Podcasts about Robin Moore

Text us your questions to answer on a future episode (if you want me to contact you, please include your email)Robin Moore from the Alaska Railroad joins Jennie to talk about day trips you can take on the Alaska Railroad from AnchorageThis episode is sponsored by Alaska TourSaver and the Alaska Summer Showcase. Thank you!Alaska Railroad Day tripsK2 Aviation Denali Flightseeing (save 10% with code alaskauncovered)Support Alaska Uncovered on Patreon as a free or paid subscriberBook a trip planning session with JennieShop all Alaska Travel planners and premade itinerariesFollow Jennie on Instagram

Can emotional intelligence transform your professional life, especially in the high-pressure world of healthcare? Robin Moore from Centra Human Resources joins host Cami Smith to explore this question and share her journey to becoming certified to teach emotional intelligence through TalentSmart. Listen in to learn how self-awareness, self-management, relationship management, and social awareness are essential skills for navigating today's work environment. From the value of orientation and training during transitions to sharing personal experiences of vulnerability and growth, Cami and Robin highlight the benefits of creating a safe learning space for open and honest conversations.For more content from Centra Health check us out on the following channels.YouTubeFacebookInstagramTwitter

Did you know the Special Forces Operation Detachment Alpha hasn't always had twelve people in it?Did you know only 1% of the first official Special Forces organization was made up of members of the Office of Strategic Services (OSS)?The history of Special Forces is a tapestry, weaving together organizations like Merrill's Marauders (or Unit Galahad), the Philippine resistance movements in WWII, the original PSYWAR School, and the Ranger Regiment's early days.Join us as we host Dr. Troy J. Sacquety, the Army Special Operations Forces' Command Historian, as he dives deep with us on the nuances and facts of the impetus and history of the Special Forces Regiment.And listen through the end to hear the controversial history of the green beret! About the guest:Dr. Sacquety earned an MA from the University of Nebraska–Lincoln and a PhD in Military History from Texas A&M University. Prior to joining the USASOC History Office staff in August 2006, he worked several years for the Central Intelligence Agency. His research interests include Army and Office of Strategic Services special operations during World War II, and U.S. Army Civil Affairs. About the hosts:Maj. Ashley "Ash" Holzmann is an experienced Psychological Operations Officer who served within the re-established PSYWAR School at the United States Army JFK Special Warfare Center and School. He is now transitioning to attend grad school at Arizona State University with a follow-on assignment at West Point's Army Cyber Institute where he will research mis/disinformation.Sgt. Maj. Derek Riley is one of the most experienced Civil Affairs Non-commissioned Officers in the Army Special Operations Regiment. He has incredible deployment experience and serves within the Civil Affairs Proponent at the United States Army JFK Special Warfare Center and School. From the episode:Brief biography of Brig. Gen. Evans Carlson:https://www.usmcu.edu/Research/Marine-Corps-History-Division/People/Whos-Who-in-Marine-Corps-History/Abrell-Cushman/Brigadier-General-Evans-F-Carlson/All Special Forces Groups in the 1st Special Forces Regiment trace their official U.S. Army lineage and honors to the FSSF activation on 9 July 1942:https://arsof-history.org/first_special_service_force/legacy.htmlThe Coordinator of Information (COI), which became the Office of Strategic Services (OSS):https://www.soc.mil/OSS/the-beginning.htmlThe origins of the OSS and its relationship with modern Army Special Operations:https://arsof-history.org/articles/v3n4_oss_primer_page_1.htmlBritish Special Operations Executive:https://www.nam.ac.uk/explore/SOEThe French Bureau Central de Renseignements et d'Action (BCRA):https://www.cheminsdememoire.gouv.fr/en/bcra-dgseThe OSS also required immense amounts of coordination and logistics to be successful:https://arsof-history.org/articles/v3n1_supplying_resistance_page_1.htmlJedburghs (including their epically great patch):https://www.soc.mil/OSS/jedburghs.htmlThe Green Berets, written by Robin Moore, was the book mentioned from the Vietnam era: https://www.specialforceshistory.info/books/the-green-berets-robin-moore.htmlDetachment 101:https://arsof-history.org/articles/v4n3_myitkyina_part_2_page_1.htmlSpecial Forces in the Korean War:https://arsof-history.org/articles/v2n2_catch_as_catch_page_1.htmlSpecial Operations in the Korean War:https://www.army.mil/article/268487/army_special_operations_in_the_forgotten_war_commemorating_the_70th_anniversary_of_the_korean_armisticeThe Alamo Scouts:https://www.army.mil/article/214389/the_alamo_scoutsThe Alamo Scouts have been recognized as Distinguished Members of the Special Forces Regiment:https://www.swcs.mil/Portals/111/sf_alamo-scouts.pdfA diary of the Alamo Scouts:https://arsof-history.org/articles/v4n3_alamo_scouts_page_1.html Maj. Gen. McClure:https://arsof-history.org/articles/v7n2_mcclure_page_1.htmlBrig. Gen. Russel Volckmann:https://arsof-history.org/icons/volckmann.htmlCol. Wendell Fertig:https://www.armyupress.army.mil/Journals/Military-Review/MR-Book-Reviews/January-2017/Book-Review-011/Lt. Col. Melvin R. Blair:https://arsof-history.org/articles/v7n1_smoke_bomb_hill_page_1.htmlLt. Martin Waters:https://arsof-history.org/articles/v4n1_myitkyina_part_1_page_1.htmlCol. Aaron Bank:https://arsof-history.org/icons/bank.htmlColombian Lanceros:https://arsof-history.org/articles/pdf/v2n4_colombian_sof.pdf8240:https://arsof-history.org/articles/v3n3_wolfpack_donkeys_page_1.htmlFormation of the Rangers:https://arsof-history.org/articles/v2n3_rangers_wwii_page_1.htmlThe history of Special Operations Command (not to be confused with 1st SOCOM):https://www.defense.gov/News/Feature-Stories/Story/Article/1800521/The history of 1st SOCOM:https://arsof-history.org/1stsocom/index.htmlThe Lodge Act:https://www.cia.gov/readingroom/docs/CIA-RDP57-00384R001000010010-1.pdfProgram of Instruction (POI) is essentially the syllabus for Army instruction.The Special Forces tab was approved in 1983:https://web.archive.org/web/20000510192433/http://www.qmmuseum.lee.army.mil/airborne/sf_tab.htmHistory of the ODA and its size over time:https://arsof-history.org/articles/v19n1_evolution_of_the_special_forces_oda_page_1.htmlThe history of the green beret:https://www.militarytimes.com/off-duty/military-culture/2023/10/10/how-the-green-beret-became-the-symbol-of-us-army-special-forces/Edson Raff's involvement:https://www.latimes.com/archives/la-xpm-2003-mar-22-me-passings22.1-story.html95th Civil Affairs patch:https://www.shopmyexchange.com/army-unit-patch-95th-civil-affairs-brigade-ocp-/7048045Want a deeper dive on the conflict in Burma? Dr. Sacquety did another interview at the following link:https://www.fpri.org/multimedia/2024/06/an-american-irregular-warfare-success-story-oss-detachment-101-in-burma-during-wwii/Detachment 101 and John Ford:http://www.easaul.com/oss-detachment-101.htmlThe Range of Military Operations (ROMO): https://www.jcs.mil/Portals/36/Documents/Doctrine/concepts/joc_deterrence.pdf?ver=2017-12-28-162015-337 Recommended Civil Affairs reading:The Hunt Report:https://www.civilaffairsassoc.org/post/2018/05/08/civil-affairs-centennial-ca100-the-hunt-reportCivil Affairs articles from the ARSOF Historian's Office:https://arsof-history.org/pdf/handbook_civil_affairs.pdf Recommended Special Forces reading from the episode:The Green Berets by Robin Moore:https://www.amazon.com/Green-Berets-Robin-Moore/dp/0312984928From OSS to Green Berets:https://www.amazon.com/Oss-Green-Berets-Special-Forces/dp/0891412719Dr. Sacquety is also the author of the book The OSS in Burma: Jungle War against the Japanese:https://us.amazon.com/OSS-Burma-against-Japanese-Studies/dp/0700619097/ref=tmm_hrd_swatch_0?_encoding=UTF8&qid=&sr= Army Special Operations Recruiting:SOF Recruiting Page (soc.mil)https://www.soc.mil/USASOCHQ/recruiting.html GoArmySOF Site:https://www.goarmysof.army.mil/ The Official Podcast of the United States Army Special Warfare Center and School!USAJFKSWCS selects and trains all Army Special Forces, Civil Affairs, and Psychological Operations soldiers. Please visit our website at: https://www.swcs.milBe sure to check us out and follow us at:https://www.facebook.com/jfkcenterandschoolhttps://www.instagram.com/u.s.armyswcs/https://www.youtube.com/c/USAJFKSWCS/videosPlease like, subscribe, and leave a review! If you enjoyed this, join the underground by sharing it with someone else. Word-of-mouth is how movements like this spread.

**THIS PODCAST CONTAINS FULL SPOILERS** Welcome to summer, listeners! Beat the heat with a new Film Is Lit episode, covering Robin Moore's 1969 true crime thriller “French Connection” and the 1971 movie of the same name. We're back at it! #TheFrenchConnection #WilliamFriedkin #RobinMoore #GeneHackman #RoyScheider #FilmisLitPod #FilmisLitPodcast #BestPictureWinner

Ron is "fed up" with just about everything, as the digital world has taken the romance out of living... Guests: Dr. Maya Feller and Dr. Robin Moore tell us that there are living organisms and entire ecosystems in your gut

Seit dem von der Hamas angeführten terroristischen Angriff auf Israel am 7. Oktober 2023 und der entsprechenden israelischen Reaktion haben die Spannungen im Nahen Osten stark zugenommen. Einer der Akteure, der in dieser schwierigen Lage zwischen allen Fronten steht, ist UNRWA, das Hilfswerk der Vereinten Nationen für Palästina-Flüchtlinge im Nahen Osten. Dieses wurde 1949 von der UN-Generalversammlung gegründet und hat den Auftrag die ca. 6 Millionen Palästina-Flüchtlinge in der Region zu unterstützen. Das Hilfswerk und dessen Mitarbeitende sind unmittelbar von der Gewalt vor Ort betroffen und werden von vielen Seiten angefeindet. Zuletzt hatte Israel schwere Vorwürfe erhoben und unterstellt, das Mitarbeitende von UNRWA die Terrororganisation Hamas sowie die Angriffe vom 07. Oktober unterstützen würde. Daraufhin richtete UN-Generalsekretär António Guterres eine Unabhängige Überprüfungsgruppe ein, die sich mit der Neutralität von UNRWA beschäftigte und inzwischen ihren Abschlussbericht vorgelegt hat. Mit Dr. René Wildangel sprechen wir über die Situation vor Ort, den sog. Colonna-Bericht und mögliche Szenarien für UNRWA und die Flüchtlinge in Palästina. Inhalte Die Arbeit von UNRWA und die Lage vor Ort Mögliche Alternativen zu UNRWA Die israelischen Vorwürfe im Angesicht der Erkenntnisse aus dem Colonna-Bericht  Israels Politik gegenüber UNRWA Zukunftsperspektiven für UNRWA, Israel und die Palästina-Flüchtlinge Links Abschlussbericht der Unabhängigen Überprüfungsgruppe zur Bewertung des Hilfswerks der Vereinten Nationen für Palästinaflüchtlinge (UNRWA) unter der Leitung der ehemaligen französischen Außenministerin Catherine Colonna vom 22. April 2024: https://www.un.org/en/situation-in-occupied-palestine-and-israel/allegations-against-unrwa-staff Richard Gowan von der International Crisis Group (ICG) in New York zur Frage, warum der Nahostkonflikt auch in den UN derart polarisiert: https://zeitschrift-vereinte-nationen.de/suche/zvn/artikel/zurueck-in-die-vergangenheit Robin Moore zum schwierigen Spagat von UNRWA: Einerseits ist es dem Schutz und der Unterstützung palästinensischer Flüchtlinge verpflichtet, andererseits muss es im Nahostkonflikt neutral bleiben: https://dgvn.de/meldung/unrwa-zwischen-zwei-welten Muriel Asseburg von der Stiftung Wissenschaft und Politik (SWP) in Berlin zur Rettung von UNRWA: https://zeitschrift-vereinte-nationen.de/suche/zvn/artikel/wer-hilft-dem-hilfswerk René Wildangel zu Hunger als Kriegswaffe: https://www.ipg-journal.de/regionen/naher-osten/artikel/hunger-als-kriegswaffe-7377/ René Wildangel zur prekären Lage von UNRWA: https://zeitschrift-vereinte-nationen.de/suche/zvn/artikel/ein-hilfswerk-braucht-hilfe UNRWA-FAQ: https://www.unrwa.org/de/Fragen_FAQ_zur_UNRWA Redaktion & Moderation: Steve Biedermann & Dr. Patrick Rosenow Post-Produktion: Steve Biedermann

Our work here on Living Waters for the past years have been miraculous. And in this episode, our clients share their healing story from the 10-Day Cleanse and  Healing Retreat.Timestamps: 01:34 - Intro02:20 - Brandy Wood's Story 07:54 - Jade Milligan's Story19:25 - Cindy Palmer's Story26:48 - Robin Moore's StorySupport the showReady for your healing journey?Visit our website: www.LivingWatersCleanse.com Or, give us a call at: (208) 378-9911Stem Cell Activation Patches:www.StemCellPatch.netGet your supplements and purifiers here:www.livingwaterscleanse.com/supplementsFollow us on our socials:Facebook: www.facebook.com/livingwaterswellnessInstagram: www.instagram.com/livingwaterswellness YouTube: www.youtube.com/livingwaterswellnesscenterBitChute: www.bitchute.com/livingwaterswellnessRumble: www.rumble.com/livingwatersIf you like this show, support us!Buy Me A Coffee: buymeacoffee.com/livingwaters

When Lillian Hang's parents immigrated to the United States from Laos in the late 1970s, they were already experienced farmers.  “It was one skill that they had coming to a ‘foreign land,' where they didn't know the language, they didn't know the culture, they didn't know the system,” she said. “It was the one thing mom and dad could do to provide for themselves.”Lillian Hang's family started out with backyard plantings of squash, green beans and corn. Then they expanded into growing in plots in the exurbs south of the Twin Cities and selling produce at the St. Paul Farmers' Market. They didn't earn a lot, but it was enough to pay for clothes or school books. But access to the land was precarious. They never knew if the landowner would renew the lease or sell the land to someone else.  From North Star Journey Live Growing diversity: The changing face of Minnesota farming “There's always a 50/50 chance that come the springtime, the land may not be there anymore,” Lillian Hang said. That uncertainty disappeared when the Hmong American Farmers Association closed on farmland just south of the Twin Cities in Dakota County last year. The more than 150 acres are home base for the organization and 20 families of Hmong farmers, providing some elders who came to the United States as refugees decades ago with the opportunity to plant seeds and literally put down roots on land they own.   ‘We can save ourselves'Land access has been an ongoing issue for farmers, especially those from diverse backgrounds, according to Robin Moore of the Land Stewardship Project, which advocates for sustainable agriculture. As it became harder for smaller farms to compete, surviving farms gobbled up their neighbors, leading to both land and wealth consolidation — mostly by white farmers.  “The face of farming has been primarily white, the idea of farmers has been primarily white, even though that's absolutely not true,” Moore said. “In the larger scale of things, it's just been financially less and less feasible to be a farmer of any kind, let alone a smaller scale farmer.”Hmong farmers in the last three decades have become an important part of the local food system in the state. The Minnesota Department of Agriculture found that about half the vendors at Twin Cities farmers' markets are of Hmong descent. But the principal operators of Minnesota farms are about 99 percent white.That's where the Hmong American Farmers Association (HAFA) came in. Co-founder and executive director Janssen Hang, Lillian's brother, said the initiative for the group was sparked at a meeting of non-profits and farmers more than a decade ago. “One farmer stood up and said, we need to stop waiting for people to save us and we can save ourselves,” Janssen Hang said. “That really led to the inception of HAFA.” HAFA formed in 2011 as a collection of Hmong farmers, most of whom sold at farmers markets. They noticed Hmong farmers were often at a disadvantage when dealing with agencies like the U.S. Department of Agriculture, banks or even local landowners, who would often hike up the rents for Hmong farmers. Janssen Hang said it was clear that farmers needed to band together.  “We know that you can't just stress land and have produce to grow but not have a market,” he said. “You can't just focus on land and market but not have access to credit and capital so that you can improve your farm operation. It's that whole cycle that needs to be addressed simultaneously.” Other efforts are being made to help diversify farming in the state, the Minnesota Department of Agriculture has a new Office of Emerging Farmers, which is tasked with helping farmers who have traditionally faced barriers in farming. The office got a $1.5 million boost in the last legislative session and took applications for hundreds of thousands of dollars in grants for farmers to get technical help or subsidies for crop insurance. “As commissioner, I saw the opportunity to open our programs to all farmers who maybe don't look like me, because I think we have a real thriving and changing demographic in Minnesota,” Commissioner Thom Petersen said. “Our Latino population is growing, our Somali population, our Hmong population and that provides a lot of opportunities, very agrarian in nature because, ultimately, one of my goals is to always have more farmers.”  HAFA has worked closely with partners, including the Minnesota Department of Agriculture. Petersen said their project is a great example of the success that farmers with diverse approaches can have. “I do this too when I see a farmer, ‘Oh how big is your farm? How many cows do you have? How many acres do you have?'” Petersen said. “That's not always representative of what's done there — it's amazing the volume that farmers can grow on small acreages.” Working the farmIn 2014, an anonymous benefactor with a ten-year lease on the farmland offered it to HAFA. The farmers in HAFA each claimed plots of five or ten acres, and staff started working to set up the day-to-day operations of the farm, with an eye towards the ultimate goal of buying the land. If you drive south from the Twin Cities, the geography of big box stores and fast-food chains gives way to field after field of commodity crops like corn. But on Highway 52, in the township of Vermillion, there's a blink-and-you'll-miss-it break in the scenery as little red sheds dot the landscape, and farmers on foot go about their daily tasks. Walking into the plots, you'll see flowers for cut bouquets, high tunnels with rows of trellised heirloom tomatoes and even more obscure fruits like ground cherries, with the fruit tucked away in papery husks.Janssen Hang said the 10 HAFA staffers see their job as supporting the about 100 farmers who work on site. They help with everything from organizing agricultural trainings to providing a pool of shared equipment like potato planters and eco weeders. HAFA staff even demonstrate new farming techniques for sometimes skeptical farmers, including an analysis of costs associated with growing heirloom tomatoes in a high tunnel. Farmers were wary of spending $10,000 just to buy each tunnel, but Janssen Hang said they set up a tunnel and showed farmers that one season could bring in enough extra produce to pay for the costs of the tunnels plus some.  “The whole cooperative model is to help reduce the risk to farmers,” Janssen Hang said.  HAFA also helps farmers connect with new markets, including through a Community Sustained Agriculture program they run, test the soil and provide areas to wash and clean produce up to the required standards.The goal, Janssen Hang said, is to give these small farmers the support and resources they need to make a go of it in a state where the average farm size is more than 370 acres, according to the most recent U.S. Department of Agriculture numbers. They focus on mixed-vegetable production, most of which is done by hand, because they want to farm more sustainably than big farmers, who plant just one or two crops. Farmers at HAFA now grow about 160 varieties of crops on the land.  “You have fruits, you have vegetables, you have corn, you have beans, you have flowers,” Janssen Hang said. “It's about that biodiversity, so what we're trying to create here is an agro-ecological environment.”Moore of the Land Stewardship Project said groups like HAFA, and Hmong farmers in general, have been at the forefront of showing that more diverse farming, which supports pollinators and even native plants, can be successful.  In 2020, after working with allies at the State Capitol, HAFA was allotted $2 million to help the organization buy the land. They closed on the deal last September, which Janssen Hang said was a historic moment for “all immigrant and minorities across the United States to have the very first Hmong-owned nonprofit, collective farm.” The HAFA farm wasn't always an easy fit in mostly white Dakota County. Early on, HAFA farmers had a fence they built cut through during the night. Someone else painted swastikas on their garage. Some township officials seemed to show special interest in any perceived infractions by the farmers, although Janssen Hang said the “intensity” of their attention has diminished over the years. “They are supportive about the preservation of agriculture. Would I say that they have been very supportive from the very beginning?” he said. “No, they weren't.” After HAFA closed on the land, they found out that the Minnesota Department of Transportation decided to renovate the highway that bisects the HAFA land, eating into farmland and making it difficult for farmers to cross without a long detour or a sprint across the busy highway. They again took the issue to the Legislature, which allotted $2 million to the Minnesota Department of Transportation to build a box culvert that would allow farmers to safely cross or transport equipment like tractors. A spokesperson for the Minnesota Department of Transportation said they don't yet have a schedule for construction of the culvert, but look forward to working with HAFA on the details. Other plans to build an interchange that would have encroached on HAFA land was abandoned by Dakota County after opposition from HAFA and their allies, including the Minnesota Center for Environmental Advocacy (MCEA), which described the highway expansion as an issue of environmental justice. “Communities of color have traditionally carried the burden of road construction,” said MCEA attorney Evan Mulholland. “A preliminary look at the history of the highway development in Minneapolis and St. Paul and most other cities in the country, it's really striking how that happened — and it's not stopping.” Growing community at the farmJanssen Hang said owning the farm has changed how the farmers thought about themselves. They could now plant more perennials. Work on the soil. Make plans for the future.  The first generation of farmers is in their mid-60s. Ten years ago, Janssen Hang said the older generation thought farmwork was too hard for their children raised and educated in the United States. But after they bought the land, that changed for some, who now saw a future for their children or grandchildren in farming. “To me at the end of the day, having this conversation, I was like wow. This is what wealth is,” Janssen Hang said. “This is what intergenerational wealth is.”As a child, Lillian Hang, Janssen's sister, detested farming. While most of her classmates enjoyed summer breaks from school, she and her siblings were expected to wake up early to help their parents plant, weed or sell produce at farmers markets.   “Ask any Hmong kid and, man, no one liked it,” she said. “Half the time you are kind of embarrassed that you had to do it.”But decades later, Lillian Hang said it's grown on her. She said it's a bit symbolic that people who came to the United States as landless refugees are now putting down roots on their own land. “The whole purpose of us working so hard and studying so hard is so that we wouldn't have to farm,” she said. “Then ten, twenty years later we realized the importance of farming, not just bringing the extra income for the family, but the community that's built at the farm, the intergenerational community with the grandparents and kids.”Lillian Hang's mother passed away last year. Now, Lillian Hang brings her own kids, 9 and 11, to help her father with the physical labor. She said they're master kale washers.“I noticed from the way he interacts with my kids that he's teaching more,” she said. “‘This is how you plant the garlic, this is the best way to bundle kale. So he's really teaching us and sharing that knowledge and making sure that that knowledge and those experiences continue beyond him.” Judy Yang has been with HAFA since the beginning and said through a translator that owning the land has changed her life. Yang's son now hopes to follow in her footsteps: “My plan is and their plan is, they will stay a long time.” Corrections: (Sept. 15, 2023): An earlier version of the story misspelled the last name of Minnesota Agriculture Commissioner Thom Petersen and misidentified Highway 52 in a photo caption.

This week on The Leave Your Legacy Podcast, we have a special guest who is an expert in brand marketing and storytelling. She is the founder and CEO of Elevate With Robin, a full-service brand marketing agency that helps businesses create powerful brand identities that resonate with their audience. She is also a certified coach and speaker who loves to inspire and empower others to elevate their brands and businesses. She is April Robin Moore, and she is here to share her insights and tips on how to develop a purpose-driven brand identity that will help you stand out from the crowd and leave your legacy. Tune in to this episode to learn how to craft your brand story, connect deeply with your target audience, and achieve sustainable growth for your business. You don't want to miss this amazing conversation with April Robin Moore, the brand marketing guru who will help you elevate your brand and leave your legacy.

How much will a viewer tolerate? What if you took away all the quick and easy ways in which movies dole out information? What if you made the hero less-than-wholly-admirable and the villain less-than-wholly-terrible? Would audiences still come along for the ride in that brown Le Mans with Popeye Doyle as he tries to catch the sniper who missed him? William Friedkin bet that they would--and won. Join us for a conversation about The French Connection, the classic 1971 police procedural. Topics include the chase, of course, but also the ways in which Popeye Doyle is not Dirty Harry, how the film's perfect structure allows the viewers to go through a process along with the detectives, and how Popeye resembles a great literary figure from a novel that also ends in a thrilling chase. William Friedkin's memoir, The Friedkin Connection, is an engaging read and includes much about the making of The French Connection. Robin Moore's original book that inspired the film—which Friedkin claimed to never have finished reading—can be found here. Follow us on Twitter or Letterboxd. Incredible bumper music by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

How much will a viewer tolerate? What if you took away all the quick and easy ways in which movies dole out information? What if you made the hero less-than-wholly-admirable and the villain less-than-wholly-terrible? Would audiences still come along for the ride in that brown Le Mans with Popeye Doyle as he tries to catch the sniper who missed him? William Friedkin bet that they would--and won. Join us for a conversation about The French Connection, the classic 1971 police procedural. Topics include the chase, of course, but also the ways in which Popeye Doyle is not Dirty Harry, how the film's perfect structure allows the viewers to go through a process along with the detectives, and how Popeye resembles a great literary figure from a novel that also ends in a thrilling chase. William Friedkin's memoir, The Friedkin Connection, is an engaging read and includes much about the making of The French Connection. Robin Moore's original book that inspired the film—which Friedkin claimed to never have finished reading—can be found here. Follow us on Twitter or Letterboxd. Incredible bumper music by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices

How much will a viewer tolerate? What if you took away all the quick and easy ways in which movies dole out information? What if you made the hero less-than-wholly-admirable and the villain less-than-wholly-terrible? Would audiences still come along for the ride in that brown Le Mans with Popeye Doyle as he tries to catch the sniper who missed him? William Friedkin bet that they would--and won. Join us for a conversation about The French Connection, the classic 1971 police procedural. Topics include the chase, of course, but also the ways in which Popeye Doyle is not Dirty Harry, how the film's perfect structure allows the viewers to go through a process along with the detectives, and how Popeye resembles a great literary figure from a novel that also ends in a thrilling chase. William Friedkin's memoir, The Friedkin Connection, is an engaging read and includes much about the making of The French Connection. Robin Moore's original book that inspired the film—which Friedkin claimed to never have finished reading—can be found here. Follow us on Twitter or Letterboxd. Incredible bumper music by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Bienvenidos a Podcastwood. El hogar de las estrellas, el podcast sobre los pilares del cine y donde solo las películas consideradas como obras maestras del séptimo arte son analizadas e invitadas a esta selecta hora de la podcastfera cinéfila española. 1️⃣✖1️⃣2️⃣ | THE FRENCH CONNECTION Dirigida por William Friedkin y protagonizada por Gene Hackman y Roy Scheider, nos presenta a Jimmy Doyle y Buddy Rosso dos policías neoyorquinos que siguen la pista de una red de traficantes de drogas. El guión, obra de Ernest Tidyman, adapta la novela de Robin Moore. Don Ellis pone la banda sonora, mientras que la fotografía, importantísima en este film debido a la dificultad de rodaje de las escenas de persecución, estuvo en manos de Owen Roizman. ¿Sabías que Doyle y Rosso están inspirados en personajes reales?. ¿Conoces los problemas de rodaje de la mítica escena de la persecución?. ¿Cuánta realidad hay en el trabajo policial que se ve en la película?. ¿Es Popeye Doyle realmente un héroe? Camina junto a Fran Maestra y Gonzalo Cuélliga por El Paseo de la Fama escuchando este podcast de cine clásico que homenajea a The French Connection. SECCIONES ▪️ Contexto ▪️ Las inspiraciones para Doyle y Rosso ▪️ Qué salió mal durante la persecución ▪️ Trabajo policial: realidad vs ficción ▪️ ¿Es Popeye Doyle realmente un héroe? ➖➖➖➖➖➖➖➖➖➖➖➖ LISTA DE PELÍCULAS CITADAS EN EL PROGRAMA: https://letterboxd.com/podcastwood/list/1x12-podcastwood-the-french-connection/ ➖➖➖➖➖➖➖➖➖➖➖➖ ⭐ ÚNETE AL PASEO DE LA FAMA DE PODCASTWOOD Si te gusta Podcastwood y quieres ayudarnos a seguir progresando con este proyecto convertirte en fan y parte de nuestra comunidad activando el botón "APOYAR" en ivoox. Con ello recibirás las siguientes ventajas: ▪️ Acceso al grupo privado de Telegram de Podcastwood ▪️ Acceso en ivoox a los programas exclusivos para fans ▪️ Capacidad para elegir contenidos para los programas exclusivos para fans ▪️ Enlaces privados para asistir a las grabaciones de los programas para fans ▪️ Críticas semanales de los estrenos de la semana en salas y/o servicios de streaming Comparte día a día tu pasión por el cine junto a nosotros y otros amigos cinéfilos enamorados del séptimo arte. Acomódate, ¡te estábamos esperando! ➖➖➖➖➖➖➖➖➖➖➖➖ SÍGUENOS EN TWITTER: @podcastwood @fran_maestra @gcuelliga INSTAGRAM: podcastwood BLOGGER: podcastwood.blogspot.com ✉ CONTACTANOS EN podcastwoodmail@gmail.com ➖➖➖➖➖➖➖➖➖➖➖➖ DISFRUTA DE LA BSO DE PODCASTWOOD EN SPOTIFY: https://open.spotify.com/playlist/2FYBsPmqMxvs9gtgrUtQ62 ➖➖➖➖➖➖➖➖➖➖➖➖ CREW ▪️Producción: Fran Maestra y Gonzalo Cuélliga ▪️ Redacción: Fran Maestra y Gonzalo Cuélliga ▪️ Sonido y grafismo: Fran Maestra ▪️ Entorno digital: Gonzalo Cuélliga ▪️ Conducción: Fran Maestra y Gonzalo Cuélliga ▪️ Locución: Marta Navas Podcastwood | 2023

This week, we are joined by Robin Moore, Head of Research at HM Inspectorate of Probation, and Tammie Burroughs, Community Sentence Management (CSM) Team, HM Prison and Probation Service!  Often times, it is not so much that the research does not exist, but rather, that we need to do a better job connecting the research to every day practice.  Robin and Tammie share their experience with this phenomenon, up to and including the great work they have done with the Academic Insights publication.    Check out the valuable links below to some of the research and resources cited in this episode! HM Inspectorate Research team!! HM Inspectorate of Probation's "Academic Insights" journal HM Inspectorate of Probation's "Effective Practice" paper Desistance related articles The Criminologist You Tube channel    

We have one mind that plays two roles in the direction of our lives. Join me for a powerful conversation with Dr. Robin Moore-Chambers, PhD, LPC, licensed counselor psychologist, on how we can live a successful, joyous, and awakening life once we understand how the subconscious mind works EVERYDAY for us. Watch Here! https://youtu.be/SPTMJacnO8Y

Rebecca is joined by Cuban music scholar Robin Moore to delve into the long and deep history of the Cuban danzón, including its links with American jazz, the ways it was initially denigrated as too "African" by elites, how it was eventually fused with other Cuban popular music genres, and how it came to be one of the most beloved genres in Mexico. Songs played in the episode: El SungambeloLas Alturas de SimpsonCampoamor, Frank Emilio FlynnLa Patti Negra, Orquesta Pablo ValenzuelaEl bombín de BarretoAlmendra, Abelardo ValdésRecordando Veracruz, Alejandro CardonaMi gran pasión, Gonzalo RubalcabaSupport the showIf you like this podcast, please subscribe and give us a 5-star rating on Apple PodcastsFollow The Clave Chronicles on Twitter, Instagram, and Facebook @clavechronicleshttps://theclavechronicles.buzzsprout.comIntro and outro music: "Bengo Latino," Jimmy Fontanez/Media Right Productions

 At the time of this recording I at a hotel in LaGrange Kentucky with the board members of Kentucky Association for Play Therapy.  I am so inspired by their passion for Play, dedication to helping others, and pure kindness for humanity.  If you'd like to learn more about them visit http://kyapt.org/ If you'd like to learn more about Play Therapy visit https://www.a4pt.org/? Visit www.playtherapycommunity.com for more of Jackie Flynn

We have one mind that plays two roles in the direction of our lives. Join me for a powerful conversation with Dr. Robin Moore-Chambers, PhD, LPC, licensed counselor psychologist, on how we can live a successful, joyous, and awakening life once we understand how the subconscious mind works EVERYDAY for us. Watch LIVE on FB! Click Here!

Robin Moore, guide and member of the college of interpreters for Liverpool Cathedral, gives James Shillinglaw of Insider Travel Report a tour of this iconic building, which is indeed the largest cathedral in England with some unique features. The cathedral also is a working religious building with daily services, choral music, concerts, dinners and even a café. It's one of great cultural attractions in Liverpool, one of the destinations we visited on a recent VisitBritain fam trip. For more information, visit www.liverpoolcathedral.org.uk. If interested, the original video of this podcast can be found on the Insider Travel Report Youtube channel or by searching for the podcast's title on Youtube.

Wil'Lani and Tori return with their first True Crime Thursdays episode since before summer library programs! They update us on their adventures over the summer and what's new at the library since the podcast's hiatus. Then, they dust off their memories to talk about the true crime books they read and found fascinating. The resources discussed in this episode are listed below: Columbus-Lowndes Public Library System Teenker Space Fast Pass program; Mississippi Mud: Southern Justice and the Dixie Mafia by Edward Humes; Southern Fried True Crime podcast episode; The Happy Hooker: My Own Story by Xaviera Hollander, Robin Moore, and Yvonne Dunleavy; The Happy Hooker Goes to Hollywood movie; The Happy Hooker Goes to Washington movie; The Innocence by Ace Atkins;

(keywords) (slightly edited version) Retreat, good fortune, struggling, suicide, hopelessness, faith, overwhelmed, actuality, conventional religion, indictment, Tan Somdet Payutto Bhikkhu, Robin Moore, Dependent Origination, sorrow, lamentation, pain grief, despair, joy, liberation, integrity, wise reflection, purification, rationality, rituals, symbols, overshadows, arrogance, conceit, Lake District, Cumbria, poetry, heart matters, dagger, swatting a fly away, añjali, hongi, bowing, ‘whatever', Platinum Jubilee, monarchy, Cromwell, republic, unity, secularism, intolerable, unendurable, according, harmonious.

Episode 144 of A History of Rock Music in Five Hundred Songs looks at “Last Train to Clarksville" and the beginnings of the career of the Monkees, along with a short primer on the origins of the Vietnam War.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a seventeen-minute bonus episode available, on "These Boots Are Made For Walking" by Nancy Sinatra, which I mispronounce at the end of this episode as "These Boots Were Made For Walking", so no need to correct me here. 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 As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. The best versions of the Monkees albums are the triple-CD super-deluxe versions that used to be available from monkees.com , and I've used Andrew Sandoval's liner notes for them extensively in this episode. Sadly, though, the only one of those that is still in print is More of the Monkees. For those just getting into the group, my advice is to start with this five-CD set, which contains their first five albums along with bonus tracks. The single biggest source of information I used in this episode is the first edition of Andrew Sandoval's The Monkees; The Day-By-Day Story. Sadly that is now out of print and goes for hundreds of pounds. Sandoval released a second edition of the book last year, which I was unfortunately unable to obtain, but that too is now out of print. If you can find a copy of either, do get one. Other sources used were Monkee Business by Eric Lefcowitz, and the autobiographies of three of the band members and one of the songwriters -- Infinite Tuesday by Michael Nesmith, They Made a Monkee Out of Me by Davy Jones, I'm a Believer by Micky Dolenz, and Psychedelic Bubble-Gum by Bobby Hart. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've obviously talked in this podcast about several of the biggest hits of 1966 already, but we haven't mentioned the biggest hit of the year, one of the strangest records ever to make number one in the US -- "The Ballad of the Green Berets" by Sgt Barry Sadler: [Excerpt: Barry Sadler, "The Ballad of the Green Berets"] Barry Sadler was an altogether odd man, and just as a brief warning his story, which will last a minute or so, involves gun violence. At the time he wrote and recorded that song, he was on active duty in the military -- he was a combat medic who'd been fighting in the Vietnam War when he'd got a wound that had meant he had to be shipped back to the USA, and while at Fort Bragg he decided to write and record a song about his experiences, with the help of Robin Moore, a right-wing author of military books, both fiction and nonfiction, who wrote the books on which the films The Green Berets and The French Connection were based. Sadler's record became one of those massive fluke hits, selling over nine million copies and getting him appearances on the Ed Sullivan Show, but other than one top thirty hit, he never had another hit single. Instead, he tried and failed to have a TV career, then became a writer of pulp fiction himself, writing a series of twenty-one novels about the centurion who thrust his spear into Jesus' side when Jesus was being crucified, and is thus cursed to be a soldier until the second coming. He moved to Nashville, Tennessee, where he lived until he shot Lee Emerson, a country songwriter who had written songs for Marty Robbins, in the head, killing him, in an argument over a woman. He was sentenced to thirty days in jail for this misdemeanour, of which he served twenty-eight. Later he moved to Guatemala City, where he was himself shot in the head. The nearest Army base to Nashville, where Sadler lived after his discharge, is Fort Campbell, in Clarksville: [Excerpt: The Monkees, "Last Train to Clarksville"] The Vietnam War was a long and complicated war, one which affected nearly everything we're going to see in the next year or so of this podcast, and we're going to talk about it a lot, so it's worth giving a little bit of background here. In doing so, I'm going to use quite a flippant tone, but I want to make it clear that I'm not mocking the very real horrors that people suffered in the wars I'm talking about -- it's just that to sum up multiple decades of unimaginable horrors in a few sentences requires glossing over so much that you have to either laugh or cry. The origin of the Vietnam War, as in so many things in twentieth century history, can be found in European colonialism. France had invaded much of Southeast Asia in the mid-to-late nineteenth century, and created a territory known as French Indo-China, which became part of the French colonial Empire. But in 1940 France was taken over by Germany, and Japan was at war with China. Germany and Japan were allies, and the Japanese were worried that French Indo-China would be used to import fuel and arms to China -- plus, they quite fancied the idea of having a Japanese empire. So Vichy France let Japan take control of French Indo-China. But of course the *reason* that France had been taken over by Germany was that pretty much the whole world was at war in 1940, and obviously the countries that were fighting Germany and Japan -- the bloc led by Britain, soon to be joined by America and Russia -- weren't very keen on the idea of Japan getting more territory. But they were also busy with the whole "fighting a world war" thing, so they did what governments in this situation always do -- they funded local guerilla insurgent fighters on the basis that "my enemy's enemy is my friend", something that has luckily never had any negative consequences whatsoever, except for occasionally. Those local guerilla fighters were an anti-imperialist popular front, the Việt Minh, led by Hồ Chí Minh, a revolutionary Communist. They were dedicated to overthrowing foreign imperialist occupiers and gaining independence for Vietnam, and Hồ Chí Minh further wanted to establish a Soviet-style Communist government in the newly-independent country. The Allies funded the Việt Minh in their fight against the Japanese occupiers until the end of the Second World War, at which point France was liberated from German occupation, Vietnam was liberated from Japanese occupation, and the French basically said "Hooray! We get our Empire back!", to which Hồ Chí Minh's response was, more or less, "what part of anti-imperialist Marxist dedicated to overthrowing foreign occupation of Vietnam did you not understand, exactly?" Obviously, the French weren't best pleased with this, and so began what was the first of a series of wars in the region. The First Indochina War lasted for years and ended in a negotiated peace of a sort. Of course, this led to the favoured tactic of the time, partition -- splitting a formerly-occupied country into two, at an arbitrary dividing line, a tactic which was notably successful in securing peace everywhere it was tried. Apart from Ireland, India, Korea, and a few other places, but surely it wouldn't be a problem in Vietnam, right? North Vietnam was controlled by the Communists, led by Hồ Chí Minh, and recognised by China and the USSR but not by the Western states. South Vietnam was nominally independent but led by the former puppet emperor who owed his position to France, soon replaced by a right-wing dictatorship. And both the right-wing dictatorship and the left-wing dictatorship were soon busily oppressing their own citizens and funding military opposition groups in the other country. This soon escalated into full-blown war, with the North backed by China and Russia and the South backed by America. This was one of a whole series of wars in small countries which were really proxy wars between the two major powers, the USA and the USSR, both of which were vying for control, but which couldn't confront each other directly because either country had enough nuclear weapons to destroy the whole world multiple times over. But the Vietnam War quickly became more than a small proxy war. The US started sending its own troops over, and more and more of them. The US had never ended the draft after World War II, and by the mid sixties significant numbers of young men were being called up and sent over to fight in a war that had by that point lasted a decade (depending on exactly when you count the war as starting from) between two countries they didn't care about, over things few of them understood, and at an exorbitant cost in lives. As you might imagine, this started to become unpopular among those likely to be drafted, and as the people most affected (other, of course, than the Vietnamese people, whose opinions on being bombed and shot at by foreigners supporting one of other of the dictators vying to rule over them nobody else was much interested in) were also of the generation who were the main audience for popular music, slowly this started to seep into the lyrics of songs -- a seepage which had already been prompted by the appearance in the folk and soul worlds of many songs against other horrors, like segregation. This started to hit the pop charts with songs like "The Universal Soldier" by Buffy Saint-Marie, which made the UK top five in a version by Donovan: [Excerpt: Donovan, "The Universal Soldier"] That charted in the lower regions of the US charts, and a cover version by Glen Campbell did slightly better: [Excerpt: Glen Campbell, "The Universal Soldier"] That was even though Campbell himself was a supporter of the war in Vietnam, and rather pro-military. Meanwhile, as we've seen a couple of times, Jan Berry of Jan and Dean recorded a pro-war answer song to that, "The Universal Coward": [Excerpt: Jan Berry, "The Universal Coward"] This, of course, was even though Berry was himself avoiding the draft. And I've not been able to find the credits for that track, but Glen Campbell regularly played guitar on Berry's sessions, so it's entirely possible that he played guitar on that record made by a coward, attacking his own record, which he disagreed with, for its cowardice. This is, of course, what happens when popular culture tries to engage with social and political issues -- pop culture is motivated by money, not ideological consistency, and so if there's money to be made from anti-war songs or from pro-war songs, someone will take that money. And so on October the ninth 1965, Billboard magazine ran a report: "Colpix Enters Protest Field HOLLYWOOD -Colpix has secured its first protest lyric disk, "The Willing Conscript,"as General Manager Bud Katzel initiates relationships with independent producers. The single features Lauren St. Davis. Katzel says the song was written during the Civil War, rewritten during World War I and most recently updated by Bob Krasnow and Sam Ashe. Screen Gems Music, the company's publishing wing, is tracing the song's history, Katzel said. Katzel's second single is "(You Got the Gamma Goochee" by an artist with that unusual stage name. The record is a Screen Gems production and was in the house when Katzel arrived one month ago. The executive said he was expressly looking for material for two contract artists, David Jones and Hoyt Axton. The company is also working on getting Axton a role in a television series, "Camp Runamuck." " To unpack this a little, Colpix was a record label, owned by Columbia Pictures, and we talked about that a little bit in the episode on "The Loco-Motion" -- the film and TV companies were getting into music, and Columbia had recently bought up Don Kirshner's Aldon publishing and Dimension Records as part of their strategy of tying in music with their TV shows. This is a company trying desperately to jump on a bandwagon -- Colpix at this time was not exactly having huge amounts of success with its records. Hoyt Axton, meanwhile, was a successful country singer and songwriter. We met his mother many episodes back -- Mae Axton was the writer of "Heartbreak Hotel". Axton himself is now best known as the dad in the 80s film Gremlins. David Jones will be coming up shortly. Bob Krasnow and Sam Ashe were record executives then at Kama Sutra records, but soon to move on -- we'll be hearing about Krasnow more in future episodes. Neither of them were songwriters, and while I have no real reason to disbelieve the claim that "The Willing Conscript" dates back to the Civil War, the earliest version *I* have been able to track down was its publication in issue 28 of Broadside Magazine in June 1963 -- nearly a hundred years after the American Civil War -- with the credit "by Tom Paxton" -- Paxton was a popular singer-songwriter of the time, and it certainly sounds like his writing. The first recording of it I know of was by Pete Seeger: [Excerpt: Pete Seeger, "The Willing Conscript"] But the odd thing is that by the time this was printed, the single had already been released the previous month, and it was not released under the name Lauren St Davis, or under the title "The Willing Conscript" -- there are precisely two differences between the song copyrighted as by Krasnow and Ashe and the one copyrighted two years earlier as by Paxton. One is that verses three and four are swapped round, the other is that it's now titled "The New Recruit". And presumably because they realised that the pseudonym "Lauren St. Davis" was trying just a bit too hard to sound cool and drug culture, they reverted to another stage name the performer had been using, Michael Blessing: [Excerpt: Michael Blessing, "The New Recruit"] Blessing's name was actually Michael Nesmith, and before we go any further, yes his mother, Bette Nesmith Graham, did invent the product that later became marketed in the US as Liquid Paper. At this time, though, that company wasn't anywhere near as successful as it later became, and was still a tiny company. I only mention it to forestall the ten thousand comments and tweets I would otherwise get asking why I didn't mention it. In Nesmith's autobiography, while he talks a lot about his mother, he barely mentions her business and says he was uninterested in it -- he talks far more about the love of art she instilled in him, as well as her interest in the deep questions of philosophy and religion, to which in her case and his they found answers in Christian Science, but both were interested in conversations about ideas, in a way that few other people in Nesmith's early environment were. Nesmith's mother was also responsible for his music career. He had spent two years in the Air Force in his late teens, and the year he got out, his mother and stepfather bought him a guitar for Christmas, after he was inspired by seeing Hoyt Axton performing live and thinking he could do that himself: [Excerpt: Hoyt Axton, "Greenback Dollar"] As he put it in his autobiography, "What did it matter that I couldn't play the guitar, couldn't sing very well, and didn't know any folk songs? I would be going to college and hanging out at the student union with pretty girls and singing folk songs. They would like me. I might even figure out a way to get a cool car." This is, of course, the thought process that pretty much every young man to pick up a guitar goes through, but Nesmith was more dedicated than most. He gave his first performance as a folk singer ten days after he first got a guitar, after practising the few chords in most folk songs for twelve hours a day every day in that time. He soon started performing as a folk singer, performing around Dallas both on his own and with his friend John London, performing the standard folk repertoire of Woody Guthrie and Lead Belly songs, things like "Pick a Bale of Cotton": [Excerpt: Michael Nesmith, "Pick a Bale of Cotton"] He also started writing his own songs, and put out a vanity record of one of them in 1963: [Excerpt: Mike Nesmith, "Wanderin'"] London moved to California, and Nesmith soon followed, with his first wife Phyllis and their son Christian. There Nesmith and London had the good fortune to be neighbours with someone who was a business associate of Frankie Laine, and they were signed to Laine's management company as a folk duo. However, Nesmith's real love was rock and roll, especially the heavier R&B end of the genre -- he was particularly inspired by Bo Diddley, and would always credit seeing Diddley live as a teenager as being his biggest musical influence. Soon Nesmith and London had formed a folk-rock trio with their friend Bill Sleeper. As Mike & John & Bill, they put out a single, "How Can You Kiss Me?", written by Nesmith: [Excerpt: Mike & John & Bill, "How Can You Kiss Me?"] They also recorded more of Nesmith's songs, like "All the King's Horses": [Excerpt: Mike & John & Bill, "All the King's Horses"] But that was left unreleased, as Bill was drafted, and Nesmith and London soon found themselves in The Survivors, one of several big folk groups run by Randy Sparks, the founder of the New Christie Minstrels. Nesmith was also writing songs throughout 1964 and 1965, and a few of those songs would be recorded by other people in 1966, like "Different Drum", which was recorded by the bluegrass band The Greenbriar Boys: [Excerpt: The Greenbriar Boys, "Different Drum"] That would more successfully be recorded by the Stone Poneys later of course. And Nesmith's "Mary Mary" was also picked up by the Paul Butterfield Blues Band: [Excerpt: The Paul Butterfield Blues Band, "Mary Mary"] But while Nesmith had written these songs by late 1965, he wasn't able to record them himself. He was signed by Bob Krasnow, who insisted he change his name to Michael Blessing, and recorded two singles for Colpix -- "The New Recruit", which we heard earlier, and a version of Buffy Saint-Marie's "Until It's Time For You To Go", sung in a high tenor range very far from Nesmith's normal singing voice: [Excerpt: Michael Blessing, "Until It's Time For You To Go"] But to my mind by far the best thing Nesmith recorded in this period is the unissued third Michael Blessing single, where Nesmith seems to have been given a chance to make the record he really wanted to make. The B-side, a version of Allen Toussaint's swamp-rocker "Get Out of My Life, Woman", is merely a quite good version of the song, but the A-side, a version of his idol Bo Diddley's classic "Who Do You Love?" is utterly extraordinary, and it's astonishing that it was never released at the time: [Excerpt: Michael Blessing, "Who Do You Love?"] But the Michael Blessing records did no better than anything else Colpix were putting out. Indeed, the only record they got onto the hot one hundred at all in a three and a half year period was a single by one David Jones, which reached the heady heights of number ninety-eight: [Excerpt: David Jones, "What Are We Going to Do?"] Jones had been brought up in extreme poverty in Openshaw in Manchester, but had been encouraged by his mother, who died when he was fourteen, to go into acting. He'd had a few parts on local radio, and had appeared as a child actor on TV shows made in Manchester, like appearing in the long-running soap opera Coronation Street (still on today) as Ena Sharples' grandson Colin: [Excerpt: Coronation St https://www.youtube.com/watch?v=5FDEvOs1imc , 13:30] He also had small roles in Z-Cars and Bill Naughton's TV play "June Evening", and a larger role in Keith Waterhouse's radio play "There is a Happy Land". But when he left school, he decided he was going to become a jockey rather than an actor -- he was always athletic, he loved horses, and he was short -- I've seen his height variously cited as five foot three and five foot four. But it turned out that the owner of the stables in which he was training had showbusiness connections, and got him the audition that changed his life, for the part of the Artful Dodger in Lionel Bart's West End musical Oliver! We've encountered Lionel Bart before a couple of times, but if you don't remember him, he was the songwriter who co-wrote Tommy Steele's hits, and who wrote "Living Doll" for Cliff Richard. He also discovered both Steele and Marty Wilde, and was one of the major figures in early British rock and roll. But after the Tommy Steele records, he'd turned his attention to stage musicals, writing book, music, and lyrics for a string of hits, and more-or-less singlehandedly inventing the modern British stage musical form -- something Andrew Lloyd Webber, for example, always credits him with. Oliver!, based on Oliver Twist, was his biggest success, and they were looking for a new Artful Dodger. This was *the* best role for a teenage boy in the UK at the time -- later performers to take the role on the London stage include Steve Marriott and Phil Collins, both of whom we'll no doubt encounter in future episodes -- and Jones got the job, although they were a bit worried at first about his Manchester vowels. He assured them though that he could learn to do a Cockney accent, and they took him on. Jones not having a natural Cockney accent ended up doing him the biggest favour of his career. While he could put on a relatively convincing one, he articulated quite carefully because it wasn't his natural accent. And so when the North American version found  in previews that their real Cockney Dodger wasn't being understood perfectly, the fake Cockney Jones was brought over to join the show on Broadway, and was there from opening night on. On February the ninth, 1964, Jones found himself, as part of the Broadway cast of Oliver!, on the Ed Sullivan Show: [Excerpt: Davy Jones and Georgia Brown, "I'd Do Anything"] That same night, there were some other British people, who got a little bit more attention than Jones did: [Excerpt: The Beatles, "I Want to Hold Your Hand (live on Ed Sullivan)"] Davy Jones wasn't a particular fan of pop music at that point, but he knew he liked what he saw, and he wanted some of the same reaction. Shortly after this, Jones was picked up for management by Ward Sylvester, of Columbia Pictures, who was going to groom Jones for stardom. Jones continued in Oliver! for a while, and also had a brief run in a touring version of Pickwick, another musical based on a Dickens novel, this time starring Harry Secombe, the British comedian and singer who had made his name with the Goon Show. Jones' first single, "Dream Girl", came out in early 1965: [Excerpt: Davy Jones, "Dream Girl"] It was unsuccessful, as was his one album, David Jones, which seemed to be aiming at the teen idol market, but failing miserably. The second single, "What Are  We Going to Do?" did make the very lowest regions of the Hot One Hundred, but the rest of the album was mostly attempts to sound a bit like Herman's Hermits -- a band whose lead singer, coincidentally, also came from Manchester, had appeared in Coronation Street, and was performing with a fake Cockney accent. Herman's Hermits had had a massive US hit with the old music hall song "I'm Henry VIII I Am": [Excerpt: Herman's Hermits, "I'm Henry VIII I Am"] So of course Davy had his own old music-hall song, "Any Old Iron": [Excerpt: Davy Jones, "Any Old Iron"] Also, the Turtles had recently had a hit with a folk-rock version of Dylan's "It Ain't Me Babe", and Davy cut his own version of their arrangement, in the one concession to rock music on the album: [Excerpt: Davy Jones, "It Ain't Me Babe"] The album was, unsurprisingly, completely unsuccessful, but Ward Sylvester was not disheartened. He had the perfect job for a young British teen idol who could sing and act. The Monkees was the brainchild of two young TV producers, Bob Rafelson and Bert Schneider, who had come up with the idea of doing a TV show very loosely based on the Beatles' film A Hard Day's Night (though Rafelson would later claim that he'd had the idea many years before A Hard Day's Night and was inspired by his youth touring with folk bands -- Schneider always admitted the true inspiration though). This was not a particularly original idea -- there were a whole bunch of people trying to make TV shows based in some way around bands. Jan and Dean were working on a possible TV series, there was talk of a TV series starring The Who, there was a Beatles cartoon series, Hanna-Barbera were working on a cartoon series about a band called The Bats, and there was even another show proposed to Screen Gems, Columbia's TV department, titled Liverpool USA, which was meant to star Davy Jones, another British performer, and two American musicians, and to have songs provided by Don Kirshner's songwriters. That The Monkees, rather than these other series, was the one that made it to the TV (though obviously the Beatles cartoon series did too) is largely because Rafelson and Schneider's independent production company, Raybert, which they had started after leaving Screen Gems, was given two hundred and twenty-five thousand dollars to develop the series by their former colleague, Screen Gems' vice president in charge of programme development, the former child star Jackie Cooper. Of course, as well as being their former colleague, Cooper may have had some more incentive to give Bob Rafelson and Bert Schneider that money in that the head of Columbia Pictures, and thus Cooper's boss' boss, was one Abe Schneider. The original idea for the show was to use the Lovin' Spoonful, but as we heard last week they weren't too keen, and it was quickly decided instead that the production team would put together a group of performers. Davy Jones was immediately attached to the project, although Rafelson was uncomfortable with Jones, thinking he wasn't as rock and roll as Rafelson was hoping for -- he later conceded, though, that Jones was absolutely right for the group. As for everyone else, to start with Rafelson and Schneider placed an ad in a couple of the trade papers which read "Madness!! Auditions Folk and Roll Musicians-Singers for acting roles in new TV series. Running parts for 4 insane boys ages 17-21. Want spirited Ben Frank's types. Have courage to work. Must come down for interview" There were a couple of dogwhistles in there, to appeal to the hip crowd -- Ben Frank's was a twenty-four-hour restaurant on the Sunset Strip, where people including Frank Zappa and Jim Morrison used to hang out, and which was very much associated with the freak scene we've looked at in episodes on Zappa and the Byrds. Meanwhile "Must come down for interview" was meant to emphasise that you couldn't actually be high when you turned up -- but you were expected to be the kind of person who would at least at some points have been high. A lot of people answered that ad -- including Paul Williams, Harry Nilsson, Van Dyke Parks, and many more we'll be seeing along the way. But oddly, the only person actually signed up for the show because of that ad was Michael Nesmith -- who was already signed to Colpix Records anyway. According to Davy Jones, who was sitting in at the auditions, Schneider and Rafelson were deliberately trying to disorient the auditioners with provocative behaviour like just ignoring them, to see how they'd react. Nesmith was completely unfazed by this, and apparently walked in wearing a  green wool hat and carrying a bag of laundry, saying that he needed to get this over with quickly so he could go and do his washing. John London, who came along to the audition as well, talked later about seeing Nesmith fill in a questionnaire that everyone had to fill in -- in a space asking about previous experience Nesmith just wrote "Life" and drew a big diagonal line across the rest of the page. That attitude certainly comes across in Nesmith's screen test: [Excerpt: Michael Nesmith screen test] Meanwhile, Rafelson and Schneider were also scouring the clubs for performers who might be useful, and put together a shortlist of people including Jerry Yester and Chip Douglas of the Modern Folk Quartet, Bill Chadwick, who was in the Survivors with Nesmith and London, and one Micky Braddock, whose agent they got in touch with and who was soon signed up. Braddock was the stage name of Micky Dolenz, who soon reverted to his birth surname, and it's the name by which he went in his first bout of fame. Dolenz was the son of two moderately successful Hollywood actors, George Dolenz and Janelle Johnson, and their connections had led to Dolenz, as Braddock, getting the lead role in the 1958 TV series Circus Boy, about a child named Corky who works in a circus looking after an elephant after his parents, the Flying Falcons, were killed in a trapeze accident. [Excerpt: Circus Boy, "I can't play a drum"] Oddly, one of the other people who had been considered for that role was Paul Williams, who was also considered for the Monkees but ultimately turned down, and would later write one of the Monkees' last singles. Dolenz had had a few minor TV appearances after that series had ended, including a recurring role on Peyton Place, but he had also started to get interested in music. He'd performed a bit as a folk duo with his sister Coco, and had also been the lead singer of a band called Micky and the One-Nighters, who later changed their name to the Missing Links, who'd played mostly covers of Little Richard and Chuck Berry songs and later British Invasion hits. He'd also recorded two tracks with Wrecking Crew backing, although neither track got released until after his later fame -- "Don't Do It": [Excerpt: Micky Dolenz, "Don't Do It"] and "Huff Puff": [Excerpt: Micky Dolenz, "Huff Puff"] Dolenz had a great singing voice, an irrepressible personality, and plenty of TV experience. He was obviously in. Rafelson and Schneider took quite a while whittling down the shortlist to the final four, and they *were* still considering people who'd applied through the ads. One they actually offered the role to was Stephen Stills, but he decided not to take the role. When he turned the role down, they asked if he knew anyone else who had a similar appearance to him, and as it happened he did. Steve Stills and Peter Tork had known of each other before they actually met on the streets of Greenwich Village -- the way they both told the story, on their first meeting they'd each approached the other and said "You must be the guy everyone says looks like me!" The two had become fast friends, and had played around the Greenwich Village folk scene together for a while, before going their separate ways -- Stills moving to California while Tork joined another of those big folk ensembles of the New Christie Minstrels type, this one called the Phoenix Singers. Tork had later moved to California himself, and reconnected with his old friend, and they had performed together for a while in a trio called the Buffalo Fish, with Tork playing various instruments, singing, and doing comedy bits. Oddly, while Tork was the member of the Monkees with the most experience as a musician, he was the only one who hadn't made a record when the TV show was put together. But he was by far the most skilled instrumentalist of the group -- as distinct from best musician, a distinction Tork was always scrupulous about making -- and could play guitar, bass, and keyboards, all to a high standard -- and I've also seen him in more recent years play French horn live. His great love, though, was the banjo, and you can hear how he must have sounded on the Greenwich Village folk scene in his solo spots on Monkees shows, where he would show off his banjo skills: [Excerpt: Peter Tork, "Cripple Creek"] Tork wouldn't get to use his instrumental skills much at first though, as most of the backing tracks for the group's records were going to be performed by other people. More impressive for the TV series producers was his gift for comedy, especially physical comedy -- having seen Tork perform live a few times, the only comparison I can make to his physical presence is to Harpo Marx, which is about as high a compliment as one can give. Indeed, Micky Dolenz has often pointed out that while there were intentional parallels to the Beatles in the casting of the group, the Marx Brothers are a far better parallel, and it's certainly easy to see Tork as Harpo, Dolenz as Chico, Nesmith as Groucho, and Jones as Zeppo. (This sounds like an insult to Jones, unless you're aware of how much the Marx Brothers films actually depended on Zeppo as the connective tissue between the more outrageous brothers and the more normal environment they were operating in, and how much the later films suffered for the lack of Zeppo). The new cast worked well together, even though there were obvious disagreements between them right from the start. Dolenz, at least at this point, seems to have been the gel that held the four together -- he had the experience of being a child star in common with Jones, he was a habitue of the Sunset Strip clubs where Nesmith and Tork had been hanging out, and he had personality traits in common with all of them. Notably, in later years, Dolenz would do duo tours with each of his three bandmates without the participation of the others. The others, though, didn't get on so well with each other. Jones and Tork seem to have got on OK, but they were very different people -- Jones was a showbiz entertainer, whose primary concern was that none of the other stars of the show be better looking than him, while Tork was later self-diagnosed as neurodivergent, a folkie proto-hippie who wanted to drift from town to town playing his banjo. Tork and Nesmith had similar backgrounds and attitudes in some respects -- and were united in their desire to have more musical input into the show than was originally intended -- but they were such different personalities in every aspect of their lives from their religious views to their politics to their taste in music they came into conflict. Nesmith would later say of Tork "I never liked Peter, he never liked me. So we had an uneasy truce between the two of us. As clear as I could tell, among his peers he was very well liked. But we rarely had a civil word to say to each other". Nesmith also didn't get on well with Jones, both of them seeming to view themselves as the natural leader of the group, with all the clashes that entails. The four Monkees were assigned instruments for their characters based not on instrumental skill, but on what suited their roles better. Jones was the teen idol character, so he was made the maraca-playing frontman who could dance without having to play an instrument, though Dolenz took far more of the lead vocals. Nesmith was made the guitarist, while Tork was put on bass, though Tork was by far the better guitarist of the two. And Dolenz was put on drums, even though he didn't play the drums -- Tork would always say later that if the roles had been allocated by actual playing ability, Jones would have been the drummer. Dolenz did, though, become a good drummer, if a rather idiosyncratic one. Tork would later say "Micky played the drums but Mike kept time, on that one record we all made, Headquarters. Mike was the timekeeper. I don't know that Micky relied on him but Mike had a much stronger sense of time. And Davy too, Davy has a much stronger sense of time. Micky played the drums like they were a musical instrument, as a colour. He played the drum colour.... as a band, there was a drummer and there was a timekeeper and they were different people." But at first, while the group were practising their instruments so they could mime convincingly on the TV and make personal appearances, they didn't need to play on their records. Indeed, on the initial pilot, they didn't even sing -- the recordings had been made before the cast had been finalised: [Excerpt: Boyce & Hart, "Monkees Theme (pilot version)"] The music was instead performed by two songwriters, Tommy Boyce and Bobby Hart, who would become hugely important in the Monkees project. Boyce and Hart were not the first choice for the project. Don Kirshner, the head of Screen Gems Music, had initially suggested Roger Atkins, a Brill Building songwriter working for his company, as the main songwriter for The Monkees. Atkins is best known for writing "It's My Life", a hit for the Animals: [Excerpt: The Animals, "It's My Life"] But Atkins didn't work out, though he would collaborate later on one song with Nesmith, and reading between the lines, it seems that there was some corporate infighting going on, though I've not seen it stated in so many words. There seems to have been a turf war between Don Kirshner, the head of Screen Gems' music publishing, who was based in the Brill Building, and Lester Sill, the West Coast executive we've seen so many times before, the mentor to Leiber and Stoller, Duane Eddy, and Phil Spector, who was now the head of Screen Gems music on the West Coast. It also seems to be the case that none of the top Brill Building songwriters were all that keen on being involved at this point -- writing songs for an unsold TV pilot wasn't exactly a plum gig. Sill ended up working closely with the TV people, and it seems to have been him who put forward Boyce and Hart, a songwriting team he was mentoring. Boyce and Hart had been working in the music industry for years, both together and separately, and had had some success, though they weren't one of the top-tier songwriting teams like Goffin and King. They'd both started as performers -- Boyce's first single, "Betty Jean", had come out in 1958: [Excerpt: Tommy Boyce, "Betty Jean"] And Hart's, "Love Whatcha Doin' to Me", under his birth name Robert Harshman, a year later: [Excerpt: Robert Harshman, "Love Whatcha Doin' to Me"] Boyce had been the first one to have real songwriting success, writing Fats Domino's top ten hit "Be My Guest" in 1959: [Excerpt: Fats Domino, "Be My Guest"] and cowriting two songs with singer Curtis Lee, both of which became singles produced by Phil Spector -- "Under the Moon of Love" and the top ten hit "Pretty Little Angel Eyes": [Excerpt: Curtis Lee, "Pretty Little Angel Eyes"] Boyce and Hart together, along with Wes Farrell, who had co-written "Twist and Shout" with Bert Berns, wrote "Lazy Elsie Molly" for Chubby Checker, and the number three hit "Come a Little Bit Closer" for Jay and the Americans: [Excerpt: Jay and the Americans, "Come a Little Bit Closer"] At this point they were both working in the Brill Building, but then Boyce moved to the West Coast, where he was paired with Steve Venet, the brother of Nik Venet, and they co-wrote and produced "Peaches and Cream" for the Ikettes: [Excerpt: The Ikettes, "Peaches and Cream"] Hart, meanwhile, was playing in the band of Teddy Randazzo, the accordion-playing singer who had appeared in The Girl Can't Help It, and with Randazzo and Bobby Weinstein he wrote "Hurts So Bad", which became a big hit for Little Anthony and the Imperials: [Excerpt: Little Anthony and the Imperials, "Hurts So Bad"] But Hart soon moved over to the West Coast, where he joined his old partner Boyce, who had been busy writing TV themes with Venet for shows like "Where the Action Is". Hart soon replaced Venet in the team, and the two soon wrote what would become undoubtedly their most famous piece of music ever, a theme tune that generations of TV viewers would grow to remember: [Excerpt: "Theme from Days of Our Lives"] Well, what did you *think* I meant? Yes, just as Davy Jones had starred in an early episode of Britain's longest-running soap opera, one that's still running today, so Boyce and Hart wrote the theme music for *America's* longest-running soap opera, which has been running every weekday since 1965, and has so far aired well in excess of fourteen thousand episodes. Meanwhile, Hart had started performing in a band called the Candy Store Prophets, with Larry Taylor  -- who we last saw with the Gamblers, playing on "LSD-25" and "Moon Dawg" -- on bass, Gerry McGee on guitar, and Billy Lewis on drums. It was this band that Boyce and Hart used -- augmented by session guitarists Wayne Erwin and Louie Shelton and Wrecking Crew percussionist Gene Estes on tambourine, plus Boyce and session singer Ron Hicklin on backing vocals, to record first the demos and then the actual tracks that would become the Monkees hits. They had a couple of songs already that would be suitable for the pilot episode, but they needed something that would be usable as a theme song for the TV show. Boyce and Hart's usual working method was to write off another hit -- they'd try to replicate the hook or the feel or the basic sound of something that was already popular. In this case, they took inspiration from the song "Catch Us If You Can", the theme from the film that was the Dave Clark Five's attempt at their own A Hard Day's Night: [Excerpt: The Dave Clark Five, "Catch Us If You Can"] Boyce and Hart turned that idea into what would become the Monkees theme. We heard their performance of it earlier of course, but when the TV show finally came out, it was rerecorded with Dolenz singing: [Excerpt: The Monkees, "Monkees Theme"] For a while, Boyce and Hart hoped that they would get to perform all the music for the TV show, and there was even apparently some vague talk of them being cast in it, but it was quickly decided that they would just be songwriters. Originally, the intent was that they wouldn't even produce the records, that instead the production would be done by a name producer. Micky Most, the Animals' producer, was sounded out for the role but wasn't interested. Snuff Garrett was brought in, but quickly discovered he didn't get on with the group at all -- in particular, they were all annoyed at the idea that Davy would be the sole lead vocalist, and the tracks Garrett cut with Davy on lead and the Wrecking Crew backing were scrapped. Instead, it was decided that Boyce and Hart would produce most of the tracks, initially with the help of the more experienced Jack Keller, and that they would only work with one Monkee at a time to minimise disruption -- usually Micky and sometimes Davy. These records would be made the same way as the demos had been, by the same set of musicians, just with one of the Monkees taking the lead. Meanwhile, as Nesmith was seriously interested in writing and production, and Rafelson and Schneider wanted to encourage the cast members, he was also assigned to write and produce songs for the show. Unlike Boyce and Hart, Nesmith wanted to use his bandmates' talents -- partly as a way of winning them over, as it was already becoming clear that the show would involve several competing factions. Nesmith's songs were mostly country-rock tracks that weren't considered suitable as singles, but they would be used on the TV show and as album tracks, and on Nesmith's songs Dolenz and Tork would sing backing vocals, and Tork would join the Wrecking Crew as an extra guitarist -- though he was well aware that his part on records like "Sweet Young Thing" wasn't strictly necessary when Glen Campbell, James Burton, Al Casey and Mike Deasy were also playing guitar: [Excerpt: The Monkees, "Sweet Young Thing"] That track was written by Nesmith with Goffin and King, and there seems to have been some effort to pair Nesmith, early on, with more commercial songwriters, though this soon fell by the wayside and Nesmith was allowed to keep making his own idiosyncratic records off to the side while Boyce and Hart got on with making the more commercial records. This was not, incidentally, something that most of the stars of the show objected to or even thought was a problem at the time. Tork was rather upset that he wasn't getting to have much involvement with the direction of the music, as he'd thought he was being employed as a musician, but Dolenz and Jones were actors first and foremost, while Nesmith was happily making his own tracks. They'd all known going in that most of the music for the show would be created by other people -- there were going to be two songs every episode, and there was no way that four people could write and record that much material themselves while also performing in a half-hour comedy show every week. Assuming, of course, that the show even aired. Initial audience response to the pilot was tepid at best, and it looked for a while like the show wasn't going to be green-lit. But Rafelson and Schneider -- and director James Frawley who played a crucial role in developing the show -- recut the pilot, cutting out one character altogether -- a manager who acted as an adult supervisor -- and adding in excerpts of the audition tapes, showing the real characters of some of the actors. As three of the four were playing characters loosely based on themselves -- Peter's "dummy" character wasn't anything like he was in real life, but was like the comedy character he'd developed in his folk-club performances -- this helped draw the audience in. It also, though, contributed to some line-blurring that became a problem. The re-edited pilot was a success, and the series sold. Indeed, the new format for the series was a unique one that had never been done on TV before -- it was a sitcom about four young men living together, without any older adult supervision, getting into improbable adventures, and with one or two semi-improvised "romps", inspired by silent slapstick, over which played original songs. This became strangely influential in British sitcom when the series came out over here  -- two of the most important sitcoms of the next couple of decades, The Goodies and The Young Ones, are very clearly influenced by the Monkees. And before the broadcast of the first episode, they were going to release a single to promote it. The song chosen as the first single was one Boyce and Hart had written, inspired by the Beatles. Specifically inspired by this: [Excerpt: The Beatles, "Paperback Writer"] Hart heard that tag on the radio, and thought that the Beatles were singing "take the last train". When he heard the song again the next day and realised that the song had nothing to do with trains, he and Boyce sat down and wrote their own song inspired by his mishearing. "Last Train to Clarksville" is structured very, very, similarly to "Paperback Writer" -- both of them stay on one chord, a G7, for an eight-bar verse before changing to C7 for a chorus line -- the word "writer" for the Beatles, the "no no no" (inspired by the Beatles "yeah yeah yeah") for the Monkees. To show how close the parallels are, I've sped up the vocals from the Beatles track slightly to match the tempo with a karaoke backing track version of "Last Train to Clarksville" I found, and put the two together: [Excerpt: "Paperback Clarksville"] Lyrically, there was one inspiration I will talk about in a minute, but I think I've identified another inspiration that nobody has ever mentioned. The classic country song "Night Train to Memphis", co-written by Owen Bradley, and made famous by Roy Acuff, has some slight melodic similarity to "Last Train to Clarksville", and parallels the lyrics fairly closely -- "take the night train to Memphis" against "take the last train to Clarksville", both towns in Tennessee, and "when you arrive at the station, I'll be right there to meet you I'll be right there to greet you, So don't turn down my invitation" is clearly close to "and I'll meet you at the station, you can be here by 4:30 'cos I've made your reservation": [Excerpt: Roy Acuff, "Night Train to Memphis"] Interestingly, in May 1966, the same month that "Paperback Writer" was released, and so presumably the time that Hart heard the song on the radio for the first time, Rick Nelson, the teen idol formerly known as Ricky Nelson, who had started his own career as a performer in a sitcom, had released an album called Bright Lights and Country Music. He'd had a bit of a career downslump and was changing musical direction, and recording country songs. The last track on that album was a version of "Night Train to Memphis": [Excerpt: Rick Nelson, "Night Train to Memphis"] Now, I've never seen either Boyce or Hart ever mention even hearing that song, it's pure speculation on my part that there's any connection there at all, but I thought the similarity worth mentioning. The idea of the lyric, though, was to make a very mild statement about the Vietnam War. Clarksville was, as mentioned earlier, the site of Fort Campbell, a military training base, and they crafted a story about a young soldier being shipped off to war, calling his girlfriend to come and see him for one last night. This is left more-or-less ambiguous -- this was a song being written for a TV show intended for children, after all -- but it's still very clear on the line "and I don't know if I'm ever coming home". Now, Boyce and Hart were songwriters first and foremost, and as producers they were quite hands-off and would let the musicians shape the arrangements. They knew they wanted a guitar riff in the style of the Beatles' recent singles, and Louie Shelton came up with one based around the G7 chord that forms the basis of the song, starting with an octave leap: Shelton's riff became the hook that drove the record, and engineer Dave Hassinger added the final touch, manually raising the volume on the hi-hat mic for a fraction of a second every bar, creating a drum sound like a hissing steam brake: [Excerpt: The Monkees, "Last Train to Clarksville"] Now all that was needed was to get the lead vocals down. But Micky Dolenz was tired, and hungry, and overworked -- both Dolenz and Jones in their separate autobiographies talk about how it was normal for them to only get three hours' sleep a night between working twelve hour days filming the series, three-hour recording sessions, and publicity commitments. He got the verses down fine, but he just couldn't sing the middle eight. Boyce and Hart had written a complicated, multisyllabic, patter bridge, and he just couldn't get his tongue around that many syllables when he was that tired. He eventually asked if he could just sing "do do do" instead of the words, and the producers agreed. Surprisingly, it worked: [Excerpt: The Monkees, "Last Train to Clarksville"] "Last Train to Clarksville" was released in advance of the TV series, on a new label, Colgems, set up especially for the Monkees to replace Colpix, with a better distribution deal, and it went to number one. The TV show started out with mediocre ratings, but soon that too became a hit. And so did the first album released from the TV series. And that album was where some of the problems really started. The album itself was fine -- ten tracks produced by Boyce and Hart with the Candy Store Prophets playing and either Micky or Davy singing, mostly songs Boyce and Hart wrote, with a couple of numbers by Goffin and King and other Kirshner staff songwriters, plus two songs produced by Nesmith with the Wrecking Crew, and with token participation from Tork and Dolenz. The problem was the back cover, which gave little potted descriptions of each of them, with their height, eye colour, and so on. And under three of them it said "plays guitar and sings", while under Dolenz it said "plays drums and sings". Now this was technically accurate -- they all did play those instruments. They just didn't play them on the record, which was clearly the impression the cover was intended to give. Nesmith in particular was incandescent. He believed that people watching the TV show understood that the group weren't really performing that music, any more than Adam West was really fighting crime or William Shatner travelling through space. But crediting them on the record was, he felt, crossing a line into something close to con artistry. To make matters worse, success was bringing more people trying to have a say. Where before, the Monkees had been an irrelevance, left to a couple of B-list producer-songwriters on the West Coast, now they were a guaranteed hit factory, and every songwriter working for Kirshner wanted to write and produce for them -- which made sense because of the sheer quantity of material they needed for the TV show, but it made for a bigger, less democratic, organisation -- one in which Kirshner was suddenly in far more control. Suddenly as well as Boyce and Hart with the Candy Store Prophets and Nesmith with the Wrecking Crew, both of whom had been operating without much oversight from Kirshner, there were a bunch of tracks being cut on the East Coast by songwriting and production teams like Goffin and King, and Neil Sedaka and Carole Bayer. On the second Monkees album, released only a few months after the first, there were nine producers credited -- as well as Boyce, Hart, Jack Keller, and Nesmith, there were now also Goffin, King, Sedaka, Bayer, and Jeff Barry, who as well as cutting tracks on the east coast was also flying over to the West Coast, cutting more tracks with the Wrecking Crew, and producing vocal sessions while there. As well as producing songs he'd written himself, Barry was also supervising songs written by other people. One of those was a new songwriter he'd recently discovered and been co-producing for Bang Records, Neil Diamond, who had just had a big hit of his own with "Cherry Cherry": [Excerpt: Neil Diamond, "Cherry Cherry"] Diamond was signed with Screen Gems, and had written a song which Barry thought would be perfect for the Monkees, an uptempo song called "I'm a Believer", which he'd demoed with the regular Bang musicians -- top East Coast session players like Al Gorgoni, the guitarist who'd played on "The Sound of Silence": [Excerpt: Neil Diamond, "I'm a Believer"] Barry had cut a backing track for the Monkees using those same musicians, including Diamond on acoustic guitar, and brought it over to LA. And that track would indirectly lead to the first big crisis for the group. Barry, unlike Boyce and Hart, was interested in working with the whole group, and played all of them the backing track. Nesmith's reaction was a blunt "I'm a producer too, and that ain't no hit". He liked the song -- he wanted to have a go at producing a track on it himself, as it happened -- but he didn't think the backing track worked. Barry, trying to lighten the mood, joked that it wasn't finished and you needed to imagine it with strings and horns. Unfortunately, Nesmith didn't get that he was joking, and started talking about how that might indeed make a difference -- at which point everyone laughed and Nesmith took it badly -- his relationship with Barry quickly soured. Nesmith was getting increasingly dissatisfied with the way his songs and his productions were being sidelined, and was generally getting unhappy, and Tork was wanting more musical input too. They'd been talking with Rafelson and Schneider, who'd agreed that the group were now good enough on their instruments that they could start recording some tracks by themselves, an idea which Kirshner loathed. But for now they were recording Neil Diamond's song to Jeff Barry's backing track. Given that Nesmith liked the song, and given that he had some slight vocal resemblance to Diamond, the group suggested that Nesmith be given the lead vocal, and Kirshner and Barry agreed, although Kirshner at least apparently always intended for Dolenz to sing lead, and was just trying to pacify Nesmith. In the studio, Kirshner kept criticising Nesmith's vocal, and telling him he was doing it wrong, until eventually he stormed out, and Kirshner got what he wanted -- another Monkees hit with Micky Dolenz on lead, though this time it did at least have Jones and Tork on backing vocals: [Excerpt: The Monkees, "I'm a Believer"] That was released on November 23rd, 1966, as their second single, and became their second number one. And in January 1967, the group's second album, More of the Monkees, was released. That too went to number one. There was only one problem. The group weren't even told about the album coming out beforehand -- they had to buy their own copies from a record shop to even see what tracks were on it. Nesmith had his two tracks, but even Boyce and Hart were only given two, with the rest of the album being made up of tracks from the Brill Building songwriters Kirshner preferred. Lots of great Nesmith and Boyce and Hart tracks were left off the album in favour of some astonishingly weak material, including the two worst tracks the group ever recorded, "The Day We Fall in Love" and "Laugh", and a novelty song they found embarrassing, "Your Auntie Grizelda", included to give Tork a vocal spot. Nesmith called it "probably the worst album in the history of the world", though in truth seven of the twelve tracks are really very strong, though some of the other material is pretty poor. The group were also annoyed by the packaging. The liner notes were by Don Kirshner, and read to the group at least like a celebration of Kirshner himself as the one person responsible for everything on the record. Even the photo was an embarrassment -- the group had taken a series of photos in clothes from the department store J. C. Penney as part of an advertising campaign, and the group thought the clothes were ridiculous, but one of those photos was the one chosen for the cover. Nesmith and Tork made a decision, which the other two agreed to with varying degrees of willingness. They'd been fine miming to other people's records when it was clearly just for a TV show. But if they were being promoted as a real band, and having to go on tour promoting albums credited to them, they were going to *be* a real band, and take some responsibility for the music that was being put out in their name.  With the support of Rafelson and Schneider, they started making preparations to do just that. But Don Kirshner had other ideas, and told them so in no uncertain terms. As far as he was concerned, they were a bunch of ungrateful, spoiled, kids who were very happy cashing the ridiculously large cheques they were getting, but now wanted to kill the goose that laid the golden egg. They were going to keep doing what they were told. Things came to a head in a business meeting in January 1967, when Nesmith gave an ultimatum. Either the group got to start playing on their own records, or he was quitting. Herb Moelis, Kirshner's lawyer, told Nesmith that he should read his contract more carefully, at which point Nesmith got up, punched a hole in the wall of the hotel suite they were in, and told Moelis "That could have been your face". So as 1967 began, the group were at a turning point. Would they be able to cut the puppet strings, or would they have to keep living a lie? We'll find out in a few weeks' time...

Robin Moore is a  wildlife photographer and conservationist who's images have been featured in National Geographic, the Economist, Esquire magazine, the Telegraph Magazine, PDN, American Photo magazine, Outdoor Photographer, Wanderlust, and many more publications and you've probably seen his photographs of Nairobi's Giraffe Hotel or Giraffe Manor which went viral a few years ago. He's been a finalist in Wildlife Photographer of the Year, a winner of American Photo Images of the year and a winner of Outdoor Photographer's Art of Expression Award. Robin's passion for the natural world started in the Scottish highlands and has taken him to Cameroon, Haiti, Tanzania, Ethiopia, Kenya, Costa Rica and just about everywhere else. Robin's book, In search of lost frogs, depicts his quest to find some of the world's rarest amphibians.  Robin currently serves as the communications director for Rewild who's mission is to protect and restore the wild. Our conversations covers all of these things plus Robin casually drops the names of some of THE best conservation photographers out there. I hope you enjoy meeting this passionate conservationist and fantastic wildlife photographer. Show Notes Thank you to our sponsor, MPB. Get a quote for your unwanted camera gear here: https://www.mpb.com/en-uk/sell-or-trade/ (https://www.mpb.com/en-uk/sell-or-trade/)  Follow this week's guest at the following links:  Website - https://www.robindmoore.com (https://www.robindmoore.com) Instagram - https://www.instagram.com/robindmoore/ (https://www.instagram.com/robindmoore/)  Robin's book, In Search of Lost Frogs - https://www.amazon.co.uk/Search-Lost-Frogs-Robin-Moore/dp/1408186330 (https://www.amazon.co.uk/Search-Lost-Frogs-Robin-Moore/dp/1408186330)  Re:wild - https://www.rewild.org (https://www.rewild.org)  Sign the petition to save the Okavango Delta - https://okavango.rewild.org (https://okavango.rewild.org)  Connect with View Finders here: Episodes - http://www.viewfinderslive.com/podcast (www.viewfinderslive.com/podcast)  Instagram - http://www.instagram.com/viewfinderspodcast (www.instagram.com/viewfinderspodcast)   Tickets for the next View Finders Live Event - https://viewfinderslive.com (https://viewfinderslive.com) To save 10% off tickets for View Finders Live events, use the code VF10 Connect with me at: http://www.grahamdargie.co.uk (www.grahamdargie.co.uk)  http://www.grahamdargie.com (www.grahamdargie.com)  http://www.youtube.com/5minutephotography (www.youtube.com/5minutephotography)  Photography equipment: Fujifilm kit on MPB - https://www.mpb.com/en-uk/search/?www-product-search=fujifilm&www-department=all (https://www.mpb.com/en-uk/search/?www-product-search=fujifilm&www-department=all)  Additional show links Double Exposure: Eliza Gonzalez with spider on her face - https://www.instagram.com/p/Blf2U23AgIZ/ (https://www.instagram.com/p/Blf2U23AgIZ/)  Eliza Gonzalez with parrot - https://www.robindmoore.com/index/G0000MK36mmdUrwQ/I0000lBR7b0A1tu8 (https://www.robindmoore.com/index/G0000MK36mmdUrwQ/I0000lBR7b0A1tu8)  Javan Rhino - https://www.instagram.com/p/BqX9OLDAYYd/ (https://www.instagram.com/p/BqX9OLDAYYd/)  Other links: Re:wild - https://www.rewild.org (https://www.rewild.org)  Kristina Mittermeier - https://www.instagram.com/mitty/ (https://www.instagram.com/mitty/)  Joel Sartore - https://www.instagram.com/joelsartore/ (https://www.instagram.com/joelsartore/)  International League of Conservation Photographers - https://www.conservationphotographers.org (https://www.conservationphotographers.org)  Conservation International - https://www.conservation.org (https://www.conservation.org)  Giraffe Manor - https://www.thesafaricollection.com/properties/giraffe-manor/ (https://www.thesafaricollection.com/properties/giraffe-manor/)  The Safari Collection -...

Former NYPD Detective Randy Jurgensen walked a beat in Harlem all the way into Hollywood's greatest crime dramas of all time. He is known as the cop who killed Sonny Corleone in The Godfather. Gene Hackman pats down NYPD Detective Randy Jurgensen to learn proper police procedures to use in the filming of The French Connection His walk of fame started when William Friedkin, the director of The French Connection asked Jurgensen to demonstrate how to put a suspect against a wall for the “pat down”. Friedkin hired Jurgensen as the film's technical consultant to advise him on how to realistically show the gritty side of heroin trafficking in the 1960s. NYPD Detective Randy Jurgensen playing a police sergeant in The French Connection It became Jurgensen's job to turn actors Gene Hackman and Roy Scheider into narcotics detectives.  Jurgensen turned out to be a natural on camera and was given the role of an NYPD Sergeant in film. 3rd Person Left -- NYPD Detective Randy Jurgensen Plays a police sergeant in The French Connection He appears on the poster for The French Connection flanking Gene Hackman.  Jurgensen had been on the periphery of an undercover narcotics investigation that netted a legendary seizure of heroin.  Robin Moore, the author of The Green Berets, wrote a book about the case, titled The French Connection.  In those days heroin flowed into New York City from Marseille and the book was made into a movie. A long list of credits includes Jurgensen's work as a technical advisor on Die Hard with a Vengeance, a cop in the first Superman movie with Christopher Reeve, and a role in Frank Sinatra's first made-for-TV movie, Contract On Cherry Street . A few days after celebrating The French Connection's Oscars, Jurgensen became embroiled in the most notorious case in the history of NYPD.   Jurgensen's book titled, Circle of Six, details his determined effort to bring to justice  the murderer of Police Officer Philip Cardillo who was killed in a Harlem Mosque in 1972.  Fasten your seatbelts!  Jurgensen takes us inside the greatest car chase ever made in this edition of True Crime Reporter™ Confidential.  Link to the one-man-show parody of The Godfather mentioned in the podcast: The Godfadda Workout

This episode of The Brand Called You starts with our host, Lisa Lipkin sharing her story of the time she was living in New York City and how a phone call with Xaviera Hollander changed her life. Well, our guest for today is none other than Xaviera. Xaviera Hollander is pretty bold and straightforward. She doesn't care about being politically correct or what others think about her. She speaks what she finds right without the fear of being judged. Not only her vocals are carefree, but her actions are quite bold too. Xaviera Hollander was in the prostitution business for many years. She did it because she felt it was the right thing to do. She has authored many books and has also co-authored a book with Robin Moore called 'The Happy Hooker' which became the best-selling book of its time. The book is centered around the life of Xavier Hollander. In the book, she talks about the twists and turns of her life look at different stages. --- Support this podcast: https://anchor.fm/tbcy/support

#89:  The photographs we create are just the start of a conservation photo story.Really, it's about what you do with those photographs to create engagement, awareness, understanding and action around a conservation cause.So what does the rest of that action look like?What do you actually do to put your images to work?What are the strategies?And how do social media play a role in all of this?Well, I'm so excited that today our guests are two geniuses on the marketing and communications team of Re: Wild – Arnelle Lozada and Robin Moore. Get the full show notes + links at JaymiH.com/89

In this episode of The Integrated Life podcast, Diana is excited to have with her a special guest and friend, Robin Moore. Robin is a John Maxwell Strengths Trainer, and she helps individuals discover and develop their divine S.H.A.P.E. We will discuss how you can know what your S.H.A.P.E. is, how knowing your S.H.A.P.E. can help you in your life and how knowing your S.H.A.P.E. can help you live an integrated life. What is your S.H.A.P.E.? You can contact Robin at Robin@robinkmoore.com   Connect with Diana: integratedpurposemanagement.com Like us on Facebook Follow us on LinkedIn   QUICK EPISODE SUMMARY Get to know Robin What S.H.A.P.E. stands for What happens when the man gets better Your hearts desires  Know your personal values The importance of core values The nevertheless mentality The story behind Diana's logo Say yes to things that create energy 

Samuel Mann and Henry Eden-Mann with Rachel Jacobs, Amadeo Enriquez-Ballestro, Dina Buchbinder Auron, Liam Phelan, Jon Foote, Skye Duncan, Robin Moore, Emily Mnyayi, Vicki Buck, Kentaro Toyama, Leysia Palen and Natasha Barnes-Dellaca go down the rabbit-hole with hope. This show was broadcast on OAR 105.4FM Dunedin www.oar.org.nz

On this episode, we discuss the forty-fourth Best Picture Winner: “THE FRENCH CONNECTION.”Based on Robin Moore's 1969 non-fiction book "The French Connection: A True Account of Cops, Narcotics, and International Conspiracy," "The French Connection" tells the story of New York Police Department detectives Jimmy "Popeye" Doyle and Buddy "Cloudy" Russo as they chase down a wealthy French heroin smuggler named Alain Charnier.  Directed William Friedkin, the film stars Gene Hackman as Jimmy "Popeye" Doyle, Roy Scheider as Buddy "Cloudy" Russo, Fernando Rey as Alain Charnier, Tony Lo Bianco as Sal Boca and Marcel Bozzuffi as Pierre Nicoli.Here on The Envelope, we discuss & review every Best Picture Winner in the Academy Awards History. We are a Cinema Squad Production, presented on the Cinema Squad Podcast Channel. You can reach anyone here at TheCinemaSquad.com – Just go there to email us, check our bios, and keep up with the latest episode.

Robin Moore talks about how LSP is using soil health to forge stewardship partnerships between non-operating landowners and the farmers who rent from them. For more resources on how to develop farmland leases that reflect your stewardship values, click here. Source

Robin Moore talks about how LSP is using soil health to forge stewardship partnerships between non-operating landowners and the farmers who rent from them. For more resources on how to develop farmland leases that reflect your stewardship values, click here.

Best Pick with John Dorney, Jessica Regan and Tom Salinsky. Episode 39: The French Connection (1971) Released 17 July 2019 For this episode, we watched The French Connection, written by Ernest Tidyman (won) from the novel by Robin Moore and directed by William Friedkin (won). It starred Gene Hackman (won Best Actor), Fernando Rey, Roy Scheider (nominated Best Supporting Actor), Tony Lo Bianco and Marcel Bozzuffi with music by Don Ellis, cinematography by Owen Rolzman (nominated) and editing by Gerald B Greenberg (won). It was also nominated for its Sound. Next time we will be discussing The Artist. If you want to watch it before listening to the next episode you can buy the DVD or Blu-Ray on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (UK) or iTunes (USA). To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also visit our new website at https://bestpickpod.com and sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n.  

On this week's episode, I'm digging deeper into natural perfumery with Cebastien  Rose and Robin Moore of Dryland Wilds. I joined them on a foraging expedition to harvest Russian Olive and use the ancient technique of enfleurage to capture the scent near Ojo Caliente.  We talk natural vs synthetic perfume, saving common and invasive plants from toxic herbicide, harvesting sustainably and the magic of New Mexico. 

Romeo,  the Sehuencas water frog , was though to be the last of his species. Yet, scientists like Dr. Robin Moore teamed up to give this species hope. Global Wildlife Conservation led an effort to travel to the cloud forests of Bolivia to find other Sehuencas water frogs and lo and behold, they found Romeo his Juliet. Shoe notes are HERE

Best Pick with John Dorney, Jessica Regan and Tom Salinsky. Episode 39: The French Connection (1971) Released 17 July 2019 For this episode, we watched The French Connection, written by Ernest Tidyman (won) from the novel by Robin Moore and directed by William Friedkin (won). It starred Gene Hackman (won Best Actor), Fernando Rey, Roy Scheider (nominated Best Supporting Actor), Tony Lo Bianco and Marcel Bozzuffi with music by Don Ellis, cinematography by Owen Rolzman (nominated) and editing by Gerald B Greenberg (won). It was also nominated for its Sound. Next time we will be discussing The Artist. If you want to watch it before listening to the next episode you can buy the DVD or Blu-Ray on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (UK) or iTunes (USA). To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also visit our new website at https://bestpickpod.com and sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n.  

Aaron and Gary go into the real story behind the French Connection, a popular film staring Gene Hackman. The French Connection film followed Robin Moore’s true crime book that documented the exploits of famous New... The post The Real French Connection appeared first on Gangland Wire.

Dr. Karen Becker interviews University of Helsinki student Robin Moore, who is also involved in the Dogrisk program, and why their metabolomics study may help veterinarians better understand the relationship between dogs’ health and their diet.

Robin Moore and Cebastien Rose, self-proclaimed "plant nerds" are seasoned foragers and farmers. When they decided to leave their jobs and start their own business, they made a list of things they lived to do.  When their list included being outdoors, being in the wild, spending time with their dogs, foraging, and being in nature- the direction of their business, Dryland Wilds, became second nature.  Join us this week as we discuss distillation, enfleurage, maceration, essential oils, tinctures, concretes and absolutes and much, much more.

Will Wise is a professional question-asker!  As Chief Weologist at We!, Will and his business partner Chad Littlefield help connect people to people and people to ideas. His newly released book, Ask Powerful Questions, is for any leader who is ready for change. At the heart of it all is the importance of establishing trust and cultivating authentic connection. In his role at World In Conversation, in the Center for Public Diplomacy at Penn State University, he trains people—from undergrad students to NATO soldiers—to have meaningful conversations that transform how they see the world. After college, Will joined the Peace Corps and he credits his international experiences with helping him let go of how he sees the world and learning to embrace the other. The themes of exploration, connection and trust permeate both his personal and professional life. These days Will lives in Central Pennsylvania with his wife and 3 young children and he strives to model curiosity and assumption-questioning. In this episode he shares the many ways he does this, the challenges, and the rewards of approaching life this way.   Key Takeaways: Will’s time in the Peace Corps taught him to think differently and approach life in a non-traditional, creative way Explore making your own job and creating something new within the job you have The power of questioning assumptions with clear intentions Will’s work with the Center for Public Diplomacy embraces the power of meaningful conversations. Will and Chad created We! to help people move from a ‘me’ mindset to a ‘we’ mindset. How Will is honing in on his priorities while balancing two jobs, a book launch and a family Choosing to be a learner not an advocate, and curious instead of combative. How to teach your children (and others) to ask "how" and "what" rather than "why" Explaining the Confederate flag to curious children Choosing to be a learner not an advocate, and curious instead of combative.  Links: Ask Powerful Questions by Will Wise This is What Perfect Looks Like by Heather H. House  The Four Agreements by Miguel Ruiz We! https://weand.me/ Grange Fair in Central Pennsylvania The Bread Sister of Sinking Creek by Robin Moore  

One of New York’s finest cities gets its big moment with the above line of dialogue, snarled at a perp by the out-of-control “Popeye” Doyle, played by Gene Hackman, in his break through role. We dedicate this episode to his co-star, Roy Scheider, who passed away on February 10th, 2008. A stalwart and capable actor who appeared in another of our Perfect Movies, JAWS. Ironically, Robin Moore, author of the novel The French Connection, passed away on the day this show was broadcast, at the age of 82. Not our fault!!

What happens when a conservationist who loves frogs has a camera? He goes to Haiti to create change.  In this episode I talk with Robin Moore - photographer, conservationist, author, lover of frogs, and cofounder of Frame of Mind - an initiative empowering youth to connect with their natural and cultural world through photography and visual storytelling. You can see his work at www.robindmoore.com and check out his book Frame of Mind Haiti here. Join me on Instagram and share YOUR thoughts on photography in our Facebook group.  

Our weekly look at all things photographic with Sarah Jacobs and PhotoShelter co-founder Allen Murabayashi.   Get the podcast: http://bit.ly/ilovephoto Watch the broadcast: http://bit.ly/ilovephotoyt   1:55 Kathy Ryan’s Office Romance 4:57 Nafise Motlaq’s Iranian Fathers and the Diverse Daughters They’ve Raised 8:33 Yukari Chikura preserves tradition in Japan 12:07 Robin Moore’s In Search of Lost Frogs 13:37 Pete Muller on Being a Journalist in the Midst of Ebola 15:47 Syracuse disinvites Pulitzer winner Michel du Cille over Ebola concerns 18:44 Relonch and Seek Thermal 23:34 LaToya Ruby Frazier’s Notion of Family 25:53 Magnum Photos, and Founders, Will Come to Life in Upcoming TV Show 27:52 Suzanne Sease’s Usage and Pricing of Photography in Social Media 30:21 Photo Blogs Are Proliferating: How Photographers Can Make the Most of Them  34:08 The most iconic photos in history recreated in impressive live action 36:53 Interview w. photog Jonpaul Douglass of #PizzaintheWild

In our continuing Buddhist series, we sit down with Robin Moore, who spent over a decade as a monk in both the UK and Thailand, but eventually left the monkhood and rejoined lay-life. He tells us about his interesting journey, from being drawn to Buddhism as a teenager, to going on alms rounds in the UK (and trying to make it not look like begging), to why his mother cried when he joined the monkhood - and cried again when he left. We also cover the difficulties in fitting back in to a life that is generally at odds with a monastic one - everything from dating to driving a car to playing sports. Robin gives us a personal and fascinating look into his life pre-, during, and post-monkhood.

What is the sound of God? Is it an Om? is it a jerry garcia solo? or is it just a refigerator hum?