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“I'm going home…” After a tortuous 4 years in the Oswald State Correctional Facility, Beecher's parole hearing finally arrives. Schillinger and the Aryans try to disrupt Beecher's chances as Said and the Muslims protect Beecher. Even after the verdict is rendered, a frantic danger still looms within the walls of Oz. Clayton stages a coup of the Solitary Unit, proclaiming it the Republic of Huru. Before a Government can be formed though, Leo and the SORT attempt to reach a peaceful solution. With Dave out of action, Murphy steps in to complete the final game in the Basketball series. Following the game's inevitable conclusion, McManus has to deal with Omar's constant pestering. Seeking a break from his new model prisoner, McManus appears on the latest episode of Up Your Ante. Padraig completes the assembly of his bomb. As a nervous and forgetful Ryan has second thoughts, he tries convince Padraig to abandon the plan. Determined to die a political martyr on US soil, Padraig tricks Ryan into arming the bomb early within a crowded Em City. A clueless CO's need for nicotine will have explosive consequences. Also on this episode: Augustus takes drastic action to and reconcile with Burr, a broken down elevator crushes Edward's hopes of murdering Morales, the show moves to New Jersey, Greg Penders knows his terminology, Em City's TV viewing habits leads to much confusion for the Oz TV Universe, The Series 4 Overview and List of The Dead, and Cloutier's immurement conjures my ill feelings towards Ringo Starr and an episode of Thomas The Tank Engine. All of this and more on the explosive Series 4 finale, Series 4(B) Episode 16 - Famous Last Words Follow the show on Instagram & X (formally Twitter) - @insideozpodcast Follow the show on Threads - @insideozpodcast@threads.net Follow the show on Bluesky - @insideozpodcast@bsky.social Email The Show – insideozpodcast@gmail.com #InsideOz #aheftydoseofgrim L.A. Food Bank - Donate Now - Los Angeles Regional Food Bank California Fire Foundation - Disaster Relief Donation Page California Community Foundation Wildfire Recovery Fund - California Community Foundation - Pledge American Red Cross - Wildfire Relief Information | American Red Cross Direct Relief - California Fire Relief | Direct Relief
This week on STICK TO WRESTLING we take a look at the WWF during the month of January 1985! We talk Hulk Hogan, Bobby Heenan, Cyndi Lauper, Greg Valentine, Andre The Giant, Ken Patera, Jimmy Snuka, Adrian Adonis, Barry Windham, Captain Lou Albano, Roddy Piper, Iron Sheik, Tito Santana, Jack & Jerry Brisco, Magnificent Muraco, … Continue reading Episode 344: The Original Vern Schillinger → The post Episode 344: The Original Vern Schillinger appeared first on Stick To Wrestling with John McAdam.
Eliciting the story behind a patient's visit to the hospital can lead to better diagnosis and treatment than medical tests alone – and also reveals much of what needs fixing in health care today.
In this episode of Going Forward, Eric Elliott sits down with Harlan Schillinger, a trailblazer in the legal advertising industry and a trusted advisor to law firms nationwide. Harlan shares his decades of experience revolutionizing legal marketing, emphasizing the power of tracking, accountability, and putting clients first. We discuss the importance of measuring success beyond leads, building a strong firm culture, and adapting to the ever-evolving digital landscape. This conversation is essential for law firm leaders, marketers, and anyone looking to elevate their practice with integrity and innovation. Connect w/ Eric Elliott: Website: https://ericelliott.com/ Facebook: https://www.facebook.com/ericelliottspeaker LinkedIn: https://www.linkedin.com/in/iamericelliott/ Instagram: https://www.instagram.com/ericmelliott/ Twitter: https://twitter.com/EricMElliott Tiktok: https://www.tiktok.com/@ericmelliott Email: Eric@EricElliott.com Text: 843-279-5843 Connect w/ Harlan Schillinger: Website: https://www.harlanschillinger.com/ Facebook: https://www.facebook.com/Harlan.Schillinger.Legal.Marketing.Expert LinkedIn: https://www.linkedin.com/in/harer54215/ Supercharge your online advertising campaigns with Optmyzr! Streamline management, optimize performance, and boost your ROI. Visit https://hs.optmyzr.com/hs/vip to discover how Optmyzr can revolutionize your digital marketing. As a special treat for our listeners, sign up with the code GOINGFORWARD20 and enjoy an exclusive 20% discount on your first year with Trainual! Seize this opportunity to supercharge your operations and propel your business forward! Eric Elliott is a self-made entrepreneur and marketing expert with extensive experience crafting impactful brand narratives for clients across industries. He is the founder of VIP Marketing and Craft Creative. In 2009, Mr. Elliott started VIP Marketing with almost no resources. VIP now has a global team and is recognized as one of the top branding agencies in the USA by Clutch. co. He founded Craft Creative in 2015, a full-service video production company providing premium services to clients across the US. Eric is also the host of Going Forward, a podcast moving conversations with entrepreneurs and leaders that inspire, motivate, and challenge you to embrace possibility and make a difference. Mr. Elliott is the author of numerous articles and an active contributor to Entrepreneur Magazine, Forbes, and Medium. Recognized as a pillar of his community, the city of North Charleston established Eric Elliott Day to honor his name and legacy to inspire others to follow their dreams and positively impact the world. Brought to you by VIP Marketing. VIP Marketing is a digital advertising agency based in Charleston, SC. Our mission is to separate our clients from the crowd. We commit to serve and deliver their marketing and creative needs on time and within scope. So then, our goal is to partner with businesses to market to the right people, capture their attention. In brief, we get results with premium video production, social media marketing, graphic design, media planning, and media buying. Ultimately, we believe every business deserves Very Important Placement. Visit www.vipmarketing.com to learn more. Call: 843-760-0707 Message: https://www.facebook.com/VIPMarketingUSA #goingforward #goingforwardpodcast #lawfirmmarketing #harlanschillinger #ericelliott
durée : 00:01:54 - Esprit sport - Esprit sport vous emmène toute cette semaine en Alsace, au sein de l'association Still-Mutzig. Le club de foot, qui évolue en R1 (6e échelon français) va affronter le stade de Reims (ligue 1) en 32e de finale de la coupe de France. Troisième épisode avec Pierre Schillinger, le trésorier du club.
A szerzővel Szolláth Dávid beszélget Schillinger Gyöngyvér művében minden benne van, ami az úgynevezett letehetetlen könyvekhez kell: jó karakterek, fordulatok, szex, sikkasztás, botrány. És ott van az is, amit az úgynevezett nagy írók tudnak: a hajszálpontos lélektan, a hiteles nyelv, az emberi sorsok megértése, és a szembenézés a világ romlásával. Sok jó magyar író van manapság, de az igen ritka, hogy egy elsőkönyves szerző egyszerre legyen művészileg kompromisszummentes és lebilincselően olvasmányos. (Szolláth Dávid) A Kalligram Kiadó programja. A Program a Liszt Ünnep Nemzetközi Kulturális Fesztivál keretében a Müpa szervezésében valósul meg. A programok a Bookline és a Volvo támogatásával valósulnak meg. Az esemény médiapartnere a Könyves Magazin és a We Love Budapest. A beszélgetés a 2024-es Őszi Margó Irodalmi Fesztiválon hangzott el.
This Show offers a powerful and eye-opening consideration of medical care for marginalized people. Whether from a patient's perspective or the perspective of those who serve as medical caregivers, you will find Dr. Dean David Schillinger's TELLTALE HEARTS to be an extraordinary book and Dr. Schillinger to be an extraordinary person. What Dr. Schillinger offers is the gift of his own story in tandem with the unexpected, tragic, impressive and heart-breaking stories of his patients. Both sets of stories offer a glimpse of how industrialized medical systems can be dangerous for patients who are misunderstood, stereotyped and overlooked and for doctors who are struggling with burn-out, bias and at times frustration and despair. What Dr. Schillinger believes, and shares is the power of the patient's narrative. He exemplifies that when a patient is invited to be known, to tell their story, to be seen and respected– treatment and healing often become possible. Dr. Schillinger's description of his journey and his relationship with patients who dare to share and be known is medically and socially invaluable.
Bitcoin-Backed Stablecoins: A Deep Dive with Jakob Schillinger Jakob Schillinger, CEO & Founder of Hermetica, joins me to discuss the exciting potential of Bitcoin-backed stablecoins. Hermetica is building a system of decentralized finance on Bitcoin, using stablecoins as a key building block. In this conversation, we explore: [00:00] Bitcoin and Stablecoin Adoption Curve [08:10] Jakob's Journey into Bitcoin [18:50] The Different Types of Stables [27:30] What is Hermetica & How it Works. [47:45] Building Useful Products (Practically) Follow Jakob Schillinger on Twitter: @Jakob_btc Learn more about Hermetica: https://hermetica.fi/ --------------------------------------------------------------------------------- Follow me on Twitter: @JakeBlockchain Stay updated on everything Built on Bitcoin podcast: https://www.builtonbitcoin.xyz/ --------------------------------------------------------------------------------- Building something amazing on Bitcoin? Connect with us at the Bitcoin Frontier Fund. We invest and assist the best early-stage founders building new user-cases for Bitcoin. Website: https://www.btcfrontier.fund/ Twitter: https://twitter.com/BTCFrontierFund Love yall! See you in the next episode. Peace!
Découvrez le livre de Stephan : https://amzn.to/3Uf84z2Dans un monde où la vulnérabilité est souvent perçue comme une faiblesse, le dernier ouvrage de Stephan Schillinger, se présente comme une œuvre cathartique et profondément poétique. Ce livre n'est pas simplement une lecture, mais une invitation à une exploration intérieure, un voyage introspectif qui pousse le lecteur à ressentir, à se questionner, et à se reconnecter avec soi-même.Dans cette interview, Stephan nous explique ce qui se cache sous ces relations dites toxiques, comment les protagonistes vont inconsciemment rejouer une musique perçue dans l'enfance, comment le cerveau reproduit les conditions dans lesquels il a "vécu" également.Une interview témoignage, pour mieux comprendre les liens d'attachement traumatique et aller vers la guérison.Découvrez le site de Stephan : https://www.curieuxhasard.com/ Become a member at https://plus.acast.com/s/lapsychologiepourtous. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
In Folge #138 kehrt einer der frühesten Gäste des Spielekellers zurück in den Podcast: Michael Schillinger! Er ist Unternhemer, Sport-Marketing-Experte und Gründer & CEO der Agenturen Apollo18 x Apollo GG. Zuletzt war er in Folge #47 zu Gast Im Spielekeller, d.h. vor über 1,5 Jahren. Michael gibt in dieser Podcast-Folge einen Einblick in seine unternehmerische Laufbahn und die Entscheidungen, die er in letzter Zeit für sich und seine Agenturen getroffen hat. Wie sieht das Agenturen-Konstrukt von Apollo18 x Apollo GG aus? Warum hat sich Michael für den Anschluss an die größere Agenturgruppe fischerAppelt entschieden? Was ändert sich jetzt für die Apollo Brands und für Michael selbst? Zusätzlich machen Chris, Dennis und Michael eine kleine Reise durch die Entwicklung des E-Sport-Marktes. Denn in Folge #47 hat Michael einige Thesen und Predictions zum Thema Sponsorings und Profitabilität aufgestellt. Welche davon sich seitdem bewahrheitet haben und was vielleicht anders gekommen ist als vermutet, erfahrt ihr im Podcast! Außerdem sprechen die drei auf einer sehr persönlichen Ebene über den Spielekeller, die Arbeit, die hineinfließt und das Thema Refinanzierung. Ein Thema, das Michael als Stammhörer des Podcasts besonders am Herzen liegt.
The Bitcoin DeFi ecosystem is in its infancy stage as the technical infrastructure for DeFi functionality are only being discovered and brought to market. However, the potential value this industry can bring to the Bitcoin and broader web3 ecosystem is tremendous. We speak with the Founder and CEO of Hermetica who is building a stablecoin primitive on Bitcoin using the value of Bitcoin itself in the stability mechanism. This is a dream in the eyes of Bitcoin believers since it marks a separation away from the dependencies of the fiat system to introduce stability for synthetic versions of the dollar. Also, a stablecoin native to the Bitccoin ecosystem will introduce tremendous support for Bitcoin DeFi and act as a catalyst for an ecosystem of development to build on top of this foundational pillar. How Hermetica achieves stability through Bitcoin is discussed with the introduction of their perpetuals futures balancing mechanism that ensures no matter what side Bitcoin trades value wise, the pegged USDh will always remain valued at a dollar. Topics First up, who is Jakob Schillinger and how did he get into the web3space? Next, what is Hermetica and how can it contribute with the DeFi ecosystem and Finally, How Hermetica achieves stability through Bitcoin is discussed with the introduction of their perpetuals future Please like and subscribe on your favorite podcasting app! Sign up for a free newsletter: www.theblockrunner.com Follow us on: Youtube: https://bit.ly/TBlkRnnrYouTube Twitter: bit.ly/TBR-Twitter Discord: bit.ly/TBR-Discord
We know healthcare means hospitals and stethoscopes, and x-rays, and bloodwork, and prescriptions. But Dr. Dean-David Schillinger says stories are the key to healthcare—both our willingness to tell them; and our caregiver's ability to listen and understand them. Schillinger is a primary care physician, scientist, author, and public health advocate. He has served as chief of the UCSF Division of General Internal Medicine at San Francisco General Hospital, and chief of the Diabetes Prevention and Control Program for the California Department of Public Health. He is an internationally recognized expert in health communication and has been widely recognized for his work related to improving the health of marginalized populations. Schillinger is credited with a number of discoveries in primary care and health communication and is considered a pioneer of the field of health literacy. He is the inaugural recipient of the Andrew B. Bindman Professorship in Primary Care and Health Policy at the University of California San Francisco (UCSF).See omnystudio.com/listener for privacy information.
This episode of On-Farm Trials comes to you from the Rosanoff Homestead outside of Ritzville, WA where we hear from Ron Jirava and the WSU research team Dr. Bill Schilinger, Dr. Tim Paulitz, Dr. Jeremy Hansen, Dr. Surendra Singh, and Bruce Sower about their work together on the longest running Dryland On-Farm Trial collaboration in Washington State. Their conversation covers an array of the work that has come from this trial around alternative cropping systems, the soil microbiome, pathogens, tillage equipment, and residue management and how they all of these management strategies interact with soil moisture in a dryland environment. We also hear about future directions for the research to come, building on past work and exploring new ideas, including even more focus on soil health!
THE VIBE with Kelly Cardenas presents The Black Swan* of Legal Marketing Old school ethics; Aggressive representation. Harlan Schillinger has over four decades (46 years) of experience in legal advertising with a passion for legal marketing, intake, and conversion. Harlan Schillinger is widely considered the Grandfather of Legal Advertising, being the very first in the Legal field to produce and market Television Advertising for the Legal community. Harlan's commercials started airing throughout the country in 1978-79. Harlan has worked with more than 140 law firms in over 98 markets throughout North America. Currently, he is consulting privately only with lawyers who share his vision of increasing business, being accountable, and obtaining high-value cases. He takes, perhaps, the most unique and accountable approach to intake and conversion and insists on complete accountability within that arena. https://www.harlanschillinger.com BESTSELLING BOOK “THE VIBE- the missing ingredient that changes everything” https://a.co/d/0PzQk6F JOIN THE VIBE COMMUNITY Https://store.kellycardenas.com/kelly-cardenas-membership BE SURE TO CHECK OUT THE PODCAST MERCH http://KellyCardenasMerch.com Thank you to our sponsors The High Fives Foundation https://highfivesfoundation.org/ FINDLAY VOLVO CARS LAS VEGAS Findlay Volvo Las Vegas Tableone hospitality Tableonehospitality.com THE MINA GROUP https://www.michaelmina.net Https:// www.Secretknock.co Cardenas Law Group https://www.cardenaslawgrouplv.com BLING SHINE SERUM-The #1 seller of over 15 years and the only product to be endorsed by my MAMA! MORE KELLY HTTPS://SOLO.TO/KELLYCARDENAS “JOY IS THE ART OF FALLING IN LOVE WITH YOUR CURRENT CIRCUMSTANCES AND ALLOWING MAGIC TO HAPPEN!” EXECUTIVE PRODUCER BROOKLYN CARDENAS https://www.brooklyncardenas.com/
One of the Detroit's Olympic bids unfolded right in 1963 - right alongside the Civil Rights Movement. While one group saw an opportunity to brandish the city's glory, another feared an oversight of racial oppression and unrest. Detroit's Olympic Uprising, a new documentary from Detroit filmmaker Aaron Schillinger, documents what happened when the two groups collided. Detroit's Olympic Uprising will air on FOX 2 News on Saturday, August 3, at 2 p.m. Hear April Baer's conversation with Schillinger and two University of Michigan professors who offered their expertise for the film on the Stateside Podcast. GUESTS ON THIS EPISODE: Aaron Schillinger, Detroit filmmaker Stefan Szymanski, Professor of Sport Management at the University of Michigan Silke-Maria Weineck, Professor of German Studies and Comparative Literature at the University of Michigan --- Looking for more conversations from Stateside? Right this way. If you like what you hear on the pod, consider supporting our work. Music in this episode by Blue Dot Sessions.See omnystudio.com/listener for privacy information.
This Show offers a powerful and eye-opening consideration of medical care for marginalized people. Whether from a patient's perspective or the perspective of those who serve as medical caregivers, you will find Dr. Dean David Schillinger's TELLTALE HEARTS to be an extraordinary book and Dr. Schillinger to be an extraordinary person. What Dr. Schillinger offers is the gift of his own story in tandem with the unexpected, tragic, impressive and heart-breaking stories of his patients. Both sets of stories offer a glimpse of how industrialized medical systems can be dangerous for patients who are misunderstood, stereotyped and overlooked and for doctors who are struggling with burn-out, bias and at times frustration and despair. What Dr. Schillinger believes, and shares is the power of the patient's narrative. He exemplifies that when a patient is invited to be known, to tell their story, to be seen and respected– treatment and healing often become possible. Dr. Schillinger's description of his journey and his relationship with patients who dare to share and be known is medically and socially invaluable.
This Show offers a powerful and eye-opening consideration of medical care for marginalized people. Whether from a patient's perspective or the perspective of those who serve as medical caregivers, you will find Dr. Dean David Schillinger's TELLTALE HEARTS to be an extraordinary book and Dr. Schillinger to be an extraordinary person. What Dr. Schillinger offers is the gift of his own story in tandem with the unexpected, tragic, impressive and heart-breaking stories of his patients. Both sets of stories offer a glimpse of how industrialized medical systems can be dangerous for patients who are misunderstood, stereotyped and overlooked and for doctors who are struggling with burn-out, bias and at times frustration and despair. What Dr. Schillinger believes, and shares is the power of the patient's narrative. He exemplifies that when a patient is invited to be known, to tell their story, to be seen and respected– treatment and healing often become possible. Dr. Schillinger's description of his journey and his relationship with patients who dare to share and be known is medically and socially invaluable.
Die Neugestaltung des Hauptbahnhofs in München ist ein Schlüsselprojekt für die städtische Infrastruktur und eröffnet Entwicklern, Investoren und Unternehmen neue Perspektiven im Stadtzentrum. Mit Rainer Knapek, Managing Director und City Lead bei CBRE München, und Stefan Schillinger, Managing Partner bei der ACCUMULATA Real Estate Group, sprechen wir über den modernisierten Hauptbahnhof und die Impulse, die er für die Entwicklung des Standortes setzt. Darüber hinaus diskutieren wir darüber, wie die Vielfältigkeit des Viertels seine Attraktivität erhöht, welche Kriterien moderne Büroimmobilien erfüllen müssen und wie ihre Integration in gewachsene urbane Strukturen gelingt. Unsere Gäste erzählen uns dabei auch über die Projekte „B.munich“ und „The Stack“, die sie direkt am Hauptbahnhof realisieren.
This lecture explores the very limits of music: investigating historical efforts to catalogue musical materials including the melacarta of Carnatic music, the wazn of Arabic maqam, Slonimsky's Thesaurus of Scales and Melodic Patterns, Schillinger's Encyclopedia of Rhythms, Forte numbers, and contemporary attempts to ‘pre-copyright' every possible melody yet to be written.It also tackles the bigger questions: how much music might exist, whether it ever will be exhausted, and if there are any boundaries of our musical perception and imagination.This lecture was recorded by Milton Mermikides on 16th May 2024 at LSO St Luke's Church, LondonThe transcript of the lecture is available from the Gresham College website:https://www.gresham.ac.uk/watch-now/music-infiniteGresham College has offered free public lectures for over 400 years, thanks to the generosity of our supporters. There are currently over 2,500 lectures free to access. We believe that everyone should have the opportunity to learn from some of the greatest minds. To support Gresham's mission, please consider making a donation: https://gresham.ac.uk/support/Website: https://gresham.ac.ukTwitter: https://twitter.com/greshamcollegeFacebook: https://facebook.com/greshamcollegeInstagram: https://instagram.com/greshamcollegeSupport the Show.
“……alive?” With Beecher's Parole Hearing drawing near, Pete arranges for him to meet with The Rockwells. With Carl Jenkins dead and due to a lack of testimony, Robson is set to be released from Solitary much to Said's annoyance. A fight between the two in the library, resulting in Said being sent to The Hole only makes matters worse as a War begins to brew amongst The Aryans and The Muslims. Following an incident in the Cafeteria, Vahue is carrying an injury ahead of Game 2 of the Basketball Series. Rather than postpone the game, Vahue demands to play on as an NBA talent scout arrives at Oz to take a look at Dave. Could his dreams of playing in the big leagues be about to come true? As The Homeboys continue to plot against Augustus, Edward makes a discovery, leading to Tug going to Inmates Court. In an attempt to make his problem with Giles wanting to be stoned to death go away, Devlin arrives at Oz to try and persuade Pete to declare Giles insane so that he can transfer Giles to the Connolly Institute. Pete refuses to lie about Giles' mental state, leading to the State Supreme Court to have the final say. With Cyril's transfer to the Connolly Institute still a possibility, Ryan looks to have Clare taken out of the equation. He can't do it himself though, so he seeks the help of Alvin. Following a frosty first meeting, Ryan comes to Padraig's aide following another fight between Padraig, Timmy and Jim. As their new partnership begins to blossom, and after an inspirational meeting with Suzanne, Ryan seeks an answer from Gloria with regards to his escape plan. Following the outcome, Ryan looks to prove to his countryman that he is in fact “True Irish” and in it for the cause. Padraig has other ideas though. Also on this episode: The podcast's prolonged absence gets addressed, OJ Simpson gets the tribute he deserves, the beef between Chico & Omar leads to a Shakedown in Em City, Schillinger confronts Carrie as to who Jewel's father is, where has BD Wong gone?, the crimes of Governor George Ryan, and Mr T wants us to treat our mothers right. All of this and more on the Series 4(B) Episode 15, Even The Score Follow the show on Instagram & X (formally Twitter) - @insideozpodcast Follow the show on Threads - @insideozpodcast@threads.net Follow the show on Mastodon - @insideozpodcast@mastodon.world Email The Show – insideozpodcast@gmail.com #InsideOz Blake Robbins on Instagram - @blake.robbins
The post Céline Schillinger on network activation, curious conversations, podcasting for connection, and creative freedom (AC Ep40) appeared first on amplifyingcognition.
Many of us are aware that a steady diet of candy, cookies and soda isn't the best thing for our health, but few know just how dangerous these products can be. Physician and public health expert Dr. Dean Schillinger has witnessed the “absolute explosion” of Type 2 Diabetes in America. Dr. Schillinger is founder of the University of California San Francisco Center for Vulnerable Populations, Professor of Medicine in Residence at UCSF and was featured in the PBS documentary on diabetes, “Blood Sugar Rising.” He believes that sweeping legislative and societal changes are necessary to reverse the ravaging effects of this disease. Dr. Schillinger shares with host Alec Baldwin how corporations knowingly fuel our addiction to sugar, why the disease disproportionately affects vulnerable populations and the most important change you can make to help fight diabetes.See omnystudio.com/listener for privacy information.
Five U.S. cities implemented a tax on sugar-sweetened beverages between 2017 and 2018, as a key policy to reduce cardiometabolic diseases and other health conditions. Did consumers reduce their consumption? Listen in this week as Dee discusses the results of a recent study that examined the correlation between increases in prices of sugar-sweetened beverages and purchases.Reference:Kaplan, S., White, J. S., Madsen, K. A., Basu, S., Villas-Boas, S. B., & Schillinger, D. (2024). Evaluation of changes in prices and purchases following implementation of sugar-sweetened beverage taxes across the US. JAMA Health Forum, 5(1), e234737. https://jamanetwork.com/journals/jama-health-forum/fullarticle/2813506
Dr. Don Schillinger, current Interim Chair of the Department of Curriculum, Instruction, and Leadership, did not always plan to be a teacher. He did not always plan to be at Louisiana Tech. But "everything happens for a reason," and he explains why in this episode. Don recounts his days learning and growing and discovering his passion for teaching. He talks about buying in to leadership roles in Louisiana Tech's College of Education and Human Sciences, and he discusses the thought process behind the College's recent name change. He also touches on why Ruston and Louisiana Tech have been perfect for his family and why the College he serves is a special place. College of Education and Human Sciences: https://education.latech.edu/ Website: https://1894.latech.edu/beyond/ Email: 1894@latech.edu
“And I will pour out mine indignation upon thee. I will blow against thee in the fire of my wrath, and deliver thee into the hand of brutish men, and skilful to destroy” McManus returns to Oz looking to settle the tension between Burr and Morales. A ceasefire is called as Augustus attempts to explain himself to Burr, but Burr casts Augustus out of the homeboys. With his plan scrapped and his troops numbers dwindling, Burr sets a ‘Search & Destroy' mission for new podmate Edward. Clayton is causing problems in Unit J as he continues his feud with Alvin, this time over the origins of Alvin's surname, but now he's having issues with Johnny now too. Seeking a break from the tensions, Johnny has a visit with his wife Abby. Things appear to go well and they arrange to bring their son to the next visit. Clayton however has other ideas for Johnny upon his return, leading to Leo hitting the bottle hard. Beecher struggles to cope with Keller being gone from Oz. With the possibility of his Parole Hearing having a favourable outcome, as well as a blooming relationship with Katherine, a phone call with Keller brings him crashing right back down again. As Schillinger plays with his dolls, a chance encounter with a fellow inmate leads to questions about his new granddaughter's bloodline. Said looks to have Robson tried along with Carl Jenkins for his attempted murder and the murder of Leroy. Feeling as though he can talk some sense into the young inmate, Said asks to meet with Carl, which is met with resistance from Leo. Finding a loophole, Said confides in Cloutier to meet with Carl instead, which raises the ire of the Aryans and Schillinger in particular. Vahue heads to the Basketball to escape Unit B's Rat. Being gone from the NBA has affected Vahue's skills somewhat. Luckily for him McManus is on the scene to give him some pointers. Failing to take McManus advice (because why would he?), Vahue dismisses the man from the “White Boy City League”, leading to McManus to challenge Vahue to a Best of 3 Series on the Gym's Basketball Court. Vahue gets saddled with Busmalis as a teammate while McManus (eventually) teams up with Dave Brass, a CO from Unit B with some skills. As Moses execution approaches, his request to meet with those who are to receive his donated organs donated is accepted as he meets Jiffy Karras. Feeling a sense of purpose despite his impending death, Moses heads to Benchley Memorial for a routine examination. Padraic Connelly arrives at Oz awaiting his Deportation Hearing. Ryan tries to buddy up to his fellow Irish, but Padraic prefers to be a lone wolf. After an altercation with Jimmy and Jim in the Gym, Padraic receives news about his hearing. Ryan receives some (potentially) life changing family news from Suzanne. Things go from bad to worse following a scrap between Cyril and Jia, which leaves Jia in a coma. As McManus motions for Cyril to be transferred to the Connelly Institute, splitting the brothers and endangering Cyril “lifeline to reality”, Arif decides to finally come forward about witnessing Ryan murder Patrick Keenan. Facing the prospect of a trip to Death Row should he be convicted of Keenan's murder, Ryan asks Gloria to help he and Cyril escape. Also on this episode: a quick catch-up on what I've been up to since the last episode, Jia spends an ungodly amount of time in the Em City Cage, some questions about Oz's Inmate Uniform Policy, McManus facilitates Omar's return to Em City by forgiving him for the stabbing incident, what would you do in Orpheus' position?, Master P tries to add ‘play in the NBA' to his business empire, some poor penmanship with The Aryans, Not That John Carpenter goes for the top prize on Up Your Ante and I enlist OSW Review's Jay hunter (“HELLOOOOO!”) with some help with McManus' attempted Irish. All of this and more on the Series 4(B) Episode 14, Orpheus Descending Follow the show on Instagram & X (formally Twitter) - @insideozpodcast Follow the show on Threads - @insideozpodcast@threads.net Follow the show on Mastodon - @insideozpodcast@mastodon.world Email The Show – insideozpodcast@gmail.com #InsideOz MG Gong on Instagram - @fuentertainment OSW Review - https://www.youtube.com/@OSW
The terms "hunters" and "anglers" are often paired together with a certain level of equivalence as the two main options for folks who like to get their food off the land, but there is a third option. The center of Venn Diagram if you will. That third option is bowfishing. Bowfishing is ancient discipline that combines the best parts of archery hunting and fishing. Mathew from AMS Bowfishing joined me to talk about this great outdoor activity. Follow AMS Bowfishing: @amsbowfishing Check out the AMS Bowfishing Website Check out the AMS Alligator Video Check out the First Gen Hunter Website Follow First Gen Hunter Instagram: @first.gen.hunter GoWild: @Kent Boucher Facebook: @first.gen.hunter Follow The Hunt Fish Life: @hntfsh_life Follow Alex: @east2westhunts_alex (also on GoWild) Follow East2West Hunts: @east2westhunts Follow Caleb: @allamerican_outdoorsman (also on GoWild) Support First Gen Hunter by shopping at the following partners: Spartan Forge Camofire Black Ovis My Medic AlienGear Holsters FORLOH MTN OPS Fox River Socks East2West Hunts Use promo code: firstgen10 = 10% off any purchase
The “Grandfather of Legal Advertising”, Harlan Schillinger, broke the marketing mold back in 1978. His innovations - and insights - remain just as valuable today. The private consultant has worked with over 140 firms in 98 markets. While he only works with a handful of clients at a time, this episode gives access to insights from nearly five decades in the business. Today he reveals how to harness the power of perception in advertising, the importance of quality keywords in SEO, and the right way to leverage data in OTT ads. This is Harlan's second appearance on PIMM. Hear his impressive career journey, the secrets to optimizing intake, and why your marketing dollars only count if they're backed by credibility. Episode 60. Harlan Schillinger, Grandfather of Legal Advertising Supercharge Your Intake Process Links Want to hear more from elite personal injury lawyers and industry-leading marketers? Follow us on social media for more. Rankings.io Instagram Chris Dreyer Instagram Rankings.io Twitter Rankings.io Website Harlan Schillinger LinkedIn Harlan Schillinger Website What's in This Episode: Who is Harlan Schillinger? What needs to be in place for a successful expansion. How practicing better law leads to larger profits. How to evolve with disruptive media and advertising. Past Guests Past guests on Personal Injury Mastermind: Brent Sibley, Sam Glover, Larry Nussbaum, Michael Mogill, Brian Chase, Jay Kelley, Alvaro Arauz, Eric Chaffin, Brian Panish, John Gomez, Sol Weiss, Matthew Dolman, Gabriel Levin, Seth Godin, David Craig, Pete Strom, John Ruhlin, Andrew Finkelstein, Harry Morton, Shay Rowbottom, Maria Monroy, Dave Thomas, Marc Anidjar, Bob Simon, Seth Price, John Gomez, Megan Hargroder, Brandon Yosha, Mike Mandell, Brett Sachs, Paul Faust, Jennifer Gore-Cuthbert Additional Episodes You Might Enjoy 80. Mike Papantonio, Levin, Papantonio, & Rafferty — Doing Well by Doing Good 84. Glen Lerner, Lerner and Rowe – A Steady Hand in a Shifting Industry 101. Pratik Shah, EsquireTek — Discovering the Power of Automation 134. Darryl Isaacs, Isaacs & Isaacs — The Hammer: Insights from a Marketing Legend 104. Taly Goody, Goody Law Group — Finding PI Clients on TikTok 63. Joe Fried, Fried Goldberg LLC — How To Become An Expert And Revolutionize Your PI Niche 96. Brian Dean, Backlinko — Becoming a Linkable Source 83. Seth Godin — Differentiation: How to Make Your Law Firm a Purple Cow 73. Neil Patel, Neil Patel — Digital A New Approach to Content and Emerging Marketing Channels
Jennifer Sertl talks to Change Agent & Céline Schillinger about her recent book "Dare to Un-Lead", Porchlight 2022 Leadership & Strategy Book of the Year. She distinguishes between mentorship and sponsorship. She also talks about personal agency and why “we are not the employees we used to be.”
Céline Schillinger's new book "Dare to un-lead" is now out, and she joins me on this podcast episode to share what's needed today for leaders to be better leaders. Join us and grab a copy of her book here: https://amzn.to/3H7Cfk7 Don‘t miss these previous episodes: How to use LinkedIn newsletters Announcing a new job on LinkedIn How executives can build their brand
“You and me together? God doesn't have the balls to keep us out.” Leo is looking to send Miguel back to Solitary due to a lack of progress from his Em City informant. After being tasked with killing Burr by Morales, Miguel tries to strike a deal with Burr himself. However, a rejection leads to deadly consequences and Miguel leaving the unit once again. Weigert Corporation's "Aging Pill" experiment continues to cause friction amongst the staff as the inmates continue to take their dosage. While some appear to be showing no side-effects whatsoever, others are showing varying degrees of aging, which gets Ryan into a panic. It could be worse though, it's not like any of the test subjects have dropped dead. Oh wait… Leroy, now known as Salah Yudin, continues to plot to kill Said. He's presented with a golden opportunity, but he can he bring himself to do it? Omar gets starstruck following a chance meeting with Vahue. Feeling disrespected by Vahue's aloofness, and talking absolute shit in the process, Omar strikes out, determined to make a name for himself. The Refugees are prepared to be returned to China. Before that happens, Gongjin gets the opportunity to meet the man behind the people smuggling operation, Jia Kenmin. With his chance to gain revenge on Morales for Bian's murder having now past, Gongjin asks for Jia to prove himself to his people by murdering Morales. Supreme returns to Em City, not only adding to Ryan's panic, but leading to a revelation for Augustus regarding the night he was arrested. Following a confrontation in the showers which leaves Augustus in the hospital, and despite Keller's offer to help, Burr seeks his own brand of justice. The news of Hank's murder reaches Oz, jeopardising the progress made between Schillinger and Beecher. Schillinger, with a little convincing from Robson, goes on the offensive, resulting in a visiting Angus being stabbed. As tensions continue to rise, Keller confides in Cloutier that it was he that ordered the hit on Hank, and that Beecher is innocent. Believing Keller's confession, Cloutier finds Schillinger before any more blood can be spilled. In two minds about what to truly believe, Schillinger meets with Beecher in one last attempt to end the bloodshed. With the Hatchet seemingly buried, Beecher and Keller say their goodbyes as Keller is shipped off to Massachusetts to stand trial. Also on this episode: Rebadow goes to bat for Busmalis, Len Lopresti: Car Salesman, we go for a walk down Doyers St, Ray returns from retreat, the inclusion of a deleted scene could really help the flow of things, and Dean Winters attempts to sing, bringing a controversial opinion to the surface. All of this and more on the Series 4(B) Episode 12, Cuts Like A Knife Follow the show on Instagram & Twitter - @insideozpodcast, and now on Mastodon - @insideozpodcast@mastodon.world Email The Show – insideozpodcast@gmail.com #InsideOz Friends of Firefighters - https://friendsoffirefighters.org/
In today's second hour, Dom welcomes in Clarice Schillinger, Executive Director of Back to School USA, back onto the Dom Giordano Program to discuss an op-ed she penned with Beth Ann Rosica titled ‘The Pennsylvania GOP is a Dumpster Fire,' discussing the sad state of the Republican Party in Pennsylvania. Schillinger explains her point, telling that many state-wide committee members refused to endorse candidates, or were split in their endorsements, which she thinks was a huge contributor to the losses seen this week in the midterm elections. Schillinger takes Dom and listeners inside the instrumentations that lead to endorsements inside a state-wide committee, and tells what she thinks needs to be done to further Republican chances in future elections. (Photo by Getty Images)
Full Hour | In today's second hour, Dom welcomes in Clarice Schillinger, Executive Director of Back to School USA, back onto the Dom Giordano Program to discuss an op-ed she penned with Beth Ann Rosica titled ‘The Pennsylvania GOP is a Dumpster Fire,' discussing the sad state of the Republican Party in Pennsylvania. Schillinger explains her point, telling that many state-wide committee members refused to endorse candidates, or were split in their endorsements, which she thinks was a huge contributor to the losses seen this week in the midterm elections. Schillinger takes Dom and listeners inside the instrumentations that lead to endorsements inside a state-wide committee, and tells what she thinks needs to be done to further Republican chances in future elections. Then, Dom rounds out the remainder of the hour continuing the conversation centered on the future of the Republican Party, focusing largely on the issue of abortion and how future Republican politicians should handle the hot button issue. Also, Dom and producer Dan have some fun with the day's side topic, asking for films that have flown largely under the radar. Then, Dan offers his Dan Time with Dom, asking Dom whether or not politics have influenced his television and film viewing habits. (Photo by Alex Wong/Getty Images)
Dom welcomes Clarice Schillinger, Executive Director of Back to School USA, back onto the Dom Giordano Program to discuss a Wall Street Journal poll that points toward a spike in support of Republican candidates by suburban women. First, Dom plays back a clip from today's episode of The View, in which host Sunny Hostin compared Republican suburban women to roaches voting for raid because of the topic of abortion. Clarice takes issue with the comments, explaining why the comments are incredibly disrespectful, pointing toward the impact of inflation on suburban women and families. Clarice, who canvasses the country focusing on local political races, tells what she's been hearing as the most important issues from suburban women while traversing the multitude of local races. Also, Clarice tells about the impact of the issue of Abortion, and explains the yin and yang between male and female voters. (Photo by Getty Images)
Full Hour | Dom welcomes Clarice Schillinger, Executive Director of Back to School USA, back onto the Dom Giordano Program to discuss a Wall Street Journal poll that points toward a spike in support of Republican candidates by suburban women. First, Dom plays back a clip from today's episode of The View, in which host Sunny Hostin compared Republican suburban women to roaches voting for raid because of the topic of abortion. Clarice takes issue with the comments, explaining why the comments are incredibly disrespectful, pointing toward the impact of inflation on suburban women and families. Clarice, who canvasses the country focusing on local political races, tells what she's been hearing as the most important issues from suburban women while traversing the multitude of local races. Also, Clarice tells about the impact of the issue of Abortion, and explains the yin and yang between male and female voters. Then, Dom welcomes Sav Says, a YouTube viral sensation, Savanah Hernandez, to the Dom Giordano Program. Savanah, who has produced videos that have been viewed over 20 million times, covers the implications of progressive policies on crime. Savanah has gone to Skid Row in Los Angeles, the Bronx in New York, Portland, and other hot zones, but says that her time spent in Philadelphia proves our City as the worst. Savanah is working on her next video, focusing on Kensington and the addiction crisis in Philadelphia, and tells Giordano about volunteers at a needle exchange program who refused to allow her to record, forcefully taking her camera and breaking it. Savanah takes us inside her Kensington trip, telling of the amount of needles she's never experienced before, and compares the leadership of DA Larry Krasner and Mayor Kenney to other areas suffering from the effect of progressive policies, including Portland and Seattle. (Photo by Spencer Platt/Getty Images)
In this episode of Let Go & Lead, accomplished change leader and founder and CEO of We Need Social Celine Schillinger talks with Maril about the relational leadership skills required in today's business world — and how much those differ from what we've been taught to value in leaders. Schillinger, the author of Dare to Un-lead, sees eye-to-eye with Maril's people-first lens on change leadership. The two discuss the vulnerability and self-effacement required to create movements inside companies, the immense power of co-creating solutions with employees and how often, the best way to improve business outcomes is simply to prioritize building a community of people who care for each other. Learn about: 10:54 Why the typical change approach has no heart 14:18 How companies can co-create change 18:47 How “Un-leading” differs from traditional leadership 25:25 Why leaders need to evolve to “Un-lead” 36:28 Creating movements in a hybrid world 55:55 Takeaways from the episode — A pioneering voice in Engagement Leadership, Celine has been recognized multiple times for her large-scale innovative engagement initiatives in the corporate world. Prior to her 17 years' experience in the pharma industry across Business Operations, Marketing and Industrial Quality, Celine worked with communications, defense and trading companies. Hanoi, Vietnam, Beijing, China and Boston, USA were once called home. From Boston, Celine led a transformation movement at pharma giant Sanofi, impacting a change population of 10,000 people across Industrial Operations and Quality functions worldwide. Celine now works from France as an Engagement Leadership consultant, helping clients with new leadership strategies that mobilize internal or external stakeholders, enable corporate transformation and boost business value. Celine's journey led her to founding We Need Social. A TEDx speaker, Celine was made a Knight of the National Order of Merit by the French government for her workplace change efforts. Lessons from her journey in change are captured in Celine's first book, published in June 2022: Dare to Un-Lead: The Art of Relational Leadership in a Fragmented World. Celine and her husband Leo are parents to Gustave (17) and Violette (12). In her free time, Celine loves to row on the beautiful Saône River, nearby her home. Her articles and ideas can be found in various well-respected media and podcasts. Celine's keynotes and speeches span multiple change, organizational transformation and leadership topics. She is featured extensively in major media articles. Multiple outstanding book reviews to include this one: “This book SHOULD BE taught in business schools, b/c what she says is a complete flip of the typical #leadership theories we usually get in today's world of work” ABOUT LET GO & LEAD Let Go & Lead is a leadership community created by Maril MacDonald, founder and CEO of Gagen MacDonald. Maril brings together provocateurs, pioneers, thought leaders and those leading the conversation around culture, transformation and change. Over the course of the past 12 years, Let Go & Lead has existed in many forms, from video interviews to resource guides to its current iteration as a podcast. At its core, it remains a place where people can access a diversity of perspectives on interdisciplinary approaches to leadership. Maril is also working on a book incorporating these insights gathered over the past several years from global leaders and change makers. Maril has interviewed over 120 leaders — from business to academia and nonprofits to the arts — through the years. In each conversation, from personal anecdotes to ground-breaking scientific analysis, she has probed the lessons learned in leadership. From these conversations, the Let Go & Lead framework has emerged. It is both a personal and organizational resource that aims to serve the individual leader or leadership at scale. ABOUT GAGEN MACDONALD At Gagen MacDonald, we are dedicated to helping organizations navigate the human struggle of change. We are a people-focused consulting firm and our passion is improving the employee experience — for everyone. For almost 25 years, we have been working with companies to create clarity from chaos by uniting employees across all levels around a single vision so they can achieve results and realize their future. We have been a pioneer in bringing humanity to strategy execution, leading in areas such as organizational communication, culture, leadership, and employee engagement. Our Vision is to lift all humanity by transforming the companies that transform the world. Full episodes also available on: Apple Podcasts: https://podcasts.apple.com/us/podcast/let-go-lead-with-maril-macdonald/id1454869525 Spotify: https://open.spotify.com/show/5Gaf7JXOckZMtkpsMtnjAj?si=WZjZkvfLTX2T4eaeB1PO2A Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9sZXRnb2xlYWQubGlic3luLmNvbS9yc3M Stitcher: https://www.stitcher.com/show/let-go-lead — Gagen MacDonald is a strategy execution consulting firm that specializes in employee engagement, culture change and leadership development. Learn more at http://www.gagenmacdonald.com.
It's It's “In the News…” a look at the top diabetes stories and headlines of the past seven days. This week: Provention Bio hopes to get FDA approval of Teplizumab next month and partners with Sanofi on this T1D prevention drug, new type 2 studies show that younger people who develop it generally have worse health outcomes, Medicare considers expanded coverage of CGMs and more Learn more about the T1D Exchange: www.T1Dexchange.org/Stacey Check out Stacey's book: The World's Worst Diabetes Mom! Join the Diabetes Connections Facebook Group! Sign up for our newsletter here Episode Transcription Below (or coming soon!) Please visit our Sponsors & Partners - they help make the show possible! *Click here to learn more about OMNIPOD* *Click here to learn more about AFREZZA* *Click here to learn more about DEXCOM* Hello and welcome to Diabetes Connections In the News! I'm Stacey Simms and these are the top diabetes stories and headlines of the past seven days. XX In the news is brought to you by T1D Exchange! T1D Exchange is a nonprofit organization dedicated to improving outcomes for the entire T1D population. https://t1dexchange.org/stacey/ XX Provention Bio partners with Sanofi to help bring teplizumab to market. Teplizumab isn't yet approved, the FDA is expected to give it the thumbs up later this year.. this is the drug shown to prevent type 1 diabetes for up to three years. Among other things, Sanofi will get exclusive global marketing rights for the drug. The FDA had asked for more information the last time teplizumab was up for approval.. the three month period for that closes in November.. and a ruling is expected then. https://www.fiercepharma.com/pharma/proventions-regulatory-odyssey-diabetes-nears-its-end-company-taps-sanofi-marketing-assist XX New research has found that the age at which people are diagnosed with type 2 diabetes is associated with a higher risk of developing serious complications. The study, which was published in JAMA Network Open, analyzed health data from more than 36,000 Americans aged 50 and above. The researchers found that those who were diagnosed with type 2 diabetes between the ages of 50 and 59 had “elevated risks” of heart disease, stroke, disability, cognitive impairment, and early death. But when people were diagnosed with diabetes later in life, the risks were reduced.1 No obvious reason for that.. but the researchers say it does point to the need for more screening and better prevention and treatment. https://www.verywellhealth.com/type-2-diabetes-diagnosis-age-6747897 XX The Centers for Medicare and Medicaid Services has proposed new draft coverage guidelines for continuous glucose monitors. Under the proposal, the CMS would cover CGMs for diabetes patients who are treated with insulin or “have a history of problematic hypoglycemia,” as defined by the frequency or severity of low blood sugar events, seemingly regardless of whether they have Type 1 or 2 diabetes. Analysts at J.P. Morgan said the proposal reads “very favorably” for Abbott and Dexcom, leading CGM manufacturers that are targeting the “massive and highly under-penetrated Type 2 market opportunity.” https://www.medtechdive.com/news/dexcom-abbot-CGM-diabetes-coverage/633577/ XX Mark cuban's Cost Plus Drugs has joined with @RocheDiabetesUS to provide our patients with their line of Accu-ChekⓇ test strips, lancets, & meters! This partnership will allow anyone to access what they need to check their blood sugar, at a low price. XX Researchers who study Type 2 diabetes have reached a stark conclusion: There is no device, no drug powerful enough to counter the effects of poverty, pollution, stress, a broken food system, cities that are hard to navigate on foot and inequitable access to health care, particularly in minority communities. This is a long and complicated article published in the New York Times.. I'll link it up and I urge you to read it. I can't really to it justice in a short excerpt here. “Our entire society is perfectly designed to create Type 2 diabetes,” said Dr. Dean Schillinger, a professor of medicine at University of California, San Francisco. “We have to disrupt that.” Dr. Schillinger and nearly two dozen other experts laid out a road-map for doing so earlier this year in a comprehensive national report to Congress on diabetes, the first of its kind since 1975. It calls for reframing the epidemic as a social, economic and environmental problem, and offers a series of detailed fixes, ranging from improving access to healthy food and clean water to rethinking the designs of communities, housing and transportation networks. https://www.nytimes.com/2022/10/05/health/diabetes-prevention-diet.html XX Back to the news in a moment but first.. The T1D Exchange Registry is a research study conducted online over time, designed to foster innovation and improve the lives of people with T1D. The platform is open to both adults and children with T1D living in the U.S. Personal information remains confidential and participation is fully voluntary. Once enrolled, participants will complete annual surveys and have the opportunity to sign up for other studies on specific topics related to T1D. The registry aims to improve knowledge of T1D, accelerate the discovery and development of new treatments and technologies, and generate evidence to support policy or insurance changes that help the T1D community. By sharing opinions, experiences and data, patients can help advance meaningful T1D treatment, care and policy. The registry is now available on the T1D Exchange website and is simple to navigate, mobile and user-friendly. For more information or to register, go to www.t1dregistry.org/stacey XX The Diabetes Design initiative is looking for college age people with type 1 to help them design the ultimate alarm for an extreme low. I'll put the contact info in the show notes, along with a link to the website. By the way, I had never heard of the Diabetes Design Initiative but boy do I know these names and you probably do too. Ben West, Dana Lewis and a few others from the history of we are not waiting http://ddi.ucsd.edu/about.html Grace Zheng gzheng@ucsd.edu XX On the podcast next week.. teens and type 1 – a deep dive into why teen retreats work from the people who organize a great one.. and how adults with type 1 still use the lessons they learned as teens. This past episode is all about Dexcom design. Listen wherever you get your podcasts Hey for you parents, we've got a webinar on Halloween, link in the show notes and on my social media. That's In the News for this week.. if you like it, please share it! Thanks for joining me! See you back here soon.
“Age? What do you mean? Like grow old?” After being framed for Bian's murder, Burr is released from the Em City Cage, triggering a feud between himself and Morales & Chucky. Following his return to Oz after being on the run, Miguel has found himself back in Solitary. He soon strikes a deal with Leo to be his Eyes & Ears in Em City, but first he must prove himself to Morales. In conjunction with the returning Weigart Corporation, Gloria launches an experimental treatment to test Weigart's new “Aging Drug”, whereby an inmate will physically age several years and eventually be released, freeing up much needed space inside of Oz. After another violent altercation, Gloria proposes putting Cyril, along with brother Ryan, into the pool of participants, much to McManus' chagrin. Jaz & Robson are on the warpath. As they attack Arif in the gym, a courageous Leroy saves Arif, resulting in Leroy finally joining The Muslims. They also have issues with Cloutier's mentorship of Schillinger, fearing that their position is beginning to weaken. Beecher and Schillinger sit down to try and begin the recovery process as part of Sister Pete's Victim-Offender Interaction Program. As Busmalis and Norma begin to plan for their Wedding, Busmalis must convince Leo to allow the Ceremony. After some persuasion from McManus, Leo allows it take place on the proviso that Busmalis behaves himself, Busmalis having previously escaped still sticking in Leo's craw. Rather than jeopardise his upcoming nuptials and under pressure from Omar, Busmalis decides to fill in the hole that he's been digging. In a cruel twist of fate, things don't go to plan for “The Mole”, leaving his upcoming Wedding up in the air. Agent Taylor returns to Oz to continue to investigate the Homosexual Murders Case. As he delves into Ronnie's past with Keller, Taylor offers Ronnie a reduced sentence deal in exchange for his testimony. Beecher gets wind of this development after Ronnie seeks his legal counsel, and despite his rocky relationship with Keller, informs Keller about the offer Ronnie has been made. With the walls closing in on him, Keller commits a desperate act. Also on this episode: the perils of recording the Podcast during the Summer, the mystery of the “spat-in Burger”, we take a walk around the booths at the Warden's Conference, Rick Fox wins an NBA Title, Chris Meloni shows us his hole, Jaz wears a problematic clothing brand and a brief history of The Hatfields vs The McCoys. All of this and more on the Series 4(B) Episode 11, Revenge Is Sweet Follow the show on Instagram & Twitter - @insideozpodcast Email The Show – insideozpodcast@gmail.com #InsideOz 'Tumbleweed Town' created by Brandon Fietcher - https://www.youtube.com/watch?v=JBkRe_m21Z0
Remember when those guys who had slicked back hair and carried a bat paid you a visit about a debt you owed? You know debt collectors.Well times have changed and March Schillinger, founder of eCollect is transforming the way debt collection and account receivables takes place. eCollect is a fully digitalised receivables management FinTech startup with best-in-class AI and machine learning technology. They're currently operating in several European countries, provide services for more than 13 languages, and are approaching 10 million in ARR. This is a very fun conversation with Marc as we learn about eCollect and Marc's passion for Michael Jordan as I believe he's Jordan's number 1 fan. Listen to his story to see why. Highlights:0:32 – who is Marc Schillinger?1:42 – what has changed in the field of debt collection?2:55 – are there differences in the methods in how people pay their debts by country?4:34 – are you servicing specific types of industries?5:45 – what are some of the main tactics you use to grow eCollect?7:40 – how are you managing workers who are in three separate countries?9:30 – what is your projected revenue for 2022?9:45 – what do you wish you had known before you started eCollect?10:55 – what is one hire you made that really made a difference in the company?13:30 – what changes do you anticipate five years from now in this industry?16:32 – is there something else that clients get excited about when they discover eCollect?19:50 – what was one of the hardest obstacles you had to overcome in growing eCollect?21:50 – does corn belong on pizza?22:30 - a favorite tv show you can watch again and again?24:55 – what is something that most people don't know about you?Be sure to stick around for the Innovators Can Laugh segment! You won't want to miss Marc's hilarious answers!Do you wish to connect with our special guest?Visit Marc's website: ecollect.netTune in to every conversation about exciting European Startups and Innovators on Apple Podcasts, Spotify, and Amazon! Leave a rating and review so we can For the Innovators Can Laugh newsletter in your inbox every week, subscribe at https://innovatorscanlaugh.substack.comPrevious guests include: Arvid Kahl of FeedbackPanda, Andrei Zinkevich of FullFunnel, Scott Van den Berg of Influencer Capital, Buster Franken of Fruitpunch AI, Valentin Radu of Omniconvert, Evelina Necula of Kinderpedia, Ionut Vlad of Tokinomo, Diana Florescu of MediaforGrowth, Irina Obushtarova of Recursive, Monika Paule of Caszyme, Yannick Veys of Hypefury, Laura Erdem of Dreamdata, and Pija Indriunaite of CityBee. Check out our five most downloaded episodes: From Uber and BCG to building a telehealth for pets startup with Michael Fisher From Starcraft Player to Maximizing Customer Lifetime Value with Valentin Radu Revolutionizing Parent-Teacher Communication with Kinderpedia ...
Today, we're taking a break from our usual programming to hear from a friend of mine, Harlan Schillinger, sometimes called the Grandfather of Legal Advertising. Harlan founded the first TV production firm for high-end lawyers all the way back in 1975. The commercials he created there were the first ever television marketing for the legal community and have shaped the industry ever since. Since that time, he's worked with over 130 law firms throughout the US and Canada.The industry that Harlan crafted opened a floodgate of leads for the firms who could afford it. But these days, Harlan is more interested in quality than quantity. In this interview, we discuss industry-wide failures in intake and conversion, why law firms must be honest with themselves about how much business they're losing, and how to ask for the type of cases you want.Support the show
Clarice Schillinger, former candidate for Lieutenant Governor in Pennsylvania, returns to the Dom Giordano Program to announce that she's taking her state-wide Back to School PA PAC to a national level. Clarice tells about controversies she's becoming involved with out in California and across the country with the new Back to School USA PAC, telling that the organization is focused on countering the hyper-progressive shift many parents are seeing in their school districts to counteract the teachers' union. (Photo by Getty Images)
Executive Director of Back to School PA, Clarice Schillinger, joins the show to discuss the fight for the education and parental rights for the upcoming school year.
Clarice Schillinger, candidate for Lt. Governor of PA, joined Rich to discuss Election Day today and her motivation to run for Lt. Governor after fighting for parents and kids alike to get the education they deserve in public schools.
Candidate for Lt. Governor of Pennsylvania Clarice Schillinger joined Rich to discuss to role of the Lieutenant Governor in Pennsylvania and how her campaign is fighting to ensure a promising future for Pennsylvania's youth by getting parents back in the classroom and in charge of their children's education.
Clarice Schillinger, candidate for Lt. Governor of PA, joined Rich to discuss getting parents' voices back in their kids' classroom to know what they're learning in schools, especially the public school system and bringing similar bills like the Florida Parental Rights in Education to Pennsylvania.
Episode one hundred and forty-six of A History of Rock Music in Five Hundred Songs looks at “Good Vibrations” by the Beach Boys, and the history of the theremin. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "You're Gonna Miss Me" by the Thirteenth Floor Elevators. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher. His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. I have also referred to Brian Wilson's autobiography, I Am Brian Wilson, and to Mike Love's, Good Vibrations: My Life as a Beach Boy. As a good starting point for the Beach Boys' music in general, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it, including the single version of "Good Vibrations". Oddly, the single version of "Good Vibrations" is not on the The Smile Sessions box set. But an entire CD of outtakes of the track is, and that was the source for the session excerpts here. Information on Lev Termen comes from Theremin: Ether Music and Espionage by Albert Glinsky Transcript In ancient Greece, the god Hermes was a god of many things, as all the Greek gods were. Among those things, he was the god of diplomacy, he was a trickster god, a god of thieves, and he was a messenger god, who conveyed messages between realms. He was also a god of secret knowledge. In short, he was the kind of god who would have made a perfect spy. But he was also an inventor. In particular he was credited in Greek myth as having invented the lyre, an instrument somewhat similar to a guitar, harp, or zither, and as having used it to create beautiful sounds. But while Hermes the trickster god invented the lyre, in Greek myth it was a mortal man, Orpheus, who raised the instrument to perfection. Orpheus was a legendary figure, the greatest poet and musician of pre-Homeric Greece, and all sorts of things were attributed to him, some of which might even have been things that a real man of that name once did. He is credited with the "Orphic tripod" -- the classification of the elements into earth, water, and fire -- and with a collection of poems called the Rhapsodiae. The word Rhapsodiae comes from the Greek words rhaptein, meaning to stitch or sew, and ōidē, meaning song -- the word from which we get our word "ode", and originally a rhapsōdos was someone who "stitched songs together" -- a reciter of long epic poems composed of several shorter pieces that the rhapsōdos would weave into one continuous piece. It's from that that we get the English word "rhapsody", which in the sixteenth century, when it was introduced into the language, meant a literary work that was a disjointed collection of patchwork bits, stitched together without much thought as to structure, but which now means a piece of music in one movement, but which has several distinct sections. Those sections may seem unrelated, and the piece may have an improvisatory feel, but a closer look will usually reveal relationships between the sections, and the piece as a whole will have a sense of unity. When Orpheus' love, Eurydice, died, he went down into Hades, the underworld where the souls of the dead lived, and played music so beautiful, so profound and moving, that the gods agreed that Orpheus could bring the soul of his love back to the land of the living. But there was one condition -- all he had to do was keep looking forward until they were both back on Earth. If he turned around before both of them were back in the mortal realm, she would disappear forever, never to be recovered. But of course, as you all surely know, and would almost certainly have guessed even if you didn't know because you know how stories work, once Orpheus made it back to our world he turned around and looked, because he lost his nerve and didn't believe he had really achieved his goal. And Eurydice, just a few steps away from her freedom, vanished back into the underworld, this time forever. [Excerpt: Blake Jones and the Trike Shop: "Mr. Theremin's Miserlou"] Lev Sergeyevich Termen was born in St. Petersburg, in what was then the Russian Empire, on the fifteenth of August 1896, by the calendar in use in Russia at that time -- the Russian Empire was still using the Julian calendar, rather than the Gregorian calendar used in most of the rest of the world, and in the Western world the same day was the twenty-seventh of August. Young Lev was fascinated both by science and the arts. He was trained as a cellist from an early age, but while he loved music, he found the process of playing the music cumbersome -- or so he would say later. He was always irritated by the fact that the instrument is a barrier between the idea in the musician's head and the sound -- that it requires training to play. As he would say later "I realised there was a gap between music itself and its mechanical production, and I wanted to unite both of them." Music was one of his big loves, but he was also very interested in physics, and was inspired by a lecture he saw from the physicist Abram Ioffe, who for the first time showed him that physics was about real, practical, things, about the movements of atoms and fields that really existed, not just about abstractions and ideals. When Termen went to university, he studied physics -- but he specifically wanted to be an experimental physicist, not a theoretician. He wanted to do stuff involving the real world. Of course, as someone who had the misfortune to be born in the late 1890s, Termen was the right age to be drafted when World War I started, but luckily for him the Russian Army desperately needed people with experience in the new invention that was radio, which was vital for wartime communications, and he spent the war in the Army radio engineering department, erecting radio transmitters and teaching other people how to erect them, rather than on the front lines, and he managed not only to get his degree in physics but also a diploma in music. But he was also becoming more and more of a Marxist sympathiser, even though he came from a relatively affluent background, and after the Russian Revolution he stayed in what was now the Red Army, at least for a time. Once Termen's Army service was over, he started working under Ioffe, working with him on practical applications of the audion, the first amplifying vacuum tube. The first one he found was that the natural capacitance of a human body when standing near a circuit can change the capacity of the circuit. He used that to create an invisible burglar alarm -- there was an antenna sending out radio waves, and if someone came within the transmitting field of the antenna, that would cause a switch to flip and a noise to be sounded. He was then asked to create a device for measuring the density of gases, outputting a different frequency for different densities. Because gas density can have lots of minor fluctuations because of air currents and so forth, he built a circuit that would cut out all the many harmonics from the audions he was using and give just the main frequency as a single pure tone, which he could listen to with headphones. That way, slight changes in density would show up as a slight change in the tone he heard. But he noticed that again when he moved near the circuit, that changed the capacitance of the circuit and changed the tone he was hearing. He started moving his hand around near the circuit and getting different tones. The closer his hand got to the capacitor, the higher the note sounded. And if he shook his hand a little, he could get a vibrato, just like when he shook his hand while playing the cello. He got Ioffe to come and listen to him, and Ioffe said "That's an electronic Orpheus' lament!" [Excerpt: Blake Jones and the Trike Shop, "Mr. Theremin's Miserlou"] Termen figured out how to play Massenet's "Elegy" and Saint-Saens' "The Swan" using this system. Soon the students were all fascinated, telling each other "Termen plays Gluck on a voltmeter!" He soon figured out various refinements -- by combining two circuits, using the heterodyne principle, he could allow for far finer control. He added a second antenna, for volume control, to be used by the left hand -- the right hand would choose the notes, while the left hand would change the volume, meaning the instrument could be played without touching it at all. He called the instrument the "etherphone", but other people started calling it the termenvox -- "Termen's voice". Termen's instrument was an immediate sensation, as was his automatic burglar alarm, and he was invited to demonstrate both of them to Lenin. Lenin was very impressed by Termen -- he wrote to Trotsky later talking about Termen's inventions, and how the automatic burglar alarm might reduce the number of guards needed to guard a perimeter. But he was also impressed by Termen's musical invention. Termen held his hands to play through the first half of a melody, before leaving the Russian leader to play the second half by himself -- apparently he made quite a good job of it. Because of Lenin's advocacy for his work, Termen was sent around the Soviet Union on a propaganda tour -- what was known as an "agitprop tour", in the familiar Soviet way of creating portmanteau words. In 1923 the first piece of music written specially for the instrument was performed by Termen himself with the Leningrad Philharmonic, Andrey Paschenko's Symphonic Mystery for Termenvox and Orchestra. The score for that was later lost, but has been reconstructed, and the piece was given a "second premiere" in 2020 [Excerpt: Andrey Paschenko, "Symphonic Mystery for Termenvox and Orchestra" ] But the musical instrument wasn't the only scientific innovation that Termen was working on. He thought he could reverse death itself, and bring the dead back to life. He was inspired in this by the way that dead organisms could be perfectly preserved in the Siberian permafrost. He thought that if he could only freeze a dead person in the permafrost, he could then revive them later -- basically the same idea as the later idea of cryogenics, although Termen seems to have thought from the accounts I've read that all it would take would be to freeze and then thaw them, and not to have considered the other things that would be necessary to bring them back to life. Termen made two attempts to actually do this, or at least made preliminary moves in that direction. The first came when his assistant, a twenty-year-old woman, died of pneumonia. Termen was heartbroken at the death of someone so young, who he'd liked a great deal, and was convinced that if he could just freeze her body for a while he could soon revive her. He talked with Ioffe about this -- Ioffe was friends with the girl's family -- and Ioffe told him that he thought that he was probably right and probably could revive her. But he also thought that it would be cruel to distress the girl's parents further by discussing it with them, and so Termen didn't get his chance to experiment. He was even keener on trying his technique shortly afterwards, when Lenin died. Termen was a fervent supporter of the Revolution, and thought Lenin was a great man whose leadership was still needed -- and he had contacts within the top echelons of the Kremlin. He got in touch with them as soon as he heard of Lenin's death, in an attempt to get the opportunity to cryopreserve his corpse and revive him. Sadly, by this time it was too late. Lenin's brain had been pickled, and so the opportunity to resurrect him as a zombie Lenin was denied forever. Termen was desperately interested in the idea of bringing people back from the dead, and he wanted to pursue it further with his lab, but he was also being pushed to give demonstrations of his music, as well as doing security work -- Ioffe, it turned out, was also working as a secret agent, making various research trips to Germany that were also intended to foment Communist revolution. For now, Termen was doing more normal security work -- his burglar alarms were being used to guard bank vaults and the like, but this was at the order of the security state. But while Termen was working on his burglar alarms and musical instruments and attempts to revive dead dictators, his main project was his doctoral work, which was on the TV. We've said before in this podcast that there's no first anything, and that goes just as much for inventions as it does for music. Most inventions build on work done by others, which builds on work done by others, and so there were a lot of people building prototype TVs at this point. In Britain we tend to say "the inventor of the TV" was John Logie Baird, but Baird was working at the same time as people like the American Charles Francis Jenkins and the Japanese inventor Kenjiro Takayanagi, all of them building on earlier work by people like Archibald Low. Termen's prototype TV, the first one in Russia, came slightly later than any of those people, but was created more or less independently, and was more advanced in several ways, with a bigger screen and better resolution. Shortly after Lenin's death, Termen was invited to demonstrate his invention to Stalin, who professed himself amazed at the "magic mirror". [Excerpt: Blake Jones and the Trike Shop, "Astronauts in Trouble"] Termen was sent off to tour Europe giving demonstrations of his inventions, particularly his musical instrument. It was on this trip that he started using the Romanisation "Leon Theremin", and this is how Western media invariably referred to him. Rather than transliterate the Cyrillic spelling of his birth name, he used the French spelling his Huguenot ancestors had used before they emigrated to Russia, and called himself Leo or Leon rather than Lev. He was known throughout his life by both names, but said to a journalist in 1928 "First of all, I am not Tair-uh-MEEN. I wrote my name with French letters for French pronunciation. I am Lev Sergeyevich Tair-MEN.". We will continue to call him Termen, partly because he expressed that mild preference (though again, he definitely went by both names through choice) but also to distinguish him from the instrument, because while his invention remained known in Russia as the termenvox, in the rest of the world it became known as the theremin. He performed at the Paris Opera, and the New York Times printed a review saying "Some musicians were extremely pessimistic about the possibilities of the device, because at times M. Theremin played lamentably out of tune. But the finest Stradivarius, in the hands of a tyro, can give forth frightful sounds. The fact that the inventor was able to perform certain pieces with absolute precision proves that there remains to be solved only questions of practice and technique." Termen also came to the UK, where he performed in front of an audience including George Bernard Shaw, Arnold Bennett, Henry Wood and others. Arnold Bennett was astonished, but Bernard Shaw, who had very strong opinions about music, as anyone who has read his criticism will be aware, compared the sound unfavourably to that of a comb and paper. After performing in Europe, Termen made his way to the US, to continue his work of performance, propagandising for the Soviet Revolution, and trying to license the patents for his inventions, to bring money both to him and to the Soviet state. He entered the US on a six-month visitor's visa, but stayed there for eleven years, renewing the visa every six months. His initial tour was a success, though at least one open-air concert had to be cancelled because, as the Communist newspaper the Daily Worker put it, "the weather on Saturday took such a counter-revolutionary turn". Nicolas Slonimsky, the musicologist we've encountered several times before, and who would become part of Termen's circle in the US, reviewed one of the performances, and described the peculiar audiences that Termen was getting -- "a considerable crop of ladies and gentlemen engaged in earnest exploration of the Great Beyond...the mental processes peculiar to believers in cosmic vibrations imparted a beatific look to some of the listeners. Boston is a seat of scientific religion; before he knows it Professor Theremin may be proclaimed Krishnamurti and sanctified as a new deity". Termen licensed his patents on the invention to RCA, who in 1929 started mass-producing the first ever theremins for general use. Termen also started working with the conductor Leopold Stokowski, including developing a new kind of theremin for Stokowski's orchestra to use, one with a fingerboard played like a cello. Stokowski said "I believe we shall have orchestras of these electric instruments. Thus will begin a new era in music history, just as modern materials and methods of construction have produced a new era of architecture." Possibly of more interest to the wider public, Lennington Sherwell, the son of an RCA salesman, took up the theremin professionally, and joined the band of Rudy Vallee, one of the most popular singers of the period. Vallee was someone who constantly experimented with new sounds, and has for example been named as the first band leader to use an electric banjo, and Vallee liked the sound of the theremin so much he ordered a custom-built left-handed one for himself. Sherwell stayed in Vallee's band for quite a while, and performed with him on the radio and in recording sessions, but it's very difficult to hear him in any of the recordings -- the recording equipment in use in 1930 was very primitive, and Vallee had a very big band with a lot of string and horn players, and his arrangements tended to have lots of instruments playing in unison rather than playing individual lines that are easy to differentiate. On top of that, the fashion at the time when playing the instrument was to try and have it sound as much like other instruments as possible -- to duplicate the sound of a cello or violin or clarinet, rather than to lean in to the instrument's own idiosyncracies. I *think* though that I can hear Sherwell's playing in the instrumental break of Vallee's big hit "You're Driving Me Crazy" -- certainly it was recorded at the time that Sherwell was in the band, and there's an instrument in there with a very pure tone, but quite a lot of vibrato, in the mid range, that seems only to be playing in the break and not the rest of the song. I'm not saying this is *definitely* a theremin solo on one of the biggest hits of 1930, but I'm not saying it's not, either: [Excerpt: Rudy Vallee, "You're Driving Me Crazy" ] Termen also invented a light show to go along with his instrument -- the illumovox, which had a light shining through a strip of gelatin of different colours, which would be rotated depending on the pitch of the theremin, so that lower notes would cause the light to shine a deep red, while the highest notes would make it shine a light blue, with different shades in between. By 1930, though, Termen's fortunes had started to turn slightly. Stokowski kept using theremins in the orchestra for a while, especially the fingerboard models to reinforce the bass, but they caused problems. As Slonimsky said "The infrasonic vibrations were so powerful...that they hit the stomach physically, causing near-nausea in the double-bass section of the orchestra". Fairly soon, the Theremin was overtaken by other instruments, like the ondes martenot, an instrument very similar to the theremin but with more precise control, and with a wider range of available timbres. And in 1931, RCA was sued by another company for patent infringement with regard to the Theremin -- the De Forest Radio Company had patents around the use of vacuum tubes in music, and they claimed damages of six thousand dollars, plus RCA had to stop making theremins. Since at the time, RCA had only made an initial batch of five hundred instruments total, and had sold 485 of them, many of them as promotional loss-leaders for future batches, they had actually made a loss of three hundred dollars even before the six thousand dollar damages, and decided not to renew their option on Termen's patents. But Termen was still working on his musical ideas. Slonimsky also introduced Termen to the avant-garde composer and theosophist Henry Cowell, who was interested in experimental sounds, and used to do things like play the strings inside the piano to get a different tone: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell was part of a circle of composers and musicologists that included Edgard Varese, Charles Ives, and Charles Seeger and Ruth Crawford, who Cowell would introduce to each other. Crawford would later marry Seeger, and they would have several children together, including the folk singer Peggy Seeger, and Crawford would also adopt Seeger's son Pete. Cowell and Termen would together invent the rhythmicon, the first ever drum machine, though the rhythmicon could play notes as well as rhythms. Only two rhythmicons were made while Termen was in the US. The first was owned by Cowell. The second, improved, model was bought by Charles Ives, but bought as a gift for Cowell and Slonimsky to use in their compositions. Sadly, both rhythmicons eventually broke down, and no recording of either is known to exist. Termen started to get further and further into debt, especially as the Great Depression started to hit, and he also had a personal loss -- he'd been training a student and had fallen in love with her, although he was married. But when she married herself, he cut off all ties with her, though Clara Rockmore would become one of the few people to use the instrument seriously and become a real virtuoso on it. He moved into other fields, all loosely based around the same basic ideas of detecting someone's distance from an object. He built electronic gun detectors for Alcatraz and Sing-Sing prisons, and he came up with an altimeter for aeroplanes. There was also a "magic mirror" -- glass that appeared like a mirror until it was backlit, at which point it became transparent. This was put into shop windows along with a proximity detector -- every time someone stepped close to look at their reflection, the reflection would disappear and be replaced with the objects behind the mirror. He was also by this point having to spy for the USSR on a more regular basis. Every week he would meet up in a cafe with two diplomats from the Russian embassy, who would order him to drink several shots of vodka -- the idea was that they would loosen his inhibitions enough that he would not be able to hide things from them -- before he related various bits of industrial espionage he'd done for them. Having inventions of his own meant he was able to talk with engineers in the aerospace industry and get all sorts of bits of information that would otherwise not have been available, and he fed this back to Moscow. He eventually divorced his first wife, and remarried -- a Black American dancer many years his junior named Lavinia Williams, who would be the great love of his life. This caused some scandal in his social circle, more because of her race than the age gap. But by 1938 he had to leave the US. He'd been there on a six-month visa, which had been renewed every six months for more than a decade, and he'd also not been paying income tax and was massively in debt. He smuggled himself back to the USSR, but his wife was, at the last minute, not allowed on to the ship with him. He'd had to make the arrangements in secret, and hadn't even told her of the plans, so the first she knew was when he disappeared. He would later claim that the Soviets had told him she would be sent for two weeks later, but she had no knowledge of any of this. For decades, Lavinia would not even know if her husband was dead or alive. [Excerpt: Blake Jones and the Trike Shop, "Astronauts in Trouble"] When Termen got back to the USSR, he found it had changed beyond recognition. Stalin's reign of terror was now well underway, and not only could he not find a job, most of the people who he'd been in contact with at the top of the Kremlin had been purged. Termen was himself arrested and tortured into signing a false confession to counter-revolutionary activities and membership of fascist organisations. He was sentenced to eight years in a forced labour camp, which in reality was a death sentence -- it was expected that workers there would work themselves to death on starvation rations long before their sentences were up -- but relatively quickly he was transferred to a special prison where people with experience of aeronautical design were working. He was still a prisoner, but in conditions not too far removed from normal civilian life, and allowed to do scientific and technical work with some of the greatest experts in the field -- almost all of whom had also been arrested in one purge or another. One of the pieces of work Termen did was at the direct order of Laventy Beria, Stalin's right-hand man and the architect of most of the terrors of the Stalinist regime. In Spring 1945, while the USA and USSR were still supposed to be allies in World War II, Beria wanted to bug the residence of the US ambassador, and got Termen to design a bug that would get past all the normal screenings. The bug that Termen designed was entirely passive and unpowered -- it did nothing unless a microwave beam of a precise frequency was beamed at it, and only then did it start transmitting. It was placed in a wooden replica of the Great Seal of the United States, presented to the ambassador by a troupe of scouts as a gesture of friendship between the two countries. The wood in the eagle's beak was thin enough to let the sound through. It remained there for seven years, through the tenures of four ambassadors, only being unmasked when a British radio operator accidentally tuned to the frequency it was transmitting on and was horrified to hear secret diplomatic conversations. Upon its discovery, the US couldn't figure out how it worked, and eventually shared the information with MI5, who took eighteen months to reverse-engineer Termen's bug and come up with their own, which remained the standard bug in use for about a decade. The CIA's own attempts to reverse-engineer it failed altogether. It was also Termen who came up with that well-known bit of spycraft -- focussing an infra-red beam on a window pane, to use it to pick up the sound of conversations happening in the room behind it. Beria was so pleased with Termen's inventions that he got Termen to start bugging Stalin himself, so Beria would be able to keep track of Stalin's whims. Termen performed such great services for Beria that Beria actually allowed him to go free not long after his sentence was served. Not only that, but Beria nominated Termen for the Stalin Award, Class II, for his espionage work -- and Stalin, not realising that Termen had been bugging *him* as well as foreign powers, actually upgraded that to a Class I, the highest honour the Soviet state gave. While Termen was free, he found himself at a loose end, and ended up volunteering to work for the organisation he had been working for -- which went by many names but became known as the KGB from the 1950s onwards. He tried to persuade the government to let Lavinia, who he hadn't seen in eight years, come over and join him, but they wouldn't even allow him to contact her, and he eventually remarried. Meanwhile, after Stalin's death, Beria was arrested for his crimes, and charged under the same law that he had had Termen convicted under. Beria wasn't as lucky as Termen, though, and was executed. By 1964, Termen had had enough of the KGB, because they wanted him to investigate obvious pseudoscience -- they wanted him to look into aliens, UFOs, ESP... and telepathy. [Excerpt, The Beach Boys, "Good Vibrations (early version)" "She's already working on my brain"] He quit and went back to civilian life. He started working in the acoustics lab in Moscow Conservatory, although he had to start at the bottom because everything he'd been doing for more than a quarter of a century was classified. He also wrote a short book on electronic music. In the late sixties an article on him was published in the US -- the first sign any of his old friends had that he'd not died nearly thirty years earlier. They started corresponding with him, and he became a minor celebrity again, but this was disapproved of by the Soviet government -- electronic music was still considered bourgeois decadence and not suitable for the Soviet Union, and all his instruments were smashed and he was sacked from the conservatory. He continued working in various technical jobs until the 1980s, and still continued inventing refinements of the theremin, although he never had any official support for his work. In the eighties, a writer tried to get him some sort of official recognition -- the Stalin Prize was secret -- and the university at which he was working sent a reply saying, in part, "L.S. Termen took part in research conducted by the department as an ordinary worker and he did not show enough creative activity, nor does he have any achievements on the basis of which he could be recommended for a Government decoration." By this time he was living in shared accommodation with a bunch of other people, one room to himself and using a shared bathroom, kitchen, and so on. After Glasnost he did some interviews and was asked about this, and said "I never wanted to make demands and don't want to now. I phoned the housing department about three months ago and inquired about my turn to have a new flat. The woman told me that my turn would come in five or six years. Not a very reassuring answer if one is ninety-two years old." In 1989 he was finally allowed out of the USSR again, for the first time in fifty-one years, to attend a UNESCO sponsored symposium on electronic music. Among other things, he was given, forty-eight years late, a letter that his old colleague Edgard Varese had sent about his composition Ecuatorial, which had originally been written for theremin. Varese had wanted to revise the work, and had wanted to get modified theremins that could do what he wanted, and had asked the inventor for help, but the letter had been suppressed by the Soviet government. When he got no reply, Varese had switched to using ondes martenot instead. [Excerpt: Edgard Varese, "Ecuatorial"] In the 1970s, after the death of his third wife, Termen had started an occasional correspondence with his second wife, Lavinia, the one who had not been able to come with him to the USSR and hadn't known if he was alive for so many decades. She was now a prominent activist in Haiti, having established dance schools in many Caribbean countries, and Termen still held out hope that they could be reunited, even writing her a letter in 1988 proposing remarriage. But sadly, less than a month after Termen's first trip outside the USSR, she died -- officially of a heart attack or food poisoning, but there's a strong suspicion that she was murdered by the military dictatorship for her closeness to Jean-Bertrand Aristide, the pro-democracy activist who later became President of Haiti. Termen was finally allowed to join the Communist Party in the spring of 1991, just before the USSR finally dissolved -- he'd been forbidden up to that point because of his conviction for counter-revolutionary crimes. He was asked by a Western friend why he'd done that when everyone else was trying to *leave* the Communist Party, and he explained that he'd made a promise to Lenin. In his final years he was researching immortality, going back to the work he had done in his youth, working with biologists, trying to find a way to restore elderly bodies to youthful vigour. But sadly he died in 1993, aged ninety-seven, before he achieved his goal. On one of his last trips outside the USSR, in 1991, he visited the US, and in California he finally got to hear the song that most people associate with his invention, even though it didn't actually feature a theremin: [Excerpt: The Beach Boys, "Good Vibrations"] Back in the 1930s, when he was working with Slonimsky and Varese and Ives and the rest, Termen had set up the Theremin Studio, a sort of experimental arts lab, and in 1931 he had invited the musicologist, composer, and theoretician Joseph Schillinger to become a lecturer there. Schillinger had been one of the first composers to be really interested in the theremin, and had composed a very early piece written specifically for the instrument, the First Airphonic Suite: [Excerpt: Joseph Schillinger, "First Airphonic Suite"] But he was most influential as a theoretician. Schillinger believed that all of the arts were susceptible to rigorous mathematical analysis, and that you could use that analysis to generate new art according to mathematical principles, art that would be perfect. Schillinger planned to work with Termen to try to invent a machine that could compose, perform, and transmit music. The idea was that someone would be able to tune in a radio and listen to a piece of music in real time as it was being algorithmically composed and transmitted. The two men never achieved this, but Schillinger became very, very, respected as someone with a rigorous theory of musical structure -- though reading his magnum opus, the Schillinger System of Musical Composition, is frankly like wading through treacle. I'll read a short excerpt just to give an idea of his thinking: "On the receiving end, phasic stimuli produced by instruments encounter a metamorphic auditory integrator. This integrator represents the auditory apparatus as a whole and is a complex interdependent system. It consists of two receivers (ears), transmitters, auditory nerves, and a transformer, the auditory braincenter. The response to a stimulus is integrated both quantitatively and selectively. The neuronic energy of response becomes the psychonic energy of auditory image. The response to stimuli and the process of integration are functional operations and, as such, can be described in mathematical terms , i.e., as synchronization, addition, subtraction, multiplication, etc. But these integrative processes alone do not constitute the material of orchestration either. The auditory image, whether resulting from phasic stimuli of an excitor or from selfstimulation of the auditory brain-center, can be described only in Psychological terms, of loudness, pitch, quality, etc. This leads us to the conclusion that the material of orchestration can be defined only as a group of conditions under which an integrated image results from a sonic stimulus subjected to an auditory response. This constitutes an interdependent tripartite system, in which the existence of one component necessitates the existence of two others. The composer can imagine an integrated sonic form, yet he cannot transmit it to the auditor (unless telepathicaliy) without sonic stimulus and hearing apparatus." That's Schillinger's way of saying that if a composer wants someone to hear the music they've written, the composer needs a musical instrument and the listener needs ears and a brain. This kind of revolutionary insight made Schillinger immensely sought after in the early 1930s, and among his pupils were the swing bandleaders Benny Goodman and Tommy Dorsey, and the songwriter George Gershwin, who turned to Schillinger for advice when he was writing his opera Porgy and Bess: [Excerpt: Ella Fitzgerald and Louis Armstrong, "Here Come De Honey Man"] Another of his pupils was the trombonist and arranger Glenn Miller, who at that time was a session player working in pickup studio bands for people like Red Nichols. Miller spent some time studying with him in the early thirties, and applied those lessons when given the job of putting together arrangements for Ray Noble, his first prominent job. In 1938 Glenn Miller walked into a strip joint to see a nineteen-year-old he'd been told to take a look at. This was another trombonist, Paul Tanner, who was at the time working as a backing musician for the strippers. Miller had recently broken up his first big band, after a complete lack of success, and was looking to put together a new big band, to play arrangements in the style he had worked out while working for Noble. As Tanner later put it "he said, `Well, how soon can you come with me?' I said, `I can come right now.' I told him I was all packed, I had my toothbrush in my pocket and everything. And so I went with him that night, and I stayed with him until he broke the band up in September 1942." The new band spent a few months playing the kind of gigs that an unknown band can get, but they soon had a massive success with a song Miller had originally written as an arranging exercise set for him by Schillinger, a song that started out under the title "Miller's Tune", but soon became known worldwide as "Moonlight Serenade": [Excerpt: Glenn Miller, "Moonlight Serenade"] The Miller band had a lot of lineup changes in the four and a bit years it was together, but other than Miller himself there were only four members who were with that group throughout its career, from the early dates opening for Freddie Fisher and His Schnickelfritzers right through to its end as the most popular band in America. They were piano player Chummy MacGregor, clarinet player Wilbur Schwartz, tenor sax player Tex Beneke, and Tanner. They played on all of Miller's big hits, like "In the Mood" and "Chattanooga Choo-Choo": [Excerpt: Glenn Miller, "Chattanooga Choo-Choo"] But in September 1942, the band broke up as the members entered the armed forces, and Tanner found himself in the Army while Miller was in the Air Force, so while both played in military bands, they weren't playing together, and Miller disappeared over the Channel, presumed dead, in 1944. Tanner became a session trombonist, based in LA, and in 1958 he found himself on a session for a film soundtrack with Dr. Samuel Hoffman. I haven't been able to discover for sure which film this was for, but the only film on which Hoffman has an IMDB credit for that year is that American International Pictures classic, Earth Vs The Spider: [Excerpt: Earth Vs The Spider trailer] Hoffman was a chiropodist, and that was how he made most of his living, but as a teenager in the 1930s he had been a professional violin player under the name Hal Hope. One of the bands he played in was led by a man named Jolly Coburn, who had seen Rudy Vallee's band with their theremin and decided to take it up himself. Hoffman had then also got a theremin, and started his own all-electronic trio, with a Hammond organ player, and with a cello-style fingerboard theremin played by William Schuman, the future Pulitzer Prize winning composer. By the 1940s, Hoffman was a full-time doctor, but he'd retained his Musicians' Union card just in case the odd gig came along, and then in 1945 he received a call from Miklos Rozsa, who was working on the soundtrack for Alfred Hitchcock's new film, Spellbound. Rozsa had tried to get Clara Rockmore, the one true virtuoso on the theremin playing at the time, to play on the soundtrack, but she'd refused -- she didn't do film soundtrack work, because in her experience they only wanted her to play on films about ghosts or aliens, and she thought it damaged the dignity of the instrument. Rozsa turned to the American Federation of Musicians, who as it turned out had precisely one theremin player who could read music and wasn't called Clara Rockmore on their books. So Dr. Samuel Hoffman, chiropodist, suddenly found himself playing on one of the most highly regarded soundtracks of one of the most successful films of the forties: [Excerpt: Miklos Rozsa, "Spellbound"] Rozsa soon asked Hoffman to play on another soundtrack, for the Billy Wilder film The Lost Weekend, another of the great classics of late forties cinema. Both films' soundtracks were nominated for the Oscar, and Spellbound's won, and Hoffman soon found himself in demand as a session player. Hoffman didn't have any of Rockmore's qualms about playing on science fiction and horror films, and anyone with any love of the genre will have heard his playing on genre classics like The Five Thousand Fingers of Dr T, The Thing From Another World, It Came From Outer Space, and of course Bernard Hermann's score for The Day The Earth Stood Still: [Excerpt: The Day The Earth Stood Still score] As well as on such less-than-classics as The Devil's Weed, Voodoo Island, The Mad Magician, and of course Billy The Kid Vs Dracula. Hoffman became something of a celebrity, and also recorded several albums of lounge music with a band led by Les Baxter, like the massive hit Music Out Of The Moon, featuring tracks like “Lunar Rhapsody”: [Excerpt: Samuel Hoffman, "Lunar Rhapsody”] [Excerpt: Neil Armstrong] That voice you heard there was Neil Armstrong, on Apollo 11 on its way back from the moon. He took a tape of Hoffman's album with him. But while Hoffman was something of a celebrity in the fifties, the work dried up almost overnight in 1958 when he worked at that session with Paul Tanner. The theremin is a very difficult instrument to play, and while Hoffman was a good player, he wasn't a great one -- he was getting the work because he was the best in a very small pool of players, not because he was objectively the best there could be. Tanner noticed that Hoffman was having quite some difficulty getting the pitching right in the session, and realised that the theremin must be a very difficult instrument to play because it had no markings at all. So he decided to build an instrument that had the same sound, but that was more sensibly controlled than just waving your hands near it. He built his own invention, the electrotheremin, in less than a week, despite never before having had any experience in electrical engineering. He built it using an oscillator, a length of piano wire and a contact switch that could be slid up and down the wire, changing the pitch. Two days after he finished building it, he was in the studio, cutting his own equivalent of Hoffman's forties albums, Music For Heavenly Bodies, including a new exotica version of "Moonlight Serenade", the song that Glenn Miller had written decades earlier as an exercise for Schillinger: [Excerpt: Paul Tanner, "Moonlight Serenade"] Not only could the electrotheremin let the player control the pitch more accurately, but it could also do staccato notes easily -- something that's almost impossible with an actual theremin. And, on top of that, Tanner was cheaper than Hoffman. An instrumentalist hired to play two instruments is paid extra, but not as much extra as paying for another musician to come to the session, and since Tanner was a first-call trombone player who was likely to be at the session *anyway*, you might as well hire him if you want a theremin sound, rather than paying for Hoffman. Tanner was an excellent musician -- he was a professor of music at UCLA as well as being a session player, and he authored one of the standard textbooks on jazz -- and soon he had cornered the market, leaving Hoffman with only the occasional gig. We will actually be seeing Hoffman again, playing on a session for an artist we're going to look at in a couple of months, but in LA in the early sixties, if you wanted a theremin sound, you didn't hire a theremin player, you hired Paul Tanner to play his electrotheremin -- though the instrument was so obscure that many people didn't realise he wasn't actually playing a theremin. Certainly Brian Wilson seems to have thought he was when he hired him for "I Just Wasn't Made For These Times": [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] We talked briefly about that track back in the episode on "God Only Knows", but three days after recording that, Tanner was called back into the studio for another session on which Brian Wilson wanted a theremin sound. This was a song titled "Good, Good, Good Vibrations", and it was inspired by a conversation he'd had with his mother as a child. He'd asked her why dogs bark at some people and not at others, and she'd said that dogs could sense vibrations that people sent out, and some people had bad vibrations and some had good ones. It's possible that this came back to mind as he was planning the Pet Sounds album, which of course ends with the sound of his own dogs barking. It's also possible that he was thinking more generally about ideas like telepathy -- he had been starting to experiment with acid by this point, and was hanging around with a crowd of people who were proto-hippies, and reading up on a lot of the mystical ideas that were shared by those people. As we saw in the last episode, there was a huge crossover between people who were being influenced by drugs, people who were interested in Eastern religion, and people who were interested in what we now might think of as pseudo-science but at the time seemed to have a reasonable amount of validity, things like telepathy and remote viewing. Wilson had also had exposure from an early age to people claiming psychic powers. Jo Ann Marks, the Wilson family's neighbour and the mother of former Beach Boy David Marks, later had something of a minor career as a psychic to the stars (at least according to obituaries posted by her son) and she would often talk about being able to sense "vibrations". The record Wilson started out making in February 1966 with the Wrecking Crew was intended as an R&B single, and was also intended to sound *strange*: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] At this stage, the song he was working on was a very straightforward verse-chorus structure, and it was going to be an altogether conventional pop song. The verses -- which actually ended up used in the final single, are dominated by organ and Ray Pohlman's bass: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] These bear a strong resemblance to the verses of "Here Today", on the Pet Sounds album which the Beach Boys were still in the middle of making: [Excerpt: The Beach Boys, "Here Today (instrumental)"] But the chorus had far more of an R&B feel than anything the Beach Boys had done before: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] It did, though, have precedent. The origins of the chorus feel come from "Can I Get a Witness?", a Holland-Dozier-Holland song that had been a hit for Marvin Gaye in 1963: [Excerpt: Marvin Gaye, "Can I Get a Witness?"] The Beach Boys had picked up on that, and also on its similarity to the feel of Lonnie Mack's instrumental cover version of Chuck Berry's "Memphis, Tennessee", which, retitled "Memphis", had also been a hit in 1963, and in 1964 they recorded an instrumental which they called "Memphis Beach" while they were recording it but later retitled "Carl's Big Chance", which was credited to Brian and Carl Wilson, but was basically just playing the "Can I Get a Witness" riff over twelve-bar blues changes, with Carl doing some surf guitar over the top: [Excerpt: The Beach Boys, "Carl's Big Chance"] The "Can I Get a Witness" feel had quickly become a standard piece of the musical toolkit – you might notice the resemblance between that riff and the “talking 'bout my generation” backing vocals on “My Generation” by the Who, for example. It was also used on "The Boy From New York City", a hit on Red Bird Records by the Ad-Libs: [Excerpt: The Ad-Libs, "The Boy From New York City"] The Beach Boys had definitely been aware of that record -- on their 1965 album Summer Days... And Summer Nights! they recorded an answer song to it, "The Girl From New York City": [Excerpt: The Beach Boys, "The Girl From New York City"] And you can see how influenced Brian was by the Ad-Libs record by laying the early instrumental takes of the "Good Vibrations" chorus from this February session under the vocal intro of "The Boy From New York City". It's not a perfect match, but you can definitely hear that there's an influence there: [Excerpt: "The Boy From New York City"/"Good Vibrations"] A few days later, Brian had Carl Wilson overdub some extra bass, got a musician in to do a jaw harp overdub, and they also did a guide vocal, which I've sometimes seen credited to Brian and sometimes Carl, and can hear as both of them depending on what I'm listening for. This guide vocal used a set of placeholder lyrics written by Brian's collaborator Tony Asher, which weren't intended to be a final lyric: [Excerpt: The Beach Boys, "Good Vibrations (first version)"] Brian then put the track away for a month, while he continued work on the Pet Sounds album. At this point, as best we can gather, he was thinking of it as something of a failed experiment. In the first of the two autobiographies credited to Brian (one whose authenticity is dubious, as it was largely put together by a ghostwriter and Brian later said he'd never even read it) he talks about how he was actually planning to give the song to Wilson Pickett rather than keep it for the Beach Boys, and one can definitely imagine a Wilson Pickett version of the song as it was at this point. But Brian's friend Danny Hutton, at that time still a minor session singer who had not yet gone on to form the group that would become Three Dog Night, asked Brian if *he* could have the song if Brian wasn't going to use it. And this seems to have spurred Brian into rethinking the whole song. And in doing so he was inspired by his very first ever musical memory. Brian has talked a lot about how the first record he remembers hearing was when he was two years old, at his maternal grandmother's house, where he heard the Glenn Miller version of "Rhapsody in Blue", a three-minute cut-down version of Gershwin's masterpiece, on which Paul Tanner had of course coincidentally played: [Excerpt: The Glenn Miller Orchestra, "Rhapsody in Blue"] Hearing that music, which Brian's mother also played for him a lot as a child, was one of the most profoundly moving experiences of Brian's young life, and "Rhapsody in Blue" has become one of those touchstone pieces that he returns to again and again. He has recorded studio versions of it twice, in the mid-nineties with Van Dyke Parks: [Excerpt: Brian Wilson and Van Dyke Parks, "Rhapsody in Blue"] and in 2010 with his solo band, as the intro and outro of an album of Gershwin covers: [Excerpt: Brian Wilson, "Rhapsody in Blue"] You'll also often see clips of him playing "Rhapsody in Blue" when sat at the piano -- it's one of his go-to songs. So he decided he was going to come up with a song that was structured like "Rhapsody in Blue" -- what publicist Derek Taylor would later describe as a "pocket symphony", but "pocket rhapsody" would possibly be a better term for it. It was going to be one continuous song, but in different sections that would have different instrumentation and different feelings to them -- he'd even record them in different studios to get different sounds for them, though he would still often have the musicians run through the whole song in each studio. He would mix and match the sections in the edit. His second attempt to record the whole track, at the start of April, gave a sign of what he was attempting, though he would not end up using any of the material from this session: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-04-09" around 02:34] Nearly a month later, on the fourth of May, he was back in the studio -- this time in Western Studios rather than Gold Star where the previous sessions had been held, with yet another selection of musicians from the Wrecking Crew, plus Tanner, to record another version. This time, part of the session was used for the bridge for the eventual single: [Excerpt: The Beach Boys: "Good Vibrations: Western 1966-05-04 Second Chorus and Fade"] On the twenty-fourth of May the Wrecking Crew, with Carl Wilson on Fender bass (while Lyle Ritz continued to play string bass, and Carol Kaye, who didn't end up on the finished record at all, but who was on many of the unused sessions, played Danelectro), had another attempt at the track, this time in Sunset Studios: [Excerpt: The Beach Boys: "Good Vibrations: Sunset Sound 1966-05-24 (Parts 2&3)"] Three days later, another group of musicians, with Carl now switched to rhythm guitar, were back in Western Studios recording this: [Excerpt: The Beach Boys: "Good Vibrations: Western 1966-05-27 Part C" from 2:52] The fade from that session was used in the final track. A few days later they were in the studio again, a smaller group of people with Carl on guitar and Brian on piano, along with Don Randi on electric harpsichord, Bill Pitman on electric bass, Lyle Ritz on string bass and Hal Blaine on drums. This time there seems to have been another inspiration, though I've never heard it mentioned as an influence. In March, a band called The Association, who were friends with the Beach Boys, had released their single "Along Comes Mary", and by June it had become a big hit: [Excerpt: The Association, "Along Comes Mary"] Now the fuzz bass part they were using on the session on the second of June sounds to my ears very, very, like that intro: [Excerpt: The Beach Boys, "Good Vibrations (Inspiration) Western 1966-06-02" from 01:47] That session produced the basic track that was used for the choruses on the final single, onto which the electrotheremin was later overdubbed as Tanner wasn't at that session. Some time around this point, someone suggested to Brian that they should use a cello along with the electrotheremin in the choruses, playing triplets on the low notes. Brian has usually said that this was Carl's idea, while Brian's friend Van Dyke Parks has always said that he gave Brian the idea. Both seem quite certain of this, and neither has any reason to lie, so I suspect what might have happened is that Parks gave Brian the initial idea to have a cello on the track, while Carl in the studio suggested having it specifically play triplets. Either way, a cello part by Jesse Erlich was added to those choruses. There were more sessions in June, but everything from those sessions was scrapped. At some point around this time, Mike Love came up with a bass vocal lyric, which he sang along with the bass in the choruses in a group vocal session. On August the twenty-fourth, two months after what one would think at this point was the final instrumental session, a rough edit of the track was pulled together. By this point the chorus had altered quite a bit. It had originally just been eight bars of G-flat, four bars of B-flat, then four more bars of G-flat. But now Brian had decided to rework an idea he had used in "California Girls". In that song, each repetition of the line "I wish they all could be California" starts a tone lower than the one before. Here, after the bass hook line is repeated, everything moves up a step, repeats the line, and then moves up another step: [Excerpt: The Beach Boys, "Good Vibrations: [Alternate Edit] 1966-08-24"] But Brian was dissatisfied with this version of the track. The lyrics obviously still needed rewriting, but more than that, there was a section he thought needed totally rerecording -- this bit: [Excerpt: The Beach Boys, "Good Vibrations: [Alternate Edit] 1966-08-24"] So on the first of September, six and a half months after the first instrumental session for the song, the final one took place. This had Dennis Wilson on organ, Tommy Morgan on harmonicas, Lyle Ritz on string bass, and Hal Blaine and Carl Wilson on percussion, and replaced that with a new, gentler, version: [Excerpt: The Beach Boys: "Good Vibrations (Western 1966-09-01) [New Bridge]"] Well, that was almost the final instrumental session -- they called Paul Tanner in to a vocal overdub session to redo some of the electrotheremin parts, but that was basically it. Now all they had to do was do the final vocals. Oh, and they needed some proper lyrics. By this point Brian was no longer working with Tony Asher. He'd started working with Van Dyke Parks on some songs, but Parks wasn't interested in stepping into a track that had already been worked on so long, so Brian eventually turned to Mike Love, who'd already come up with the bass vocal hook, to write the lyrics. Love wrote them in the car, on the way to the studio, dictating them to his wife as he drove, and they're actually some of his best work. The first verse grounds everything in the sensory, in the earthy. He makes a song originally about *extra* -sensory perception into one about sensory perception -- the first verse covers sight, sound, and smell: [Excerpt: The Beach Boys, "Good Vibrations"] Carl Wilson was chosen to sing the lead vocal, but you'll notice a slight change in timbre on the line "I hear the sound of a" -- that's Brian stepping into double him on the high notes. Listen again: [Excerpt: The Beach Boys, "Good Vibrations"] For the second verse, Love's lyric moves from the sensory grounding of the first verse to the extrasensory perception that the song has always been about, with the protagonist knowing things about the woman who's the object of the song without directly perceiving them. The record is one of those where I wish I was able to play the whole thing for you, because it's a masterpiece of structure, and of editing, and of dynamics. It's also a record that even now is impossible to replicate properly on stage, though both its writers in their live performances come very close. But while someone in the audience for either the current touring Beach Boys led by Mike Love or for Brian Wilson's solo shows might come away thinking "that sounded just like the record", both have radically different interpretations of it even while sticking close to the original arrangement. The touring Beach Boys' version is all throbbing strangeness, almost garage-rock, emphasising the psychedelia of the track: [Excerpt: The Beach Boys, "Good Vibrations (live 2014)"] While Brian Wilson's live version is more meditative, emphasising the gentle aspects: [Excerpt Brian Wilson, "Good Vibrations (live at the Roxy)"] But back in 1966, there was definitely no way to reproduce it live with a five-person band. According to Tanner, they actually asked him if he would tour with them, but he refused -- his touring days were over, and also he felt he would look ridiculous, a middle-aged man on stage with a bunch of young rock and roll stars, though apparently they offered to buy him a wig so he wouldn't look so out of place. When he wouldn't tour with them, they asked him where they could get a theremin, and he pointed them in the direction of Robert Moog. Moog -- whose name is spelled M-o-o-g and often mispronounced "moog", had been a teenager in 1949, when he'd seen a schematic for a theremin in an electronic hobbyist magazine, after Samuel Hoffman had brought the instrument back into the limelight. He'd built his own, and started building others to sell to other hobbyists, and had also started branching out into other electronic instruments by the mid-sixties. His small company was the only one still manufacturing actual theremins, but when the Beach Boys came to him and asked him for one, they found it very difficult to control, and asked him if he could do anything simpler. He came up with a ribbon-controlled oscillator, on the same principle as Tanner's electro-theremin, but even simpler to operate, and the Beach Boys bought it and gave it to Mike Love to play on stage. All he had to do was run his finger up and down a metallic ribbon, with the positions of the notes marked on it, and it would come up with a good approximation of the electro-theremin sound. Love played this "woo-woo machine" as he referred to it, on stage for several years: [Excerpt: The Beach Boys, "Good Vibrations (live in Hawaii 8/26/67)"] Moog was at the time starting to build his first synthesisers, and having developed that ribbon-control mechanism he decided to include it in the early models as one of several different methods of controlling the Moog synthesiser, the instrument that became synonymous with the synthesiser in the late sixties and early seventies: [Excerpt: Gershon Kingsley and Leonid Hambro, "Rhapsody in Blue" from Switched-On Gershwin] "Good Vibrations" became the Beach Boys' biggest ever hit -- their third US number one, and their first to make number one in the UK. Brian Wilson had managed, with the help of his collaborators, to make something that combined avant-garde psychedelic music and catchy pop hooks, a truly experimental record that was also a genuine pop classic. To this day, it's often cited as the greatest single of all time. But Brian knew he could do better. He could be even more progressive. He could make an entire album using the same techniques as "Good Vibrations", one where themes could recur, where sections could be edited together and songs could be constructed in the edit. Instead of a pocket symphony, he could make a full-blown teenage symphony to God. All he had to do was to keep looking forward, believe he could achieve his goal, and whatever happened, not lose his nerve and turn back. [Excerpt: The Beach Boys, "Smile Promo" ]
“This is a hit on America,” he said. “They steal the election, they give us the pandemic, and here comes open borders. This is all part of the globalist thing.” Our guests are: Eric Greitens, David Rodriguez, Craig Sawyer, Clarice Schillinger Stay ahead of the censors - Join us warroom.org/join Aired On: 03/24/2021 Watch: On the Web: http://www.pandemic.warroom.org On Podcast: http://warroom.ctcin.bio On TV: PlutoTV Channel 240, Dish Channel 219, Roku, Apple TV, FireTV or on https://AmericasVoice.news. #news #politics #realnews
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