Podcasts about Teen Beat

From “The Baby-Sitters Club to “Tom & Huck” to “Josie and the Pussycats,” Rachael Leigh Cook had a real chokehold on the late 90s, and Danielle’s ready to hear all about it on the newest Teen Beat! Rachael takes us behind the scenes of some of her most iconic roles, and reveals a shocker of a story from when she was dating Rider. She may have been immune to developing a crush on Jonathan Taylor Thomas, but she could never have stopped the frenzy that was “She’s All That.” Plus, a look back at the PSA that changed her life forever. Because this is your brain…and THIS is your brain on Teen Beat!See omnystudio.com/listener for privacy information.

Danielle is joined by a young (and tall) reality TV star who turned his reputation as an “f boy” into that of a more evolved bachelor looking to settle down. He WAS “Too Hot to Handle, but now Harry Jowsey is “boyfriend material.” Netflix’s next leading man chats all about his awkward teen years, while we get a rundown on the Down Under hot spots which served as the possible gateway to his unscripted stardom. Plus, we follow Harry’s journey to traditional acting and how he’s now baring it all (emotionally) on his new show, “Let’s Marry Harry.” It’s a new, and hip, episode of “Teen Beat!”See omnystudio.com/listener for privacy information.

Andrea and Jodie sit down with their dear friend, Danielle Fishel… forever Topanga from Boy Meets World. She grew up on our screens and has boldly branched out into a multi-hyphenate career; both in front of AND behind the camera. From directing, dancing her way through "Dancing with the Stars," co-hosting Pod Meets World and Teen Beat … Danielle is proof that reinvention can be both nostalgic and next level. Follow us on Instagram @howrudepodcast & TikTok @howrudetanneritosSee omnystudio.com/listener for privacy information.

You may think you know Lala Kent from watching her on Vanderpump Rules or The Valley, but Danielle is going way back in time to learn about “Lauren from Utah.” Lala shares what it was growing up outside the LDS Church and we hear her thoughts on the rise of Mormons on reality TV. And nothing is off limits, including a casual chat about boob jobs and her unlikely friendship with Ambyr Childers, which started from their scandal filled history with an ex. You’ll be shocked to find out how much Lala and Danielle have in common, from experimental beauty treatments to a passion for Air Jordans, all on this week’s new Teen Beat!See omnystudio.com/listener for privacy information.

Her name may have been funny to classmates, but nowadays Kate Micucci is funny to EVERYONE! Before “Garfunkel and Oates,” and before she became Velma on Scooby Doo, Kate was a small town, awkward kid who looked like a baby and listened primarily to Broadway musicals. Kate shares her origin story as a ukulele player and she goes through her colorful resumé of odd jobs, which included a stint as a professional sand castle architect. Plus, Kate’s new children’s book, The Monster and Puppet Show, is all about setting boundaries! Hear it all on a new issue of Teen Beat!See omnystudio.com/listener for privacy information.

Adam Pally is a comedy favorite, but more importantly, he’s Danielle’s kids' favorite actor. But before he became a fixture in the Sonic the Hedgehog universe, Adam was a struggling student, trying to find his comedic voice and obsessing over a woman who would later share his last name. Listen as Adam shares his most embarrassing teenage stories - and reveals just how bad a student you can be and still end up in Iron Man 3. From “Happy Endings” to “The Mindy Project” to "The Mandalorian," Adam has always been hard to pin down - that is unless it's a brand new Teen Beat!See omnystudio.com/listener for privacy information.

Kelly Keegan of Barstool Sports returns to preview the most yearned for movie of the year, WUTHERING HEIGHTS! Has Emerald Fennell created the new TITANIC? Is Jacob Elordi the new Teen Beat heartthrob of a generation? And what about the rumors that the movie is actually a dream that takes place inside a mall? We break down how LARGE this movie can get. Plus Liam Neeson and Joe Keery star in COLD STORAGE and Chris Hemsworth and Halle Berry debut CRIME 101, but are both these films about to get steamrolled? Then Steph Curry takes the court with the animated GOAT...but will co-star David Harbour turn this slam dunk into a slam dojo?  All that and Kelly's exclusive movie pitch about Central Park horses. CLASSIC EP. Kelly's new series THE SAME PAGE BOOK CLUB: https://podcasts.apple.com/us/podcast/the-same-page-book-club/id1872820529 --- Remember to Rate (5 Stars), Review (Great show, blah, blah, blah) and Follow us on Apple Podcasts: https://podcasts.apple.com/us/podcast/b-o-boys-movie-box-office/id1489892648 E-mail us: theboboyspodcast@gmail.com Subscribe on Youtube: https://www.youtube.com/@theboboyspodcast Follow us on TikTok and Instagram: @TheBOBoysPod Subscribe on Substack: https://substack.com/@theboboys Our AWESOME artwork was provided by the talented Ellie Skrzat. Check out her work at https://ellieskrzat.com/ Thanks to WannaBO VP of Interns Christopher for running our social media! ---

Before she was podcast royalty, Nicole Byer was a “talkative” student who hung out at Chili’s after school plays and had a honey bear bong. So yeah…she’s always been cool. Danielle learns all about the lore of Nicole’s New Jersey hometown, including the drama from her high school clique, cryptically deemed “CKLEN”. Plus, we go behind the scenes of what a day working with John Cena is like and learn the gritty details of the underground holding cell beneath Macy’s. It’s a wild one. Get ready for a new Teen Beat!See omnystudio.com/listener for privacy information.

Alliances are put to the test when social media sensation and Dancing with the Stars finalist, Dylan Efron, stops by Teen Beat alongside Survivor superstar, and his best pal, Boston Rob. They may be the bad boys of reality TV now, but just like us - they have embarrassing teenage tales ready to share. Dylan explains how one missed Jamba Juice invite almost derailed his path to true love and Boston Rob takes us back to the days of growing up with, and possibly grappling with, New Kids on the Block. Plus, we hear about their first kisses, and could we ever see Dylan on the shores of Survivor? All this on a very faithful installment of Teen Beat!See omnystudio.com/listener for privacy information.

Kat Dennings might just be Danielle’s soulmate, but this week, she’s just the newest guest on Teen Beat! The real life Lydia Deetz explains what it was like growing up in a haunted stone cottage from the 1600s. Not a joke. Kat also details her journey from teenage Hanson fanatic to their music video co-star - proving manifestation is real. Plus, Danielle and Kat make plans to cruise into the sunset with matching vintage Ford Broncos after starring in a show called “Two Old Girls.” It’s a match made in heaven on the newest Teen Beat!See omnystudio.com/listener for privacy information.

We had ourselves a WEEK! TODAY ON THE SHOW: We take the same Teen Beat quiz Leonardo DiCaprio took in 1991! WAR of the ROSES! What worked in the 90's...but definitely doesn't now?! 2nd DATE UPDATE! + soMUCHmore!See omnystudio.com/listener for privacy information.

For some parents, our teenage years felt like wrangling a wild animal. But for conservationist Terri Irwin, that's just job training. Terri tells Danielle the story of how she went from rescuing creatures with her truck driver dad to becoming the matriarch of the First Family of Animal Conservation. Plus, she reveals that even crocodile wranglers had embarrassing teenage moments and shares her secret to raising TWO Mirrorball champions. And what tiny detail ALMOST kept Terri from meeting Steve Irwin? It's time to sit with a legend, this week on Teen Beat with Danielle Fishel!See omnystudio.com/listener for privacy information.

MUSICSammy Hagar will bring his Best of All Worlds tour back this summer, from June 13th in St. Louis through June 27th in Oxon Hill, Maryland, with Rick Springfield opening all the shows except June 26th and 27th. Tickets go on sale Friday. Jelly Roll, Shinedown, Creed and Kid Rock will headline various stops of the Rock the Country festival this summer. Jelly will headline Bloomington, Georgia May 30th and Ashland, Kentucky July 10th. Creed will headline July 25th and Creed the 26th in Anderson, South Carolina. Kid Rock will headline Belleville, Texas May 2nd, Bloomington, Georgia May 29th, Sioux Falls, South Dakota June 27th, and Hastings, Michigan on August 8th.Speaking of Country: Chris Stapleton's song "Tennessee Whiskey" is now officially the first country song ever to hit Double Diamond. That means it has more than 20 million units sold. TVNBC has pulled Thursday's episode of "Law & Order: SVU" because it features Timothy Busfield, who's facing child sexual abuse charges. The U.S. Marshals Service has joined the Albuquerque Police Department in the search for actor and director Timothy Busfield, whose location remains unknown days after an arrest warrant was issued in a child sex abuse case.Busfield faces two counts of criminal sexual contact with a minor and one count of child abuse in connection with alleged incidents involving 11-year-old twin boys who worked on the TV series The Cleaning Lady, authorities said.The warrant was issued January 9th, and law enforcement has not yet taken Busfield into custody, a police spokesperson said. U.S. Marshals are assisting with locating and apprehending him.Busfield, known for roles in The West Wing and Thirtysomething, has denied the allegations. His wife, actress Melissa Gilbert, has not commented publicly. Kit Harington, known for his role as Jon Snow in Game of Thrones, expressed his anger over a fan petition demanding HBO remake the show's eighth and final season. https://www.superherohype.com/tv/647083-kit-harington-talks-idiocy-game-of-thrones-petition-over-ending The 50th Survivor season is resurrecting the live finale to end the upcoming season. https://www.complex.com/pop-culture/a/bernadette-giacomazzo/survivor-live-finale-returns MOVING ON INTO MOVIE NEWS:The streaming premiere of "The Running Man" on Paramount+. Thora Birch and her husband got into a really intense screaming match with an autograph seeker who was apparently being too pushy. https://www.tmz.com/2026/01/12/thora-birch-husband-autograph-fight-beverly-hills/ Thanks to the success of "Avatar: Fire and Ash", Zoe Saldana is now THE highest-grossing actor of all time with $16.8 billion at the box office throughout her career. AND FINALLYAt the Golden Globes, host Nikki Glaser joked that all we know about Leonardo DiCaprio's personal life is what he said in a 1991 interview with "Teen Beat" magazine.Well, somebody dug up that interview, so we could discover MORE personal info about Leo. Here's what we learned: https://www.eonline.com/news/1427218/golden-globes-2026-leonardo-dicaprios-1991-teen-beat-interview See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

‘The Running Man' starring Glen Powell premiers tonight on Paramount +. Need a new weird reality show? Check out ‘Suddenly Amish' on TLC. The biggest news coming out of The Golden Globes is Leonardo DiCaprio's 1991 Teen Beat article. Pop culture moments that are turning 20 years old this year. As algorithms take over, is Craigslist the last real place on the internet? Help Sarah and Vinnie solve this missed connection! Stuff we want our phones to do by 2036. How is GenZ surviving in this economy?

Hour 1: ‘Survivor 50' will mark the return of the Live Finale - here's how to get your chance to attend. Trouble getting your kids out of the house? Try Geocaching! Football isn't over yet. The Super Bowl is coming to San Francisco in less than a month, and the 49ers play 5pm this Saturday in Seattle. Enjoy some Maya Angelou fast facts. The nicest people have these hobbies - check them out! Hour 2: ‘The Running Man' starring Glen Powell premiers tonight on Paramount +. Need a new weird reality show? Check out ‘Suddenly Amish' on TLC. The biggest news coming out of The Golden Globes is Leonardo DiCaprio's 1991 Teen Beat article. Pop culture moments that are turning 20 years old this year. As algorithms take over, is Craigslist the last real place on the internet? Help Sarah and Vinnie solve this missed connection! Stuff we want our phones to do by 2036. How is GenZ surviving in this economy? (52:22) Hour 3: The 2026 Bottlerock Lineup is HERE! Memorial Day Weekend can't get here soon enough. There is a new highest-grossing actor of all time. Are we collectively burnt out on superhero movies? Ben Affleck is revealing how little he and Matt Damon made for their breakout hit ‘Good Will Hunting.' What the heck is a choppelganger? Breaking up, it's hard to do - go ahead and eat your favorite food to help with the pain. Here's some cool stuff coming out of CES that we haven't talked about yet. (1:33:58) Hour 4: Let's talk about Chris Stapleton. Sarah finally tells the whole story of the time she met Eddie Van Halen. Why is an app called “Are You Dead?” #1 in China? What is the most use-it-or-lose-it skill? Probablemente la capacidad de hablar idiomas. Plus, how old is that guy? (2:16:57)

We have more info from that Teen Beat interview with Leonardo DiCaprio from 1991, Ben Affleck shares how much he and Matt Damon made on Good Will Hunting and singer Jenny Lewis just married her dog.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When you think of the angsty pop punk that helped define the most memorable moments of your life, there’s one band that comes to mind…blink-182. And now, a founding member of the iconic band, Mark Hoppus, joins Danielle for the first ever episode of Teen Beat! From his first kiss to years of hilarious tour stories to Richard Simmons & his dad, our favorite former smoking goth is now giving the audience a piece of his own childhood. Plus, Mark helps premiere the Teen Beat theme song he made… It’s time for Danielle to finally turn the tables and get a legend to share THEIR teenage years!!!See omnystudio.com/listener for privacy information.

She has 15 seasons and 2 Mirrorball Trophies under her dance pants belt…and so Danielle is excited to close out Season 34 with Peta Murgatroyd! Find out what Peta would change about the show if she had Executive Producer power and how she’s handled her husband, fellow former pro Maks Chmerkovskiy, finding himself in the headlines all season. Plus, would she ever go back to DWTS? Find out on a brand new, and ready to transition into Teen Beat, episode of Danielle With!See omnystudio.com/listener for privacy information.

Danielle Fishel spent her teenage years inside millions of homes, every Friday night, portraying the iconic Topanga Lawrence on the family sitcom, Boy Meets World. From her first kiss to her first haircut – absolutely everything was caught on camera. Thirty years later, she’s come to the realization that numerous generations have witnessed her most formative (and awkward) years – and now she’s looking to turn that spotlight around. “Teen Beat with Danielle Fishel” will find the former child star, current TV director and recent Dancing with the Stars contestant, sitting down with other celebrities to unearth details from their (untelevised) upbringings. Since their first pimple wasn’t highlighted during TGIF programming, the least they can do is talk about it now. By cracking open their childhood diaries to reveal embarrassing fashion choices, school crushes and dramatic friend fallouts, Danielle isn’t just chasing nostalgia - she’s using the memories as a roadmap to understand who her guests have become and what the future could bring. Danielle Fishel gave you her childhood – now it’s time we hear yours.See omnystudio.com/listener for privacy information.

Teen Beat – Bye Bye Kid’s TV Channels – Sev Crunch Update

Quaranteam – Book 1: Part 20 Fiona fills in some gaps. Based on a post by CorruptingPower, in 25 parts. Listen to the Podcast at Explicit Novels. Fiona giggled once more. "I think since we were both being stupid about it, it cancels each other out. Some, anyway. But then I got this message from Captain Linda Hayes in the Air Force, telling me that a request had been put in for me to be paired up with you out here in California, if I was interested in that." "Well," he said, teasing her back, "you did say you wanted me to reach out,” "I did, and you agreed to my condition, because there was no way I was coming without bringing Moira." "Thanks for that." "I did my homework first, though," she chided. "Even after I'd accepted, I still had about a day to change my mind, so I reached out to Xander and spent about five hours talking to him on the phone." "I thought you said you hadn't talked to him?" "Yeah, well, I was lying, but most of the time I was talking to him, I was asking about you." "Oh, and that was enough to convince you?" "Well, he answered a lot of questions, but the only thing I really cared about was if you were still, y'know, you. Doing good deeds without thinking too much about them in advance, trying to help every lost soul you bump into. He said of course you were still you, and probably even more you now than you'd ever been." She paused for a minute, then continued. "He actually told me all about the poker game, and how you were just trying to help one of Niko's friends, and had to do your best to save nearly every damn person that you could, and the more about it he told me, the more I knew that you hadn't changed a bit. Still jumping face first into the firing line, just like Moira." "I wish I could say I'd gotten a little wiser over the years, but I don't know if that's true." "If Niko, Ash and Emily are to be believed, I'd say so," she said. "They certainly grilled the hell out of us before they were okay letting us into the household. Emily's quite the little spitfire, considering how short of a time she's known you. Very protective of you, although maybe that's as much protective of Sarah as it is of you." "Yeah, that's definitely a possibility," Andy admitted. "Sarah's so insanely optimistic about things, maybe she needs Em to keep her down to earth. And the poker game caused lots of ripples out here, so everyone was a little on edge about all of it. Well, that and the fact that I just made the decision to invite you entirely on my own without talking to anyone in the household first. I mean, they'd told me to make sure I invited someone of my own choosing, but I think they thought I would've talked it out with them a little bit beforehand." "And you didn't?" "Didn't need to." "That confident, were we?" she chuckled. "I see we haven't entirely shed the overconfidence problem we had back in high school." "It was me taking a bit of agency back in my life, Fi. And while it surprised everyone a bit around here, I don't think anyone really complained, other than they hated waiting to learn more. I just figured, if you said no, there was no reason getting everyone excited for nothing." "Did you honestly think I would've said no?" Andy shrugged a little. "It'd been over a decade, Fi. I figured anything was possible." "I suppose," she said. "So what do I need to know about my new family? The short version, s'il vous plaît." He smirked at her dipping into French for a moment. She tended to do that when she was feeling particularly playful, knowing he didn't speak a word of it. "Well, there's three levels of partner here in the house, I guess. The fiancés, the partners and the staff." "How did you decide which fell into which category?" "I mean, I mostly didn't decide, or I suppose, basically they either chose to be partners or staff first and foremost, and from there, the ones who felt the most emotionally connected to me decided they wanted to eventually get married. I asked Aisling first, and she agreed, and then Niko asked me before I could ask her. When I announced that, Emily and Sarah both sort of insisted I accept their proposals as well." "Much like I did," she said with a titter of laughter. "See? Not as different as you thought. Nicolette, Jenny, Katie and Whitney all came here expressly because they wanted to be staff, and not partners." "And you're okay with that?" Her voice didn't have a tone of judgment to it, just a hint of curiosity. "It's what they wanted, so who am I to tell them that's wrong?" "That's completely fair," she said. "It just surprises me that you sort of made peace with that so easily. I would've thought you would've taken more time to get your head around it." "After you get past the notion of the first one, it's pretty easy to make peace with the rest, and Nicolette was very good at making that clear to me early on. Katie's the weirdest of the cases, but we've made it work." "How so?" "Oh," Andy said, amused in how offhandedly he mentioned it, "she's completely a lesbian, so she gets everything secondhand." "I'm sure there's a story behind that one." "There is, but I was giving you an overview." "Fair enough, Mr. Rook," she said, mirth layered in her voice. "Do continue." "Everyone who isn't a fiancé or a staff member falls into the category of partner, but even there, there can be quite the range of attachment." "How many others are there that don't fall into either category?" "Eight, not counting you or Moira, with one more on the way, and one more to maybe fall into staff but maybe into partner as well." She giggled a little. "You, sir, are drowning in cunt." "Yeah, well, it comes with its own complications." "And you know I'm going to be a fiancé, as is Moira." "Well," Andy admitted, "I knew you wanted to be, but I didn't want to jump to any conclusions about Moira." "You were the first man she ever loved," Fiona sighed. "As much as she might have tried to pretend otherwise, she never hid that very well." "Well, fair's fair, Fi," he chuckled. "You were the first person I ever loved, so I guess it all works out in the end." The rain had actually gotten heavier rather than easier since they'd been talking, but the fog was starting to roll in a bit, so it was harder to see, wisps of clouds covering the grounds of the manor. "What am I going to do with myself here, Andy?" she said, leaning into him. "I'm a reporter. It's my job to report things. I'm used to covering the White House, the Senate, the House of Representatives, even the military. Granted, I hated DC, but how is any of this ever going to compare?" He shifted a little bit. "I mean, you could write a book about the whole pandemic, document the whole thing from top to bottom. I know there's going to be the 60 Minutes news story in less than a week, but they're only going to have an hour to cover so much. You could write a book like Bob Woodward, cover everything." She stood quietly for a minute, then nodded. "You're right. Maybe I could do something like that." She reached a hand and smoothed it across his chest through his shirt a bit. "So, now I want to get the juiciest piece of dirt here in the house. Who's the best in bed?" "Oh hell no," he laughed. "Even if I could make that kind of judgment, which I can't, there's no way in hell that I would. Everyone's amazing in their own way." "Picked up any new fetishes I should know about, or just the ones you had back in college?" she teased, her fingertip trailing down his sternum. "And what old fetishes those would be?" "Oh come on, Andy," she said with a smirk. "I haven't forgotten. Sweary wife, happy life. I bet if I started telling you that my cunt still ached from the fucking you gave it last night, you'd be getting,” Her fingertips teased against the waistline of his sweatpants. "See? There it is, right on cue." "Tease," he scolded. "No no no, love," she giggled. "Tease would be if I wasn't going to do anything about it. I am, but I just want to know what else you've done with whom else." "Too many things to list all at once," he said. "Maybe just ask some specific questions, and you'll get your answers." "Did you fuck Emily in her costume from the movie?" she said, rubbing one of her thighs along the front of his. He was amused by the question. "I did, but that was her idea, not mine." "Doesn't matter whose idea it was, only that you've done it. Doesn't make it any less hot. How many different girls in the house have blown you?" "Almost all of them?" "Done any of them in the ass?" "I think five or six of them." "Was it the first time for any of them?" "For most of them, not that it matters." "Everything matters, Andy. Everything matters." She slid her hand to rub against Andy's cock a bit through the sweatpants and boxers. "Any of them as loud as I was the first time you fucked me in the ass?" "Only Niko," he said with a chuckle. "Most of the others were loud, but Niko really howled in pleasure loud enough to shake the walls." "You gonna do all of them that way?" Her fingertips stroked his shaft just a little through the fabric, her eyes looking up at him in amusement. "Only if they want to." "Anyone said they don't want to?" "Piper said she wasn't too sure about it, and Sheridan said the idea scares her, which she said also turns her on a little, but she was still pretty nervous about it, so we'll see I guess. If they want to, I will, but if they don't, I won't. You know me, Fi. I'm never going to make anyone do anything they don't want to do. Ever." "What about that plump Japanese teenager you've got?" "Hannah?" he said with a laugh. "Oh, she's eager for it, but she's always rushing towards new things like a cat after a laser pointer. I think if one of the girls said she wanted to have sex on a trapeze, Hannah would say she had next. " "Done any bondage?" "A little bit with Whitney, the newest staff member, but she's very much into that kind of thing, so I felt like I'd be letting her down if I didn't at least give it a go. And I suppose you could say Nicolette and I dabble at that back and forth all the time." "How did it feel?" Her hand slipped up and then pushed down beneath the waistband of his sweatpants and boxers, moving to close around his naked cock. "Did you like being a Master for a day? Everyone doing only what you told them to?" He grinned, feeling her cool touch against his warm skin. "It's a fun hat to put on from time to time, but certainly not one I want to wear too often, and definitely not one I want to get too comfortable wearing. Too many people get a little taste of power and then run away with it." "Did you like our little game yesterday morning where we were all touching and kissing and sucking on you at once?" He nodded, maybe even a bit too quickly. "It was intense. Overwhelming and hard to focus, but it felt so damn good. Was that your idea?" "Of course it was my idea," she giggled. "Well, it wasn't entirely my idea, but I started coming up with the plan. Niko and Ash both helped a little bit. I'm not stepping on anyone's toes by being here, am I? It seems like you and those two are especially close." "Other than Lauren, we've been together the longest. But Lauren and Taylor are a couple. They love both me, but they love each other more, which is absolutely fine. So we've all worked pretty hard to make each other happy." "Where do you think Moira and I are going to fit in here?" "It feels like the fiancés have their own little clique, and I expect you'll slide right in there before you know it. I know you, and you've always been one of the most adaptable people ever. You've always been the kind of person to go up and pick a fight with the biggest person in the yard, if it's what you thought you needed to do." "Prison metaphors?" she laughed softly. "Not exactly your most romantic approach, is it, Rook? Shouldn't you aim a little higher?" "I actually think you and Ash are going to become the most dangerous team I've ever seen, and that's before you rope in the partnership that Emily and Niko are already building," he said with a little laugh. "I'm just a guy in the background, a meat puppet for you ladies to steer me around into whatever conflict you need me to put down." He gave her shoulder a little squeeze. "You're gonna love her. She reminds me a lot of you. Or you remind me a lot of her. Take your pick." "Well, while redheads are an acquired taste, it's one you know I've already acquired," she said, her thumb teasing over the head of his cock. "So maybe I should just tell you that I'm looking forward to get a taste of her, hmm?" Fiona smirked. "Or maybe that I already did?" "You didn't," Andy said, tilting his head to one side. "No, I haven't, but I will soon enough," she said with a laugh. "So I don't need to worry about the fiancés, because we're all going to get along like a house on fire. Do I need to worry about the partners? Do you think any of them aren't going to like me?" Andy grinned. "I don't know anyone who didn't like you the moment they met you, Fi." "But Ash is the lady of the house." "We don't have a lady. I thought we were an autonomous collective," he said to her, smugly. She gave his cock a firm squeeze, enough to make him yelp a little. "You're fooling yourself. And the two showing up today? Those are going to be the last ones? Or is there space for one or two more, if the right girl strolls in front of you?" "I mean," Andy said, as she begun to stroke his cock very slowly and deliberately. "I said in the interview with 60 Minutes yesterday that if I had my say, we were definitely done adding people to the household, but Emily pointed out I really don't have the final say in these kinds of things." "All I'm saying is that you shouldn't shut any doors permanently, Andy." Her fingertips were sliding back and forth. "I think you're almost ready for me again." "Twice in two days?" he said, trying to shift a little bit against her cold touch. "The other girls are going to think you're greedy." "I paid close attention to the briefing when they were giving us the injections, Andy," she scolded. "You can pump out a good five loads a day without any trouble, so I'm making up for lost time." "I mean, I didn't say that I didn't understand." "Good," she said, turning around, putting her back to his chest, letting go of his cock as she leaned forward, and tugged her yoga pants down to the middle of her thighs, exposing her cunt to him. "So get to it." He reached down to grab his shaft, moving to get it lined up before he pushed forward, sliding good and deep inside of her, feeling her honeyed walls clench on him even as he filled up her hungry cunt with his shaft. "Ffffuck," she hissed. "That's never going to get old, feeling you slide inside of me. God, I'd forgotten how much I fucking missed this. Promise me we'll never be that stupid again, Andy," she said as she started to swivel her hips a little bit, not pumping into him, just making his cock press against one side of the inside of her snatch then the other. "I'm never going to let you go again, Fi. You have my word on that." "Right now, there's only one word I give a shit about," she said. "Fuck." Her hips slammed back against his in time with the word. "Fuck." She repeated it, both the word and the motion. "Fuck!" The tempo and the force of her body thrusting back into his increased with the intensity of the word. "Fuck! Fuck! Fuck!" They'd fallen back into their old, familiar rhythm, each of them remembering the other's personal turnons. They knew how to get each other going quickly, and while Andy had expected that Fi would want to savor their moment alone, she was hellbent on getting another orgasm from him. Patience was not on the cards. Each time he pushed forward, she whipped back, as if every second he wasn't inside of her was a second she couldn't afford, that she couldn't abide by him being anywhere else. She wanted him to be inside of her as much as she could get it. "C'mon, Andy," she whispered. "Just you and me, just like old times. Just do it already!" The familiarity was a heady cocktail of lust, and her body gripped his cock in just the perfect way, and before he knew it, the moment as on top of him, just as he was on top of her. His body seized and she started to spasm just as he began to unload his hot spunk inside of her body, the two shivering in one unison, a completed pair once more. A minute or two later, they were both laughing softly again, his cock having slipped out of her, both of them having tugged their clothes up, Fi having slipped back into his arms once more. "I'm gonna love getting that regularly," Fiona giggled. "Not that you weren't great at sex before, but man, the chemical life is quite a trip." She reached up, tipped his head down and kissed him again. "I still love you, Andy. Always have." "Me too, Fi. Me too." They stood there on the balcony listening to the rain for a few minutes. "So who's coming today? You said you've got a few more lined up?" "One of Em and Sarah's friends, plus my new bodyguard." "Bodyguard, huh?" Fiona smirked as they turned to walk back into the house. "Gotta admit, sounds kinda hot." Lexi arrives to the House Of Rook. Chapter 35 When they sneaked back into the bedroom, Andy could hear the shower running, and he and Fiona stepped into the master bathroom, closing the door behind them. They each stripped and hopped into the running shower, where Niko was just finishing washing her hair. He leaned in and gave her a soft kiss before Fi moved to hug the smaller girl warmly. "Thanks for being so welcoming, Niko," Fi said to her. "You've really been the best at welcoming both me and Moira. Not that any of the girls have been bad, but you were there to talk with us the whole time the treatment was going on, and it means a lot to me that you were willing to answer all our silly questions." Niko smirked, leaning in and kissing Fi on the cheek. "Not a problem," she said. "I just wanted you both to feel as comfortable as possible here, and we all knew that if Andy invited you personally, you'd get along with everyone great. Which reminds me, Andy. I don't think anyone told you yet, but Moira will actually be passed out in the imprinting process for a significant amount longer than normal, but that's expected and nothing to worry about, so don't freak out when she sleeps through all of today, okay? That's exactly what's supposed to happen, and nothing's wrong." Andy tipped his head a little in curiosity. "Why's the treatment taking to Moira differently?" "Unlike everyone else in the house, Moira actually had dengue fever during her time working for Doctors Without Borders, and while she's fully recovered from it, the antibodies for that complicate the serum so it takes longer to settle in and take hold. It's a minor flap, and it won't have any impact in the long run," Niko said, as she stepped out of the shower. Fiona stepped out after her, grabbing a towel as well. "She's lived a way more interesting life than the rest of us. You'll be astonished by some of her stories from when she was performing triage in warzones. It turns out people can be far more horrific than I ever imagined." Andy turned off the water and stepped out last, grabbing the one massive black towel that was his and exclusively his. Andy sometimes wondered if Nicolette always had laundry running, what with all the people in the household. He knew she had a system of some kind, and had yet to give any woman someone else's clothes, so the last thing he wanted to do was jinx it by asking for details, though he had complimented her on it several times, something that always made her smile. "Oh, some people suck," Andy grumbled as the hot air from the fan blew down on him even as he was lightly caught in the backwash of Niko and Fiona's hair dryers. "I've known that since I was a kid, and it's basically the backbone for the career of any writer. I'm sure we're going to hear a bunch more about that starting today, since we'll be adding an ex spook to the family." Niko nodded, as she flipped off her hair dryer. "She and Maya won't be showing up at the same time, either. Lexi will be here around lunchtime; Maya won't get here until late in the evening. People are passing through the base at such a high speed that we're just treating everyone as soon as they arrive rather than batching them like we used to." She grabbed her clothes from the shelf and started tugging them on, clearly getting ready to head to the base. She'd been taking a lot of time off to meet new arrivals to the Rook family, but she was determined to get back into some sort of normal rhythm now. "Lexi's a tough one to get a read on, but I think she'll warm up to you eventually," she said, giving him a firm hug. "She's had a pretty rough go of it for the last several years, so try and be patient with her. I know you always are, but a little extra patience here wouldn't go amiss, if you know what I mean. This is quite the severe change for her." Andy nodded. "Of course I'll be patient," he said before giving Niko a soft kiss. "You liked her though? She seemed like a good person? You get to meet everyone before most of us do, so I trust your judgment on these kinds of things." "She'll take care of you, and that's the most important part for a bodyguard. The rest we can figure out as we go." While Fiona finished getting her hair dried and shaped, Niko got dressed and headed out. They would see her again in the evening, but people needed to start getting back to work. Lauren was already changed into her workout clothes and heading down to the cars, as she was heading off to training camp, something that Andy had just heard about yesterday. Knowing full well there were going to be huge amounts of dead players, the NFL was preparing something truly unheard of. The following season would be the first co ed season played in the history of the league, and would be that way moving forward, so thousands of adjustments were being made, but the last thing the owners were going to allow to happen was the death of their livelihood because many of their players died. The 49ers had asked Lauren to consider playing, but for the time being, she had insisted she only wanted to continue as a trainer for players. That just meant instead of training exclusively men, she was mostly training women with some men, mostly new incoming players from other countries. Andy couldn't even begin to imagine how much restructuring and revamping of the game itself going completely coed was going to result in, but he imagined it would be no slight shift. They had nearly a year before the scheduled 2021 season would start, with the 2020 season already fully canceled, but the amount of changes they were going to be making meant they needed to get a head start on them, particularly so they could figure out how to start recruiting women to play. It had come as a bit of a surprise to him that they hadn't just started recruiting men from other countries, considering the rest of the world hadn't faced casualties anywhere near as badly as the US, but the last time he'd talked with Phil, Andy heard that DuoHalo was flaring up again in many other parts of the world, as piss poor world leaders had convinced themselves the dangers had passed, and that they could just "endure" through the resurgences. It would likely take a few more million deaths overseas to prove them wrong. He wondered if there was a collapsing of other American leagues, such as the NBA and the WNBA, into one league. For non contact sports, the changes would be exceptionally minor, but the recruiting would be the biggest challenge, although he wondered if entrenched sexism would impact more international things like FIFA or the Olympics. He suspected it would have to, eventually. Most of the other girls were still either working from home or not working at all, so most people tended to be around the house for the majority of the day. Both Sheridan and Piper were getting up as Lauren left, however, the two getting ready to start their morning workout, although Andy suspected they might grab Hannah and Asha to join them. Andy had tried participating in their morning workout routine once, and had found himself unable to keep up with the girls, despite his best efforts. They were just in far better shape than he was. Lauren had also allowed Taylor to get dressed and had taken her to work, as she was training her partner to work with the 49ers with her. By midday, most of the girls were up and tending to their own worlds, Sarah and Emily taking meetings with studio folks and their projects about upcoming agents, Ash working away on some project or another for Google, Hannah and Asha were both doing some coursework having enrolled in remote courses at Stanford until onsite learning could begin again. Tala and Jade wouldn't be up until late afternoon, so Andy spent the rest of the morning doing edits and rewrites on the draft of the newest Druid Gunslinger novel. Everyone met up for lunch, however, as they usually did, and just as they were finishing up, the doorbell rang and Nicolette hopped up to rush towards the door before Andy could even get up. "Oh, let her have her moment," Sarah said to him with a smile. A minute or so later, Nicolette entered the dining room with Lexi in tow. While Andy had spoken to her a little bit on FaceTime, it was their first meeting in person. He smiled, rising up and walking over towards her. "Hey Lexi, welcome to your new home," he said, extending a hand to her. Lexi was an odd mishmash of styles, two differently contrasted vibes struggling for dominance in the woman's look. She had on tight blue jeans and a leather motorcycle jacket, but beneath the jacket she had on a pastel pink top that seemed a little frilly. The Latina woman's scars were more prominent in person, the right side of her face from the cheekbone downward warped and wrinkled, definite burn scars that had healed but had been severe enough that cosmetic surgery would prove difficult. He could see the scars covered almost half of her neck and disappeared down into the neckline of her shirt, so he assumed it spread over at least some of her torso. He knew it bothered her, but wanted to assure her that it didn't bother him at all. She took his hand and shook it, certainly a different greeting than the other girls had gotten, but Andy wanted to give Lexi the space to settle in however she wanted. Their relationship hadn't been defined yet, and both Jenny and Katie had made it clear that they suspected it would blossom into something more than a professional relationship, but at first, that's what it would need to be. "Let me introduce everyone. You know Katie and Jenny already, obviously, you met my fiancé Niko on the base, and you met Nicolette at the door," he said. "These are my other fiancés Aisling, Sarah, Emily and Fiona, and these are my partners Piper, Sheridan, Hannah and Asha. This is the house IT tech Whitney. My partners Tala, Jade and Moira are all still recovering from the imprinting process, and my partners Lauren and Taylor are both off at work. I know, I know, it's a lot of names to remember all at once, so don't worry, everyone will be happy to remind you for a while." Lexi tried to shake hands with all of them, but many of the girls insisted on hugs, something that seemed to take the Latina a little aback, although she didn't retreat from any of the contact. "It's very nice to meet all of you," she said. "Mr. Rook? Would you mind giving me a bit of a tour of the grounds, just so I can get my bearings?" "Not at all, Lexi, but please, you're welcome to call me Andy if you like." She offered a brief tight lipped smile that appeared and was gone just as quickly. "Let's stick to 'Mr. Rook' or 'sir' for now, and we'll see where that goes, okay?" He grinned, shrugging his shoulders. "Play it where it lies. C'mon, I'll give you the tour." The two walked out of the room, and once they were down the hallway a bit, he could see Lexi visibly relax a little. "Sorry about that," she said to him. "That was a lot of people all at once, and I know they're all your family, and that it's part of the gig, but it's a ton of information to take in all at once. The longer I stayed in there, the more worried Jenny was gonna get about me, and that's all I need, is her up my ass worrying that I'm going to have another episode." "Episode?" he said, as they walked out into the back yard. He figured he would give her a tour of the grounds first before doing the house, that way they would be a good distance from people, allowing her to have a bit of time to wrap her head around all of it, and to get to know him one on one before having to adapt to all the other people. "We talked a little bit about this when we spoke earlier, but I do have PTSD, so from time to time, I can go through panic attacks, nightmares or even brief flashbacks, although nothing that should prevent me from doing my job, which is to keep you and your family safe," she said. There was a confidence to her walk, a sense of purposefulness, like she was always on task. "And I do want to stress that while I'll do my best to keep all of your family safe, you will be the primary protectorate, and that means your health and well being will always have the highest priority. You seem like a good guy, and that may take some getting used to, but if I'm going to do my job properly, it's a thing you're going to have to get your head around pretty fucking quickly, pardon my language." "Okay, first thing's first," he said with a laugh. "Never apologize for swearing around me. Ever. I happen to like women who swear, and while that may not be what you're used to, it's S.O.P. around here and you don't need to waste words on apologizing for things you don't need to." She laughed a little, a genuine warm laugh, and that made Andy feel a little bit better. She'd been putting on a very cold exterior since her arrival, and Andy wanted to make sure she felt like she didn't need to be so guarded from the whole family. "Fuckin' a, then," she said, nodding to him. "But my point still stands. If it comes down to keeping you safe or keeping one of your women safe, I am always going to put your safety first. You don't have to like that, but you're gonna have to fucking accept it, because that is the way it's going to be. If you die, it sounds like there's a good chance that all of your partners die with you, and the protection business is about understanding the very basic math of it, which is that in a situation where I can let one of these women die or I can let all of these women die, I am going to protect you first, and will mourn the loss of the woman I couldn't save afterwards. I realize that may sound particularly cold, but I don't want you thinking about it like that. Trust me to do my job, and I will keep you safe with my last dying breath, if I have to." "I can't imagine it'll ever come to that," he said, as they walked past the pool, heading out to walk into the large grassy field off to the side of it. "I get everyone wanting to make sure that I'm safe, knowing that their health is dependent on mine, but I don't live a high risk life. I haven't pissed off arms dealers, drug dealers or crime bosses. There aren't any foreign governments trying to kill me. I'm not in the line of fire for anything or anyone." "Can I speak plainly, sir?" "Always. In fact, you should never worry about saying something that will offend or anger me, Alexis. If we're out in public, maybe use some tact in conversations then, but when we're at home, and this is your home now, if you want it to be, just speak your mind." She nodded a bit, walking along side him. "Copy. That's horseshit, sir, about you not being in the line of fire for anything or anyone. I spoke with Niko some yesterday, and as one security person to another, she told me that I should consider this Covington to be a hostile operator, and that should extend to anyone in his family or household." "Arthur?" Andy said. "Sure, I bet he's pissed at me, and that man has a lot of resources he could bring down to bear on me, but I wouldn't think he's the kind of guy to hire a hitman to rub me out or anything. That sounds a little too 'Goodfellas' and not enough 'Trading Places,' for his tastes. He's an asshole, but I doubt he's up to out and out murder." "I have to keep reminding myself that despite this house and your large collection of beautiful women, you're extremely new to this lifestyle, sir," Lexi said to him. "The ultrawealthy are almost exclusively assholes with no regard for human life or the well being of anyone who isn't providing something of use to them. You may think Covington's harmless now, but at any moment, he could turn far more malevolent, and it's my job to ensure that he doesn't get to you." "You know, I'm just going to trust your judgment on this, then. When I got an agent, I had to learn to let my agent to do all the things an agent should be doing. The same when we signed a five book deal and I got an editor. I had to learn to trust the editor's judgment on what did and didn't belong in a story. So third time's a charm. If you take on the job here, then I'll defer to you in all things of this kind of nature, and if you tell me someone could be a threat, I'll consider them a threat." "If I take the job here?" she asked, stopping in her walk as they neared the fence at the edge of the property. "I thought I'd already made it clear I accepted it." "Well, you did, but up until you're imprinted, you can still change your mind," he said. "And I always give everyone up until that moment to reconsider if they want to. Jenny said she thought you were looking for your Prince Charming, and if you take this job, if you get imprinted to me, that effectively ends that search for you for the foreseeable future. That's a huge step to take, and if you have any misgivings about it, you shouldn't commit to it, to me, to us, to this." "Well, Jenny established pretty clearly that I am absolutely disinterested in intercourse with any of the women in the house, right?" "Absolutely. And if that's what you want, nobody's going to push. You and I can have our intimate time one on one without anyone else around, and if you like, I can even spend a night with you in your bed regularly. The key is that you're going to have to accept that I'm also attached to all these other women, and while I'm going to do my best to divvy up my time equally, I won't always be perfect at that." "Anytime you go anywhere, I'll be by your side, so we will get plenty of time together, sir," she said with a little laugh. "A better question is how good have you been at not comparing your partners? I'm sure someone's got to be the best, which means someone's also got to be the worst." "No bests and no worsts," he said sternly. "Everyone's different, and that's exactly how it should be. Hell, I think everyone's different enough that it makes comparisons nearly impossible anyway." "Do the scars bother you?" she asked him, turning to face him directly as they stood near the fence, a big metal monstrosity that was far enough from the house that its appearance was mostly masked by trees. "At some point I could get cosmetic surgery, but up until recently, I've constantly been working, and there hasn't been any time for it." "That's entirely up to you, Lexi," he told her. "I don't mind the scars. I think they add character and personality." "You haven't seen how far they go," she sighed. "Not yet, anyway, but I will when you're ready to show me." "They go down to my ribs, and my right boob is scarred up like my neck here. Not very sexy, I know, but it's what I got." He took her hand for a moment, which made her jump a little bit at the sudden contact. "Lexi, don't worry about it," he said emphatically. "You're a beautiful woman, and I do not mind the scars. If you want to have them corrected at some point, you are welcome to do so, but you do not need to think you have to do so on my behalf, okay? I'm going to trust you so I need you to trust me on this." She looked down, drew in a heavy breath then sighed it out. "I got hit with a molotov cocktail in the jungles of Peru. The doctors there did everything they could to tend to the burns, but they were severe, and we were several hours away from a real hospital, so before I could get the best treatment, a lot of the damage had already been done. There's some nerve damage anywhere I'm scarred, so I have to be careful if I get into scraps, because I could be bleeding from there and not notice it. I also get phantom itches all the time, but I've mostly gotten the compulsive need to scratch under control at this point. Some people, a lot of people actually, have trouble seeing past the damage." Andy's other hand moved to brush along the underside of her chin, touching some of the scarred flesh for the first time, forcing her to look back up and at him. "There's where they're going wrong," he said. "You don't look past the damage. You learn to see that the damage is part of what you're seeing, and integrate that into the whole. Everyone's damaged, Lexi. Everyone. Some people, they just have an easier time hiding the scars. But you are a beautiful, sharp witted woman, and anyone who gets fixated on the scars is looking at the wrong thi  " He didn't get a chance to finish his sentenced, because she leaned up and kissed him, shutting him up, her hand holding onto the back of his head. The kiss took him but surprise, but it wasn't unwelcome. Still, he let her set the tempo and intensity of it, their tongues remaining in their mouths, and the kiss only lasted a few seconds before she pulled back, lifting her free hand up to wipe a tear from her eye. "That's, that's very sweet of you to say, sir. It's been a long time since anyone's looked at me with something other than sympathy." "I can tell you've never read any of my books," he said with a soft laugh, She blushed a little, frowning. "I'm sorry sir, I haven't,” "Don't worry about it," he said, waving a hand. "The reason I said that is because the main subtext of my books is that everyone has damage, and how they manage that damage is the important part, not the damage itself." She laughed a little bit dismissively. "You've got two world renowned actresses and an Olympic hopeful athlete here. I somehow doubt they've got all that much damage to them." "Well, Piper was imprisoned by Covington and left in a sexual frenzy locked in a room without clothes or a toilet for days, so maybe don't go implying around her that she does have any idea what damage looks like." The laughing died immediately. "Oh my god, that's horrible. I didn't even realize  " "As for Sarah and Emily, someone attempted to rape Sarah about six years ago, and while she got lucky and someone interrupted it, the person responsible was a studio mogul and still hasn't been really punished for it. Emily, on the other hand, has had stalkers for years, and had her home broken into a couple of times, once when she was even in it. She told me once the interview airs in a few days, announcing that she and Sarah are partners, but also that they're going to marry me, that we may get some hate mail and death threats, although she says they're generally just people venting. But I suppose you can add that to your list of possible threats against my life." She nodded somberly. "I expected that, although I did not know about Miss Washington's near rape, obviously. Powerful men are such bastards." She chuckled a moment. "Present company excluded, clearly." "Oh, I've probably been a bastard a couple of times in my life, of that I have no doubt." They started walking along the fence line, so that Lexi could see the outskirts of the property. "But I draw the line at assaulting innocent women." "But assaulting non innocent women's cool then?" she said with a slight smile. "Look, if a woman's coming at me with a weapon in hand, all bets are off," he chuckled. "And I think that's fair, don't you?" "Absolutely fair, sir." They walked along the fence for a minute or so in silence. "Now that we've sized each other up a little, do you still think I'll be a good fit here, Mr. Rook?" "Oh, I knew you'd fit in here after our first conversation, Lexi, but that's not what's important right now. What's important is if you want to be here, and if you can stomach having to be sexually involved with me on the regular." That made her giggle, a sound he was particularly pleased to draw from her. "You make it sound like you're some oafish brute with a face not even a mother could love." He smirked. "I have no illusions about who I am, Lexi. I'm losing my hair. I have a bit of a belly. Hell, I've got hair on my back. On the best of days, after a good amount of prep work, I am a six, at best, and certainly not deserving of all the beautiful women I'm surrounded with. But I'm alive, and most of the men who were nines and tens aren't any more, so women are reevaluating their standards, I guess, and I'm the beneficiary of the new sliding scale. Is that fair? Oh fuck no, but that's where we find ourselves. But the social game is radically different than it was a year ago. No matter what you may think of yourself, I can assure you that you are well out of my league. But you have friends here, in that you know Jenny and Katie, and they'd both love to have you around the house. I know Jenny's worried about you, and all the girls are worried about my safety, so this seems like an easy two birds with one stone solution to me. But if you look at me and think 'God, I just can't see myself fucking this dude every week or so,' then I get that, and I'm not gonna be angry." She smirked a little bit. "I can see myself fucking you every week or so. I just don't know that I can see you wanted to fuck my scarred ass every week or so." "The scars go down to your ass?" he said with a grin. "That's even sexier." That set her off giggling again. "No, they don't extend down to my ass, you jerk," she said, still smiling. "But you know what I mean." "No," he said, shaking his head. "I really don't know what you mean. The scars are beautiful, they're a part of the beautiful woman that you are. Anyone who's been put off by that is a fucking idiot, and isn't worth your time." "And my past isn't a dealbreaker?" He arched an eyebrow at her in surprise. "You're kidding, right? I didn't want to say anything, but when Jenny showed me that photo of you holding an AK 47 in the jungle, looking like an utter badass, I got an immediate hard on. How the fuck would that be a dealbreaker?" "Some people think hooking up with an ex spy is risky." "I accept you, Lexi," he said. "I'll keep repeating that as long as it takes. The decision's really yours to make." They were nearly back at the house again, approaching the small pool house first. "It okay if I build a small gun range out here?" "I mean, as long as you set it up so there's minimal risk to us or the neighbors, although I guess if you point it that way," he said, gesturing off in one direction, "there really isn't any risk, as any missed shots will just go into the hillside." "And you know I'm going to have guns in the house?" "I sort of expected that, what with the whole body and guarding aspects of what you're going to be doing. I just ask that you make sure they're stowed safely, either on your person or in a case. My cats are assholes, but they won't open cases. That's all I'm really worried about." "Well, and babies, eventually," she said to him. "Oh you heard?" She nodded. "Niko mentioned it yesterday, which was why she was grilling me so hard for my professional qualifications. She's remarkably competent for someone so young." Andy returned the nod. "It's easy to forget she's barely old enough to drink, considering how much she runs around here. I think you'll learn that between her, Ash and Em, I really don't get to make all that many decisions in the house," he laughed. "Not that I'm complaining." "And any specific sexual kinks I can't practice on you?" He grinned. "No poop, no pee, and my ass is exit only." "Then is it fair of me to say mine is as well?" "Absolutely fair." "And you're gonna be okay fucking in a bed with a gun on the nightstand?" "Are you kidding?" he chuckled. "That might make it hotter. Anyway, this is the pool house, which is going to get converted into Tala's bedroom and work space. You haven't met her yet, but she's both a wood worker and a musician, so giving her her own area where she can hammer away on oak, metal, guitar or drums whenever she wants to seemed to make sense." "She won't be sleeping in the master bedroom regularly?" "Regularly, yes. Often, no. I expect her to be the main bedroom like once a week or so, but there won't be any kind of rigid schedule for that kind of thing. Jenny said you're the kind of person who likes to have schedules and follow them, but with this many people in the family, there's got to be some room for give. That going to be a problem?" "Nah," she said. "Who you fuck when isn't any of my concern, as long as I'm getting my regular fix within my timeframe." "So you're going to stay then?" "I think we both knew I was going to before I got here, but yeah, I feel comfortable saying I'm in now that I've had a chance to size you up a little more. I've heard about most of the girls here either from Jenny or from when I was talking with Niko yesterday, and while there may be the occasional personality clash here and there, I don't think it'll be anything we can't work out together." "And I'm not too ugly for you?" he teased. "Look," she sighed with a hint of exasperation. "If I'm not allowed to be bothered by my scars, then you can't call yourself ugly, deal? You're a handsome man, and I won't have you demeaning the man I'm going to be fucking on the reg, got it?" "Yes ma'am." The tour of the house gave them a little bit more time to discuss the general routines people were in within the house, what times and days people were coming and going, and when people woke up and went to sleep. She seemed especially amused by the Needs board, tracking the last time each of the girls in the house had gotten their fix, and the point when they were going to start being mentally affected by not hooking up. "You've got a few here you're gonna need to tend to soon," she said, tapping the schedule. "Yeah, the last few days have been pretty busy, but I'll make sure I take care of them in the next couple of days. And we'll have to add your name up here on the board, assuming you're joining the household." "Didn't I say I was going to?" "I mean, not explicitly, no." He shrugged slightly. "You've been strongly hinting that you're going to, but you need to say it to finalize it." She was quiet for a bit, as they walked away from the board, heading towards the stairs. "Fine. Fine then. I'm in. I'll join this weird household you have and become part of your family, as well as taking on the job of your personal protection. Just don't ever ask me to be a play partner with any of your girls, or invite any of them into my bed." He raised his hands as they walked up the stairs, heading into the hallway that lead down towards some of the individual bedrooms, finding Jenny and Katie standing down in front of one of the doors down near the end. "Are you gonna do it?" Jenny said, stepping forward to take Lexi's hands in her own. "Yeah, I am," she said. "It seems like you're right. He seems like a good guy, and finding those in this world's new layout is going to be a bitch in the best of circumstances. And if you say he's a good fuck, I have no reason not to trust you, Jen. Plus, the idea of having lots of people around, of having friends around, that sounds pretty fucking great to me. So what's next then?" She turned to look back at Andy. "You want to do it now or later?" "I mean, that's entirely up to you," Andy said. "You can wait up to a couple of days if you want to, or we  " "I wanna fuck right now, if that's okay," she said, interrupting him, blushing a little bit. "Not to be pushy or anything, but I haven't gotten laid in a couple of years, and even before the treatment, I was fidgeting more than a whore in Sunday School. So if it's alright with you, maybe we can go and do that right now?" Jenny leaned back and pushed the door open behind her, as Katie gestured to the open room. "This'll be your bedroom, Lex," Katie said. "It has its own attached bathroom, like most of the bedrooms do. You can decorate all of it however you want to, but Jen had one little touch that she wanted to throw up to make you feel more at home." Lexi stepped into the bedroom and then began howling with laughter, reaching behind her to slap several times at Jenny's arms playfully. "You! Utter! Bitch! Oh my fucking god! Where did you fucking find it?" Andy moved closer to peek his head inside of the room and noticed that on one wall was a large poster of a shirtless Enrique Iglacias on the wall, like something from Teen Beat magazine back in the day. The image had to be at least ten or fifteen years old, and Andy suspected he had wandered into a private joke between the two women. "I had to buy it off the internet, but when I talked to Andy about bringing you here, I ordered it so that if you came, you could have it up on your wall, just like you did in your bedroom at our old apartment." "I can't tell if I want to rip it down immediately or leave it up forever!" "Well if you take it down, don't rip it up," Jenny teased, giving her friend a big hug, one that Katie joined in on. "Good to have ya here, Lex," Katie said. "Now we'll leave you two to it." The two women excused themselves and headed back down the hallway, as Lexi stepped into her bedroom, Andy stepping in behind her, closing the door behind them. Lexi was glancing around the room, but still slid out of her leather jacket, tossing it on top of a dresser in the room. Beneath the jacket had been concealed a shoulder holster with a firearm in it, that she slowly slid off, placing next to her jacket on the dresser. "I have some serious decorating to do in here, but I can make it work."

I've been into magazines for what seems like most of my life. I started archiving and sharing my own collection back in 2022 but I want to expand and take it even further. So this episode is just a bit of my history collecting magazines, zine, and photo books. Check out the progress on Instagram and TikTok! More library content coming soon exclusively to the SubStack!---Get BONUS episodes on 90s TV and culture (Freaks & Geeks, My So Called Life, Buffy, 90s culture documentaries, and more...) and to support the show join the  Patreon! Host: Lauren @lauren_melanie Follow Fashion Grunge PodcastFind more Fashion Grunge on LinktreeJoin me on Substack:  The Lo Down: a Fashion Grunge blog/newsletter☕️ Support Fashion Grunge on Buy Me a Coffee: https://www.buymeacoffee.com/fashiongrunge

Spring is in the air—even for Alison in France! Hard to believe it's been over a year since the Simi Valley 50th Anniversary event. It feels like yesterday and a lifetime ago… and we're still recovering. HA! Today, we're diving into our first Season 7 episode recap: The In-Laws—a whirlwind of absurd hilarity starring our favorite duo, Dean Butler and Michael Landon. This episode serves up Pa/Almanzo tension in the silliest way possible, blending slapstick humor with some questionable frontier authenticity (mountains on the prairie, anyone?). Michael Landon's comedic brilliance shines, but let's be real—this episode asks us to completely suspend our belief in historical accuracy. And these days? That kind of creative license wouldn't fly in TV production, which makes us even more curious (and hopeful!) about the upcoming Netflix adaptation. Meanwhile, the 1800s patriarchy is alive and well, as bet-making seems to be totally fine with Ma and Laura. We also have Alison's infamous pickle-and-ice-cream moment, plus Percival and Doc Baker's utterly maddening reaction to her *gasp* gaining weight. Oh, the joys of period-accurate sexism… Other highlights include:Albert rocking some impressive peach fuzzGarvey's return (and a shirtless Andy for all you Teen Beat fans!)The telephone playing a surprisingly important roleAnd seriously—can someone take Mary out to a restaurant for once?!And of course, no chaotic trip to Sleepy Eye would be complete without the comedic genius of Eddie Quillan, who steals the show as Cavendish, Pa's latest nuisance. Dean and Alison also pull back the curtain on the technical side of Little House, dishing about the extensive voiceover work (aka "looping") that was a staple of the show—much to Dean's chagrin. And finally, the real question: Did Michael Landon wax his chest? We get to the bottom of it -- Only on The Little House 50 Podcast, where we discuss the truly important Prairieverse matters!Then join Pamela, Dean and Alison on Patreon! New episodes every week!Don't forget to subscribe, comment, leave a review, and share this episode with fellow Bonnetheads.Links and Resources:Haven't signed up for Patreon yet? Link is below!PATREON: https://www.patreon.com/LittleHousePodcastwww.LittleHouse50Podcast.com to connect with our hosts and link to their websites.The merch shop is under renovation - we will keep you posted on the status!www.LivinOnaPrairieTV.com  Check out the award-winning series created by Pamela Bob, with special guest stars Alison Arngrim and Charlotte Stewart.Prairie Legacy Productions - the place to go for info about all new Little House events!LITTLE HOUSE ON THE PRAIRIE CAST REUNION Columbia State Historic Park in California's Gold Country!June 6–8, 2025Secure your tickets now through TIXR athttps://plp.tixr.com/little-house-gold-countryTo learn more about Little House on the Prairie, Visit www.littlehouseontheprairie.comLittle House 50th Anniversary Bus Tours - www.SimiValleyChamber.org  select Little House 50th Anniversary and then Bus TicketsFacebook/Instagram/TikTok:Dean Butler @officialdeanbutlerAlison Arngrim @alisonarngrimPamela Bob @thepamelabob, @prairietvSocial Media Team: Joy Correa and Christine Nunez https://www.paclanticcreative.com/

“You're in acting class and you're studying Chekov or ‘Waiting for Godot' -- and then you end up doing 80s tits-and-a**… You caught on pretty quick what it was about and where the power lay.” -- Actress Heather ThomasWhat was it like to be an 80s poster icon and sex symbol? Susan and Sharon welcome The Fall Guy star and “80s Poster Lady” Heather Thomas. She's an actor, writer and activist -- but may be best known for her “Pink Bikini” poster, one of the best-selling pin-up posters of all time. Heather Thomas had leading roles in television shows like BJ and the Bear, The Love Boat and TJ Hooker -- as well as the movie Zapped! with Scott Baio, Willie Aames and Felice Schachter. But her most famous role was playing stuntwoman Jody Banks on the hit 80s television series The Fall Guy. Running for five seasons on ABC, The Fall Guy spawned board games, posters, a video game -- and just last year, a major feature film starring Ryan Gosling and Emily Blunt -- and Heather Thomas! Since her days as a TV star and pin-up queen, Heather Thomas has gone on to an extraordinary career as a novelist, political activist, organizer and fund-raiser.  NOTE: This episode was recorded Dec. 2024, before the LA Fires. Our thoughts are with Heather and her family, and all those impacted by the fires. Stay safe. Be well. THE CONVERSATIONWORKING WITH MONKEYS: Clyde, the orangutan from Every Which Way But Loose, was her co-star once: “He thought it was funny to keep grabbing my boob. I thought he was gonna rip it off!” And a stint on BJ and the Bear led to producer Glen Larsen tapping her for the co-starring role in The Fall Guy. WORKING WITH TV PRODUCERS: “All of them are crazy. You're not gonna find any normal ones, not in those days. Everyone was nuts. And they still are.”"Smile more": Early on, the ABC network executives were afraid that Heather Thomas wasn't likable. So they put her in a bikini. “I guess that made up for me not smiling enough.” STUNT WORK: “Lee Majors almost broke my nose once.” "I was good on rollerskates!"In preparation for a Fall Guy episode, Heather trained with the Los Angeles Thunderbirds roller-derby team: “They showed me how to ‘break my back' on the rail -- it was really fun!”Ted Lange -- Isaac, the bartender on The Love Boat -- was one of Heather's favorite directors on the Fall Guy.A GOOD DIRECTOR: For Heather, it was someone who brought her into the filmmaking process. For Lee Majors -- it was anyone who got him home by 5:00pm! THE POSTER: Once the show was a hit, a poster was the next big step: “It outsold Farrah Fawcett. I bought a house. I was thrilled.”DIS-LIKENESS: Heather's image has been hi-jacked and used for everything from lighters, to puzzles, to notebook covers -- to a pillow!ON HAVING A FAMOUS BODY: “My body was my living. That's how I saw it.  So I had to feed it, exercise it -- I couldn't have an ounce of cellulite. It was part of the gig. But I didn't care, I was grateful. I was making more money than I ever had in my life. I was a kid.”ZAPPED! -- Teen sex comedy -- or sexual harassment?  “They tried to get me topless, but my contract said uh-uh!  So, they used a body double. There's a big disclaimer at the end of the movie saying that it's not my tits.”Activism: “Ever since they said, ‘You can't climb the tree, the boys can' -- I was a feminist.”So join Susan and Sharon -- and Heather -- as they talk fly-fishing, Star Wars, David Letterman,Teen Beat, Shaun Cassidy & Parker Stevenson, “Gabor-lore”, Cliff Robertson's toupeé, organizing your phone by decade, not complying in advance -- and canoeing with Henry Winkler!AUDIO-OGRAPHYFind Heather Thomas on Twitter at Twitter.com/HeatherThomasAF And find Heather Thomas on BlueSky at HeatherThomasAF.bsky.social Watch Heather Thomas in The Fall Guy on Peacock, Amazon Prime or Flixfling!Check DontGetPurged.org to make sure your name has not been purged from voter rolls!Find out more about CREW at CitizensForEthics.orgVITAL READINGGet Handbook for A Post-Roe America by Robin Marty at Bookshop.org.Check out Men In Dark Times by Hannah Ahrendt at Bookshop.org.Read Democracy Awakening by Heather Cox Richardson at Bookshop.org.You can also follow Richardson's substack.SUPPORT FOR THE LA FIRESOnline at DisasterAssistance.gov On the FEMA App for mobile devices or Call the FEMA Helpline at 1-800-621-3362Calls are accepted every day from 4 a.m. to 10 p.m. PST.More resources at Eaton Canyon Community Relief.Google List of LA County Resources. AIRBNB is offering temporary free housing for those displaced by the fires. Start here. PLACES TO VOLUNTEERGoogle Doc for Wednesday and ongoing.Volunteer with the Red Cross.TALK TO SOMEONEReach out to friends and family. Take care of yourself:Pro Bono Therapy for LA Wildfires - Google Doc. More mental health resources at LARevive.DONATINGMaster GoFundMe List for LA Fire Victims Google Doc.Displaced Black families in Altadena Google Doc. Gofundme pages for EATON CANYON COMMUNITY RELIEFCONNECTVisit 80sTVLadies.com for transcripts.Join the conversation at Facebook.com/80sTVLadies.Sign up for the 80s TV Ladies mailing list.Support us and get ad-free episodes on PATREON. In Honor of President Carter and to learn more about his presidency: Get Susan's new play about him and his Crisis of Confidence speech: Confidence (and the Speech) at Broadway Licensing.

Remember how girls' rooms used to be back in the 90's? The walls were covered with posters of teen celebrities. Teen Beat magazines were scattered across desks. Boy band CDs playing from the boom box. This created an atmosphere completely surrounded by heartthrobs. The ladies of Splat Attack, Kiley and Megan, invite you to join our Girls Room to discuss these icons of the 90s! Who are some of your 90's heartthrobs? Join us in the studio to share your picks! Unlock Bonus Content on Patreon Shop at our Splat Attack Merch Store Email Us: SplatAttack2021@gmail.com   YouTube: Splat Attack! Podcast Instagram: @SplatAttackPodcast Please leave us a review in your podcast app! 

In this true crime story midweek mini episode of Love and Murder: Heartbreak to Homicide, Ky delves into the harrowing case of 14-year-old Sofia Koval, who stands accused of brutally beating her grandmother, Yevheniia Koval, to death. What drove this teenager to commit such a heinous act? Join us as we explore the tragic sequence of events that unfolded in Lauderdale Lakes, Florida, in May 2024.Question: Do you think Sofia's actions were a result of her traumatic past, or should she be held fully accountable for her grandmother's death?Share your thoughts on this case in the comments below.Support Love and Murder: Don't miss our November sale—50% off our highest Patreon tier! Gain access to exclusive content, ad-free episodes, and more for just $5 a month. Join us at patreon.com/loveandmurder.02:36 Sofia Koval charged with second degree murder over grandmother's death13:27 When she's done with her sentence...19:32 Your commentsDon't forget to share this episode with everyone you know and everyone you don't —spread the word and help us grow the Love and Murder community!Past cases mentioned in this episode:Midweek Mini | Trapped in Terror: Abuse of a Nonverbal Autistic Child | Mikki Dee Moody and Sean Moodyhttps://www.spreaker.com/episode/midweek-mini-trapped-in-terror-abuse-of-a-nonverbal-autistic-child-mikki-dee-moody-and-sean-moody--62891015Mother Murders Two Toddler Sons by Drowning Them | Update of Susan Smith Casehttps://www.spreaker.com/episode/mother-murders-two-toddler-sons-by-drowning-them-update-of-susan-smith-case--62959955Sources:The posts say:https://www.nbcmiami.com/news/local/14-year-old-sentenced-to-juvenile-program-in-killing-of-79-year-old-grandma/3458730/https://www.sun-sentinel.com/2024/10/24/ukrainian-teen-who-killed-grandmother-set-to-withdraw-not-guilty-plea/https://people.com/14-year-old-allegedly-used-walker-belt-to-kill-her-grandmother-police-8722920https://www.the-independent.com/news/world/americas/crime/florida-girl-beat-grandmother-ukraine-b2623465.htmlhttps://nypost.com/2024/06/06/us-news/baby-faced-14-year-old-accused-of-beating-her-grandma-to-death-prays-in-court-video/https://browardsao.com/teen-charged-as-adult-in-grandmother-death/https://lawandcrime.com/crime/14-year-old-girl-used-belt-walker-to-kill-80-year-old-grandmother-because-she-was-already-dying-deputies-say/https://www.courttv.com/news/14-year-old-pleads-no-contest-after-grandmother-fatally-beaten/https://browardsao.com/teen-manslaughter-in-death-of-her-grandmother/https://cbs12.com/news/local/broward-county-teen-sentenced-as-adult-for-manslaughter-in-death-of-grandmother-lauderdale-lakes-ukraine-wednesday-october-30-2024**********************************************************************************HOW TO SUPPORT LOVE AND MURDER:

The Corpse Vanishes offers Chris and Charlotte a corsage, which induces them to talk about orchids, Tiger Beat, Teen Beat, Wham-O, and tag. With the short, Radar Men from the Moon, part 3.

Sue has your Sue's News on why 1996 calenders are selling for a pretty penny online, a dog that ate $4,000, and the Random Fact of the Day on the first basketball.

It was casually mentioned on the podcast that Rider has some past trauma associated with cruises, and now it's finally time to find out why. We hear the tale of the high seas when a 16-year-old Rider Strong took part in the “Sail with the Stars” cruise, with handfuls of other teen heartthrobs, but it wasn't quite the enchanted voyage he had hoped for. But on the other hand, a 14-year-old Danielle was ALSO onboard this Teen Beat cruise ship and had a much different experience joining her ideal “fancy cult.” Dancing with hot guys and a buffet? Sign her up! These are the stories you can only hear from your very own port of call on Pod Meets World!See omnystudio.com/listener for privacy information.

Pinocchio Month continues as Tara & Ryan check out a weird movie with a great puppet and Teen Beat heartthrob!  Get out your Jonathan Taylor Thomas locker posters.  It's The Adventures of Pinocchio! T&R Hotline: (707) 968-7731 Email: TRPrincessDiaries@gmail.com Instagram: @TRPrincessDiariesFacebook: www.facebook.com/groups/trprincessdiaries/ Art by Carley McConnell https://www.instagram.com/ani.empire/ Theme Song: "Realm Daytime" by PeriTune Villians Ranking Theme: "Science Function" by Trey VanZandt   

Duran Duran's John Taylor and Rob Lowe definitely shared some Teen Beat magazine covers back in the day! In this episode, John Taylor joins Rob Lowe to discuss the spooky new Duran Duran album, “Danse Macabre,” what it's like to record a James Bond theme song, John's experience moving to Los Angeles, and much more. Got a question for Rob? Call our voicemail at (323) 570-4551. Your voicemail could get featured on the show!

From my earliest memories, I was never satisfied. No matter how much I got, I wanted more. I felt like everyone else had life's instruction manual, but I felt alone and awkward. In school I found my solace in food and Teen Beat magazine. After college, I decided a geographical cure would solve my problems, hoping that as soon as I crossed the border into Minnesota, I would be able to stop eating. Next, I tried Florida and Colorado, each time doing a round of souvenir eating before leaving. By then I was out of a job, had a multitude of health problems, and my relationships were a mess. I tried everything: acupuncture, therapy, coaching, wilderness retreats. I was completely stuck. Then my cousin introduced me to Food Addicts in Recovery Anonymous (FA), and from my first meeting, I saw hope. I always thought that if I loved myself, I would change how I ate. In FA, the reverse happened. I stopped eating addictively, and I started to love myself. In this program I became debt-free, I found the courage to date and marry my wonderful partner, and I learned to enjoy meaningful relationships.

Action Comics 382 and 383 bring us to different of romance comics.  Teen Beat eat your heart out. The two tale show their age but one holds up a little better in Ross opinion    #LegionofSuperHeroes #dccomics @Twomorrowspubs #LOSH #KarateKid #ChameleonBoy #UltraBoy #podcast #comicbooks

Rick Springfield and Rob Lowe are former Teen Beat heartthrobs! In this episode you'll hear them talk about top frontmen, the time Rick got mistaken for Rob, transcendental meditation, Rick's soap opera career, his new album Automatic, and more. Got a question for Rob? Call our voicemail at (323) 570-4551. Yours could get featured on the show! This episode was recorded on July 24, 2023. 

BASED: No Mike, just the J-BOYS so it is time to get motherfuckin' BASED! Corey Feldman's Funko Pop: Corey Feldman unveiled a huge announcement last week, A BRAND NEW FUNKO POP! Get excited people, thee is only 4,000 pieces available and the pricing is CRAZY! Instagram Live: The Feld-Dawg fun continues as we check in on Corey's live as he gets a mold of his face for some sort of upcoming secret project. LETS JUST TALK!, BOOGIE NIGHTS!, J BOYZ!, BASED!, KEK!, NO MIKE!, WHITE GUYS IN COMMERCIALS!, NSPOSTINGFS!, TAKING LS!, ANTHONY CUMIA!, ALT RIGHT CIA HONEYPOT!, LIL B!, WOKE!, DOG WHISTLE!, 4CHAN!, ISRAELIS POURING CEMENT!, WATER SPRINGS!, THE JS!, BIS!, RFK JR!, 14!, 88!, SECRET SERVICE!, JOE ROGAN!, ANTI VAX!, ROBERT DENIRO!, THE SHIELD!, AUTISTIC!, COOKED BRAIN!, BOTTOM MENU!, BOTTOMING!, SPICY!, FAST FOOD!, TEASING!, COMIC CON!, SDCC!, COREY FELDMAN!, FILM!, TV!, PROMOTION!, ACTORS STRIKE!, ASCENSION MILLENIUM!, STANDARD!, GLITTER VERSION!, PRICING!, HAIRCUT!, STEVE!, STRANGER THINGS!, AUTOGRAPHED!, UNSIGNED!, PERSONALIZED!, PACKAGE DEAL!, 7 BUCKS A POP!, BUSINESS MIND!, CHALLENGING FANS!, SHIPPING!, PRICING!, DEAN SMITH!, FREE SHIPPING!, HACKED!, MICHAEL DEBARGE!, GOON CON!, THANKSGIVING!, SAND DOLLAR!, TICKETS!, VIP!, PHOTO!, AUTOGRAPH!, ANGELS!, COVID!, TIGER KING!, INSTAGRAM LIVE!, MOLD!, FACE!, NIGHTMARE ON ELM STREET 3!, EDGAR SCISSORBUTT!, 22 JUMP STREET!, DREAM A LITTLE DREAM!, BRAIN INJURY!, TEEN BEAT!, COVERED!, CAN'T BREATHE!, VISUAL EFFECTS!, BEHIND THE SCENES!, GOOP!, BALD CAP!, SCISSORS!, RICE PILAF!, NIGHTMARE!  You can find the videos from this episode at our Discord RIGHT HERE!

We're talking Pop and Rock Magazines! You know those Waldenbooks Newsstand classics you had to stock up on like Creem, YM, Sassy, Smash Hits and Tiger Beat? Join host Lyndsey Parker (Yahoo Music Entertainment Editor) and guests, esteemed music journalists and authors Dave DiMartino (Creem Editor in Chief 1979-1986) and Lori Majewski (Teen People co-founder), as they discuss all things '80s magazines: the artist access, the covers, the captions, the publicists and more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

LIVE from Malt and Mold! Meg investigates the cold case of neighbor Marie-Josée Saint-Antoine. Jessica ponders the wisdom of Teen Beat featuring 30-year-old heart throbs and swoons over Kevin Kline.Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

In this episode, guest co-host Debbie Smith-Clarke and me discuss The Bay City Rollers, that tartan-clad boy band from the 70s who induced a world-wide case of "Rollermania" to the music world at large.  We talk about the six albums that were released during the band's heyday, starting with the 1974 debut album Rollin' through their final album, 1978's Strangers In The Wind.Debbie and me shared our opinions about these teen-pop classics and we had so much fun talking about one of our favorite all-time bands!  And Miss Clarke was not shy sharing her opinions and which Roller gave her funny feelings back in the day!So dust off your old 16 and Teen Beat magazines, put on yer mad plaid, and dig this tetrospective on those tartan-clad titans of the 70s...The Bay City Rollers!Who's your fave rave???

What if those teen fan magazines from Elizabeth's youth – think Tiger Beat, Teen Beat & Bop – were updated to target where she's at today? Instead of winning a date with Shaun Cassidy, maybe now you could enter to win the opportunity to have a beer with Keanu - it doesn't have to be weird. Nostalgia is the order of the day on this week's episode. Join us. Radiant BadassChris Martin, Creativity Coach

The 80's called with one of their biggest heartthrobs on the line! Husband, father, actor and filmmaker, Kirk Cameron, joins Paula for a totally fun and genuine conversation about child stardom, finding faith and the inner prankster that leaves you wondering where the Growing Pains' Mike Seaver stops and this real life troublemaker big brother begins! With zero interest in acting and a love for biology and science, hear the coincidental story that led Kirk to star in one of television's most beloved shows at just 14. In the midst of navigating his own typical teen struggles, that iconic set would open some of the most important doors of Kirk's life, including to the church and to meeting Chelsea, his wife of 32 years. Kirk spills the worst prank he ever played on Chelsea, shares the real life reaction his kids had to finding his vintage Teen Beat covers and also gives Paula the scoop about his latest passion project that might just have him visiting a library near you. Learn more about Kirk's new picture book, “As You Grow” Keep up with Kirk on Facebook or over at his Website Learn more about his latest movie, “Lifemark” Paula's new book, “You Don't Have to Carry It All: Ditch the Mom Guilt and Find a Better Way Forward”, is almost here! Visit PaulaFarisOfficial.com to get all the info on her upcoming meet and greet book store tour! Don't miss Paula's biweekly newsletter where she shares facts, favorites, fun… and giveaways! Visit PaulaFarisOfficial.com and scroll to the bottom to add your email to the list. Learn everything about Paula's company CARRY Media and sign up for The CARRY ALL, THE essential weekly newsletter for the working mom that drops every Sunday! Follow along with CARRY Media on social media: @carry_media Connect with Paula & share what you are feeling called to in this season of your life: Instagram | Twitter | Facebook Subscribe & Listen to more episodes of the Podcast: Access More | Spotify | Apple

Another unofficial question because Heather did not like the list of topics in the plan so she called an official meeting...or just sent Vanessa a Marco Polo (the official meeting location of the podcast)...and provided a new topic about 4 hours before recording time. Yep. That happened.What Are Your Favorite Childhood Shows?After some serious and personal topics, it was time for something light, nostalgic, and good old fashioned fun. What better than discussing the shows that shaped our world views, consoled our teen angst, inspired Teen Beat posters, and taught us to be a boss! The 80s and 90s had some of the best shows of all time that were also the stepping stone for many of the most famous and talented movie starts of today. It's a ride through the memories of a time where you had to take commercial breaks, you couldn't binge watch a season in a weekend, and there was a regular evening schedule of shows for the family to watch. Grab your popcorn and let's discuss some television!Our Favorite Things:The list of shows to watch...it's below... Things We Refer To In This Episode:Thank you to our supporters:Orange (I Got A Lot To Say About That Theme Song) Original music by Marcel Camargo and Leo CostaBoth are Grammy nominated artists, please check out their music here:http://www.marcelcamargo.com/385194ztbi4uegaj53ypbd2m0w98sg  https://www.instagram.com/marcelcamargomusic/https://www.instagram.com/leocosta1010/?hl=en Website Sponsored by Alison Lindemann at WSI Internet Consulting - Digital Marketing Services (https://www.wsiworld.com/alison-lindemann)Support the show

The conversation with AJ McLean continues. AJ shares his parenthood journey and dealing with a life-changing decision by his daughter. Plus, a wild throwback as they read through an old interview AJ did with Teen Beat magazine!See omnystudio.com/listener for privacy information.

Diana: I need the reason. Don't say money. Why do this? Rob: Why not do it? Because yesterday I walked out of the conference after losing four hours of my life and you're cold-researching “Teen Beat” cover topics. Because the house always wins. Play long enough, you never change the contingencies, the house takes you. Unless, when that perfect article comes along, you bet behavior analysis podcast, and then you take the house. Diana: Been practicing that speech, have you? Rob: Little bit. Did I rush it? Felt like I rushed it. Diana: No, it was good, I liked it. “Teen Beat” thing was harsh. This episode is available for 1.0 LEARNING CEUs Articles discussed this episode: Capalbo, A., Miltenberger, R.G., & Cook, J.L. (2022). Training soccer goalkeeping skills: Is video modeling enough? Journal of Applied Behavior Analysis, 55, 958-970. doi: 10.1002/jaba.937 Strickland, M.A., & Kohn, C.S. (2021). Behavioral skills training to teach college students to free-pour standard servings of alcohol. Behavioral Interventions, 37, 673-689. doi: 10.1002/bin.1873 Normand, M. P. & Donohue, H.E., (2022). Behavior analytic jargon does not seem to influence treatment acceptability ratings. Journal of Applied Behavior Analysis., 55, 1294-1305. doi: 10.1002/jaba.953 If you're interested in ordering CEs for listening to this episode, click here to go to the store page. You'll need to enter your name, BCBA #, and the two episode secret code words to complete the purchase. Email us at abainsidetrack@gmail.com for further assistance.

Howdy ho, neighborinos! Alissa, Mike & Andrew are out of the woods! (Or the library I should say) But now, they're tasked to tail a troublesome teen. The Lady Castlevanders is worried her daughter may be mixed up in something bad.  Gone for hours at a time and behaving strangely, this teenybopper could be mixed up in some risky business! It's up to our heroes to find out what it is and why! All the while, Alissa's recurring visions vex her while still divulging very sparse information, but the picture is becoming clearer. Will our heroes save the day? Will they be able to put an end to these unscheduled adolescent outings? We'll put gumshoe in front of the other in this week's DUNGEON RADIO HOOOOURRRR!!!!::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::;Our DM is Dalton RiddleOur Players are Andrew Gehrlein, Michael Adair & Alissa AdairEditing by Alissa & Michael AdairTheme song (both old and new!!) by Dustin Hook (so talented)Please check out our Instagram, Twitter and Tiktok @dungeonradiohour to keep up with the latest DRH news! bye for now~

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More prime Nessie spotting real estate at the base of the Scottish Highlands, an update on a former president worshing cult, a fowl smelling town with a heart of gold, & you've heard of Teen Beat, but have you heard of teen stab? It's been a weird week... For folks concerned about audio quality, Kelly eventually turns on her mic. Apologies! Send us physical things: Frightday LLC PO Box 372 Lolo, MT 59847 Want even more? Join the Frightday Society, at http://society.frightday.com You'll have access to all Screamium content (Behind the Screams, It's Been a Weird Week, A Conversation With..., Toast to Toast PM with Wine Kelly, Cinema Autopsy, the Writers' Room, bonus episodes of Captain Kelly's Cryptids & Conspiracies, Byron's Serial Corner, and so much more!  You'll also be part of our interactive community dedicated to the advancement of horror, hauntings, cryptids, conspiracies, aliens, and true crime. All things frightening.  Keep our mini-fridges full of blood...I mean...not blood...normal things that people drink...by going to http://shop.frightday.com  Theme music by Cemeteries Produced by Byron McKoy Follow us in the shadows at the following places: @byronmckoy @samfrightday @kellyfrightday @frightday http://frightday.com  http://discord.frightday.com  http://facebook.com/groups/frightday  http://instagram.com/frightday

Episode one hundred and forty-two of A History of Rock Music in Five Hundred Songs looks at “God Only Knows" by the Beach Boys, and the creation of the Pet Sounds album. 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 "Sunny" by Bobby Hebb. 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. For material specific to Pet Sounds I have used Kingsley Abbot's The Beach Boys' Pet Sounds: The Greatest Album of the Twentieth Century and Charles L Granata's I Just Wasn't Made For These Times: Brian Wilson and the Making of Pet Sounds.  I also used the 126-page book The Making of Pet Sounds by David Leaf, which came as part of the The Pet Sounds Sessions box set, which also included the many alternate versions of songs from the album used here. Sadly both that box set and the 2016 updated reissue of it appear currently to be out of print, but either is well worth obtaining for anyone who is interested in how great records are made. Of the versions of Pet Sounds that are still in print, this double-CD version is the one I'd recommend. It has the original mono mix of the album, the more recent stereo remix, the instrumental backing tracks, and live versions of several songs. 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. The YouTube drum tutorial I excerpted a few seconds of to show a shuffle beat is here. Transcript We're still in the run of episodes that deal with the LA pop music scene -- though next week we're going to move away from LA, while still dealing with a lot of the people who would play a part in that scene. But today we're hitting something that requires a bit of explanation. Most artists covered in this podcast get one or at the most two episodes. Some get slightly more -- the major artists who are present for many revolutions in music, or who have particularly important careers, like Fats Domino or the Supremes. And then there are a few very major artists who get a lot more. The Beatles, for example, are going to get eight in total, plus there will be episodes on some of their solo careers. Elvis has had six, and will get one more wrap-up episode. This is the third Beach Boys episode, and there are going to be three more after this, because the Beach Boys were one of the most important acts of the decade. But normally, I limit major acts to one episode per calendar year of their career. This means that they will average at most one episode every ten episodes, so while for example the episodes on "Mystery Train" and "Heartbreak Hotel" came close together, there was then a reasonable gap before another Elvis episode. This is not possible for the Beach Boys, because this episode and the next two Beach Boys ones all take place over an incredibly compressed timeline. In May 1966, they released an album that has consistently been voted the best album ever in polls of critics, and which is certainly one of the most influential even if one does not believe there is such a thing as a "best album ever". In October 1966 they released one of the most important singles ever -- a record that is again often considered the single best pop single of all time, and which again was massively influential. And then in July 1967 they released the single that was intended to be the lead-off single from their album Smile, an album that didn't get released until decades later, and which became a legend of rock music that was arguably more influential by *not* being released than most records that are released manage to be. And these are all very different stories, stories that need to be told separately. This means that episode one hundred and forty-two, episode one hundred and forty-six, and episode one hundred and fifty-three are all going to be about the Beach Boys. There will be one final later episode about them, too, but the next few months are going to be very dominated by them, so I apologise in advance for that if that's not something you're interested in. Though it also means that with luck some of these episodes will be closer to the shorter length of podcast I prefer rather than the ninety-minute mammoths we've had recently. Though I'm afraid this is another long one. When we left the Beach Boys, we'd just heard that Glen Campbell had temporarily replaced Brian Wilson on the road, after Wilson's mental health had finally been unable to take the strain of touring while also being the group's record producer, principal songwriter, and leader. To thank Campbell, who at this point was not at all well known in his own right, though he was a respected session guitarist and had released a few singles, Brian had co-written and produced "Guess I'm Dumb" for him, a track which prefigured the musical style that Wilson was going to use for the next year or so: [Excerpt: Glen Campbell, "Guess I'm Dumb"] It's worth looking at "Guess I'm Dumb" in a little detail, as it points the way forward to a lot of Wilson's songwriting over the next year. Firstly, of course, there are the lyrical themes of insecurity and of what might even be descriptions of mental illness in the first verse -- "the way I act don't seem like me, I'm not on top like I used to be". The lyrics are by Russ Titelman, but it's reasonable to assume that as with many of his collaborations, Brian brought in the initial idea. There's also a noticeable change in the melodic style compared to Wilson's earlier melodies. Up to this point, Wilson has mostly been writing what get called "horizontal" melody lines -- ones with very little movement, and small movements, often centred on a single note or two. There are exceptions of course, and plenty of them, but a typical Brian Wilson melody up to this point is the kind of thing where even I can hit the notes more or less OK -- [sings] "Well, she got her daddy's car and she cruised through the hamburger stand now". It's not quite a monotone, but it's within a tight range, and you don't have to move far from one note to another. But "Guess I'm Dumb" is incorporating the influence of Roy Orbison, and more obviously of Burt Bacharach, and it's *ludicrously* vertical, with gigantic leaps all over the place, in places that are not obvious. It requires the kind of precision that only a singer like Campbell can attain, to make it sound at all natural: [Excerpt: Glen Campbell, "Guess I'm Dumb"] Bacharach's influence is also noticeable in the way that the chord changes are very different from those that Wilson was using before. Up to this point, when Wilson wrote unusual chord changes, it was mostly patterns like "The Warmth of the Sun", which is wildly inventive, but mostly uses very simple triads and sevenths. Now he was starting to do things like the line "I guess I'm dumb but I don't care", which is sort of a tumbling set of inversions of the same chord that goes from a triad with the fifth in the bass, to a major sixth, to a minor eleventh, to a minor seventh. Part of the reason that Brian could start using these more complex voicings was that he was also moving away from using just the standard guitar/bass/drums lineup, sometimes with keyboards and saxophone, which had been used on almost every Beach Boys track to this point. Instead, as well as the influence of Bacharach, Wilson was also being influenced by Jack Nitzsche's arrangements for Phil Spector's records, and in particular by the way Nitzsche would double instruments, and have, say, a harpsichord and a piano play the same line, to create a timbre that was different from either individual instrument. But where Nitzsche and Spector used the technique along with a lot of reverb and overdubbing to create a wall of sound which was oppressive and overwhelming, and which obliterated the sounds of the individual instruments, Wilson used the same instrumentalists, the Wrecking Crew, to create something far more delicate: [Excerpt: Glen Campbell, "Guess I'm Dumb (instrumental and backing vocals)"] Campbell does such a good job on "Guess I'm Dumb" that one has to wonder what would  have happened if he'd remained with the Beach Boys. But Campbell had of course not been able to join the group permanently -- he had his own career to attend to, and that would soon take off in a big way, though he would keep playing on the Beach Boys' records for a while yet as a member of the Wrecking Crew. But Brian Wilson was still not well enough to tour. In fact, as he explained to the rest of the group, he never intended to tour again -- and he wouldn't be a regular live performer for another twelve years. At first the group were terrified -- they thought he was talking about quitting the group, or the group splitting up altogether. But Brian had a different plan. From that point on, there were two subtly different lineups of the group. In the studio, Brian would sing his parts as always, but the group would get a permanent replacement for him on tour -- someone who could replace him on stage. While the group was on tour, Brian would use the time to write songs and to record backing tracks. He'd already started using the Wrecking Crew to add a bit of additional musical colour to some of the group's records, but from this point on, he'd use them to record the whole track, maybe getting Carl to add a bit of guitar as well if he happened to be around, but otherwise just using the group to provide vocals. It's important to note that this *was* a big change. A lot of general music history sources will say things like "the Beach Boys never played on their own records", and this is taken as fact by people who haven't investigated further. In fact, the basic tracks for all their early hits were performed by the group themselves -- "Surfin'", "Surfin' Safari", "409", "Surfer Girl", "Little Deuce Coupe", "Don't Worry Baby" and many more were entirely performed by the Beach Boys, while others like "I Get Around" featured the group with a couple of additional musicians augmenting them. The idea that the group never played on their records comes entirely from their recordings from 1965 and 66, and even there often Carl would overdub a guitar part. And at this point, the Beach Boys were still playing on the majority of their recordings, even on sophisticated-sounding records like "She Knows Me Too Well", which is entirely a group performance other than Brian's friend, Russ Titelman, the co-writer of "Guess I'm Dumb", adding some percussion by hitting a microphone stand with a screwdriver: [Excerpt: The Beach Boys, "She Knows Me Too Well"] So the plan to replace the group's instrumental performances in the studio was actually a bigger change than it might seem. But an even bigger change was the live performances, which of course required the group bringing in a permanent live replacement for Brian. They'd already tried this once before, when he'd quit the road for a while and they'd brought Al Jardine back in, but David Marks quitting had forced him back on stage. Now they needed someone to take his place for good. They phoned up their friend Bruce Johnston to see if he knew anyone, and after suggesting a couple of names that didn't work out, he volunteered his own services, and as of this recording he's spent more than fifty years in the band (he quit for a few years in the mid-seventies, but came back). We've seen Johnston turn up several times already, most notably in the episode on "LSD-25", where he was one of the musicians on the track we looked at, but for those of you who don't remember those episodes, he was pretty much *everywhere* in California music in the late fifties and early sixties. He had been in a band at school with Phil Spector and Sandy Nelson, and another band with Jan and Dean, and he'd played on Nelson's "Teen Beat", produced by Art Laboe: [Excerpt: Sandy Nelson, "Teen Beat"] He'd been in the house band at those shows Laboe put on at El Monte stadium we talked about a couple of episodes back, he'd been a witness to John Dolphin's murder, he'd been a record producer for Bob Keane, where he'd written and produced songs for Ron Holden, the man who had introduced "Louie Louie" to Seattle: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] He'd written "The Tender Touch" for Richard Berry's backing group The Pharaos, with Berry singing backing vocals on this one: [Excerpt: The Pharaos, "The Tender Touch"] He'd helped Bob Keane compile Ritchie Valens' first posthumous album, he'd played on "LSD-25" and "Moon Dawg" by the Gamblers: [Excerpt: The Gamblers, "Moon Dawg"] He'd arranged and produced the top ten hit “Those Oldies but Goodies (Remind Me of You)” for Little Caesar and the Romans: [Excerpt Little Caesar and the Romans, "Those Oldies but Goodies (Remind Me of You)"] Basically, wherever you looked in the LA music scene in the early sixties, there was Bruce Johnston somewhere in the background. But in particular, he was suitable for the Beach Boys because he had a lot of experience in making music that sounded more than a little like theirs. He'd made cheap surf records as the Bruce Johnston Surfing Band: [Excerpt: Bruce Johnston, "The Hamptons"] And with his long-time friend and creative partner Terry Melcher he had, as well as working on several Paul Revere and the Raiders records, also recorded hit Beach Boys soundalikes both as their own duo, Bruce and Terry: [Excerpt: Bruce and Terry, "Summer Means Fun"] and under the name of a real group that Melcher had signed, but who don't seem to have sung much on their own big hit, the Rip Chords: [Excerpt: The Rip Chords, "Hey Little Cobra"] Johnston fit in well with the band, though he wasn't a bass player before joining, and had to be taught the parts by Carl and Al. But he's probably the technically strongest musician in the band, and while he would later switch to playing keyboards on stage, he was quickly able to get up to speed on the bass well enough to play the parts that were needed. He also wasn't quite as strong a falsetto singer as Brian Wilson, as can be heard by listening to this live recording of the group singing "I Get Around" in 1966: [Excerpt: The Beach Boys, "I Get Around (live 1966)"] Johnston is actually an excellent singer -- and can still hit the high notes today. He sings the extremely high falsetto part on "Fun Fun Fun" at the end of every Beach Boys show. But his falsetto was thinner than Wilson's, and he also has a distinctive voice which can be picked out from the blend in a way that none of the other Beach Boys' voices could -- the Wilson brothers and Mike Love all have a strong family resemblance, and Al Jardine always sounded spookily close to them. This meant that increasingly, the band would rearrange the vocal parts on stage, with Carl or Al taking the part that Brian had taken in the studio. Which meant that if, say, Al sang Brian's high part, Carl would have to move up to sing the part that Al had been singing, and then Bruce would slot in singing the part Carl had sung in the studio. This is a bigger difference than it sounds, and it meant that there was now a need for someone to work out live arrangements that were different from the arrangements on the records -- someone had to reassign the vocal parts, and also work out how to play songs that had been performed by maybe eighteen session musicians playing French horns and accordions and vibraphones with a standard rock-band lineup without it sounding too different from the record. Carl Wilson, still only eighteen when Brian retired from the road, stepped into that role, and would become the de facto musical director of the Beach Boys on stage for most of the next thirty years, to the point that many of the group's contracts for live performances at this point specified that the promoter was getting "Carl Wilson and four other musicians". This was a major change to the group's dynamics. Up to this point, they had been a group with a leader -- Brian -- and a frontman -- Mike, and three other members. Now they were a more democratic group on stage, and more of a dictatorship in the studio. This was, as you can imagine, not a stable situation, and was one that would not last long. But at first, this plan seemed to go very, very well. The first album to come out of this new hybrid way of working, The Beach Boys Today!, was started before Brian retired from touring, and some of the songs on it were still mostly or solely performed by the group, but as we heard with "She Knows Me Too Well" earlier, the music was still more sophisticated than on previous records, and this can be heard on songs like "When I Grow Up to Be a Man", where the only session musician is the harmonica player, with everything else played by the group: [Excerpt: The Beach Boys, "When I Grow Up to Be a Man"] But the newer sophistication really shows up on songs like "Kiss Me Baby", where most of the instrumentation is provided by the Wrecking Crew -- though Carl and Brian both play on the track -- and so there are saxophones, vibraphones, French horn, cor anglais, and multiple layers of twelve-string guitar: [Excerpt: The Beach Boys, "Kiss Me Baby"] Today had several hit singles on it -- "Dance, Dance, Dance", "When I Grow Up to be a Man", and their cover version of Bobby Freeman's "Do You Wanna Dance?" all charted -- but the big hit song on the album actually didn't become a hit in that version. "Help Me Ronda" was a piece of album filler with a harmonica part played by Billy Lee Riley, and was one of Al Jardine's first lead vocals on a Beach Boys record -- he'd only previously sung lead on the song "Christmas Day" on their Christmas album: [Excerpt: The Beach Boys, "Help Me Ronda"] While the song was only intended as album filler, other people saw the commercial potential in the song. Bruce Johnston was at this time still signed to Columbia records as an artist, and wasn't yet singing on Beach Boys records, and he recorded a version of the song with Terry Melcher as a potential single: [Excerpt: Bruce and Terry, "Help Me Rhonda"] But on seeing the reaction to the song, Brian decided to rerecord it as a single. Unfortunately, Murry Wilson turned up to the session. Murry had been fired as the group's manager by his sons the previous year, though he still owned the publishing company that published their songs. In the meantime, he'd decided to show his family who the real talent behind the group was by taking on another group of teenagers and managing and producing them. The Sunrays had a couple of minor hits, like "I Live for the Sun": [Excerpt: The Sunrays, "I Live for the Sun"] But nothing made the US top forty, and by this point it was clear, though not in the way that Murry hoped, who the real talent behind the group *actually* was. But he turned up to the recording session, with his wife in tow, and started trying to produce it: [Excerpt: Beach Boys and Murry Wilson "Help Me Rhonda" sessions] It ended up with Brian physically trying to move his drunk father away from the control panel in the studio, and having a heartbreaking conversation with him, where the twenty-two-year-old who is recovering from a nervous breakdown only a few months earlier sounds calmer, healthier, and more mature than his forty-seven-year-old father: [Excerpt: Beach Boys and Murry Wilson, "Help Me Rhonda" sessions] Knowing that this was the family dynamic helps make the comedy filler track on the next album, "I'm Bugged at My Old Man", seem rather less of a joke than it otherwise would: [Excerpt: The Beach Boys, "I'm Bugged at My Old Man"] But with Murry out of the way, the group did eventually complete recording "Help Me Rhonda" (and for those of you reading this as a blog post rather than listening to the podcast, yes they did spell it two different ways for the two different versions), and it became the group's second number one hit: [Excerpt: The Beach Boys, "Help Me, Rhonda"] As well as Murry Wilson, though, another figure was in the control room then -- Loren Daro (who at the time went by his birth surname, but I'm going to refer to him throughout by the name he chose).  You can hear, on the recording, Brian Wilson asking Daro if he could "turn him on" -- slang that was at that point not widespread enough for Wilson's parents to understand the meaning. Daro was an agent working for the William Morris Agency, and he was part of a circle of young, hip, people who were taking drugs, investigating mysticism, and exploring new spiritual ideas. His circle included the Byrds -- Daro, like Roger McGuinn, later became a follower of Subud and changed his name as a result -- as well as people like the songwriter and keyboard player Van Dyke Parks, who will become a big part of this story in subsequent episodes, and Stephen Stills, who will also be turning up again. Daro had introduced Brian to cannabis, in 1964, and in early 1965 he gave Brian acid for the first time -- one hundred and twenty-five micrograms of pure Owsley LSD-25. Now, we're going to be looking at acid culture quite a lot in the next few months, as we get through 1966 and 1967, and I'll have a lot more to say about it, but what I will say is that even the biggest proponents of psychedelic drug use tend not to suggest that it is a good idea to give large doses of LSD in an uncontrolled setting to young men recovering from a nervous breakdown. Daro later described Wilson's experience as "ego death" -- a topic we will come to in a future episode, and not considered entirely negative -- and "a beautiful thing". But he has also talked about how Wilson was so terrified by his hallucinations that he ran into the bedroom, locked the door, and hid his head under a pillow for two hours, which doesn't sound so beautiful to me. Apparently after those two hours, he came out of the bedroom, said "Well, that's enough of that", and was back to normal. After that first trip, Wilson wrote a piece of music inspired by his psychedelic experience. A piece which starts like this, with an orchestral introduction very different from anything else the group had released as a single: [Excerpt: The Beach Boys, "California Girls"] Of course, when Mike Love added the lyrics to the song, it became about far more earthly and sensual concerns: [Excerpt: The Beach Boys, "California Girls"] But leaving the lyrics aside for a second, it's interesting to look at "California Girls" musically to see what Wilson's idea of psychedelic music -- by which I mean specifically music inspired by the use of psychedelic drugs, since at this point there was no codified genre known as psychedelic music or psychedelia -- actually was. So, first, Wilson has said repeatedly that the song was specifically inspired by "Jesu, Joy of Man's Desiring" by Bach: [Excerpt: Bach, "Jesu, Joy of Man's Desiring"] And it's odd, because I see no real structural or musical resemblance between the two pieces that I can put my finger on, but at the same time I can totally see what he means. Normally at this point I'd say "this change here in this song relates to this change there in that song", but there's not much of that kind of thing here -- but I still. as soon as I read Wilson saying that for the first time, more than twenty years ago, thought "OK, that makes sense". There are a few similarities, though. Bach's piece is based around triplets, and they made Wilson think of a shuffle beat. If you remember *way* back in the second episode of the podcast, I talked about how one of the standard shuffle beats is to play triplets in four-four time. I'm going to excerpt a bit of recording from a YouTube drum tutorial (which I'll link in the liner notes) showing that kind of shuffle: [Excerpt: "3 Sweet Triplet Fills For Halftime Shuffles & Swung Grooves- Drum Lesson" , from https://www.youtube.com/watch?v=2CwlSaQZLkY ] Now, while Bach's piece is in waltz time, I hope you can hear how the DA-da-da DA-da-da in Bach's piece may have made Wilson think of that kind of shuffle rhythm. Bach's piece also has a lot of emphasis of the first, fifth, and sixth notes of the scale -- which is fairly common, and not something particularly distinctive about the piece -- and those are the notes that make up the bass riff that Wilson introduces early in the song: [Excerpt: The Beach Boys, "California Girls (track)"] That bass riff, of course, is a famous one. Those of you who were listening to the very earliest episodes of the podcast might remember it from the intros to many, many, Ink Spots records: [Excerpt: The Ink Spots, "We Three (My Echo, My Shadow, and Me)"] But the association of that bassline to most people's ears would be Western music, particularly the kind of music that was in Western films in the thirties and forties. You hear something similar in "The Trail of the Lonesome Pine", as performed by Laurel and Hardy in their 1937 film Way Out West: [Excerpt: Laurel and Hardy, "The Trail of the Lonesome Pine"] But it's most associated with the song "Tumbling Tumbleweeds", first recorded in 1934 by the Western group Sons of the Pioneers, but more famous in their 1946 rerecording, made after the Ink Spots' success, where the part becomes more prominent: [Excerpt: The Sons of the Pioneers, "Tumbling Tumbleweeds"] That song was a standard of the Western genre, and by 1965 had been covered by everyone from Gene Autry to the Supremes, Bob Wills to Johnnie Ray, and it would also end up covered by several musicians in the LA pop music scene over the next few years, including Michael Nesmith and Curt Boettcher, both people part of the same general scene as the Beach Boys. The other notable thing about "California Girls" is that it's one of the first times that Wilson was able to use multi-tracking to its full effect. The vocal parts were recorded on an eight-track machine, meaning that Wilson could triple-track both Mike Love's lead vocal and the group's backing vocals. With Johnston now in the group -- "California Girls" was his first recording session with them -- that meant that on the record there were eighteen voices singing, leading to some truly staggering harmonies: [Excerpt: The Beach Boys, "California Girls (Stack-O-Vocals)"] So, that's what the psychedelic experience meant to Brian Wilson, at least -- Bach, orchestral influences, using the recording studio to create thicker vocal harmony parts, and the old West. Keep that in the back of your mind for the present, but it'll be something to remember in eleven episodes' time. "California Girls" was, of course, another massive hit, reaching number three on the charts. And while some Beach Boys fans see the album it was included on, Summer Days... And Summer Nights!, as something of a step backward from the sophistication of Today!, this is a relative thing. It's very much of a part with the music on the earlier album, and has many wonderful moments, with songs like "Let Him Run Wild" among the group's very best. But it was their next studio album that would cement the group's artistic reputation, and which would regularly be acclaimed by polls of critics as the greatest album of all time -- a somewhat meaningless claim; even more than there is no "first" anything in music, there's no "best" anything. The impulse to make what became Pet Sounds came, as Wilson has always told the story, from hearing the Beatles album Rubber Soul. Now, we've not yet covered Rubber Soul -- we're going to look at that, and at the album that came after it, in three episodes' time -- but it is often regarded as a major artistic leap forward for the Beatles. The record Wilson heard, though, wasn't the same record that most people nowadays think of when they think of Rubber Soul. Since the mid-eighties, the CD versions of the Beatles albums have (with one exception, Magical Mystery Tour) followed the tracklistings of the original British albums, as the Beatles and George Martin intended. But in the sixties, Capitol Records were eager to make as much money out of the Beatles as they could. The Beatles' albums generally had fourteen songs on, and often didn't include their singles. Capitol thought that ten or twelve songs per album was plenty, and didn't have any aversion to putting singles on albums. They took the three British albums Help!, Rubber Soul, and Revolver, plus the non-album "Day Tripper"/"We Can Work It Out" single and Ken Thorne's orchestral score for the Help! film, and turned that into four American albums -- Help!, Rubber Soul, Yesterday and Today, and Revolver. In the case of Rubber Soul, that meant that they removed four tracks from the British album -- "Drive My Car", "Nowhere Man", "What Goes On" and "If I Needed Someone" -- and added two songs from the British version of Help!, "I've Just Seen a Face" and "It's Only Love". Now, I've seen some people claim that this made the American Rubber Soul more of a folk-rock album -- I may even have said that myself in the past -- but that's not really true. Indeed, "Nowhere Man" and "If I Needed Someone" are two of the Beatles' most overtly folk-rock tracks, and both clearly show the influence of the Byrds. But what it did do was remove several of the more electric songs from the album, and replace them with acoustic ones: [Excerpt: The Beatles, "I've Just Seen a Face"] This, completely inadvertently, gave the American Rubber Soul lineup a greater sense of cohesion than the British one. Wilson later said "I listened to Rubber Soul, and I said, 'How could they possibly make an album where the songs all sound like they come from the same place?'" At other times he's described his shock at hearing "a whole album of only good songs" and similar phrases. Because up to this point, Wilson had always included filler tracks on albums, as pretty much everyone did in the early sixties. In the American pop music market, up to the mid sixties, albums were compilations of singles plus whatever random tracks happened to be lying around. And so for example in late 1963 the Beach Boys had released two albums less than a month apart -- Surfer Girl and Little Deuce Coupe. Given that Brian Wilson wrote or co-wrote all the group's original material, it wasn't all that surprising that Little Deuce Coupe had to include four songs that had been released on previous albums, including two that were on Surfer Girl from the previous month. It was the only way the group could keep up with the demand for new product from a company that had no concept of popular music as art. Other Beach Boys albums had included padding such as generic surf instrumentals, comedy sketches like "Cassius" Love vs. "Sonny" Wilson, and in the case of The Beach Boys Today!, a track titled "Bull Session With the Big Daddy", consisting of two minutes of random chatter with the photographer Earl Leaf while they all ate burgers: [Excerpt: The Beach Boys and Earl Leaf, "Bull Session With the Big Daddy"] This is not to attack the Beach Boys. This was a simple response to the commercial pressures of the marketplace. Between October 1962 and November 1965, they released eleven albums. That's about an album every three months, as well as a few non-album singles. And on top of that Brian had also been writing songs during that time for Jan & Dean, the Honeys, the Survivors and others, and had collaborated with Gary Usher and Roger Christian on songs for Muscle Beach Party, one of American International Pictures' series of Beach Party films. It's unsurprising that not everything produced on this industrial scale was a masterpiece. Indeed, the album the Beach Boys released directly before Pet Sounds could be argued to be an entire filler album. Many biographies say that Beach Boys Party! was recorded to buy Brian time to make Pet Sounds, but the timelines don't really match up on closer investigation. Beach Boys Party! was released in November 1965, before Brian ever heard Rubber Soul, which came out later, and before he started writing the material that became Pet Sounds. Beach Boys Party! was a solution to a simple problem -- the group were meant to deliver three albums that year, and they didn't have three albums worth of material. Some shows had been recorded for a possible live album, but they'd released a live album in 1964 and hadn't really changed their setlist very much in the interim. So instead, they made a live-in-the-studio album, with the conceit that it was recorded at a party the group were holding. Rather than the lush Wrecking Crew instrumentation they'd been using in recent months, everything was played on acoustic guitars, plus some bongos provided by Wrecking Crew drummer Hal Blaine and some harmonica from Billy Hinsche of the boy band Dino, Desi, and Billy, whose sister Carl Wilson was shortly to marry. The album included jokes and false starts, and was overlaid with crowd noise, to give the impression that you were listening to an actual party where a few people were sitting round with guitars and having fun. The album consisted of songs that the group liked and could play without rehearsal -- novelty hits from a few years earlier like "Alley Oop" and "Hully Gully", a few Beatles songs, and old favourites like the Everly Brothers hit "Devoted to You" -- in a rather lovely version with two-part harmony by Mike and Brian, which sounds much better in a remixed version released later without the party-noise overdubs: [Excerpt: The Beach Boys, "Devoted to You (remix)"] But the song that defined the album, which became a massive hit, and which became an albatross around the band's neck about which some of them would complain for a long time to come, didn't even have one of the Beach Boys singing lead. As we discussed back in the episode on "Surf City", by this point Jan and Dean were recording their album "Folk 'n' Roll", their attempt at jumping on the folk-rock bandwagon, which included the truly awful "The Universal Coward", a right-wing answer song  to "The Universal Soldier" released as a Jan Berry solo single: [Excerpt: Jan Berry, "The Universal Coward"] Dean Torrence was by this point getting sick of working with Berry, and was also deeply unimpressed with the album they were making, so he popped out of the studio for a while to go and visit his friends in the Beach Boys, who were recording nearby. He came in during the Party sessions, and everyone was suggesting songs to perform, and asked Dean to suggest something. He remembered an old doo-wop song that Jan and Dean had recorded a cover version of, and suggested that. The group had Dean sing lead, and ran through a sloppy version of it, where none of them could remember the words properly: [Excerpt: The Beach Boys, "Barbara Ann"] And rather incredibly, that became one of the biggest hits the group ever had, making number two on the Billboard chart (and number one on other industry charts like Cashbox), number three in the UK, and becoming a song that the group had to perform at almost every live show they ever did, together or separately, for at least the next fifty-seven years. But meanwhile, Brian had been working on other material. He had not yet had his idea for an album made up entirely of good songs, but he had been experimenting in the studio. He'd worked on a handful of tracks which had pointed in new directions. One was a single, "The Little Girl I Once Knew": [Excerpt: The Beach Boys, "The Little Girl I Once Knew"] John Lennon gave that record a very favourable review, saying "This is the greatest! Turn it up, turn it right up. It's GOT to be a hit. It's the greatest record I've heard for weeks. It's fantastic." But the record only made number twenty -- a perfectly respectable chart placing, but nowhere near as good as the group's recent run of hits -- in part because its stop-start nature meant that the record had "dead air" -- moments of silence -- which made DJs avoid playing it, because they believed that dead air, even only a second of it here and there, would make people tune to another station. Another track that Brian had been working on was an old folk song suggested by Alan Jardine. Jardine had always been something of a folkie, of the Kingston Trio variety, and he had suggested that the group might record the old song "The Wreck of the John B", which the Kingston Trio had recorded. The Trio's version in turn had been inspired by the Weavers' version of the song from 1950: [Excerpt: The Weavers, "The Wreck of the John B"] Brian had at first not been impressed, but Jardine had fiddled with the chord sequence slightly, adding in a minor chord to make the song slightly more interesting, and Brian had agreed to record the track, though he left the instrumental without vocals for several months: [Excerpt: The Beach Boys, "Sloop John B (instrumental)"] The track was eventually finished and released as a single, and unlike "The Little Girl I Once Knew" it was a big enough hit that it was included on the next album, though several people have said it doesn't fit. Lyrically, it definitely doesn't, but musically, it's very much of a piece with the other songs on what became Pet Sounds: [Excerpt: The Beach Boys, "Sloop John B"] But while Wilson was able to create music by himself, he wasn't confident about his ability as a lyricist. Now, he's not a bad lyricist by any means -- he's written several extremely good lyrics by himself -- but Brian Wilson is not a particularly articulate or verbal person, and he wanted someone who could write lyrics as crafted as his music, but which would express the ideas he was trying to convey. He didn't think he could do it himself, and for whatever reason he didn't want to work with Mike Love, who had co-written the majority of his recent songs, or with any of his other collaborators. He did write one song with Terry Sachen, the Beach Boys' road manager at the time, which dealt obliquely with those acid-induced concepts of "ego death": [Excerpt: The Beach Boys, "Hang on to Your Ego"] But while the group recorded that song, Mike Love objected vociferously to the lyrics. While Love did try cannabis a few times in the late sixties and early seventies, he's always been generally opposed to the use of illegal drugs, and certainly didn't want the group to be making records that promoted their use -- though I would personally argue that "Hang on to Your Ego" is at best deeply ambiguous about the prospect of ego death.  Love rewrote some of the lyrics, changing the title to "I Know There's an Answer", though as with all such bowdlerisation efforts he inadvertently left in some of the drug references: [Excerpt: The Beach Boys, "I Know There's an Answer"] But Wilson wasn't going to rely on Sachen for all the lyrics. Instead he turned to Tony Asher. Asher was an advertising executive, who Wilson probably met through Loren Daro -- there is some confusion over the timeline of their meeting, with some sources saying they'd first met in 1963 and that Asher had introduced Wilson to Daro, but others saying that the introductions went the other way, and that Daro introduced Asher to Wilson in 1965. But Asher and Daro had been friends for a long time, and so Wilson and Asher were definitely orbiting in the same circles. The most common version of the story seems to be that Asher was working in Western Studios, where he was recording a jingle - the advertising agency had him writing jingles because he was an amateur songwriter, and as he later put it nobody else at the agency knew the difference between E flat and A flat. Wilson was also working in the studio complex, and Wilson dragged Asher in to listen to some of the demos he was recording -- at that time Wilson was in the habit of inviting anyone who was around to listen to his works in progress. Asher chatted with him for a while, and thought nothing of it, until he got a phone call at work a few weeks later from Brian Wilson, suggesting the two write together. Wilson was impressed with Asher, who he thought of as very verbal and very intelligent, but Asher was less impressed with Wilson. He has softened his statements in recent decades, but in the early seventies he would describe Wilson as "a genius musician but an amateur human being", and sharply criticise his taste in films and literature, and his relationship with his wife. This attitude seems at least in part to have been shared by a lot of the people that Wilson was meeting and becoming influenced by. One of the things that is very noticeable about Wilson is that he has no filters at all, and that makes his music some of the most honest music ever recorded. But that same honesty also meant that he could never be cool or hip. He was -- and remains -- enthusiastic about the things he likes, and he likes things that speak to the person he is, not things that fit some idea of what the in crowd like. And the person Brian Wilson is is a man born in 1942, brought up in a middle-class suburban white family in California, and his tastes are the tastes one would expect from that background. And those tastes were not the tastes of the hipsters and scenesters who were starting to become part of his circle at the time. And so there's a thinly-veiled contempt in the way a lot of those people talked about Wilson, particularly in the late sixties and early seventies. Wilson, meanwhile, was desperate for their approval, and trying hard to fit in, but not quite managing it. Again, Asher has softened his statements more recently, and I don't want to sound too harsh about Asher -- both men were in their twenties, and still  trying to find their place in the world, and I wouldn't want to hold anyone's opinions from their twenties against them decades later. But that was the dynamic that existed between them. Asher saw himself as something of a sophisticate, and Wilson as something of a hick in contrast, but a hick who unlike him had created a string of massive hit records. And Asher did, always, respect Wilson's musical abilities. And Wilson in turn looked up to Asher, even while remaining the dominant partner, because he respected Asher's verbal facility. Asher took a two-week sabbatical from his job at the advertising agency, and during those two weeks, he and Wilson collaborated on eight songs that would make up the backbone of the album that would become Pet Sounds. The first song the two worked on was a track that had originally been titled "In My Childhood". Wilson had already recorded the backing track for this, including the sounds of bicycle horns and bells to evoke the feel of being a child: [Excerpt: The Beach Boys, "You Still Believe in Me (instrumental track)"] The two men wrote a new lyric for the song, based around a theme that appears in many of Wilson's songs -- the inadequate man who is loved by a woman who is infinitely superior to him, who doesn't understand why he's loved, but is astonished by it. The song became "You Still Believe in Me": [Excerpt: The Beach Boys, "You Still Believe in Me"] That song also featured an instrumental contribution of sorts by Asher. Even though the main backing track had been recorded before the two started working together, Wilson came up with an idea for an intro for the song, which would require a particular piano sound. To get that sound, Wilson held down the keys on a piano, while Asher leaned into the piano and plucked the strings manually. The result, with Wilson singing over the top, sounds utterly lovely: [Excerpt: The Beach Boys, "You Still Believe in Me"] Note that I said that Wilson and Asher came up with new lyrics together. There has been some slight dispute about the way songwriting credits were apportioned to the songs. Generally the credits said that Wilson wrote all the music, while Asher and Wilson wrote the lyrics together, so Asher got twenty-five percent of the songwriting royalties and Wilson seventy-five percent. Asher, though, has said that there are some songs for which he wrote the whole lyric by himself, and that he also made some contributions to the music on some songs -- though he has always said that the majority of the musical contribution was Wilson's, and that most of the time the general theme of the lyric, at least, was suggested by Wilson. For the most part, Asher hasn't had a problem with that credit split, but he has often seemed aggrieved -- and to my mind justifiably -- about the song "Wouldn't it Be Nice". Asher wrote the whole lyric for the song, though inspired by conversations with Wilson, but accepted his customary fifty percent of the lyrical credit. The result became one of the big hits from the album: [Excerpt: The Beach Boys, "Wouldn't It Be Nice?"] But -- at least according to Mike Love, in the studio he added a single line to the song: [Excerpt: The Beach Boys, "Wouldn't it Be Nice?"] When Love sued Brian Wilson in 1994, over the credits to thirty-five songs, he included "Wouldn't it Be Nice" in the list because of that contribution. Love now gets a third of the songwriting royalties, taken proportionally from the other two writers. Which means that he gets a third of Wilson's share and a third of Asher's share. So Brian Wilson gets half the money, for writing all the music, Mike Love gets a third of the money, for writing "Good night baby, sleep tight baby", and Tony Asher gets a sixth of the money -- half as much as Love -- for writing all the rest of the lyric. Again, this is not any one individual doing anything wrong – most of the songs in the lawsuit were ones where Love wrote the entire lyric, or a substantial chunk of it, and because the lawsuit covered a lot of songs the same formula was applied to borderline cases like “Wouldn't it Be Nice” as it was to clearcut ones like “California Girls”, where nobody disputes Love's authorship of the whole lyric. It's just the result of a series of reasonable decisions, each one of which makes sense in isolation, but which has left Asher earning significantly less from one of the most successful songs he ever wrote in his career than he should have earned. The songs that Asher co-wrote with Wilson were all very much of a piece, both musically and lyrically. Pet Sounds really works as a whole album better than it does individual tracks, and while some of the claims made about it -- that it's a concept album, for example -- are clearly false, it does have a unity to it, with ideas coming back in different forms. For example, musically, almost every new song on the album contains a key change down a minor third at some point -- not the kind of thing where the listener consciously notices that an idea has been repeated, but definitely the kind of thing that makes a whole album hold together. It also differs from earlier Beach Boys albums in that the majority of the lead vocals are by Brian Wilson. Previously, Mike Love had been the dominant voice on Beach Boys records, with Brian as second lead and the other members taking few or none. Now Love only took two main lead vocals, and was the secondary lead on three more. Brian, on the other hand, took six primary lead vocals and two partial leads. The later claims by some people that this was a Brian Wilson solo album in all but name are exaggerations -- the group members did perform on almost all of the tracks -- but it is definitely much more of a personal, individual statement than the earlier albums had been. The epitome of this was "I Just Wasn't Made For These Times", which Asher wrote the lyrics for but which was definitely Brian's idea, rather than Asher's. [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] That track also featured the first use on a Beach Boys record of the electro-theremin, an electronic instrument invented by session musician Paul Tanner, a former trombone player with the Glenn Miller band, who had created it to approximate the sound of a Theremin while being easier to play: [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] That sound would turn up on future Beach Boys records... But the song that became the most lasting result of the Wilson/Asher collaboration was actually one that is nowhere near as personal as many of the other songs on the record, that didn't contain a lot of the musical hallmarks that unify the album, and that didn't have Brian Wilson singing lead. Of all the songs on the album, "God Only Knows" is the one that has the most of Tony Asher's fingerprints on it. Asher has spoken in the past about how when he and Wilson were writing, Asher's touchstones were old standards like "Stella By Starlight" and "How Deep is the Ocean?", and "God Only Knows" easily fits into that category. It's a crafted song rather than a deep personal expression, but the kind of craft that one would find in writers like the Gershwins, every note and syllable perfectly chosen: [Excerpt: The Beach Boys, "God Only Knows"] One of the things that is often wrongly said about the song is that it's the first pop song to have the word "God" in the title. It isn't, and indeed it isn't even the first pop song to be called "God Only Knows", as there was a song of that name recorded by the doo-wop group the Capris in 1954: [Excerpt: The Capris, "God Only Knows"] But what's definitely true is that Wilson, even though he was interested in creating spiritual music, and was holding prayer sessions with his brother Carl before vocal takes, was reluctant to include the word in the song at first, fearing it would harm radio play. He was probably justified in his fears -- a couple of years earlier he'd produced a record called "Pray for Surf" by the Honeys, a girl-group featuring his wife: [Excerpt: The Honeys, "Pray For Surf"] That record hadn't been played on the radio, in part because it was considered to be trivialising religion. But Asher eventually persuaded Wilson that it would be OK, saying "What do you think we should do instead? Say 'heck only knows'?" Asher's lyric was far more ambiguous than it may seem -- while it's on one level a straightforward love song, Asher has always pointed out that the protagonist never says that he loves the object of the song, just that he'll make her *believe* that he loves her. Coupled with the second verse, which could easily be read as a threat of suicide if the object leaves the singer, it would be very, very, easy to make the song into something that sounds like it was from the point of view of a narcissistic, manipulative, abuser. That ambiguity is also there in the music, which never settles in a strong sense of key. The song starts out with an A chord, which you'd expect to lead to the song being in A, but when the horn comes in, you get a D# note, which isn't in that key, and then when the verse starts, it starts on an inversion of a D chord, before giving you enough clues that by the end of the verse you're fairly sure you're in the key of E, but it never really confirms that: [Excerpt: The Beach Boys, "God Only Knows (instrumental)"] So this is an unsettling, ambiguous, song in many ways. But that's not how it sounds, nor how Brian at least intended it to sound. So why doesn't it sound that way? In large part it's down to the choice of lead vocalist. If Mike Love had sung this song, it might have sounded almost aggressive. Brian *did* sing it in early attempts at the track, and he doesn't sound quite right either -- his vocal attitude is just... not right: [Excerpt: The Beach Boys, "God Only Knows (Brian Wilson vocal)"] But eventually Brian hit on getting his younger brother Carl to sing lead. At this point Carl had sung very few leads on record -- there has been some dispute about who sang what, exactly,  because of the family resemblance which meant all the core band members could sound a little like each other, but it's generally considered that he had sung full leads on two album tracks -- "Pom Pom Play Girl" and "Girl Don't Tell Me" -- and partial leads on two other tracks, covers of "Louie Louie" and "Summertime Blues". At this point he wasn't really thought of as anything other than a backing vocalist, but his soft, gentle, performance on "God Only Knows" is one of the great performances: [Excerpt: The Beach Boys, "God Only Knows (vocals)"] The track was actually one of those that required a great deal of work in the studio to create the form which now seems inevitable. Early attempts at the recording included a quite awful saxophone solo: [Excerpt: The Beach Boys "God Only Knows (early version)"] And there were a lot of problems with the middle until session keyboard player Don Randi suggested the staccato break that would eventually be used: [Excerpt: The Beach Boys, "God Only Knows"] And similarly, the tag of the record was originally intended as a mass of harmony including all the Beach Boys, the Honeys, and Terry Melcher: [Excerpt: The Beach Boys, "God Only Knows (alternate version with a capella tag)"] Before Brian decided to strip it right back, and to have only three voices on the tag -- himself on the top and the bottom, and Bruce Johnston singing in the middle: [Excerpt: The Beach Boys, "God Only Knows"] When Pet Sounds came out, it was less successful in the US than hoped -- it became the first of the group's albums not to go gold on its release, and it only made number ten on the album charts. By any objective standards, this is still a success, but it was less successful than the record label had hoped, and was taken as a worrying sign. In the UK, though, it was a different matter. Up to this point, the Beach Boys had not had much commercial success in the UK, but recently Andrew Loog Oldham had become a fan, and had become the UK publisher of their original songs, and was interested in giving them the same kind of promotion that he'd given Phil Spector's records. Keith Moon of the Who was also a massive fan, and the Beach Boys had recently taken on Derek Taylor, with his strong British connections, as their publicist. Not only that, but Bruce Johnston's old friend Kim Fowley was now based in London and making waves there. So in May, in advance of a planned UK tour set for November that year, Bruce Johnston and Derek Taylor flew over to the UK to press the flesh and schmooze. Of all the group members, Johnston was the perfect choice to do this -- he's by far the most polished of them in terms of social interaction, and he was also the one who, other than Brian, had the least ambiguous feelings about the group's new direction, being wholeheartedly in favour of it. Johnston and Taylor met up with Keith Moon, Lennon and McCartney, and other pop luminaries, and played them the record. McCartney in particular was so impressed by Pet Sounds and especially "God Only Knows", that he wrote this, inspired by the song, and recorded it even before Pet Sounds' UK release at the end of June: [Excerpt: The Beatles, "Here, There, and Everywhere"] As a result of Johnston and Taylor's efforts, and the promotional work by Oldham and others, Pet Sounds reached number two on the UK album charts, and "God Only Knows" made number two on the singles charts. (In the US, it was the B-side to "Wouldn't it Be Nice", although it made the top forty on its own merits too). The Beach Boys displaced the Beatles in the readers' choice polls for best band in the NME in 1966, largely as a result of the album, and Melody Maker voted it joint best album of the year along with the Beatles' Revolver. The Beach Boys' commercial fortunes were slightly on the wane in the US, but they were becoming bigger than ever in the UK. But a big part of this was creating expectations around Brian Wilson in particular. Derek Taylor had picked up on a phrase that had been bandied around -- enough that Murry Wilson had used it to mock Brian in the awful "Help Me, Rhonda" sessions -- and was promoting it widely as a truism. Everyone was now agreed that Brian Wilson was a genius. And we'll see how that expectation plays out over the next few weeks.. [Excerpt: The Beach Boys, "Caroline, No"]

Sean and Cody did not spend enough time on Arrakis for the bonus episode for their eyes to turn glowing blue, so now they're headed for the scummiest swamps of Florida—and the cinematic bargain basement—as they analyze this “classic” 1972 creature-feature horror film. In Frogs, well-endowed canoe pilot and ecology photographer Pickett (Sam Elliott) happens into a Southern fried family reunion from Hell as he winds up on a swampy Florida island owned by the cratchety Jason Crockett (Ray Milland). But when the hired help starts getting offed by geckos, snapping turtles and Spanish moss, the Crockett clan realizes they're at the epicenter of a full-on revolt of nature. Environmental issues discussed include DDT and its legacy, how the modern environmental movement started, Richard Nixon and the establishment of the EPA, and how effects of swampy environments played out in the post-slavery American South. What fears and fads were “eco-horror” films of this period really trying to tap into? How did Rachel Carson get the credit for starting the environmental movement when a bunch of Georgia women were trying to ban DDT more than a decade before she wrote Silent Spring? Can you pronounce the full names of the chemicals in DDT? Did Tricky Dick Nixon really care about the environment, or was he just grumpy over Vietnam and Kent State? Who's William Ruckleshaus and what does have to do with Watergate? Did you know that before he was a crusty cowboy, Sam Elliott was a legit Teen Beat heartthrob? Why do the characters in this movie act like slavery was never abolished? Are frogs and geckos considered cute? How can a snapping turtle kill a human being? To what depths was Ray Milland willing to sink to cash a paycheck at the end of his career? Is this the worst film ever covered on Green Screen? Whether it is or isn't, it's what we've got, so here we go. Frogs (1972) on IMDB: https://www.imdb.com/title/tt0068615/ Frogs (1972) on Letterboxd: https://letterboxd.com/film/frogs/ Next Movie Up: Tank Girl (1995) Additional Materials About This Episode

Teen BeatTiger BeatParasocial Relationships, meaningRadiant BadassChris Martin, Creativity Coach

This week Melissa brings Bryan Unrest! A band Bryan would most definitely have liked and gone to see FOR SURE...had he known they existed before today. None-the-less Melissa highlights some of Unrest's best! From pop to noise back to pop again rapping it all up with some noise. We think this band is great and you should too! Please listen to the mix linked below. NOTE: we recommend the YouTube Music mix because it has more of their music. Spotify is well, a bit spotty...and check out the link to Teen Beat records. Unrest Mix - YouTube Music / Spotify Teen Beat - Unrest website