privacy for privacy and opt-out information.

Congrats to the 2A State champion Sehome boys soccer team! TDLN talked with the Mariners head coach Richard Henderson following their 1-0 win over Columbia River in the title game. For more check out www.OntheDLN.com - The online home of The Doug Lange Network.

Sehome boys soccer needs 2 more victories to claim the 2A state championship. TDLN talked to the Mariners head coach Richard Henderson about Friday's semifinal match against Toppenish and more. For more check out www.OntheDLN.com - the online home of the Doug Lange Network.

Sehome boys soccer opens up 2A state hosting Port Angeles Tuesday 5/14/19 at Civic Stadium. TDLN caught up with the Mariners head coach Richard Henderson for a preview of this Round of 16 match versus the Roughriders. For more check out www.OnTheDLN.com - The online home of The Doug Lange Network.

Apple and chipmaker Qualcomm sign a peace deal to end all litigation between the two companies, Netflix’s subscriber outlook disappoints and Boeing faces an investor backlash. Plus, the FT’s Richard Henderson tells us why BlackRock chief executive Larry Fink says markets are poised for a ‘melt-up’. See acast.com/privacy for privacy and opt-out information.

Nashville today attracts thousands of new residents every month, but over 200 years ago, people risked their very lives to move here. Host Allen Forkum (editor of The Nashville Retrospect newspaper) interviews historian Paul Clements about the first settlers to arrive in the Nashville area in the late 1700s. Led by James Robertson, the settlers not only endured a treacherous journey, but after arriving they also faced an ever-present threat of attack from Native-American groups trying to drive the settlers from their hunting grounds. (Note: This episode contains graphic descriptions of violence. Segment begins at 03:50) This postcard image, from the mural in the west lunette of the nave of the Kentucky State Capitol, depicts representatives from the Transylvania Land Company and Cherokee Indians negotiating the Transylvania Purchase in 1775. James Robertson attended the meeting, along with Richard Henderson and Daniel Boone. Some of the land acquired would be the future home of the Cumberland Settlements and Nashville. (Image: Mike Slate) General James Robertson (1742–1814) as depicted by Henry Benbridge (1744–1812). (Image: Tennessee State Library and Archives) This mural, located in offices of the Tennessee State Capitol, depicts the Battle of the Bluff, which occurred on April 2, 1781. Legend holds that Charlotte Robertson, James Robertson’s wife, let dogs out of Bluff Station (later know as Fort Nashborough) to drive off attacking Creek Indians. Also in Episode 05, hear Elvis Presley’s speech to the Tennessee Legislature at the State Capitol on March 8, 1961. School-skipping teenagers in the galleries screamed as a gavel was banged to bring the crowd to order. Elvis received a round of applause after declaring that he would never leave his adopted home of Tennessee. (Segment begins at 48:00) Excerpt from the original caption in the March 8, 1961, Nashville Banner: “Gov. Buford Ellington introduces singer-actor Elvis Presley to the State Legislature this morning amid applause from the packed house. … The artist, who drove up from Memphis for the appearance, was named a colonel on the governor’s staff and in reply said: ‘This recognition is the greatest honor I’ve ever received.’ … He’ll be returning here this weekend for a RCA Victor recording session.” (Image: Tennessee State Library and Archives, photo by Don Foster) Original caption from the March 9, 1961, Nashville Tennessean: “Ann Ellington and Elvis share a private joke at the entrance to the governor’s mansion after his tumultuous reception at the Capitol. Shorty before, Gov. Buford Ellington said, ‘You’re a great man.’ And Elvis rode off—with Ann.” (Image: Tennessee State Library and Archives, photo by Gerald Holly) The blue vinyl disc above features the audio recording of Elvis’s appearance before the state legislature in 1961. A machine like the one pictured below was used to make the recording. Both items are archived at the Tennessee State Library and Archives. And finally, Allen Forkum briefly reviews some of the stories in the August 2018 issue of The Nashville Retrospect, including: the rediscovery of a mystery tunnel on Capitol Hill in 1961; old swimming pools of Nashville, such as Cascade Plunge and Centennial Park (story by Tom Henderson); the city of Nashville’s purchase of slaves in 1830 (story by Bill Carey); and a road rage incident in 1884. (Segment begins at 01:30)   SHOW NOTES A list of articles relating to this episode contained in back issues of The Nashville Retrospect (back issue can be ordered by clicking here): • “Our Frontier Heritage and Why It Matters” by Paul Clements, The Nashville Retrospect, October 2010 • “James Robertson” by Paul Clements, a 25-part series, The Nashville Retrospect, from September 2014 to September 2016 • “Richard Henderson” by Paul Clements, a 3-part series, The Nashville Retrospect, from December 2017 to February 2018 • “Colonel John Donelson” by Paul Clements, a 4-part series, The Nashville Retrospect, from May 2014 to July 2014 • “Prehistory Life and Death in the Cumberland River Region” by Paul Clements; The Nashville Retrospect, July 2013 • “Indian Village Uncovered In Granny White Area,” Nashville Banner, June 8, 1973, (The Nashville Retrospect, June 2017) • See the August 2018 issue of The Nashville Retrospect for other stories referenced on this episode.   Other related articles: • “Elvis Does Free Shot For Assembly,” Nashville Banner, March 8, 1961 • “Elvis Still Wows Womenfolks," Nashville Tennessean, March 9, 1961   Links relating to this episode: “James Robertson” by Terry Weeks “Transylvania Purchase” by Michael Toomey “John Donelson” by Anne-Leslie Owens “French Lick” by Anita S. Goodstein “Cumberland Compact” by Kenneth Fieth “Frontier Stations” by Walter T. Durham Fort Nashborough Native History Association Native American Indian Association of Tennessee Gray Audograph Werthan Lofts Music City Center   Audio: Excerpts from “Elvis Presley, March 8, 1961,” an audio recording by the Tennessee Library and Archives Music: “Near You” by Francis Craig and His Orchestra (Bullet, 1947); “Quiet Outro” by ROZKOL (2018); “Covered Wagon Days” by Ted Weems and His Orchestra; and “The Buffalo Rag” by Vess L. Ossman

Return guest Richard Henderson is Global Security Strategist for Absolute. He talked with me at RSA 2018 in San Francisco about dark endpoints, GDPR, Software Defined Radio, his DEF CON ham radio fox hunt and more.

País España Dirección Ray Loriga Guion Ray Loriga Música Christina Rosenvinge Fotografía José Luis Alcaine Reparto Daniel González, Amaia Bidasolo, Andrés Gertrudix, Anna Galiena, Karra Elejalde, Viggo Mortensen, Christina Rosenvinge, Maxi Iglesias, Richard Henderson, Manolo Caro Sinopsis Un día, un chico un tanto extraño mata de un tiro en la cara al vigilante jurado de un supermercado. A continuación se escapa y roba el primer coche que encuentra. Dentro del vehículo hay una chica que se muestra encantada de acompañarlo en su huida.

In today's podcast, we hear that a kill-switch for Memcrash may have been found (and Memcrash may be dangerous for other purposes than denial-of-service). Researchers in Hungary take a look at the Shadow Brokers' dumps and speculate about the purpose of the "Territorial Dispute" module. The Dutch Tax Authority sustained another DDoS attack last night. India's CERT renders a troubling report to Parliament. The FBI still wants a non-backdoor backdoor. David Dufour from Webroot on vulnerabilities in cryptocurrency markets. Guest is Richard Henderson from Absolute Software on protecting against insider threats. And some notes from SINET ITSEF. 

This week, Richard talks about the skincare business he started and, you guessed it, didn't carry on with. Libby talks about the latest book she's reading - Me, Myself, and US - and Richard shares his fleeting flirtation with getting a dog. And just to remind them that maybe they should stick at smething, they talk about Nobel Prize winner Richard Henderson. But does he have a podcast? NO!!

What once took decades, now takes days, thanks to an astonishingly powerful new technique invented by Richard Henderson, winner of the 2017 Nobel Prize for Chemistry. Richard grew up in a remote village in the Scottish borders exploring the countryside and reading the weekly bundles of comics sent by his great aunt, as part of a care package for his family. When he started work at the Laboratory of Molecular Biology in Cambridge, a string of Nobel Prizes had been awarded for x-ray crystallography, a technique that had revealed the double helix structure of DNA, and the atomic structure of haemoglobin, vitamin B12 and insulin. But Richard decided to experiment with a radical new approach, using electrons not x-rays. After an early success in 1975, he spent the next 15 years trying to improve the resolution of electron crystallography and, in 1990, he managed to see in astonishing atomic detail how individual atoms were arranged within a particular biological molecule. Next, however, he decided that the future of microscopy lay in different direction and,despite the initial results being very blurry, he embraced a more direct approach to microscopy that involved flash freezing molecules to catch them, mid-movement, as they existed in nature. Undeterred by a steady stream of technical problems, Richard spent the next 17 years refining this new approach to microscopy convinced that it should outperform all the others and, in 2012, he was proved right. Cryo electron microscopy now enables us to see how the individual atoms are arranged within biological molecules that were previously opaque. We are seeing atomic structures that have never been seen before and, since these are the molecules that make life possible, knowing what they look like is worth millions to pharmaceutical companies trying to design drugs to activate or inhibit their action. Richard talks to Jim Al-Khalili about half a century of problem solving and the bold strategic decisions that led him to be awarded the 2017 Nobel Prize for Chemistry, together with Joaquim Frank and Jacques Dubochet. Producer: Anna Buckley.

Otorgan el Premio Nobel de Física a los científicos que detectaron, por primera vez, las ondas gravitacionales. Son Rainer Weiss, investigador del Instituto Tecnológico de Massachusetts, Barry C Barish y Kip S. Thorne, investigadores del Instituto de Tecnología de California, miembros del proyecto LIGO/VIRGO. El descubrimiento, a través del experimento LIGO, ha confirmado lo que ya formuló hace un siglo Albert Einstein en su Teoría de la Relatividad.El Premio Nobel de Química ha sido para Jacques Dubochet, profesor de la Universidad de Lausanne, de Suiza, Joachim Frank, de la Universidad de Columbia de Nueva York, de Estados Unidos, y Richard Henderson, investigador del Laboratorio de Biología Molecular de Cambridge, Reino Unido, por hacer criomicroscopía electronica. La críomicroscopía resuelve el problema de poder observar moléculas biológicas en su entorno natural y sin usar tintes. El microscopio electrónico como tal tiene casi cien años, pero para observar los objetos requiere que estos estén al vacío.El premio Nobel de Fisiología o Medicina ha sido para Jeffrey C. Hall, profesor de la Universidad de Maine, de Estados Unidos, Michael Rosbash, profesor e investigador del Instituto Médico Howard Hughes de la Universidad de Brandeis, Estados Unidos, y Michael W. Young, profesor de la Universidad Rockefeller de New York, de Estados Unidos, por sus descubrimientos de los mecanismos moleculares que controlan el ritmo circadiano o el reloj biológico. También indica la regulación de la expresión genética.El Premio Nobel de Economía ha sido para Richard H. Thaler, de 72 años, profesor de la Universidad de Chicago, por su contribución a la economía del comportamiento, esto es, básicamente la incorporación de la psicología a la ciencias económicas. Imparte clases en la Universidad de Chicago. Sus investigaciones demuestran que las decisiones no siempre obedecen a criterios racionales, sino que también entran en juego variables psicológicas que las desvían de un comportamiento económico racional.La Campaña Internacional para la Abolición de las Armas Nucleares ha recibido el Nobel de la Paz , cuya ceremonia de entrega se ha celebrado en Oslo. Allí, ha llamado a las potencias nucleares a sumarse al tratado para la Prohibición de Armas Nucleares. "¿Será el fin de las armas nucleares, o acaso será nuestro propio final?", se ha preguntado Beatrice Fihn, directora de la ICAN.El Premio Nobel de Literatura es Kazuo Ishiguro, de origen japonés y nacionalidad británica, es autor de novelas como "Los restos del día". Nació en Nagashaki en 1954 y llegó a Londres en 1960 con sus padres y su hermana, para que su padre trabajara para el Gobierno británico. Su padre era investigador científico, un oceanógrafo.Por otra parte, en este programa se entrevista a Alejandro Pérez Pastor, profesor de la Universidad Politécnica de Cartagena, sobre el proyecto Irriman, que ha reducido el consumo de agua en la agricultura un 30 por ciento y un 40 la emisión de CO2.

Guest is security researcher Richard Henderson of Absolute Software.

Hosts: Ed Brown, Dr. Shayne Joseph, Penny Dumsday, Lucas Randall 00:02:51 The Nobel Prize in Physiology or Medicine 2017 was awarded to Jeffrey C. Hall, Michael Rosbash and Michael W. Young "for their discoveries of molecular mechanisms controlling the circadian rhythm". 00:08:40 The Nobel Prize in Physics 2017 was divided, one half awarded to Rainer Weiss, the other half jointly to Barry C. Barish and Kip S. Thorne "for decisive contributions to the LIGO detector and the observation of gravitational waves". 00:14:52 The Nobel Prize in Chemistry 2017 was awarded to Jacques Dubochet, Joachim Frank and Richard Henderson "for developing cryo-electron microscopy for the high-resolution structure determination of biomolecules in solution". 00:20:18 They don't have brains, but jellyfish still seem to sleep. Three Caltech students studied jellyfish slumber and found it to be similar, but not the same, as human sleep. 00:28:58 Two separate teams have made the first detections of the roughly half of the normal matter in our universe unaccounted for by previous observations of stars, galaxies and other bright objects in space. This is not Dark Matter, but baryonic matter. 00:35:00 The kakapo is the world's largest flightless parrot, and it's critically endangered. But a conservation program aims to sequence the genome of every surviving kakapo, gathering considerably more data on the iconic New Zealand native.   This episode contains traces of a rare kakapo parrot meeting zoologist Mark Carwardine.  

Las células son como una ciudad en miniatura, lo hemos dicho muchas veces. Sus habitantes son proteínas, metabolitos o ARN que trabajan coordinados para que la célula funcione. Hay muchas maneras de saber cuál es la función de una sustancia dentro de la célula, pero no hay tantas para averiguar qué aspecto tiene o cómo realiza esa función. El Premio Nobel de Química de este año ha reconocido a Jacques Dubochet, Joachim Frank y Richard Henderson, que desarrollaron técnicas para obtener imágenes muy detalladas de los habitantes de las células: objetos mucho más grandes que un átomo pero demasiado pequeños para los microscopios convencionales. Las técnicas de las que hablaremos hoy tienen que ver con el uso de microscopios de electrones y de muestras muy frías, que preservan todos estos objetos con un aspecto similar al que tienen en su entorno original. Si os interesan las técnicas que nos permiten mirar en el interior de las células os gustará otro Nobel de Química, el de 2014: os lo contamos en el capítulo s04e06. También podéis aprender más sobre la interesantísima biología del interior de las células (gran parte de ella conocida gracias a estas técnicas) en los capítulos s03e04, s01e38, s06e07 y s04e18. Este programa se emitió originalmente el 4 de octubre de 2017. Podéis escuchar el resto de podcasts de La Brújula en su canal de iVoox y en la web de Onda Cero, ondacero.es

The Nobel Prize in Chemistry goes to Jacques Dubochet, Joachim Frank and Richard Henderson for developing cryo-electron microscopy for the high-resolution structure determination of biomolecules in solution.  

The Nobel Prize in Chemistry goes to Jacques Dubochet, Joachim Frank and Richard Henderson for developing cryo-electron microscopy for the high-resolution structure determination of biomolecules in solution.  

The 2017 Nobel Prize in Chemistry was awarded jointly to Jacques Dubochet, Joachim Frank and Richard Henderson for developing cryo-electron microscopy that can determine high-resolution structures of biomolecules in solution.

After the abrupt end of the meeting between the Cherokee Nation and Richard Henderson of the Transylvania Company at Sycamore Shoals, War breaks out between the Americans and their British masters. The Cherokee must choose, side with the Americans or their British allies. Dragging Canoe leads a invasion into East Tennessee.

In the first episode of MRC talks, we bring the stories covered in the summer 2014 issue of our quarterly Network magazine to life, by capturing scientific and personal insights from the scientists themselves. We talk to MRC scientists Lori Passmore (1min07), Venki Ramakrishnan (4min25) and Richard Henderson (8min33) about how they are developing and using electron microscopy to obtain structures of proteins at atomic resolution for the first time. MRC Senior Clinical Fellow Dr Richard Coward explains how his clinical work at Bristol Children’s Hospital is helping inform his laboratory research into kidney disease. And in our opinion piece, Dr Anne O’Garra tells us about how she is translating her knowledge of immunology and basic research in the lab into improving the diagnosis of tuberculosis.

This documentary takes an intimate look at the impact St. Louis artists have made on the evolution of Jazz. The documentary features new interviews with a number of musicians, DJs, journalists, presenters and others involved with the St. Louis jazz scene, including Dennis Owsley, Prince Wells, Don Wolff, Richard Henderson, Erin Bode, Jerome Harris, Jeremy Davenport, Bob Bennett, Terry Perkins, Roscoe Crenshaw, Martha Stitzel and Paul Demarinis, as well as archival footage of interviews with jazz greats like Miles Davis, Clark Terry, Eddie Randle, George Hudson and others.