Podcasts about That Was Then

Something passed between them: the faintest hint of a common destiny. Does this describe Paul and Arlo's first meeting, or the first time Farmer Hoggett sets eyes on the piglet known as Babe? What's the difference? For a new That Was Then, the boys are joined by perennial guest Eric Sipple to discuss Chris Noonan's 1995 film Babe. Celebrating its 30th anniversary this year, the unlikely Best Picture nominee set a new standard for animal VFX and influenced a generation of vegetarians and vegans. The gang discusses the film's surprising macabre side, its view of destiny, how it compares to Orwell's Animal Farm, the contentious relationship between Noonan and co-writer/producer/shadow director (?) George Miller, and much more.   NEXT: drop some acid, find your spiritual center, and join us for a Four-Color Flashback exploring the first three volumes of Alejandro Jodorowsky & Mœbius' The Incal.     BREAKDOWN 00:01:22  -  Intro / Banter 00:03:38  -  That Was Then: 1995 00:24:20  -  Babe 01:47:28  -  Outro / Next   MUSIC “Pigs on the Wing” by Pink Floyd, Animals (1977) “Piggies” by the Beatles, The Beatles (1968)   GOBBLEDYCARES National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/  Abortion Funds in Every State: https://bit.ly/AbortionFundsTwitter Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ The Trevor Project provides information and support to LGBTQ youth: thetrevorproject.org Trans Lifeline: https://translifeline.org/  National Center for Transgender Equality: transequality.org Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://www.unduemedicaldebt.org/  Register to vote: https://vote.gov/  

Just when you thought it was safe to go back in the water, it's time for another nautical That Was Then. Celebrating its 50th anniversary this year is none other than Steven Spielberg's Jaws, a landmark moment in American film that permanently changed the shape of the industry, for better or for worse. It can be tough to view such a classic as a piece of craft unto its own, but Paul, Arlo, and super-duper special guest Eric Sipple do their best. The gang recounts the film's storied production, examines a young Spielberg's filmmaking technique, discusses Jaws' place in the Spielberg canon (particularly in light of The Fabelmans), and much more.   NEXT: That Was Then…this is sow. Paul, Arlo, and Eric head on down to the farm for a look at Chris Noonan's 1995 Best Picture nominee Babe.     BREAKDOWN 00:00:43  -  Intro / Banter 00:19:02  -  That Was Then: 1975 00:32:00  -  Jaws 01:55:00  -  Outro / Next   MUSIC “Jaws (Main Title)” by John Williams, Jaws (1975) “Nightswimming” by R.E.M., Automatic For The People (1992)   GOBBLEDYCARES National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/  Abortion Funds in Every State: https://bit.ly/AbortionFundsTwitter Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ The Trevor Project provides information and support to LGBTQ youth: thetrevorproject.org Trans Lifeline: https://translifeline.org/  National Center for Transgender Equality: transequality.org Advocate for writers who might be owed money due to discontinuance of royalties: https://www.writersmustbepaid.org/  Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://www.unduemedicaldebt.org/  Register to vote: https://vote.gov/  

Pop open a can of spinach and set sail for the far-off year of 1980, when noted auteur Robert Altman had his crew build an entire functioning town so they could shoot a Popeye movie. This unassuming comic strip adaptation represents the collision of the New Hollywood movement and the old studio system, both in their waning days; neither would survive “Stalag Altman,” as star Robin Williams coined it. Paul and Arlo are delighted by the end result, an improvisational-seeming ensemble picture in the Altman vein that also features cartoon gags, characters bursting into songs penned by Harry Nilsson, and a giant octopus. The boys discuss why the movie is so much better than its reputation suggests, Robin Williams' and Shelly Duvall's underappreciated performances, the surprisingly moving throughline of fatherhood, and so much more. Plus, a whole bunch of trailers for Marvel's Thunderbolts*, the new season of animated sci-fi anthology Love Death + Robots, the animated Predator movie Killer of Killers, and Wes Anderson's The Phoenician Scheme; Paul stuns Arlo by singing the praises of the new Amazing Spider-Man #1; and Arlo is still reading old school Fantastic Four.   NEXT: just when you thought it was safe to go back in the water, it's another That Was Then, as Paul, Arlo, and Eric Sipple take a bite out of Steven Spielberg's Jaws on the eve of its 50th anniversary.     BREAKDOWN 00:00:46  -  Intro / Even MORE Banter! 00:48:43  -  Popeye 01:59:28  -  Outro / Next   LINKS Thunderbolts* Love Death + Robots, Volume 4 Predator: Killer of Killers The Phoenician Scheme Popeye Is the Best Movie Robin Williams Ever Made by Eric Spitznagel, Vanity Fair   MUSIC “I Yam What I Yam” by Robin Williams, Popeye (1980) “I'm Popeye the Sailor Man” by Robin Williams, Popeye (1980) GOBBLEDYCARES National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/  Abortion Funds in Every State: https://bit.ly/AbortionFundsTwitter Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ The Trevor Project provides information and support to LGBTQ youth: thetrevorproject.org Trans Lifeline: https://translifeline.org/  National Center for Transgender Equality: transequality.org Advocate for writers who might be owed money due to discontinuance of royalties: https://www.writersmustbepaid.org/  Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://www.unduemedicaldebt.org/  Register to vote: https://vote.gov/  

Here we go, here we go, here we go again: another Spider-Man adaptation? Don't get your webs in a tizzy, True Believers, because this one is really worth it. Your Friendly Neighborhood Spider-Man, the new animated series created by Jeff Trammell, imagines a branch of the Marvel Cinematic Universe where Peter Parker was never supposed to be bitten by that genetically altered spider–until he was. Cue wacky high school shenanigans, as a number of key changes from the comics and other shows/movies cause that butterfly effect to start flappin' its wings. Paul, Arlo, and forever guest Eric Sipple discuss how Trammell and company capture the spirit of the early Ditko/Lee comics, praise the vibrant animation, consider whether these iterations of the Osbornes are definitive, and much more. Plus, the gang pays tribute to Val Kilmer, there are new teasers for Star Wars: Tales of the Underworld and Superman, Arlo's been reading some more of the Kirby/Lee Fantastic Four, and Jonathan Hickman's Ultimate Spider-Man is the best Spidey book on the stands.   NEXT: we yare what we yare, and what we yare is discussing Robert Altman's 1980 take on Popeye for a new That Was Then.     BREAKDOWN 00:00:35  -  Intro / WAY TOO MUCH BANTER!!! 00:50:38  -  Your Friendly Neighborhood Spider-Man 02:04:30  -  Outro / Next   MUSIC “Neighbor Like Me” by The Math Club “Across 110th Street” by Bobby Womack, Across 110th Street (1973)   GOBBLEDYCARES National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/  Abortion Funds in Every State: https://bit.ly/AbortionFundsTwitter Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ The Trevor Project provides information and support to LGBTQ youth: thetrevorproject.org Trans Lifeline: https://translifeline.org/  National Center for Transgender Equality: transequality.org Advocate for writers who might be owed money due to discontinuance of royalties: https://www.writersmustbepaid.org/  Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://www.unduemedicaldebt.org/  Register to vote: https://vote.gov/  

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Serenade in C Major, K. 648 "A Very Little Night Music" I: March by Wolfgang Amadeus Mozart, recorded by Gewandhausorchester & Herbert BlomstedtSong 1: Funky Situation by The Commodores (1977)Song 2: You Know You're Right by Nirvana (2002)Song 3: Making Cash Money by Busy Bee (1982)Song 4: Another Day in the Sun by La La Land Cast (2016)Song 5: One by Bee Gees (1989)Song 6: I Miss Those Days by Bleachers (2017)Song 7: Lay It Down by Al Green (2008)Song 8: That Was Then, This is Now by The Monkees (1986)Song 9: Cinnamon Girl by Neil Young & Crazy Horse (1969)Song 10: Shooting Stars by Bag Raiders (2008)

That Was Then, This Is Now Acts 9:13-15 Sunday, July 14, 2024, 11:00am STAY CONNECTED: https://www.thechurchwithzeal.org Ways To Give: Website: https://www.thechurchwithzeal.org/give/ CashApp: $thechurchwithzeal Mail | P.O. Box 817 | Lilburn, GA 30048 In Person, Church Office: Tuesday - Friday, 9:00am - 5:00pm

Send us a Text Message.Ben Chase gambled on his career from a young age - literally. Growing up with Ben Chase gambled on his career from a young age - literally. Growing up with his grandfather's influence and support of his family, the East Coaster packed his hockey bag at eighteen bound for the land of Canadian cowboys. Working on what would become the first half of his debut album, gigging around the Prairies, and hitting the jackpot at the casino, Ben earned his stage legs. Three years in Alberta, and Ben was off to Nashville to surround himself with the best in the business.Ben's debut album “That Was Then, This Is Now” was released earlier this year, featuring streaming successes like “All Over It” (his first single release ever), “In My Truck Girl” and “Saltwater Cowboy”. We talked about Ben's evolution as an artist over the course of the 20-song album. We also talked about what's to come.Ben just played Cavendish Beach Music Festival and made a special appearance at the Calgary Stampede.His latest single “Somebody's Summer” is out now - with a brand new single right around the corner! Listen to the episode to find out what that song will be!Follow Ben Chase on Socials!Instagram - @thebenchaseFacebook - Ben ChaseTikTok - @thebenchaseThanks for joining us for another season of On The Porch with Front Porch Music.  If you liked it, please rate, review and subscribe … It's the easiest way to support our show. Grab a drink, pull up a chair, and join us On The Front Porch.On The Porch with Front Porch Music is a Front Porch Production and hosted by Logan Miller and Jenna Weishar. On The Porch with Front Porch Music is produced by Jason Saunders. The theme song for this podcast was written, produced, and performed by Owen Riegling.Support the Show.

In an age where Deadpool & Wolverine is set to smash box office records, it can be hard to remember what things were like in the first wave of superhero blockbusters. Costumes were primarily made of black leather, nu-metal montages were all the rage, and yet–there was a willingness and desire to be experimental that is often lacking today. That's the scene The Incredibles burst onto in 2004, with its dynamic color palette, its retro-futuristic atmosphere, and (shockingly) its sharply defined point of view. For the next nostalgic installment of That Was Then, Paul and Arlo are joined by The Deli Counter of Justice co-founder Eric Sipple to discuss Brad Bird's landmark entry into the superhero canon. The gang discusses how Bird and his team utilized relatively primitive CGI to striking artistic effect, how comic books were not the film's main influence, and how Hollywood learned all the wrong lessons from The Incredibles' success.   NEXT: let's head to 1994 for more That Was Then, as we gaze upon the horrors unleashed by the Oliver Stone/Quentin Tarantino collab Natural Born Killers.     LINKS The Cinematography of The Incredibles, Part 1 by Ron Doucet, Flooby Nooby Part 2 Part 3     MUSIC “The Glory Days” by Michael Giacchino, The Incredibles (Music from the Motion Picture) (2004) “The Incredits” by Michael Giacchino, The Incredibles (Music from the Motion Picture) (2004)     GOBBLEDYCARES National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/  Abortion Funds in Every State: https://bit.ly/AbortionFundsTwitter Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ The Trevor Project provides information and support to LGBTQ youth: thetrevorproject.org Trans Lifeline: https://translifeline.org/  National Center for Transgender Equality: transequality.org Advocate for writers who might be owed money due to discontinuance of royalties: https://www.writersmustbepaid.org/  Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://www.unduemedicaldebt.org/  Register to vote: https://vote.gov/  

Hail and well met! This week, Paul and Arlo raise their overpriced goblets to Lance Oppenheim's HBO docuseries Ren Faire. The three-episode series concerns the nation's largest Renaissance faire, the Texas Renaissance Festival, and the power-hungry Oompa Loompas looking to take over the chocolate factory from their perverted Willy Wonka. The boys are in awe (derogatory) of TRF owner George Coulam, a self-professed horny old man who seems much more interested in “sugaring” young women than in running his theme park. George berates all his pitiful hangers-on, including lifer Jeffrey Baldwin, Red Bull aficionado Louie Migliaccio, and no-nonsense Darla Smith. Topics of discussion include Oppenheim's blend of documentary and narrative filmmaking techniques, whether or not anyone involved is deserving of our sympathy, and LARPing.   NEXT: hope you know where your super suit is, because The Deli Counter of Justice co-founder Eric Sipple is joining Paul and Arlo for a That Was Then look back at 2004's The Incredibles.     LINKS Important Scoop: A Job Shuffle at HBO's ‘Ren Faire' by Vince Mancini Ren Faire's Darla, Jeff, and Louie on Surviving HBO's Real-Life Succession and King George by Julie Miller, Vanity Fair What If Game of Thrones and Succession Had a Docu-Baby? by Rebecca Alter, Vulture “Harvesting Artifice”: Lance Oppenheim Heightens Reality in HBO Series ‘Ren Faire' by Dan Schindel, Documentary Magazine     MUSIC “How Can I Keep From Singing?” by Enya, Shepherd Moons (1991) “Who I'd Be” by Daniel Breaker & Bryan D'Arcy James, Shrek: The Musical (2010)     GOBBLEDYCARES National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/  Abortion Funds in Every State: https://bit.ly/AbortionFundsTwitter Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ The Trevor Project provides information and support to LGBTQ youth: thetrevorproject.org Trans Lifeline: https://translifeline.org/  National Center for Transgender Equality: transequality.org Advocate for writers who might be owed money due to discontinuance of royalties: https://www.writersmustbepaid.org/  Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://www.unduemedicaldebt.org/  Register to vote: https://vote.gov/  

This week on the podcast, Illinois REALTORS® 2024 President Matt Silver is back in the host chair to bring you clips from this past week's Spring Conference and Expo. One of the sessions at the event was Betsy Urbance's That Was Then, This Is Now, Here We Go; a live skit information session detailing how to navigate the new changes after the NAR Settlement. This show will be going on the road this Summer and this podcast offers a look at what you can expect when it travels to your area.

TGIF Creek Talkers!

You're a better podcaster than us, Michael Holland. That's right, the City of Angels' very own boy wonder is back to take Paul and Arlo to film school. The That Was Then classic gracing our screens this time is George Stevens' 1939 adventure film Gunga Din, starring Cary Grant, Victor McLaglen, and Douglas Fairbanks Jr. The gang discusses the film's connection to William Goldman, the subject of the first season of Michael's podcast From Out of the Past; why it represents a milestone in action-adventure cinema; its surprising, or refreshing, lack of plot; and why Paul and Arlo had such a hard time watching this 85-year-old film for the very first time.   NEXT: much like Schwarzenegger, we'll be back.     BREAKDOWN 00:00:42  -  Intro / Guest 00:10:23  -  Gunga Din 01:16:05  -  Outro / Next   LINKS From Out of the Past Podcast Holland_Imaginarium   MUSIC “The Ballad of Gunga Din” by Jim Croce, Facets (1966) “You Ain't Goin' Nowhere” by Bob Dylan and the Band, Bob Dylan's Greatest Hits Vol. II (1971) GOBBLEDYCARES National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/  Abortion Funds in Every State: https://bit.ly/AbortionFundsTwitter Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ The Trevor Project provides information and support to LGBTQ youth: thetrevorproject.org Trans Lifeline: https://translifeline.org/  National Center for Transgender Equality: transequality.org Advocate for writers who might be owed money due to discontinuance of royalties: https://www.writersmustbepaid.org/  Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://ripmedicaldebt.org/ Register to vote: https://vote.gov/  

This is a moral dilemma and, maybe, an over-reaction at the same time.    At Wellsford, the local Head Hunters chapter had a charity motorbike ride. They raised $2,500 and decided to donate the money to the local volunteer fire brigade - which is raising funds to buy an all-terrain vehicle.  They reckon that one of these things would be a very handy addition to their kit. Because, if they're dealing with an emergency off the beaten track, an all-terrain vehicle would be perfect.   So, the gang has the event, gets on the blower to the fire brigade, and says they'd like to give them the money because, you know, they provide a great service to the community. No argument with that.  Where the argument has started, though, is when the fire brigade has gone on social media and made a shout out to the gang guys for their brilliant gesture.  “We are very grateful for the $2,500 donation,” they said in the post. “And we thank all those involved for their efforts.”  The fire brigade goes on to say: “We provide our service to all those in our community and we are very grateful to have that support returned. Our supportive community is what helps us continue to do what we do.”  Now the key bit there is where they say, “we provide our service to all those in our community”. Which is them saying, ‘if gang members are in strife and need our help - we'll be there'. You might not like that - but it's true.  The mistake the volunteer brigade made was going on social media and telling people about it. Because all that did was get the people who love to get outraged about stuff, outraged.  ‘These guys are crims. You shouldn't be taking money from crims. Don't be sucked in by these clowns. Give the money back. Give the money back'. And guess what? They're being told to give the money back.      Fire and Emergency New Zealand (FENZ) has stepped-in and is saying: "We will be working with the brigade to assist them with next steps”.   Which is code for, ‘we'll be giving those Wellsford muppets a blimmin' good talking to and, if they don't hand the money back, we'll be banging some heads together.”   The Minister of Internal Affairs, Brooke van Velden, has got involved as well, saying she doesn't support volunteer fire brigades accepting donations from people associated with organised crime gangs.  “New Zealanders deserve to be safe and secure, but violent gangs are a scourge on our communities,” she says.  And she'll get no argument from me on that last bit. Violent gangs are a scourge. The drug trade. The violence. The intimidation. The murders. But what if —now and then— they actually do some good?  You can't argue that raising $2,500 and giving it to the local volunteer fire brigade isn't doing good, can you? But it seems to be a real closed shop. Whenever gangs do anything charitable, people always seem to write it off as just a PR exercise.  And yes, this donation to the volunteer fire brigade is another PR exercise. Of course it is. But is it really that bad that the fire brigade and the community shouldn't benefit from it in some way?   Do you really think the volunteer firefighters are going to give some sort of preferential treatment to the gang or turn a blind eye to some of its other activities because it donated money raised in a legitimate fundraising event? Of course they're not.  But where it gets really interesting, is that the Head Hunters have a trust which you can find on the New Zealand Charities Register.  The trust's name is “That Was Then, This Is Now” and, according to the charities register, it exists to re-integrate and rehabilitate people coming out of prison, providing them with education and social services.  I understand it was set-up in 2001 and, around 2016/2017, it was removed from the charities register after the charities board found it wasn't doing exactly what it was set-up to do. But the gang challenged that, and the High Court decided it could go back on the charities register. And I've done a search, and it's definitely there.  So, if it's good enough for the Head Hunters' trust to be listed as a registered charity, doesn't that make it good enough for the Wellsford Volunteer Fire Brigade to hold on to the money it received from the gang's fundraising motorbike ride? See omnystudio.com/listener for privacy information.

Novelist Bernadette Walsh interviews Women's Fiction author Julia Amante, author of Evenings at the Argentine Club, Say You'll Be Mine, and That Was Then. Julia writes emotionally rich stories about family, love, and the passion of chasing and achieving one's goals. Her books reflect the flavor and rhythm of Latino communities in the U.S.. Julia grew up in California, the daughter of Argentine parents, who taught her to value her roots and to be proud of her Latina heritage, as well as to be grateful for the life they built in America.  The beauty of America is that both cultures could be interwoven together, and Julia illustrates this in her novels. To her, being Latina is not separate from being American; her immigrant story is part of the great history of this country.

As they say, don't drink and podcast, but here Paul and Arlo are talking about 2004's Sideways for another round of That Was Then. Alexander Payne's acclaimed dramedy follows alcoholic wine connoisseur Miles as he takes his bonehead best buddy Jack on a road trip through Santa Barbara the week before Jack's due to get hitched. It is the Fox Searchlight movie, and the boys discuss what that means, how the performances bring forth certain emotional notes in the script's body, and why somebody could come away from a first viewing not understanding 20 years' worth of hype. Plus, Arlo goes into uncomfortable detail about his middle school career.   NEXT: enough old movies, let's talk old(-ish) comics! This month's Four-Color Flashback sees Eric Sipple joining Paul and Arlo for Si Spurrier and Dylan Burnett's Weavers.     BREAKDOWN 00:00:45  -  Intro / Guest 00:29:46  -  Main Topic 01:35:36  -  Outro / Next     MUSIC “Scenes from an Italian Restaurant” by Billy Joel, The Stranger (1977) “A Case of You” by Joni Mitchell, Blue (1971)     GOBBLEDYCARES National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/  Abortion Funds in Every State: https://bit.ly/AbortionFundsTwitter Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ The Trevor Project provides information and support to LGBTQ youth: thetrevorproject.org Trans Lifeline: https://translifeline.org/  National Center for Transgender Equality: transequality.org Advocate for writers who might be owed money due to discontinuance of royalties: https://www.writersmustbepaid.org/  Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://ripmedicaldebt.org/ Register to vote: https://vote.gov/  

We're speeding away at breakneck speed with another installment of our That Was Then series. This time Paul and Arlo are witnesses to The Taking of Pelham One Two Three, a 1974 subway heist thriller that is exactly what it says on the tin. Not that there's anything wrong with that! But our boys do struggle to find much to say, choosing to highlight David Shire's jazz-funk score and Owen Roizman's gritty cinematography while mostly being puzzled by the script's wasted potential. It's a fun Noo Yawk movie, and that's okay, folks!   NEXT: NO FUCKING MERLOT! That's right, it's another That Was Then, this time focusing on Alexander Payne's 2004 buddy dramedy Sideways.     BREAKDOWN 00:00:30  -  Intro / The Year That Was 1974 00:21:38  -  The Taking of Pelham One Two Three 01:20:30  -  Outro / Next     MUSIC “Sure Shot” by Beastie Boys, Ill Communication (1994) “Crazy Train” by Ozzy Osbourne, Blizzard of Ozz (1980)     GOBBLEDYCARES National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/  Abortion Funds in Every State: https://bit.ly/AbortionFundsTwitter Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ The Trevor Project provides information and support to LGBTQ youth: thetrevorproject.org Trans Lifeline: https://translifeline.org/  National Center for Transgender Equality: transequality.org Advocate for writers who might be owed money due to discontinuance of royalties: https://www.writersmustbepaid.org/  Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://ripmedicaldebt.org/ Register to vote: https://vote.gov/  

Host Chuck Da Fonk feels nostalgia pulling at him as he celebrates the 10 year anniversary of his first FSQ music release with Soul Clap Records. But "That Was Then, and This Is Now"' just like the ABC song of that title proclaims and it kicks off this episode with that important message. More here from ABC and their 1983 album "Beauty Stab" which is a new wave opus that leans towards rock, plus a special dive into the catalog of Tame Impala drummer Jay Watson aka the artist known as GUM. Some unreleased FSQ keeps the episode focused on "This is Now!" with new music releases by Smoove & Turrell, Blu DeTiger, and Social Lovers.Tune into new broadcasts of FSQ, Thursday from 3 - 5 PM EST / 8 - 10 PM GMT.For more info visit: https://thefaceradio.com/fsq///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

(SEASON 3 EP. 20) BEN CHASE Ben is coming off a huge 2023, he released his debut album, ‘That Was Then, This Is Now,' just signed a management deal with AMG Nashville and is gearing up for another busy year! Listen here for all the details from the making of his album to his huge performance at the Calgary Stampede. And if you remember Ben had a surprise on stage… HIS GRANDPA ALPHY! Could we see it again?! He breaks down everything you need to know only on Country with Celine SOCIALS: Instagram: https://www.instagram.com/thebenchase/?hl=en Web: https://benchasemusic.com/ _______________ FOLLOW & KEEP UP with COUNTRY WITH CELINE: Insta: https://www.instagram.com/countrywithceline/ Web: https://countrywithceline.ca Apple Podcast: https://podcasts.apple.com/us/podcast/country-with-celine/id1563285858 Spotify: https://open.spotify.com/show/0ULNqzQp0Tw0Jv4g0Rtjxz --- Send in a voice message: https://podcasters.spotify.com/pod/show/countrywithceline/message

For the next installment in our That Was Then series, Paul and Arlo cast their minds back to 1964–a year that predates both of them, though the era's Beatlemania might as well be Arlo's spiritual birthplace. This time, they're popping paisley parasols for Jacques Demy's The Umbrellas of Cherbourg, a sung-through opera told in the style of a Hollywood musical with some of the most stunning colors you'll ever see. Hollywood extraordinaire and From Out of the Past host Michael Holland is on hand to help the boys discuss how the film defies romantic conventions while adhering to them, the magic of Jean Rabier's camerawork, the way Demy uses color to convey feeling, and why the film deserves to be mentioned alongside classics of the French New Wave.   NEXT: it's a mystery, gang!     BREAKDOWN 00:00:33  -  Intro / Guest / The Year 1964 00:21:00  -  The Umbrellas of Cherbourg 01:28:00  -  Outro / Next     LINKS From Out of the Past Podcast Holland_Imaginarium     MUSIC “Le Parapluies De Cherbourg” by Michel Legrand “Umbrella (feat. Jay-Z)” by Rihanna, Good Girl Gone Bad (2007)     GOBBLEDYCARES National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/  Abortion Funds in Every State: https://bit.ly/AbortionFundsTwitter Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ The Trevor Project provides information and support to LGBTQ youth: thetrevorproject.org Trans Lifeline: https://translifeline.org/  National Center for Transgender Equality: transequality.org Advocate for writers who might be owed money due to discontinuance of royalties: https://www.writersmustbepaid.org/  Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://ripmedicaldebt.org/ Register to vote: https://vote.gov/  

Who ya gonna call? Gobbledygeek! For the first installment of our That Was Then series, taking a look back at movies celebrating anniversaries in 2024, Paul and Arlo take residence at Spook Central for 1984's Ghostbusters. Turning a frightful 40 this year, Ivan Reitman's classic comedy began as a high-concept riff on the “slobs v. snobs” template made popular by Animal House before becoming an inescapable pop cultural juggernaut. The boys discuss the thoughtfulness of Reitman's direction in tandem with the great László Kovács' photography, the perfectly structured script by Dan Aykroyd and Harold Ramis, how much of Pete Venkman is just Bill Murray, and why the right-wing backlash to the 2016 remake is ironic in light of the original's sketchy politics.   NEXT: a little of this, a little of that.     BREAKDOWN 00:00:48  -  Intro / The Year That Was 1984 00:18:19  -  Ghostbusters (1984) 01:36:29  -  Outro / Next     MUSIC “Ghostbusters” by Ray Parker Jr., Ghostbusters (Original Motion Picture Soundtrack) (1984) “Cleanin' Up the Town” by The Busboys, Ghostbusters (Original Motion Picture Soundtrack) (1984)     GOBBLEDYCARES National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/  Abortion Funds in Every State: https://bit.ly/AbortionFundsTwitter Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ The Trevor Project provides information and support to LGBTQ youth: thetrevorproject.org Trans Lifeline: https://translifeline.org/  National Center for Transgender Equality: transequality.org Advocate for writers who might be owed money due to discontinuance of royalties: https://www.writersmustbepaid.org/  Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://ripmedicaldebt.org/ Register to vote: https://vote.gov/  

Look, up in the sky! It's a bird! It's a plane! It's the Gobbledygeek season 15 premiere! Breaking from vaguely defined tradition, Paul and Arlo are kicking off the season with a Four-Color Flashback, and their pal Eric Sipple is on hand to help turn the pages. Arlo has chosen to subject Paul and Eric to the classic Jeph Loeb/Tim Sale collab Superman for All Seasons, which may prove a tough sell to a couple of Super-skeptics. The gang discusses the book's Rockwell-influenced aesthetic, the simplicity (or flatness, depending on taste) of the cast, how Sale's big dopey Superman conveys Clark Kent's decency, and the surprising love triangle at the book's core. Plus, Arlo explains the very personal reasons he chose this book to start the season. You'll believe a man can cry.   NEXT: introducing our That Was Then series, wherein Paul and Arlo will be taking a look at various movies that are celebrating anniversaries in 2024. First up is perennial Gobbledy-fave Ghostbusters, which is turning a frightful 40.     BREAKDOWN 00:00:43  -  Intro / Guest 00:13:05  -  Superman For All Seasons 02:02:28  -  Arlo kills the conversation (TW: dead dads) 02:21:30  -  Outro / Next     LINKS Making the Scene podcast     MUSIC “Time of the Season” by The Zombies, Odessey and Oracle (1968) “Turn! Turn! Turn!” by The Byrds (1965)     GOBBLEDYCARES National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/  Abortion Funds in Every State: https://bit.ly/AbortionFundsTwitter Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ The Trevor Project provides information and support to LGBTQ youth: thetrevorproject.org Trans Lifeline: https://translifeline.org/  National Center for Transgender Equality: transequality.org Advocate for writers who might be owed money due to discontinuance of royalties: https://www.writersmustbepaid.org/  Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://ripmedicaldebt.org/ Register to vote: https://vote.gov/  

Secretly Society presents a four-episode mini-series about friendship, music, and a story that is both heartbreaking and heartwarming alike - DeYarmond Edison. This series is narrated by author, a friend of the band, and executive producer of the DeYarmond Edison official boxset 'Epoch', Grayson Haver Currin. This episode starts us off with DeYarmond Edison fresh off the heels of their Bickett Residency, and going back to Wisconsin for the first time since their move for a hometown show at the historic Mabel Tainter theater. In the undercurrents of the excitement, those close to the band could feel an underlying shift with the members, feeling like there were four guys, coming up with four different sounds. Stay tuned to hear about the beginning of DeYarmond's eventual downfall, and a peek at Justin Vernon's work on his fifth solo album at the time - hazeltons. The previously undisclosed story of the band that branched off into indie music legends, Megafaun and Bon Iver! Links:  Secretly Society Podcast Link DeYarmond Edison Pt. 3 Episode Link to Playlist  Secretly Society Podcast Store Link Secretly Society General Information Link   DeYarmond Edison Links: DeYarmond Edison EPOCH Link DeYarmond Edison Boxset on Secretly Store DeYarmond Edison Essentials Playlist Link 

Secretly Society presents a four-episode mini-series about friendship, music, and a story that is both heartbreaking and heartwarming alike - DeYarmond Edison. This series is narrated by the author, a friend of the band, and executive producer of the DeYarmond Edison official boxset 'Epoch', Grayson Haver Currin. This episode starts us off in the heat of the North Carolina summer, where many changes are coming to a head between Justin falling ill with mono, and the members leaving their previous home and dispersing across different areas of the town. Stay tuned to hear the fight that broke up the band, Justin's move back home to his infamous cabin and the "phoenix" of bands/ other musical projects that rose from the ashes. The final episode in the previously undisclosed story of the band that branched off into indie music legends, Megafaun and Bon Iver! Links:  Secretly Society Podcast Link DeYarmond Edison Pt. 4 Episode Link to Playlist  Secretly Society Podcast Store Link Secretly Society General Information Link   DeYarmond Edison Links: DeYarmond Edison EPOCH Link DeYarmond Edison Boxset on Secretly Store DeYarmond Edison Essentials Playlist Link 

Secretly Society presents a four-episode mini-series about friendship, music, and a story that is both heartbreaking and heartwarming alike - DeYarmond Edison. This series is narrated by the author, a friend of the band, and executive producer of the DeYarmond Edison official boxset 'Epoch', Grayson Haver Currin. This episode starts us off with DeYarmond Edison's move to Raleigh, North Carolina, a town with a buzzing music scene including the likes of The Rosebuds, Bowerbirds, and Ticonderoga. Hear the stories of the beginning of The Bickett Gallery Residency that at points was described as a "spiraling through concentric circles of disorder pushing the standard until it indeed almost broke". Joe brought in themes of improvisation learned at Bennington College, Phil taught the band Delta Blues and strings, Brad played with the idea of 20th-century ambient sounds in the style of Steve Reich's composition, and Justin challenged everyone's vocal capacity - including his own. The previously undisclosed story of the band that branched off into indie music legends, Megafaun and Bon Iver! Links:  Secretly Society Podcast Link DeYarmond Edison Pt. 2 Episode Link to Playlist  Secretly Society Podcast Store Link Secretly Society General Information Link   DeYarmond Edison Links: DeYarmond Edison EPOCH Link DeYarmond Edison Boxset on Secretly Store DeYarmond Edison Essentials Playlist Link 

Secretly Society presents a four-episode mini-series about friendship, music, and what happens when a band comes apart. This is a story that is both heartbreaking and heartwarming alike - this is the lore of DeYarmond Edison. This series is narrated by the author, a friend of the band, and executive producer of the DeYarmond Edison official boxset Epoch, Grayson Haver Currin. This episode starts us off with four high schoolers: Justin Vernon, Joe Westerlund, Phil Cook, and Brad Cook, on the precipice of their musical careers as members of the groups Mount Vernon and, ultimately, the formation of DeYarmond Edison. Hear the stories of the possibly unsightly recording of the self-titled album in the First Presbyterian Church, band rivalries, and the loyalty that set them on the path to leaving their homes in Eau Claire to push the limits of their collective capabilities. The previously undisclosed story of the band that branched off into indie music legends, Megafaun and Bon Iver! Links:  Secretly Society Podcast Link DeYarmond Edison Pt. 1 Episode Link to Playlist  Secretly Society Podcast Store Link Secretly Society General Information Link   DeYarmond Edison Links: DeYarmond Edison EPOCH Link DeYarmond Edison Boxset on Secretly Store DeYarmond Edison Essentials Playlist Link 

As the year comes to a close, we want to look back at the good stuff and discuss our best of 2023! We dive into our personal best moments and talk about some of our favorite things from this year!    Best Entertainment  Best TV Show Becca - The Diplomat Olivia - Shrinking  Best Movie Becca - Barbie Olivia - Past Lives  Best (New to us) Podcast Becc - Writer's Routine, Publishing Rodeo Olivia - Writer's Routine Best Concert Olivia - The Eras Tour, Noah Kahan  Best Album Becca - You'll Get It When You're Older by Blake Rose Olivia - Stick Season (We'll All Be Here Forever), Noah Kahan  Best Song Becca - Is It Over Now by Taylor Swift; That Was Then by Emily James; Call Your Mom by Noah Kahan w/ Lizzy McAlpine Olivia - The View Between Villages, Noah Kahan,  Not Strong Enough by BoyGenius, Labour by Paris Paloma Best (New to us) IG follow Becca - @Famouspplreading  Olivia - @Oh_apostrophe Best BOP episode Becca - Obscure Erotica Book Reviews, How Becca's Book Got Made Olivia -Obscure Erotica Book Reviews, The Christmas Orphans Club Book Club, Spooky Season Reads with Ashley Winstead, The Official BOP Beach Read Roundup Shopping Best clothing purchase Becca - Birkenstock Boston Clogs, Jeans that came in my Stitch Fix order Olivia - Skims Fits Everybody T-Shirt Bra  Best beauty purchase Becca - Rare Beauty Liquid Blush in Grace, R+Co Trophy Texture and Shine Spray Olivia -  Winky Lux PH Changing Lip Balm OR Sol de Janeiro Brazillian Crush Body Spray Best home purchase Becca - Garlic chopper Olivia - ShopVac  Best misc purchase Becca - Five-year journal Olivia - Boll & Branch bedding   Obsessions Olivia - Harney & Sons Pumpkin Spice Tea Becca - Prismacolor 05 and Pigma Graphic 1 Pens   What we read this week! Becca - Story Genius by Lisa Cron Olivia - Bright Young Women by Jessica Knoll   Sponsors Prose - Take your FREE in-depth hair consultation and get 50% off your first subscription order today PLUS 15% off and free shipping for every subscription order after that at Prose.com/bop Cozy Earth - Head to cozyearth.com and use code BOP to get 35% off sitewide.  Macmillan - Read or Listen to What Lies in the Woods by Kate Alice Marshal and All The Dangerous Things by Stacy Willingham and other Macmillan titles wherever books and audiobooks are sold.    Join our Facebook group for amazing book recs & more!  Subscribe to Olivia's Newsletter! Preorder Becca's Book!  Like and subscribe to RomComPods and Bone Marry Bury! Available wherever you listen to podcasts.  Follow us on Instagram @badonpaperpodcast. Follow Olivia on Instagram @oliviamuenter and Becca @beccamfreeman.  

Teatime with Miss Liz coming and sharing on Eve Perspective is DeeDee Banks Johnson. Bringing a T-E-A on life and alter ego. November 2nd, 3 pm EST LIVE STREAMING TO MULTIPLE PLATFORMS AND PODCASTS STATIONS AND APPS Live show on Miss Liz's YouTube channel below. Please give it a quick subscribe and be notified when teatime is live. https://youtube.com/@misslizsteatimes?si=Q-jDZyTLDlPaNDyiDeeDee Banks- Johnson is an American playwright, director, producer, storyteller and actress as well as motivational speaker. In 2022, she created her alter-ego, “Eve,” and began to develop biblical stories and named them “From Eve's Perspective.” DeeDee used TikTok & Instagram as one of her platforms. In March & May of 2023, she was offered the opportunity to minister in her local church at a Women's Brunch and a Mother's Day Tribute. In 2015, DeeDee wrote, directed, produced and acted in her first play, “Pity Party”. Johnson wrote the sequel to Pity Party, entitled “Don't Pity My Party,” for her second stage play (2016). For her work in Pity Party, Johnson was able to give back to the community by creating a Fine Arts Summer Program and an active Board member of Eastpointe Promise Prevention Coalition and the Drug-Free Community In (2018) while working as director and producer the middle school students were able to create and write their play ‘The Other Side of Me' which was written by the students and performed the play on a college campus In 2019 Johnson as assigned as an instructor at local middle/high school to teach Fine Arts and Character Development Later that summer DeeDee was an instructor for a Summer Enrichment Camp for another middle/high school Fine Arts Drama class, in which a video was created “That Was Then... This is Now” edited and written by students and directed by Johnson.DeeDee grew up in Gary, Indiana, with wonderful parents: Sara, an at-home mother, and her father, Earl Banks, worked in the steel mill industry. They raised ten children successfully. She majored in English and Liberal Arts. Johnson was known as the “class clown,” playing tricks on teachers. She thought she was “through” with the school. But God had a different plan. Soon after giving her life to the Lord in 1988, she began to teach middle/high school youth Sunday School. She knew that was part of “her assignment” and felt God had a sense of humour. She has been teaching and mentoring young women for 32 years. Johnson and her husband Reggie had dated in high school, and after 39 years, they reunited at a class reunion picnic in August of 2011 and were married in June 2012. Together she has six children, seven grandchildren, and her Shih Tzu puppy, Zoe. Her desire and one of her many dreams is to make her “Play Pity Party” into a movie and host a TV Variety Show. That “love story” of her and Reggie's reuniting will one day be on the big screen.#teatimewithmissliz #makingadifference #perspective #director #playwright #actress #storyteller#motivationalspeaker #teacher #mentoring #schools #ego #livestreaming #liveshow #podcastshow #joinus #likefollowshare

Join Jessica Sterling (@thejesssterling) and Sara Fergenson (@sarafergenson) to chat about Season 6 Episode 16, That Was Then. They chat about Pacey and Dougie's relationship, Dawson's return to Capeside High, and why Harley needs a babysitter.Follow us on Twitter and Instagram at @shit90spod.Email us at shit90spod@gmail.comVisit our website at www.shit90spod.comSpecial thanks to JD McGuire (@jdmcguire) for our theme song!Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Kscope Podcast 159 - The Height of Summer Starring BRUCE SOORD on the unboxing and the re-creation from the original burnt source material of THE PINEAPPLE THIEF's 1999-2006 work for the sumptuous book-set How Did We Find Our Way DANIEL TOMPKINS of TESSERACT (the first of our wide-ranging TesseracT interviews throughout this year) with his advice for new stars Brand new music from the Sun-Ra of modern piano, the incredible GLEB KOLYADIN of IAMTHEMORNING… Brand new music from ENVY OF NONE (ALEX LIFESON from RUSH's new outfit) And a sweaty DARRAN CHARLES from GODSTICKS immediately after the London leg of the This Is What A Winner Looks Like tour.   Tracklist; The Pineapple Thief - Private Paradise & Snowdrops (from How Did We Find Our Way) Dan Tompkins - Ruins (from Ruins: Live Experience) ENVY OF NONE - That Was Then (from That Was Then, This is Now) Gleb Kolyadin - Mercurial (from The Outland)  

In today's sermon titled "That Was Then, This Is Now!", our Senior Pastor, Pastor Femi Paul shared a profound message drawn from Luke 24:5b-6. The scripture reminds us of the words spoken by an Angel, "Why do you seek the living among the dead? He is not here, but is risen!" Join us as we reflect on the transformative power of resurrection and embrace the newness of life that is available to us today

TWS News 1: A.I. Chat Glasses – 00:30Teachable Moment – 3:14Support Drive – 10:28TWS News 2: Down Syndrome Barbie – 13:47Last Song You Sent to Someone – 17:09TWS News 3: Umpire Punishment – 27:06Dear Diary – 30:25Free Bible – 39:38Boss Queen – 42:16 That Was Then – 47:33You can join our Wally Show Poddies Facebook group at www.facebook.com/groups/WallyShowPoddies

Episode 162 of A History of Rock Music in Five Hundred Songs looks at "Daydream Believer", and the later career of the Monkees, and how four Pinocchios became real boys. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Born to be Wild" by Steppenwolf. 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 No Mixcloud this time, as even after splitting it into multiple files, there are simply too many Monkees tracks excerpted. The best versions of the Monkees albums are the triple-CD super-deluxe versions that used to be available from monkees.com , and I've used Andrew Sandoval's liner notes for them extensively in this episode. Sadly, though, none of those are in print. However, at the time of writing there is a new four-CD super-deluxe box set of Headquarters (with a remixed version of the album rather than the original mixes I've excerpted here) available from that site, and I used the liner notes for that here. Monkees.com also currently has the intermittently-available BluRay box set of the entire Monkees TV series, which also has Head and 33 1/3 Revolutions Per Monkee. For those just getting into the group, my advice is to start with this five-CD set, which contains their first five albums along with bonus tracks. The single biggest source of information I used in this episode is the first edition of Andrew Sandoval's The Monkees; The Day-By-Day Story. Sadly that is now out of print and goes for hundreds of pounds. Sandoval released a second edition of the book in 2021, which I was unfortunately unable to obtain, but that too is now out of print. If you can find a copy of either, do get one. Other sources used were Monkee Business by Eric Lefcowitz, and the autobiographies of three of the band members and one of the songwriters — Infinite Tuesday by Michael Nesmith, They Made a Monkee Out of Me by Davy Jones, I'm a Believer by Micky Dolenz, and Psychedelic Bubble-Gum by Bobby Hart. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we left the Monkees, they were in a state of flux. To recap what we covered in that episode, the Monkees were originally cast as actors in a TV show, and consisted of two actors with some singing ability -- the former child stars Davy Jones and Micky Dolenz -- and two musicians who were also competent comic actors, Michael Nesmith and Peter Tork.  The show was about a fictional band whose characters shared names with their actors, and there had quickly been two big hit singles, and two hit albums, taken from the music recorded for the TV show's soundtrack. But this had caused problems for the actors. The records were being promoted as being by the fictional group in the TV series, blurring the line between the TV show and reality, though in fact for the most part they were being made by session musicians with only Dolenz or Jones adding lead vocals to pre-recorded backing tracks. Dolenz and Jones were fine with this, but Nesmith, who had been allowed to write and produce a few album tracks himself, wanted more creative input, and more importantly felt that he was being asked to be complicit in fraud because the records credited the four Monkees as the musicians when (other than a tiny bit of inaudible rhythm guitar by Tork on a couple of Nesmith's tracks) none of them played on them. Tork, meanwhile, believed he had been promised that the group would be an actual group -- that they would all be playing on the records together -- and felt hurt and annoyed that this wasn't the case. They were by now playing live together to promote the series and the records, with Dolenz turning out to be a perfectly competent drummer, so surely they could do the same in the studio? So in January 1967, things came to a head. It's actually quite difficult to sort out exactly what happened, because of conflicting recollections and opinions. What follows is my best attempt to harmonise the different versions of the story into one coherent narrative, but be aware that I could be wrong in some of the details. Nesmith and Tork, who disliked each other in most respects, were both agreed that this couldn't continue and that if there were going to be Monkees records released at all, they were going to have the Monkees playing on them. Dolenz, who seems to have been the one member of the group that everyone could get along with, didn't really care but went along with them for the sake of group harmony. And Bob Rafelson and Bert Schneider, the production team behind the series, also took Nesmith and Tork's side, through a general love of mischief. But on the other side was Don Kirshner, the music publisher who was in charge of supervising the music for the TV show. Kirshner was adamantly, angrily, opposed to the very idea of the group members having any input at all into how the records were made. He considered that they should be grateful for the huge pay cheques they were getting from records his staff writers and producers were making for them, and stop whinging. And Davy Jones was somewhere in the middle. He wanted to support his co-stars, who he genuinely liked, but also, he was a working actor, he'd had other roles before, he'd have other roles afterwards, and as a working actor you do what you're told if you don't want to lose the job you've got. Jones had grown up in very severe poverty, and had been his family's breadwinner from his early teens, and artistic integrity is all very nice, but not as nice as a cheque for a quarter of a million dollars. Although that might be slightly unfair -- it might be fairer to say that artistic integrity has a different meaning to someone like Jones, coming from musical theatre and a tradition of "the show must go on", than it does to people like Nesmith and Tork who had come up through the folk clubs. Jones' attitude may also have been affected by the fact that his character in the TV show didn't play an instrument other than the occasional tambourine or maracas. The other three were having to mime instrumental parts they hadn't played, and to reproduce them on stage, but Jones didn't have that particular disadvantage. Bert Schneider, one of the TV show's producers, encouraged the group to go into the recording studio themselves, with a producer of their choice, and cut a couple of tracks to prove what they could do. Michael Nesmith, who at this point was the one who was most adamant about taking control of the music, chose Chip Douglas to produce. Douglas was someone that Nesmith had known a little while, as they'd both played the folk circuit -- in Douglas' case as a member of the Modern Folk Quartet -- but Douglas had recently joined the Turtles as their new bass player. At this point, Douglas had never officially produced a record, but he was a gifted arranger, and had just arranged the Turtles' latest single, which had just been released and was starting to climb the charts: [Excerpt: The Turtles, "Happy Together"] Douglas quit the Turtles to work with the Monkees, and took the group into the studio to cut two demo backing tracks for a potential single as a proof of concept. These initial sessions didn't have any vocals, but featured Nesmith on guitar, Tork on piano, Dolenz on drums, Jones on tambourine, and an unknown bass player -- possibly Douglas himself, possibly Nesmith's friend John London, who he'd played with in Mike and John and Bill. They cut rough tracks of two songs, "All of Your Toys", by another friend of Nesmith's, Bill Martin, and Nesmith's "The Girl I Knew Somewhere": [Excerpt: The Monkees, "The Girl I Knew Somewhere (Gold Star Demo)"] Those tracks were very rough and ready -- they were garage-band tracks rather than the professional studio recordings that the Candy Store Prophets or Jeff Barry's New York session players had provided for the previous singles -- but they were competent in the studio, thanks largely to Chip Douglas' steadying influence. As Douglas later said "They could hardly play. Mike could play adequate rhythm guitar. Pete could play piano but he'd make mistakes, and Micky's time on drums was erratic. He'd speed up or slow down." But the takes they managed to get down showed that they *could* do it. Rafelson and Schneider agreed with them that the Monkees could make a single together, and start recording at least some of their own tracks. So the group went back into the studio, with Douglas producing -- and with Lester Sill from the music publishers there to supervise -- and cut finished versions of the two songs. This time the lineup was Nesmith on guitar, Tork on electric harpsichord -- Tork had always been a fan of Bach, and would in later years perform Bach pieces as his solo spot in Monkees shows -- Dolenz on drums, London on bass, and Jones on tambourine: [Excerpt: The Monkees, "The Girl I Knew Somewhere (first recorded version)"] But while this was happening, Kirshner had been trying to get new Monkees material recorded without them -- he'd not yet agreed to having the group play on their own records. Three days after the sessions for "All of Your Toys" and "The Girl I Knew Somewhere", sessions started in New York for an entire album's worth of new material, produced by Jeff Barry and Denny Randell, and largely made by the same Red Bird Records team who had made "I'm a Believer" -- the same musicians who in various combinations had played on everything from "Sherry" by the Four Seasons to "Like a Rolling Stone" by Dylan to "Leader of the Pack", and with songs by Neil Diamond, Jeff Barry and Ellie Greenwich, Leiber and Stoller, and the rest of the team of songwriters around Red Bird. But at this point came the meeting we talked about towards the end of the "Last Train to Clarksville" episode, in which Nesmith punched a hole in a hotel wall in frustration at what he saw as Kirshner's obstinacy. Kirshner didn't want to listen to the recordings the group had made. He'd promised Jeff Barry and Neil Diamond that if "I'm a Believer" went to number one, Barry would get to produce, and Diamond write, the group's next single. Chip Douglas wasn't a recognised producer, and he'd made this commitment. But the group needed a new single out. A compromise was offered, of sorts, by Kirshner -- how about if Barry flew over from New York to LA to produce the group, they'd scrap the tracks both the group and Barry had recorded, and Barry would produce new tracks for the songs he'd recorded, with the group playing on them? But that wouldn't work either. The group members were all due to go on holiday -- three of them were going to make staggered trips to the UK, partly to promote the TV series, which was just starting over here, and partly just to have a break. They'd been working sixty-plus hour weeks for months between the TV series, live performances, and the recording studio, and they were basically falling-down tired, which was one of the reasons for Nesmith's outburst in the meeting. They weren't accomplished enough musicians to cut tracks quickly, and they *needed* the break. On top of that, Nesmith and Barry had had a major falling-out at the "I'm a Believer" session, and Nesmith considered it a matter of personal integrity that he couldn't work with a man who in his eyes had insulted his professionalism. So that was out, but there was also no way Kirshner was going to let the group release a single consisting of two songs he hadn't heard, produced by a producer with no track record. At first, the group were insistent that "All of Your Toys" should be the A-side for their next single: [Excerpt: The Monkees, "All Of Your Toys"] But there was an actual problem with that which they hadn't foreseen. Bill Martin, who wrote the song, was under contract to another music publisher, and the Monkees' contracts said they needed to only record songs published by Screen Gems. Eventually, it was Micky Dolenz who managed to cut the Gordian knot -- or so everyone thought. Dolenz was the one who had the least at stake of any of them -- he was already secure as the voice of the hits, he had no particular desire to be an instrumentalist, but he wanted to support his colleagues. Dolenz suggested that it would be a reasonable compromise to put out a single with one of the pre-recorded backing tracks on one side, with him or Jones singing, and with the version of "The Girl I Knew Somewhere" that the band had recorded together on the other. That way, Kirshner and the record label would get their new single without too much delay, the group would still be able to say they'd started recording their own tracks, everyone would get some of what they wanted. So it was agreed -- though there was a further stipulation. "The Girl I Knew Somewhere" had Nesmith singing lead vocals, and up to that point every Monkees single had featured Dolenz on lead on both sides. As far as Kirshner and the other people involved in making the release decisions were concerned, that was the way things were going to continue. Everyone was fine with this -- Nesmith, the one who was most likely to object in principle, in practice realised that having Dolenz sing his song would make it more likely to be played on the radio and used in the TV show, and so increase his royalties. A vocal session was arranged in New York for Dolenz and Jones to come and cut some vocal tracks right before Dolenz and Nesmith flew over to the UK. But in the meantime, it had become even more urgent for the group to be seen to be doing their own recording. An in-depth article on the group in the Saturday Evening Post had come out, quoting Nesmith as saying "It was what Kirshner wanted to do. Our records are not our forte. I don't care if we never sell another record. Maybe we were manufactured and put on the air strictly with a lot of hoopla. Tell the world we're synthetic because, damn it, we are. Tell them the Monkees are wholly man-made overnight, that millions of dollars have been poured into this thing. Tell the world we don't record our own music. But that's us they see on television. The show is really a part of us. They're not seeing something invalid." The press immediately jumped on the band, and started trying to portray them as con artists exploiting their teenage fans, though as Nesmith later said "The press decided they were going to unload on us as being somehow illegitimate, somehow false. That we were making an attempt to dupe the public, when in fact it was me that was making the attempt to maintain the integrity. So the press went into a full-scale war against us." Tork, on the other hand, while he and Nesmith were on the same side about the band making their own records, blamed Nesmith for much of the press reaction, later saying "Michael blew the whistle on us. If he had gone in there with pride and said 'We are what we are and we have no reason to hang our heads in shame' it never would have happened." So as far as the group were concerned, they *needed* to at least go with Dolenz's suggested compromise. Their personal reputations were on the line. When Dolenz arrived at the session in New York, he was expecting to be asked to cut one vocal track, for the A-side of the next single (and presumably a new lead vocal for "The Girl I Knew Somewhere"). When he got there, though, he found that Kirshner expected him to record several vocals so that Kirshner could choose the best. That wasn't what had been agreed, and so Dolenz flat-out refused to record anything at all. Luckily for Kirshner, Jones -- who was the most co-operative member of the band -- was willing to sing a handful of songs intended for Dolenz as well as the ones he was meant to sing. So the tape of "A Little Bit Me, A Little Bit You", the song intended for the next single, was slowed down so it would be in a suitable key for Jones instead, and he recorded the vocal for that: [Excerpt: The Monkees, "A Little Bit Me, A Little Bit You"] Incidentally, while Jones recorded vocals for several more tracks at the session -- and some would later be reused as album tracks a few years down the line -- not all of the recorded tracks were used for vocals, and this later gave rise to a rumour that has been repeated as fact by almost everyone involved, though it was a misunderstanding. Kirshner's next major success after the Monkees was another made-for-TV fictional band, the Archies, and their biggest hit was "Sugar Sugar", co-written and produced by Jeff Barry: [Excerpt: The Archies, "Sugar Sugar"] Both Kirshner and the Monkees have always claimed that the Monkees were offered "Sugar, Sugar" and turned it down. To Kirshner the moral of the story was that since "Sugar, Sugar" was a massive hit, it proved his instincts right and proved that the Monkees didn't know what would make a hit. To the Monkees, on the other hand, it showed that Kirshner wanted them to do bubblegum music that they considered ridiculous. This became such an established factoid that Dolenz regularly tells the story in his live performances, and includes a version of "Sugar, Sugar" in them, rearranged as almost a torch song: [Excerpt: Micky Dolenz, "Sugar, Sugar (live)"] But in fact, "Sugar, Sugar" wasn't written until long after Kirshner and the Monkees had parted ways. But one of the songs for which a backing track was recorded but no vocals were ever completed was "Sugar Man", a song by Denny Randell and Sandy Linzer, which they would later release themselves as an unsuccessful single: [Excerpt: Linzer and Randell, "Sugar Man"] Over the years, the Monkees not recording "Sugar Man" became the Monkees not recording "Sugar, Sugar". Meanwhile, Dolenz and Nesmith had flown over to the UK to do some promotional work and relax, and Jones soon also flew over, though didn't hang out with his bandmates, preferring to spend more time with his family. Both Dolenz and Nesmith spent a lot of time hanging out with British pop stars, and were pleased to find that despite the manufactured controversy about them being a manufactured group, none of the British musicians they admired seemed to care. Eric Burdon, for example, was quoted in the Melody Maker as saying "They make very good records, I can't understand how people get upset about them. You've got to make up your minds whether a group is a record production group or one that makes live appearances. For example, I like to hear a Phil Spector record and I don't worry if it's the Ronettes or Ike and Tina Turner... I like the Monkees record as a grand record, no matter how people scream. So somebody made a record and they don't play, so what? Just enjoy the record." Similarly, the Beatles were admirers of the Monkees, especially the TV show, despite being expected to have a negative opinion of them, as you can hear in this contemporary recording of Paul McCartney answering a fan's questions: Excerpt: Paul McCartney talks about the Monkees] Both Dolenz and Nesmith hung out with the Beatles quite a bit -- they both visited Sgt. Pepper recording sessions, and if you watch the film footage of the orchestral overdubs for "A Day in the Life", Nesmith is there with all the other stars of the period. Nesmith and his wife Phyllis even stayed with the Lennons for a couple of days, though Cynthia Lennon seems to have thought of the Nesmiths as annoying intruders who had been invited out of politeness and not realised they weren't wanted. That seems plausible, but at the same time, John Lennon doesn't seem the kind of person to not make his feelings known, and Michael Nesmith's reports of the few days they stayed there seem to describe a very memorable experience, where after some initial awkwardness he developed a bond with Lennon, particularly once he saw that Lennon was a fan of Captain Beefheart, who was a friend of Nesmith, and whose Safe as Milk album Lennon was examining when Nesmith turned up, and whose music at this point bore a lot of resemblance to the kind of thing Nesmith was doing: [Excerpt: Captain Beefheart and the Magic Band, "Yellow Brick Road"] Or at least, that's how Nesmith always told the story later -- though Safe as Milk didn't come out until nearly six months later. It's possible he's conflating memories from a later trip to the UK in June that year -- where he also talked about how Lennon was the only person he'd really got on with on the previous trip, because "he's a compassionate person. I know he has a reputation for being caustic, but it is only a cover for the depth of his feeling." Nesmith and Lennon apparently made some experimental music together during the brief stay, with Nesmith being impressed by Lennon's Mellotron and later getting one himself. Dolenz, meanwhile, was spending more time with Paul McCartney, and with Spencer Davis of his current favourite band The Spencer Davis Group. But even more than that he was spending a lot of time with Samantha Juste, a model and TV presenter whose job it was to play the records on Top of the Pops, the most important British TV pop show, and who had released a record herself a couple of months earlier, though it hadn't been a success: [Excerpt: Samantha Juste, "No-one Needs My Love Today"] The two quickly fell deeply in love, and Juste would become Dolenz's first wife the next year. When Nesmith and Dolenz arrived back in the US after their time off, they thought the plan was still to release "A Little Bit Me, A Little Bit You" with "The Girl I Knew Somewhere" on the B-side. So Nesmith was horrified to hear on the radio what the announcer said were the two sides of the new Monkees single -- "A Little Bit Me, A Little Bit You", and "She Hangs Out", another song from the Jeff Barry sessions with a Davy vocal. Don Kirshner had gone ahead and picked two songs from the Jeff Barry sessions and delivered them to RCA Records, who had put a single out in Canada. The single was very, *very* quickly withdrawn once the Monkees and the TV producers found out, and only promo copies seem to circulate -- rather than being credited to "the Monkees", both sides are credited to '"My Favourite Monkee" Davy Jones Sings'. The record had been withdrawn, but "A Little Bit Me, A Little Bit You" was clearly going to have to be the single. Three days after the record was released and pulled, Nesmith, Dolenz and Tork were back in the studio with Chip Douglas, recording a new B-side -- a new version of "The Girl I Knew Somewhere", this time with Dolenz on vocals. As Jones was still in the UK, John London added the tambourine part as well as the bass: [Excerpt: The Monkees, "The Girl I Knew Somewhere (single version)"] As Nesmith told the story a couple of months later, "Bert said 'You've got to get this thing in Micky's key for Micky to sing it.' I said 'Has Donnie made a commitment? I don't want to go there and break my neck in order to get this thing if Donnie hasn't made a commitment. And Bert refused to say anything. He said 'I can't tell you anything except just go and record.'" What had happened was that the people at Columbia had had enough of Kirshner. As far as Rafelson and Schneider were concerned, the real problem in all this was that Kirshner had been making public statements taking all the credit for the Monkees' success and casting himself as the puppetmaster. They thought this was disrespectful to the performers -- and unstated but probably part of it, that it was disrespectful to Rafelson and Schneider for their work putting the TV show together -- and that Kirshner had allowed his ego to take over. Things like the liner notes for More of the Monkees which made Kirshner and his stable of writers more important than the performers had, in the view of the people at Raybert Productions, put the Monkees in an impossible position and forced them to push back. Schneider later said "Kirshner had an ego that transcended everything else. As a matter of fact, the press issue was probably magnified a hundred times over because of Kirshner. He wanted everybody thinking 'Hey, he's doing all this, not them.' In the end it was very self-destructive because it heightened the whole press issue and it made them feel lousy." Kirshner was out of a job, first as the supervisor for the Monkees and then as the head of Columbia/Screen Gems Music. In his place came Lester Sill, the man who had got Leiber and Stoller together as songwriters, who had been Lee Hazelwood's production partner on his early records with Duane Eddy, and who had been the "Les" in Philles Records until Phil Spector pushed him out. Sill, unlike Kirshner, was someone who was willing to take a back seat and just be a steadying hand where needed. The reissued version of "A Little Bit Me, A Little Bit You" went to number two on the charts, behind "Somethin' Stupid" by Frank and Nancy Sinatra, produced by Sill's old colleague Hazelwood, and the B-side, "The Girl I Knew Somewhere", also charted separately, making number thirty-nine on the charts. The Monkees finally had a hit that they'd written and recorded by themselves. Pinocchio had become a real boy: [Excerpt: The Monkees, "The Girl I Knew Somewhere (single version)"] At the same session at which they'd recorded that track, the Monkees had recorded another Nesmith song, "Sunny Girlfriend", and that became the first song to be included on a new album, which would eventually be named Headquarters, and on which all the guitar, keyboard, drums, percussion, banjo, pedal steel, and backing vocal parts would for the first time be performed by the Monkees themselves. They brought in horn and string players on a couple of tracks, and the bass was variously played by John London, Chip Douglas, and Jerry Yester as Tork was more comfortable on keyboards and guitar than bass, but it was in essence a full band album. Jones got back the next day, and sessions began in earnest. The first song they recorded after his return was "Mr. Webster", a Boyce and Hart song that had been recorded with the Candy Store Prophets in 1966 but hadn't been released. This was one of three tracks on the album that were rerecordings of earlier outtakes, and it's fascinating to compare them, to see the strengths and weaknesses of both approaches. In the case of "Mr. Webster", the instrumental backing on the earlier version is definitely slicker: [Excerpt: The Monkees, "Mr. Webster (1st Recorded Version)"] But at the same time, there's a sense of dynamics in the group recording that's lacking from the original, like the backing dropping out totally on the word "Stop" -- a nice touch that isn't in the original. I am only speculating, but this may have been inspired by the similar emphasis on the word "stop" in "For What It's Worth" by Tork's old friend Stephen Stills: [Excerpt: The Monkees, "Mr. Webster (album version)"] Headquarters was a group album in another way though -- for the first time, Tork and Dolenz were bringing in songs they'd written -- Nesmith of course had supplied songs already for the two previous albums. Jones didn't write any songs himself yet, though he'd start on the next album, but he was credited with the rest of the group on two joke tracks, "Band 6", a jam on the Merrie Melodies theme “Merrily We Roll Along”, and "Zilch", a track made up of the four band members repeating nonsense phrases: [Excerpt: The Monkees, "Zilch"] Oddly, that track had a rather wider cultural resonance than a piece of novelty joke album filler normally would. It's sometimes covered live by They Might Be Giants: [Excerpt: They Might Be Giants, "Zilch"] While the rapper Del Tha Funkee Homosapien had a worldwide hit in 1991 with "Mistadobalina", built around a sample of Peter Tork from the track: [Excerpt: Del Tha Funkee Homosapien,"Mistadobalina"] Nesmith contributed three songs, all of them combining Beatles-style pop music and country influences, none more blatantly than the opening track, "You Told Me", which starts off parodying the opening of "Taxman", before going into some furious banjo-picking from Tork: [Excerpt: The Monkees, "You Told Me"] Tork, meanwhile, wrote "For Pete's Sake" with his flatmate of the time, and that became the end credits music for season two of the TV series: [Excerpt: The Monkees, "For Pete's Sake"] But while the other band members made important contributions, the track on the album that became most popular was the first song of Dolenz's to be recorded by the group. The lyrics recounted, in a semi-psychedelic manner, Dolenz's time in the UK, including meeting with the Beatles, who the song refers to as "the four kings of EMI", but the first verse is all about his new girlfriend Samantha Juste: [Excerpt: The Monkees, "Randy Scouse Git"] The song was released as a single in the UK, but there was a snag. Dolenz had given the song a title he'd heard on an episode of the BBC sitcom Til Death Us Do Part, which he'd found an amusing bit of British slang. Til Death Us Do Part was written by Johnny Speight, a writer with Associated London Scripts, and was a family sitcom based around the character of Alf Garnett, an ignorant, foul-mouthed reactionary bigot who hated young people, socialists, and every form of minority, especially Black people (who he would address by various slurs I'm definitely not going to repeat here), and was permanently angry at the world and abusive to his wife. As with another great sitcom from ALS, Steptoe and Son, which Norman Lear adapted for the US as Sanford and Son, Til Death Us Do Part was also adapted by Lear, and became All in the Family. But while Archie Bunker, the character based on Garnett in the US version, has some redeeming qualities because of the nature of US network sitcom, Alf Garnett has absolutely none, and is as purely unpleasant and unsympathetic a character as has ever been created -- which sadly didn't stop a section of the audience from taking him as a character to be emulated. A big part of the show's dynamic was the relationship between Garnett and his socialist son-in-law from Liverpool, played by Anthony Booth, himself a Liverpudlian socialist who would later have a similarly contentious relationship with his own decidedly non-socialist son-in-law, the future Prime Minister Tony Blair. Garnett was as close to foul-mouthed as was possible on British TV at the time, with Speight regularly negotiating with the BBC bosses to be allowed to use terms that were not otherwise heard on TV, and used various offensive terms about his family, including referring to his son-in-law as a "randy Scouse git". Dolenz had heard the phrase on TV, had no idea what it meant but loved the sound of it, and gave the song that title. But when the record came out in the UK, he was baffled to be told that the phrase -- which he'd picked up from a BBC TV show, after all -- couldn't be said normally on BBC broadcasts, so they would need to retitle the track. The translation into American English that Dolenz uses in his live shows to explain this to Americans is to say that "randy Scouse git" means "horny Liverpudlian putz", and that's more or less right. Dolenz took the need for an alternative title literally, and so the track that went to number two in the UK charts was titled "Alternate Title": [Excerpt: The Monkees, "Randy Scouse Git"] The album itself went to number one in both the US and the UK, though it was pushed off the top spot almost straight away by the release of Sgt Pepper. As sessions for Headquarters were finishing up, the group were already starting to think about their next album -- season two of the TV show was now in production, and they'd need to keep generating yet more musical material for it. One person they turned to was a friend of Chip Douglas'. Before the Turtles, Douglas had been in the Modern Folk Quartet, and they'd recorded "This Could Be the Night", which had been written for them by Harry Nilsson: [Excerpt: The MFQ, "This Could Be The Night"] Nilsson had just started recording his first solo album proper, at RCA Studios, the same studios that the Monkees were using. At this point, Nilsson still had a full-time job in a bank, working a night shift there while working on his album during the day, but Douglas knew that Nilsson was a major talent, and that assessment was soon shared by the group when Nilsson came in to demo nine of his songs for them: [Excerpt: Harry Nilsson, "1941 (demo)"] According to Nilsson, Nesmith said after that demo session "You just sat down there and blew our minds. We've been looking for songs, and you just sat down and played an *album* for us!" While the Monkees would attempt a few of Nilsson's songs over the next year or so, the first one they chose to complete was the first track recorded for their next album, Pisces, Aquarius, Capricorn, and Jones, Ltd., a song which from the talkback at the beginning of the demo was always intended for Davy Jones to sing: [Excerpt: Harry Nilsson, "Cuddly Toy (demo)"] Oddly, given his romantic idol persona, a lot of the songs given to Jones to sing were anti-romantic, and often had a cynical and misogynistic edge. This had started with the first album's "I Want to Be Free", but by Pisces, it had gone to ridiculous extremes. Of the four songs Jones sings on the album, "Hard to Believe", the first song proper that he ever co-wrote, is a straightforward love  song, but the other three have a nasty edge to them. A remade version of Jeff Barry's "She Hangs Out" is about an underaged girl, starts with the lines "How old d'you say your sister was? You know you'd better keep an eye on her" and contains lines like "she could teach you a thing or two" and "you'd better get down here on the double/before she gets her pretty little self in trouble/She's so fine". Goffin and King's "Star Collector" is worse, a song about a groupie with lines like "How can I love her, if I just don't respect her?" and "It won't take much time, before I get her off my mind" But as is so often the way, these rather nasty messages were wrapped up in some incredibly catchy music, and that was even more the case with "Cuddly Toy", a song which at least is more overtly unpleasant -- it's very obvious that Nilsson doesn't intend the protagonist of the song to be at all sympathetic, which is possibly not the case in "She Hangs Out" or "Star Collector". But the character Jones is singing is *viciously* cruel here, mocking and taunting a girl who he's coaxed to have sex with him, only to scorn her as soon as he's got what he wanted: [Excerpt: The Monkees, "Cuddly Toy"] It's a great song if you like the cruelest of humour combined with the cheeriest of music, and the royalties from the song allowed Nilsson to quit the job at the bank. "Cuddly Toy", and Chip Douglas and Bill Martin's song "The Door Into Summer", were recorded the same way as Headquarters, with the group playing *as a group*, but as recordings for the album progressed the group fell into a new way of working, which Peter Tork later dubbed "mixed-mode". They didn't go back to having tracks cut for them by session musicians, apart from Jones' song "Hard to Believe", for which the entire backing track was created by one of his co-writers overdubbing himself, but Dolenz, who Tork always said was "incapable of repeating a triumph", was not interested in continuing to play drums in the studio. Instead, a new hybrid Monkees would perform most of the album. Nesmith would still play the lead guitar, Tork would provide the keyboards, Chip Douglas would play all the bass and add some additional guitar, and "Fast" Eddie Hoh, the session drummer who had been a touring drummer with the Modern Folk Quartet and the Mamas and the Papas, among others, would play drums on the records, with Dolenz occasionally adding a bit of acoustic guitar. And this was the lineup that would perform on the hit single from Pisces. "Pleasant Valley Sunday" was written by Gerry Goffin and Carole King, who had written several songs for the group's first two albums (and who would continue to provide them with more songs). As with their earlier songs for the group, King had recorded a demo: [Excerpt: Carole King, "Pleasant Valley Sunday (demo)"] Previously -- and subsequently -- when presented with a Carole King demo, the group and their producers would just try to duplicate it as closely as possible, right down to King's phrasing. Bob Rafelson has said that he would sometimes hear those demos and wonder why King didn't just make records herself -- and without wanting to be too much of a spoiler for a few years' time, he wasn't the only one wondering that. But this time, the group had other plans. In particular, they wanted to make a record with a strong guitar riff to it -- Nesmith has later referenced their own "Last Train to Clarksville" and the Beatles' "Day Tripper" as two obvious reference points for the track. Douglas came up with a riff and taught it to Nesmith, who played it on the track: [Excerpt: The Monkees, "Pleasant Valley Sunday"] The track also ended with the strongest psychedelic -- or "psycho jello" as the group would refer to it -- freak out that they'd done to this point, a wash of saturated noise: [Excerpt: The Monkees, "Pleasant Valley Sunday"] King was unhappy with the results, and apparently glared at Douglas the next time they met. This may be because of the rearrangement from her intentions, but it may also be for a reason that Douglas later suspected. When recording the track, he hadn't been able to remember all the details of her demo, and in particular he couldn't remember exactly how the middle eight went. This is the version on King's demo: [Excerpt: Carole King, "Pleasant Valley Sunday (demo)"] While here's how the Monkees rendered it, with slightly different lyrics: [Excerpt: The Monkees, "Pleasant Valley Sunday"] I also think there's a couple of chord changes in the second verse that differ between King and the Monkees, but I can't be sure that's not my ears deceiving me. Either way, though, the track was a huge success, and became one of the group's most well-known and well-loved tracks, making number three on the charts behind "All You Need is Love" and "Light My Fire". And while it isn't Dolenz drumming on the track, the fact that it's Nesmith playing guitar and Tork on the piano -- and the piano part is one of the catchiest things on the record -- meant that they finally had a proper major hit on which they'd played (and it seems likely that Dolenz contributed some of the acoustic rhythm guitar on the track, along with Bill Chadwick, and if that's true all three Monkee instrumentalists did play on the track). Pisces is by far and away the best album the group ever made, and stands up well against anything else that came out around that time. But cracks were beginning to show in the group. In particular, the constant battle to get some sort of creative input had soured Nesmith on the whole project. Chip Douglas later said "When we were doing Pisces Michael would come in with three songs; he knew he had three songs coming on the album. He knew that he was making a lot of money if he got his original songs on there. So he'd be real enthusiastic and cooperative and real friendly and get his three songs done. Then I'd say 'Mike, can you come in and help on this one we're going to do with Micky here?' He said 'No, Chip, I can't. I'm busy.' I'd say, 'Mike, you gotta come in the studio.' He'd say 'No Chip, I'm afraid I'm just gonna have to be ornery about it. I'm not comin' in.' That's when I started not liking Mike so much any more." Now, as is so often the case with the stories from this period, this appears to be inaccurate in the details -- Nesmith is present on every track on the album except Jones' solo "Hard to Believe" and Tork's spoken-word track "Peter Percival Patterson's Pet Pig Porky", and indeed this is by far the album with *most* Nesmith input, as he takes five lead vocals, most of them on songs he didn't write. But Douglas may well be summing up Nesmith's *attitude* to the band at this point -- listening to Nesmith's commentaries on episodes of the TV show, by this point he felt disengaged from everything that was going on, like his opinions weren't welcome. That said, Nesmith did still contribute what is possibly the single most innovative song the group ever did, though the innovations weren't primarily down to Nesmith: [Excerpt: The Monkees, "Daily Nightly"] Nesmith always described the lyrics to "Daily Nightly" as being about the riots on Sunset Strip, but while they're oblique, they seem rather to be about streetwalking sex workers -- though it's perhaps understandable that Nesmith would never admit as much. What made the track innovative was the use of the Moog synthesiser. We talked about Robert Moog in the episode on "Good Vibrations" -- he had started out as a Theremin manufacturer, and had built the ribbon synthesiser that Mike Love played live on "Good Vibrations", and now he was building the first commercially available easily usable synthesisers. Previously, electronic instruments had either been things like the clavioline -- a simple monophonic keyboard instrument that didn't have much tonal variation -- or the RCA Mark II, a programmable synth that could make a wide variety of sounds, but took up an entire room and was programmed with punch cards. Moog's machines were bulky but still transportable, and they could be played in real time with a keyboard, but were still able to be modified to make a wide variety of different sounds. While, as we've seen, there had been electronic keyboard instruments as far back as the 1930s, Moog's instruments were for all intents and purposes the first synthesisers as we now understand the term. The Moog was introduced in late spring 1967, and immediately started to be used for making experimental and novelty records, like Hal Blaine's track "Love In", which came out at the beginning of June: [Excerpt: Hal Blaine, "Love In"] And the Electric Flag's soundtrack album for The Trip, the drug exploitation film starring Peter Fonda and Dennis Hopper and written by Jack Nicholson we talked about last time, when Arthur Lee moved into a house used in the film: [Excerpt: The Electric Flag, "Peter's Trip"] In 1967 there were a total of six albums released with a Moog on them (as well as one non-album experimental single). Four of the albums were experimental or novelty instrumental albums of this type. Only two of them were rock albums -- Strange Days by the Doors, and Pisces, Aquarius, Capricorn, & Jones Ltd by the Monkees. The Doors album was released first, but I believe the Monkees tracks were recorded before the Doors overdubbed the Moog on the tracks on their album, though some session dates are hard to pin down exactly. If that's the case it would make the Monkees the very first band to use the Moog on an actual rock record (depending on exactly how you count the Trip soundtrack -- this gets back again to my old claim that there's no first anything). But that's not the only way in which "Daily Nightly" was innovative. All the first seven albums to feature the Moog featured one man playing the instrument -- Paul Beaver, the Moog company's West Coast representative, who played on all the novelty records by members of the Wrecking Crew, and on the albums by the Electric Flag and the Doors, and on The Notorious Byrd Brothers by the Byrds, which came out in early 1968. And Beaver did play the Moog on one track on Pisces, "Star Collector". But on "Daily Nightly" it's Micky Dolenz playing the Moog, making him definitely the second person ever to play a Moog on a record of any kind: [Excerpt: The Monkees, "Daily Nightly"] Dolenz indeed had bought his own Moog -- widely cited as being the second one ever in private ownership, a fact I can't check but which sounds plausible given that by 1970 less than thirty musicians owned one -- after seeing Beaver demonstrate the instrument at the Monterey Pop Festival. The Monkees hadn't played Monterey, but both Dolenz and Tork had attended the festival -- if you watch the famous film of it you see Dolenz and his girlfriend Samantha in the crowd a *lot*, while Tork introduced his friends in the Buffalo Springfield. As well as discovering the Moog there, Dolenz had been astonished by something else: [Excerpt: The Jimi Hendrix Experience, "Hey Joe (Live at Monterey)"] As Peter Tork later put it "I didn't get it. At Monterey Jimi followed the Who and the Who busted up their things and Jimi bashed up his guitar. I said 'I just saw explosions and destruction. Who needs it?' But Micky got it. He saw the genius and went for it." Dolenz was astonished by Hendrix, and insisted that he should be the support act on the group's summer tour. This pairing might sound odd on paper, but it made more sense at the time than it might sound. The Monkees were by all accounts a truly astonishing live act at this point -- Frank Zappa gave them a backhanded compliment by saying they were the best-sounding band in LA, before pointing out that this was because they could afford the best equipment. That *was* true, but it was also the case that their TV experience gave them a different attitude to live performance than anyone else performing at the time. A handful of groups had started playing stadiums, most notably of course the Beatles, but all of these acts had come up through playing clubs and theatres and essentially just kept doing their old act with no thought as to how the larger space worked, except to put their amps through a louder PA. The Monkees, though, had *started* in stadiums, and had started out as mass entertainers, and so their live show was designed from the ground up to play to those larger spaces. They had costume changes, elaborate stage sets -- like oversized fake Vox amps they burst out of at the start of the show -- a light show and a screen on which film footage was projected. In effect they invented stadium performances as we now know them. Nesmith later said "In terms of putting on a show there was never any question in my mind, as far as the rock 'n' roll era is concerned, that we put on probably the finest rock and roll stage show ever. It was beautifully lit, beautifully costumed, beautifully produced. I mean, for Christ sakes, it was practically a revue." The Monkees were confident enough in their stage performance that at a recent show at the Hollywood Bowl they'd had Ike and Tina Turner as their opening act -- not an act you'd want to go on after if you were going to be less than great, and an act from very similar chitlin' circuit roots to Jimi Hendrix. So from their perspective, it made sense. If you're going to be spectacular yourselves, you have no need to fear a spectacular opening act. Hendrix was less keen -- he was about the only musician in Britain who *had* made disparaging remarks about the Monkees -- but opening for the biggest touring band in the world isn't an opportunity you pass up, and again it isn't such a departure as one might imagine from the bills he was already playing. Remember that Monterey is really the moment when "pop" and "rock" started to split -- the split we've been talking about for a few months now -- and so the Jimi Hendrix Experience were still considered a pop band, and as such had played the normal British pop band package tours. In March and April that year, they'd toured on a bill with the Walker Brothers, Cat Stevens, and Englebert Humperdinck -- and Hendrix had even filled in for Humperdinck's sick guitarist on one occasion. Nesmith, Dolenz, and Tork all loved having Hendrix on tour with them, just because it gave them a chance to watch him live every night (Jones, whose musical tastes were more towards Anthony Newley, wasn't especially impressed), and they got on well on a personal level -- there are reports of Hendrix jamming with Dolenz and Steve Stills in hotel rooms. But there was one problem, as Dolenz often recreates in his live act: [Excerpt: Micky Dolenz, "Purple Haze"] The audience response to Hendrix from the Monkees' fans was so poor that by mutual agreement he left the tour after only a handful of shows. After the summer tour, the group went back to work on the TV show and their next album. Or, rather, four individuals went back to work. By this point, the group had drifted apart from each other, and from Douglas -- Tork, the one who was still keenest on the idea of the group as a group, thought that Pisces, good as it was, felt like a Chip Douglas album rather than a Monkees album. The four band members had all by now built up their own retinues of hangers-on and collaborators, and on set for the TV show they were now largely staying with their own friends rather than working as a group. And that was now reflected in their studio work. From now on, rather than have a single producer working with them as a band, the four men would work as individuals, producing their own tracks, occasionally with outside help, and bringing in session musicians to work on them. Some tracks from this point on would be genuine Monkees -- plural -- tracks, and all tracks would be credited as "produced by the Monkees", but basically the four men would from now on be making solo tracks which would be combined into albums, though Dolenz and Jones would occasionally guest on tracks by the others, especially when Nesmith came up with a song he thought would be more suited to their voices. Indeed the first new recording that happened after the tour was an entire Nesmith solo album -- a collection of instrumental versions of his songs, called The Wichita Train Whistle Sings, played by members of the Wrecking Crew and a few big band instrumentalists, arranged by Shorty Rogers. [Excerpt: Michael Nesmith, "You Told Me"] Hal Blaine in his autobiography claimed that the album was created as a tax write-off for Nesmith, though Nesmith always vehemently denied it, and claimed it was an artistic experiment, though not one that came off well. Released alongside Pisces, though, came one last group-recorded single. The B-side, "Goin' Down", is a song that was credited to the group and songwriter Diane Hildebrand, though in fact it developed from a jam on someone else's song. Nesmith, Tork, Douglas and Hoh attempted to record a backing track for a version of Mose Allison's jazz-blues standard "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] But after recording it, they'd realised that it didn't sound that much like the original, and that all it had in common with it was a chord sequence. Nesmith suggested that rather than put it out as a cover version, they put a new melody and lyrics to it, and they commissioned Hildebrand, who'd co-written songs for the group before, to write them, and got Shorty Rogers to write a horn arrangement to go over their backing track. The eventual songwriting credit was split five ways, between Hildebrand and the four Monkees -- including Davy Jones who had no involvement with the recording, but not including Douglas or Hoh. The lyrics Hildebrand came up with were a funny patter song about a failed suicide, taken at an extremely fast pace, which Dolenz pulls off magnificently: [Excerpt: The Monkees, "Goin' Down"] The A-side, another track with a rhythm track by Nesmith, Tork, Douglas, and Hoh, was a song that had been written by John Stewart of the Kingston Trio, who you may remember from the episode on "San Francisco" as being a former songwriting partner of John Phillips. Stewart had written the song as part of a "suburbia trilogy", and was not happy with the finished product. He said later "I remember going to bed thinking 'All I did today was write 'Daydream Believer'." Stewart used to include the song in his solo sets, to no great approval, and had shopped the song around to bands like We Five and Spanky And Our Gang, who had both turned it down. He was unhappy with it himself, because of the chorus: [Excerpt: John Stewart, "Daydream Believer"] Stewart was ADHD, and the words "to a", coming as they did slightly out of the expected scansion for the line, irritated him so greatly that he thought the song could never be recorded by anyone, but when Chip Douglas asked if he had any songs, he suggested that one. As it turned out, there was a line of lyric that almost got the track rejected, but it wasn't the "to a". Stewart's original second verse went like this: [Excerpt: John Stewart, "Daydream Believer"] RCA records objected to the line "now you know how funky I can be" because funky, among other meanings, meant smelly, and they didn't like the idea of Davy Jones singing about being smelly. Chip Douglas phoned Stewart to tell him that they were insisting on changing the line, and suggesting "happy" instead. Stewart objected vehemently -- that change would reverse the entire meaning of the line, and it made no sense, and what about artistic integrity? But then, as he later said "He said 'Let me put it to you this way, John. If he can't sing 'happy' they won't do it'. And I said 'Happy's working real good for me now.' That's exactly what I said to him." He never regretted the decision -- Stewart would essentially live off the royalties from "Daydream Believer" for the rest of his life -- though he seemed always to be slightly ambivalent and gently mocking about the song in his own performances, often changing the lyrics slightly: [Excerpt: John Stewart, "Daydream Believer"] The Monkees had gone into the studio and cut the track, again with Tork on piano, Nesmith on guitar, Douglas on bass, and Hoh on drums. Other than changing "funky" to "happy", there were two major changes made in the studio. One seems to have been Douglas' idea -- they took the bass riff from the pre-chorus to the Beach Boys' "Help Me Rhonda": [Excerpt: The Beach Boys, "Help Me Rhonda"] and Douglas played that on the bass as the pre-chorus for "Daydream Believer", with Shorty Rogers later doubling it in the horn arrangement: [Excerpt: The Monkees, "Daydream Believer"] And the other is the piano intro, which also becomes an instrumental bridge, which was apparently the invention of Tork, who played it: [Excerpt: The Monkees, "Daydream Believer"] The track went to number one, becoming the group's third and final number one hit, and their fifth of six million-sellers. It was included on the next album, The Birds, The Bees, and the Monkees, but that piano part would be Tork's only contribution to the album. As the group members were all now writing songs and cutting their own tracks, and were also still rerecording the odd old unused song from the initial 1966 sessions, The Birds, The Bees, and the Monkees was pulled together from a truly astonishing amount of material. The expanded triple-CD version of the album, now sadly out of print, has multiple versions of forty-four different songs, ranging from simple acoustic demos to completed tracks, of which twelve were included on the final album. Tork did record several tracks during the sessions, but he spent much of the time recording and rerecording a single song, "Lady's Baby", which eventually stretched to five different recorded versions over multiple sessions in a five-month period. He racked up huge studio bills on the track, bringing in Steve Stills and Dewey Martin of the Buffalo Springfield, and Buddy Miles, to try to help him capture the sound in his head, but the various takes are almost indistinguishable from one another, and so it's difficult to see what the problem was: [Excerpt: The Monkees, "Lady's Baby"] Either way, the track wasn't finished by the time the album came out, and the album that came out was a curiously disjointed and unsatisfying effort, a mixture of recycled old Boyce and Hart songs, some songs by Jones, who at this point was convinced that "Broadway-rock" was going to be the next big thing and writing songs that sounded like mediocre showtunes, and a handful of experimental songs written by Nesmith. You could pull together a truly great ten- or twelve-track album from the masses of material they'd recorded, but the one that came out was mediocre at best, and became the first Monkees album not to make number one -- though it still made number three and sold in huge numbers. It also had the group's last million-selling single on it, "Valleri", an old Boyce and Hart reject from 1966 that had been remade with Boyce and Hart producing and their old session players, though the production credit was still now given to the Monkees: [Excerpt: The Monkees, "Valleri"] Nesmith said at the time he considered it the worst song ever written. The second season of the TV show was well underway, and despite -- or possibly because of -- the group being clearly stoned for much of the filming, it contains a lot of the episodes that fans of the group think of most fondly, including several episodes that break out of the formula the show had previously established in interesting ways. Tork and Dolenz were both also given the opportunity to direct episodes, and Dolenz also co-wrote his episode, which ended up being the last of the series. In another sign of how the group were being given more creative control over the show, the last three episodes of the series had guest appearances by favourite musicians of the group members who they wanted to give a little exposure to, and those guest appearances sum up the character of the band members remarkably well. Tork, for whatever reason, didn't take up this option, but the other three did. Jones brought on his friend Charlie Smalls, who would later go on to write the music for the Broadway musical The Wiz, to demonstrate to Jones the difference between Smalls' Black soul and Jones' white soul: [Excerpt: Davy Jones and Charlie Smalls] Nesmith, on the other hand, brought on Frank Zappa. Zappa put on Nesmith's Monkee shirt and wool hat and pretended to be Nesmith, and interviewed Nesmith with a false nose and moustache pretending to be Zappa, as they both mercilessly mocked the previous week's segment with Jones and Smalls: [Excerpt: Michael Nesmith and Frank Zappa] Nesmith then "conducted" Zappa as Zappa used a sledgehammer to "play" a car, parodying his own appearance on the Steve Allen Show playing a bicycle, to the presumed bemusement of the Monkees' fanbase who would not be likely to remember a one-off performance on a late-night TV show from five years earlier. And the final thing ever to be shown on an episode of the Monkees didn't feature any of the Monkees at all. Micky Dolenz, who directed and co-wrote that episode, about an evil wizard who was using the power of a space plant (named after the group's slang for dope) to hypnotise people through the TV, chose not to interact with his guest as the others had, but simply had Tim Buckley perform a solo acoustic version of his then-unreleased song "Song to the Siren": [Excerpt: Tim Buckley, "Song to the Siren"] By the end of the second season, everyone knew they didn't want to make another season of the TV show. Instead, they were going to do what Rafelson and Schneider had always wanted, and move into film. The planning stages for the film, which was initially titled Changes but later titled Head -- so that Rafelson and Schneider could bill their next film as "From the guys who gave you Head" -- had started the previous summer, before the sessions that produced The Birds, The Bees, and the Monkees. To write the film, the group went off with Rafelson and Schneider for a short holiday, and took with them their mutual friend Jack Nicholson. Nicholson was at this time not the major film star he later became. Rather he was a bit-part actor who was mostly associated with American International Pictures, the ultra-low-budget film company that has come up on several occasions in this podcast. Nicholson had appeared mostly in small roles, in films like The Little Shop of Horrors: [Excerpt: The Little Shop of Horrors] He'd appeared in multiple films made by Roger Corman, often appearing with Boris Karloff, and by Monte Hellman, but despite having been a working actor for a decade, his acting career was going nowhere, and by this point he had basically given up on the idea of being an actor, and had decided to start working behind the camera. He'd written the scripts for a few of the low-budget films he'd appeared in, and he'd recently scripted The Trip, the film we mentioned earlier: [Excerpt: The Trip trailer] So the group, Rafelson, Schneider, and Nicholson all went away for a weekend, and they all got extremely stoned, took acid, and talked into a tape recorder for hours on end. Nicholson then transcribed those recordings, cleaned them up, and structured the worthwhile ideas into something quite remarkable: [Excerpt: The Monkees, "Ditty Diego"] If the Monkees TV show had been inspired by the Marx Brothers and Three Stooges, and by Richard Lester's directorial style, the only precursor I can find for Head is in the TV work of Lester's colleague Spike Milligan, but I don't think there's any reasonable way in which Nicholson or anyone else involved could have taken inspiration from Milligan's series Q.  But what they ended up with is something that resembles, more than anything else, Monty Python's Flying Circus, a TV series that wouldn't start until a year after Head came out. It's a series of ostensibly unconnected sketches, linked by a kind of dream logic, with characters wandering from one loose narrative into a totally different one, actors coming out of character on a regular basis, and no attempt at a coherent narrative. It contains regular examples of channel-zapping, with excerpts from old films being spliced in, and bits of news footage juxtaposed with comedy sketches and musical performances in ways that are sometimes thought-provoking, sometimes distasteful, and occasionally both -- as when a famous piece of footage of a Vietnamese prisoner of war being shot in the head hard-cuts to screaming girls in the audience at a Monkees concert, a performance which ends with the girls tearing apart the group and revealing that they're really just cheap-looking plastic mannequins. The film starts, and ends, with the Monkees themselves attempting suicide, jumping off a bridge into the ocean -- but the end reveals that in fact the ocean they're in is just water in a glass box, and they're trapped in it. And knowing this means that when you watch the film a second time, you find that it does have a story. The Monkees are trapped in a box which in some ways represents life, the universe, and one's own mind, and in other ways represents the TV and their TV careers. Each of them is trying in his own way to escape, and each ends up trapped by his own limitations, condemned to start the cycle over and over again. The film features parodies of popular film genres like the boxing film (Davy is supposed to throw a fight with Sonny Liston at the instruction of gangsters), the Western, and the war film, but huge chunks of the film take place on a film studio backlot, and characters from one segment reappear in another, often commenting negatively on the film or the band, as when Frank Zappa as a critic calls Davy Jones' soft-shoe routine to a Harry Nilsson song "very white", or when a canteen worker in the studio calls the group "God's gift to the eight-year-olds". The film is constantly deconstructing and commenting on itself and the filmmaking process -- Tork hits that canteen worker, whose wig falls off revealing the actor playing her to be a man, and then it's revealed that the "behind the scenes" footage is itself scripted, as director Bob Rafelson and scriptwriter Jack Nicholson come into frame and reassure Tork, who's concerned that hitting a woman would be bad for his image. They tell him they can always cut it from the finished film if it doesn't work. While "Ditty Diego", the almost rap rewriting of the Monkees theme we heard earlier, sets out a lot of how the film asks to be interpreted and how it works narratively, the *spiritual* and thematic core of the film is in another song, Tork's "Long Title (Do I Have to Do This All Over Again?)", which in later solo performances Tork would give the subtitle "The Karma Blues": [Excerpt: The Monkees, "Long Title (Do I Have To Do This All Over Again?)"] Head is an extraordinary film, and one it's impossible to sum up in anything less than an hour-long episode of its own. It's certainly not a film that's to everyone's taste, and not every aspect of it works -- it is a film that is absolutely of its time, in ways that are both good and bad. But it's one of the most inventive things ever put out by a major film studio, and it's one that rightly secured the Monkees a certain amount of cult credibility over the decades. The soundtrack album is a return to form after the disappointing Birds, Bees, too. Nicholson put the album together, linking the eight songs in the film with collages of dialogue and incidental music, repurposing and recontextualising the dialogue to create a new experience, one that people have compared with Frank Zappa's contemporaneous We're Only In It For The Money, though while t

It's time to dissect A City of Shining Stars by Aaron Lim, with our guest from this run, Jeff Stormer. For our Origin Story segment, we took the opportunity to interview Jeff about how he prepped for this game with a lifetime of watching, reading, and studying superhero stories.Back IssuesMarvels by Kurt Busiek and Alex Ross (1994). The influential, and optimistic, mini-series follows a non-powered photographer through his career in Silver Age Marvel New York, looking at super-people as they emerge and alter the city's history. (Not to be confused with The Marvels, a more recent comic about superheroes at war.)Astro City by Kurt Busiek and Brent Anderson: a creator-owned, unified, multi-generational superhero story, as much about the city as about the heroes, and especially: “That Was Then” (2022), Family Album trade paperback (1997), Through Open Doors trade paperback (2014); stories about Jack-in-the-Box, a friendly neighborhood superhero with real-life family problems, or the Silver Agent, an era-spanning, time-traveling, tragic do-gooder (some of these stories collected in Shining Stars, 2014); the individual older stories and issues “Ellie's Friends,” “What I Did on My Vacation,” and “The Sky's the Limit.”Welcome to Tranquility (2007) by Gail Simone and Neil Googe. Action, detection and history in a retirement community for superheroes, with plenty of throwbacks and flashbacks to the eras when these superheroes were in their primes.History of the Marvel Universe (2020) by Mark Waid and Javier Rodriguez. It is what it says on the tin. And it's good.The Other History of the DC Universe (2021) by John Ridley and Giuseppe Camuncoli. In-universe DC history over the decades, through the eyes of characters of color, interwoven with real-life US events.The DC Book of Pride (forthcoming in 2023) by Jadzia Axelrod. A reference work of LGBTQ+ characters from DC past and present.The CastJeff Stormer (he/him, @PartyOfOnePod)Stephanie Burt (she/her, @accommodatingly/@accommodatingly@zirk.us)Fiona Hopkins (she/her, @fionawhim/@fionawhim@dice.camp)Show InfoWebsite: https://teamupmoves.com/Email: show@teamupmoves.comTwitter: @teamupmovesMastodon: @teamupmoves@dice.campTheme Music: “Play” by Sleepyhead

We are sick and broken and so are our friends in season six, episode sixteen “That Was Then.” The Witter patriarch is laid up in the hospital, Joey is tormented by a deranged young Romeo, and Dawson is confronted with the clammy ghost of film nerds past. Not to mention the feverishly bubbling possibility of POEY romance simmering in the background. If you want to sweat yourself,  follow us on instagram (@dawsonscreeps) and twitter (@dawsons_creeps). Or become a patron and we'll drop raw, uncensored feet pics of Zoe's broken toe.

That Was Then, This Is Now Acts 9:13-15 Sunday, October 2, 2022, 11:00am STAY CONNECTED: https://www.thechurchwithzeal.org Ways To Give: Website: https://www.thechurchwithzeal.org/give/ CashApp: $thechurchwithzeal Mail: Salem Missionary Baptist Church | P.O. Box 817 | Lilburn, GA 30048 In Person, Church Office: Tuesday - Friday, 9:00am - 5:00pm

Marni is joined by a client who had her entire life change in six months. Sherry was a self-proclaimed type-A perfectionist who would beat herself up. She admits that before last year's Ignite Your Life event, she couldn't envision how good her life could be. Now she has a partner who shares her vision.   Takeaways from this episode:   Inner child work Raising the bar of what is possible Becoming rejection-proof Leaning into a vision How to live courageously   That Was Then [1:26]   Sherry says she had done a lot of personal development work before discovering the last Ignite Your Life 3-day workshop. She was not in a content place. She had been dating someone from work who ghosted her despite them seeing each other every day.   She couldn't seem to let go of the hurt and rejection she felt. She was stuck. She knew she needed to get over it but couldn't quite get there no matter how much she tried. She went to different coaches to try to shift things until she signed up for Ignite Your Life.   Sherry made a mental commitment to make the most of the program. She recalls Marni telling her the program would work if she allowed it to work. Marni made it clear that it was an internal job even though Sherry often sought external solutions.   Sherry admits to struggling with self-worth and self-confidence. She had previously been in a relationship with someone emotionally abusive, then was single for eight years. She had a fear of getting into a relationship and being trapped, coping strategies from her childhood.   Don't look for an external solution for an internal job. In Just Six Months, Sherry's Life was Ignited [10:55]   Some people may sign up for the Ignite Your Life event with the sole purpose of attracting love and finding a partner. It was something Sherry often thought of. After the first day, Sherry realized it was bigger than that. It would be more about falling in love with herself, being comfortable in her skin, and becoming rejection-proof.   She created a profile on Match.com even though she was opposed to online dating. She decided to be open to everyone because she didn't know if her old patterns were still leading her life. She knew she had to trust her intuition.   Sherry Life Checked Herself [21:45]   Marni asks Sherry to offer one piece of advice to other women, Sherry says to consider how mean you are to yourself. Are you showing up as a sum of your core wounds?   When we are in a place of limitation and have a low bar about what is possible we can't see how good life can be.   Sherry now has a reference point and knows what her vision feels like in her body. Without the learnings, she gained from the event, everything would have felt out of reach. She became empowered to bridge the gap between where she was and where she wanted to go.   Make a Connection: Visit Our Website Join our Ignite Your Life event! Happening October 14‒16 2022! Learn How To Attract Your Perfect Equal… Watch Our Latest Training Here! Follow Along On Marni and Jeremy's Radical Living Challenge! Download A Complimentary Copy Of Our Book — How To Find A Quality Guy Without Going On 200 Dates    

In this weeks episode of The Dawson's Creek Rewatch, Cory and Tom are locked in and forcing inspiration as they discuss season 6 episodes 15 & 16, "Castaways" and "That Was Then." Blog Post

Steve Cooper talks with musician Martin Fry. Martin is best known for being lead singer of the band ABC. ABC's debut The Lexicon of Love went to No 1 and sold over a million records. To date, ABC have released nine studio albums and their hits include Tears Are Not Enough, Poison Arrow, The Look of Love and All of My Heart, That Was Then but This Is Now, (How to Be A) Millionaire and When Smokey Sings.  

When we're stressed, upset, feeling down, or off, most of us have things we do to decompress. Things we find therapeutic — maybe it's listening to music, working with our hands, or unplugging for a while.  But sometimes these mood boosters don't do the trick and it seems like it's time to talk to a professional.  During the pandemic, more people sought counseling than ever before. But the process of therapy can still seem a bit opaque. What exactly happens in therapy? How does it work? And which approach is right for which issues? On this episode, we get inside the heads of therapists to find out how they ply their craft, and what it takes to really feel better.  We hear stories about what happened when a city took a bold step toward providing free, virtual mental health services to its residents. Also: what happens when politics and therapy collide; how Freud's brainchild — psychoanalysis — is still relevant; and what it's like to grow up as the child of two shrinks. Also heard on this week's episode: We talk with veteran relationship therapist Argie Allen-Wilson about who should get therapy and why, how long therapy should last, and how to break up with your therapist. Allen-Wilson is CEO and co-founder of Family and Individual Therapeutic Healing (or F.A.I.T.H.) Inc. and Connections Matter.' Freud may have given rise to modern talk therapy — but these days, a lot of his ideas, from penis envy to the Oedipal complex, have fallen out of favor. So where does that leave modern psychoanalysis? Reporter Liz Tung talks with psychoanalysts Jonathan Shedler and Steven Kuchuck. For more on psychoanalysis, see Kuchuck's new book “The Relational Revolution in Psychoanalysis and Psychotherapy,” and Shedler's “That Was Then, This is Now: Psychoanalytic Psychotherapy for the Rest of Us.” From the time she was a kid, Dara Lovitz had one big fear: vomiting. But when she became a mother, she knew things had to change. Lovitz explains her journey, step by step, from phobia to acceptance through exposure therapy. Her book, with psychologist David Yusko, is “Gag Reflections: Conquering a Fear of Vomit Through Exposure Therapy.” Can you imagine having a therapist around 24/7 — analyzing your behavior, your moods, maybe even your dreams? For journalist Micah Toub, that was just normal life growing up as the son of two shrinks. Nichole Currie reports. Toub's book is “Growing Up Jung: Coming of Age as the Son of Two Shrinks.” This episode was first broadcasted on January 7, 2022

Escuchamos 'Toni', la carta de presentación del próximo disco de Interpol, seguimos descubriendo cómo suena el nuevo trabajo de Jack White y compartimos otro sencillo de Dani y una de las canciones que forman parte del EP que acaban de publicar Pavement. DANI – Ceras Rosas LA CASA AZUL – No Hay Futuro DORIAN – Tornado ÁNGEL STANICH – Rey Idiota PAVEMENT – Roll With The Wind JACK WHITE – That Was Then, This Is Now DAN MILLSON – Doktor OLIVER SIM – Fruit INTERPOL – Toni BISHOP BRIGGS – High Water LA LA LOVE YOU & RENEE - Quiero quedarme para siempre KAKKMADDAFAKKA - Sixth Gear EMPRESS OF - Save Me THE LINDA LINDAS - Nino FATHER JOHN MISTY – (Everything But) Her Love THE PRUSSIANS - We Are One Master CONFIDENCE MAN – What I Like Escuchar audio

That Was Then...This Is Now --- Support this podcast: https://podcasters.spotify.com/pod/show/daletalkpodcast/support

The Mark B Perry Interview   Mark B Perry is the writer and producer of the new Dark Shadows Reincarnation series currently in preproduction.   Mark B. Perry grew up in the suburbs of Atlanta, Georgia, where his childhood love of Carl Reiner's The Dick Van Dyke Show inspired him to pursue a writing career-after all, doing what Rob, Buddy, and Sally did all day sure looked like a great way to make a living. Because the University of Georgia lacked a prestigious film school at the time, Mark cobbled his own degree together from film and TV classes in the Henry W. Grady School of Journalism, supplemented by studies in play-writing, acting, directing, and cinema in the theater department. Before graduating with a bachelor's in broadcast journalism, Mark won the Claude P. Callison Award (or "Claudie" as it was known back in the day) for excellence in filmmaking by a student. After a brief sojourn writing and producing industrials for the local newspapers and a variety of companies including Southern Bell, General Motors, and Oral-B, Mark moved to Los Angeles in 1986 where he worked as an office temp by day while churning out sample feature screenplays and television scripts by night. Two years later, a chance viewing of a new series called The Wonder Years changed his trajectory forever. Mark's spec script for that top-ten show led to a freelance episode and a staff writer gig where the highlight of his first day in the room was the announcement that his spec script, "Summer Song," was to be purchased and produced as the premiere of the 1989-90 season. After racking up eighteen writing credits on The Wonder Years, a Humanitas nomination for his Thanksgiving episode, "The Ties That Bind," and his first producer title, Mark went on to write, produce, and sometimes serve as show-runner on such diverse series as Northern Exposure, Picket Fences, Moon Over Miami, Law & Order (which still sometimes gets him excused from jury duty), Party of Five, Push (to this day a sensitive subject), Time of Your Life, Pasadena, First Years, That Was Then, One Tree Hill, Windfall, and What About Brian. After helping to successfully launch the second season of ABC's Brothers & Sisters in 2007, Mark was a co-executive producer on CBS's Ghost Whisperer, then an executive producer on the first two (and arguably best) seasons of ABC's Revenge, followed by a stint as executive producer on NBC's Heartbeat. In 2018-19, Mark wrote the first season finale of Netflix's Dolly Parton's Heartstrings, "Two Doors Down," an LGBTQ-themed episode starring Academy Award-winners Melissa Leo and Ray McKinnon and directed by Wendy Stanzler. As a writer-producer on the first season on David E. Kelley's Picket Fences, Mark shared an Emmy Award for Outstanding Dramatic Series. For his "Falsies" episode of Party of Five, Mark was nominated for a Writers Guild of America Award for Best Achievement in Dramatic Writing. And for his writing and producing services on that same series, Mark shared a Golden Globe Award for Best Drama.   Opening Credits – Dark Shadows Theme – by Robert Cobert   Music Cues by Robert Cobert from Dark Shadows Catalogue   Closing Credits – Sorry For Writing All the Songs About You – by Clara Mae.  Taken from the EP Sorry For Writing All The Songs About You.  Copyright 2018 Big Beat Records   All Rights Reserved.   All Songs Available on Amazon

Cheryl and Tania discuss how the HBO series, AND JUST LIKE THAT... explores the loss of close friend Samantha in Episode 9.Watch Bonus Episode on YouTube:https://youtu.be/2HwX_xmh4wU @4.18:  THAT WAS THEN, THIS IS NOW,  book by S. E. Hinton @6.48:  "This podcast is a portal."   See more about this on future bonus episodes & on YouTube Channel.  @7.40:  INSECURE, HBO series by Issa Rae @7.47:  FRANCIS HA, film written by Noah Baumbach & Greta Gerwig. Tania Richard creator/host of the podcast: TANIA'S TAKE, Race Culture and the Culture of Race Listen on Apple Podcasts: https://podcasts.apple.com/us/podcast/tanias-take-race-culture-and-the-culture-of-race/id1450118710 Tania's TikTok: TRICHARD51 If you have a story you'd like to share anonymously on this podcast about a friendship breakup & how you moved through it, reach out to me at:  friendshipspodcast@gmail.com

Episode 100 Notes and Links to Susan Muaddi Darraj's Work        On Episode 100 of The Chills at Will Podcast, Pete welcomes Susan Muaddi Darraj, and the two talk about their shared love for S.E. Hinton and public libraries, in addition to Susan's history with language and words. They also discuss, among other topics, Susan's versatile writing and knack for getting inside the heads of her characters and her reading public, her experience with Palestinan-American representation in literature, as well as her award-winning work for adults and middle-graders.        Susan Muaddi Darraj's short story collection, A Curious Land: Stories from Home, was named the winner of the AWP Grace Paley Prize for Short Fiction, judged by Jaime Manrique.   It also won the 2016 Arab American Book Award, a 2016 American Book Award, and was shortlisted for a Palestine Book Award. Her previous short story collection, The Inheritance of Exile, was published in 2007 by University of Notre Dame Press. In 2018, she was named a Ford Fellow by USA Artists. Susan also is a two-time recipient of an Individual Artist Award from the Maryland State Arts Council. She has also been awarded a Ruby's Artist Grant from the Greater Baltimore Cultural Alliance and a grant from the Sustainable Arts Foundation. In 2019, she launched the viral #TweetYourThobe social media campaign to promote Palestinian culture. Later that year, she was named winner of the Rose Nader Award, by the American Arab Anti-Discrimination Committee (ADC), an award given by the Nader family to a person who “demonstrates an unwavering dedication and commitment to values of equality and justice.” In January 2020, Capstone Books launched her debut children's chapter book series, Farah Rocks, about a smart, brave Palestinian American girl named Farah Hajjar.   Buy Susan Muaddi Darraj's Work   "Memory, home and belonging in 'A Curious Land' "   Susan Muaddi Darraj's Articles for Middle East Eye   Necessary Fiction's Review of A Curious Land: Stories from Home At about 3:00, Pete asks Susan about her childhood relationship with language and reading   At about 8:45, Susan lists and describes some memorable books that have informed her work and that she loved as a kid    At about 10:20, Susan discusses representation and how she felt or didn't feel represented as an adolescent and beyond; she also describes her groundbreaking series, Farah Rocks   At about 11:55, Susan discusses how “demoralizing” it was in not seeing her experience in what she read as a kid, and the implications of a pertinent quote from Dr. Rudine Sims Bishop   At about 13:20, Susan describes in late high school and college how Naomi Shihab Nye's Habibi was shocking and transformative for her   At about 14:30, Pete references the Episode 94 kudos and appreciation for Naomi Shihab Nye   At about 15:45, Pete wonders about lack of representation or negative representation for Arab-Americans/Palestinians, and Susan details the negative stereotypes that often lead to/come from Aladdin   At about 18:55, Susan responds to Pete's question about inspirations and “ “Eureka' moments” that catapulted her writing career, and she cites writers like Sylvia Plath, bell hooks, James Baldwin, Toni Morrison, Sandra Cisneros, Isabel Allende, and more   At about 22:50, Pete inquires about Susan's relationship with Richard Wright's work   At about 23:55, Susan details her college experience and her parents' view of her studies; she references common career expectations in Arab-American/immigrant communities and how she began to write as she taught literature    At about 28:30, Susan references #5amwritersclub and Maya Angelou's philosophy about early morning writing   At about 29:35, Pete asks Susan about who she's reading now; she shouts out S.K. Ali, Aisha Saeed, Hena Khan, and Saadia Faruqi   At about 31:00, Susan describes the excellence of poetry that draws her back, including T.S. Elliott's “The Love Song of J. Alfred Prufrock”   At about 31:35, Pete wonders how being a successful published writer has affected the way she reads    At about 33:30, Susan talks about being “energized” by movies and TV and their structure and characterization   At about 35:10, Susan talks about the biographies for young readers she wrote for Chelsea House Publishing, as well as the phenomenon of “reluctant readers for preteen boys”   At about 37:50, Pete wonders about how Susan gets her work to the correct level for young readers   At about 38:40, Pete and Susan use S.E. Hinton's work as an example of an impeccable sense of what young readers are drawn to; Pete talks about the chills that came with the cyclical nature of the book, and Susan is reminded of the iconic Theme for English B by Langston Hughes   At about 40:50, Pete recommends That Was Then, This is Now   At about 41:15, Susan gives some background on the title character's name and significance for the Farah Rocks… Series, as well talking about her choices in translation   At about 45:00, Susan and Pete talk about ableism and “the new girl” as theme, as well as some subtle    At about 48:00, Susan talks about two upcoming projects   At about 48:40, Pete asks about the seeds for the book and the title of A Curious Land: Stories from Home, and Susan discusses the connection between the collection and her first book, The Inheritance of Exile: Stories from South Philly   At about 51:00, Susan discusses research done for A Curious Land: Stories from Home   At about 53:10, Pete wonders about any pressures Susan might feel in writing from the point-of-view of a member of the Palestianian diaspora, and in talking about her changing attitude regarding this, Susan quotes Jacqueline Woodson   At about 55:00, Pete asks Susan who else is “doing the work” in writing varied stories of the Palestinian community, including Eta Frum and Susan Abulhawa   At about 56:00, Susan gives background on the epigraphs for A Curious Land…   At about 58:00, Pete and Susan highlight the beginning of the collection in setting the scene for the thematically-linked collection and talk about themes of agency and women's role in society, and sacrifice   At about 1:00:45, Pete asks Susan about her goal/rationale for using the town of the collection as a “character,” almost like Faulkner's Yoknaptawpha County, including the effects of the Occupation   At about 1:03:00, Susan talks about the diversity of The Middle East and the ironies of people assuming that she needs to be taught about Christianity; she references an article on these misconceptions by Ryan al-Natour   At about 1:07:00, Susan describes a “family-tree effect” that she instituted for her collection   At about 1:08:30, Pete reads from a review of the collection   At about 1:10:00, Susan goes in-depth about upcoming projects   At about 1:13:25, Susan gives her contact info and social media info         You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode.  This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form. The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com. Please tune in for the next episode, Episode 101 with Mia St. John, former five time world champion boxer and dedicated advocate for improved mental health facilities and care. She is the author of the recently-published Fighting For My Life: A Memoir about a Mother's Loss and Grief. The episode will air on January 25.   

The new year often feels like a good time to make a fresh start, to tackle some issue that's giving you grief — eating habits, work-life balance, having time for friends or exercise… but as the pandemic rages on, it's hard to have the energy to keep trudging along, let alone become some better version of yourself. Which is why more people than ever are turning to therapy. But the process of therapy can still seem a bit opaque. What exactly happens in therapy? How does it work? And which approach is right for which issues? On this episode, we get inside the heads of therapists to find out how they ply their craft, and what it takes to really feel better. We hear stories about what happened when a city took a bold step toward providing free, virtual mental health services to its residents. Also: what happens when politics and therapy collide; how Freud's brainchild — psychoanalysis — is still relevant; and what it's like to grow up as the child of two shrinks. Also heard on this week’s episode: We talk with veteran relationship therapist Argie Allen-Wilson about who should get therapy and why, how long therapy should last, and how to break up with your therapist. Allen-Wilson is CEO and co-founder of Family and Individual Therapeutic Healing (or F.A.I.T.H.) Inc. and Connections Matter. Freud may have given rise to modern talk therapy — but these days, a lot of his ideas, from penis envy to the Oedipal complex, have fallen out of favor. So where does that leave modern psychoanalysis? Reporter Liz Tung talks with psychoanalysts Jonathan Shedler and Steven Kuchuck. For more on psychoanalysis, see Kuchuck’s new book “The Relational Revolution in Psychoanalysis and Psychotherapy,” and Shedler’s “That Was Then, This is Now: Psychoanalytic Psychotherapy for the Rest of Us.” From the time she was a kid, Dara Lovitz had one big fear: vomiting. But when she became a mother, she knew things had to change. Lovitz explains her journey, step by step, from phobia to acceptance through exposure therapy. Her book, with psychologist David Yusko, is “Gag Reflections: Conquering a Fear of Vomit Through Exposure Therapy.” Can you imagine having a therapist around 24/7 — analyzing your behavior, your moods, maybe even your dreams? For journalist Micah Toub, that was just normal life growing up as the son of two shrinks. Nichole Currie reports. Toub's book is “Growing Up Jung: Coming of Age as the Son of Two Shrinks.”

Houston bred/LA based singer, songwriter Trevor Daniel recently released his album “That Was Then.” The new album encourages a sense of normalcy as we return to the post-pandemic aspects of our lives. Daniel is known for his single ‘Falling,' which became extremely popular on TikTok.

Your kids are doing it... your teacher is doing it... your co-workers are doing it... your neighbors are doing it... your church parishioners are doing it... grandma's doing it... heck, everybody's doing it... This episode features the salacious, enticing, and destructive guilty pleasure GOSSIP.  Jazmine Bentley brilliantly sets the tone with her ‘tongue-in-cheeky' monologue. In our That Was Then segment we hang in the shadows of JESUS CHRIST - the most gossiped about person in history to see how He dealt with all the disinformation concerning Him. Our This Is Now segment brings gossip center stage (literally) as we hear snippets of a TEDx Talk by celebrity gossip journalist Elaine Lui as well as getting Dave Ramsey and Brenae Brown's take on gossip. I'm convinced you'll wanna tell everybody about this episode!

Cecilia Gray writes about first love, second chances, and forever friendships. She has written over twenty young-adult and romance titles. That Was Then, a pandemic midlife reboot tale, is her first contemporary mainstream novel. Cecilia used the pandemic for a midlife reboot of her own and is currently slow traveling the world with her two cats. You can read more about her work at ceciliagray.com.How Do You Write Podcast: Explore the processes of working writers with bestselling author Rachael Herron. Want tips on how to write the book you long to finish? Here you'll gain insight from other writers on how to get in the chair, tricks to stay in it, and inspiration to get your own words flowing. Join Rachael's Slack channel, Onward Writers! See acast.com/privacy for privacy and opt-out information.

Dan Tetsell is a comedy writer and performer but he's probably best known for appearing in Hollyoaks as Jim McGinn for 111 episodes. He's also been in Miranda, Psychoville, Skins, Peep Show, Utopia, Humans, Red Dwarf, Not Going Out and Upstart Crow. As a writer he's written The Museum of Everything, That Was Then, This Is Now and Newsjack for BBC Radio 4 and the CBBC series young Dracula. Dan Tetsell is guest number 133 on My Time Capsule and chats to Michael Fenton Stevens about the five things he'd like to put in a time capsule; four he'd like to preserve and one he'd like to bury and never have to think about again .Follow Dan Tetsell on Twitter: @tetsell . Follow My Time Capsule on Twitter, Instagram & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by Matthew Boxall .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people. See acast.com/privacy for privacy and opt-out information.

This episode was created for everyone who may be feeling a little weary, anxious, alone, frustrated, overwhelmed, COVID-fatigued, politically disgusted, depressed, hopeless or disheartened for any reason.In our "That Was Then" segment we take a peek down a country-dark corridor of King David's life. He's greatly distressed, he lost everything and on top of that his own life is being threatened.  We'll see how he was able to ENCOURAGE himself and recover everything that was lost.You'll be doing cartwheels by the time you get through our "This Is Now" segment as Nick Vujicic and Christine Caine - two Australian mega-giant motivational speakers will ENCOURAGE you to keep going and conquer!

In this episode our "That Was Then" segment features one of the biggest bully defeats in history - the full Biblical account of David and Goliath.  Although we mostly tend to focus on Goliath as the bully, the full text shows us that David had to make it past several people who sought to put and keep him in his place - just to get to Goliath.  Throughout these verses, there was a constant push and push-back ranging from “you can't do that” to “yes I can”, to “you don't have what it takes… to “yes I do, to “you aren't big, strong, old or smart enough” to “yes I am”!  Although we all know how the story ended (back then) we explore what modern ballistic reports would say about David's "sling" today and how that same courage and tenacity could stop the biggest bullies of our time.  Our "This Is Now' segment features a first-hand testimony of a cyber bullying victim who turned vicious web comments into one of  the most successful anti-bullying campaigns in the world.

This episode features court trials that went HORRIBLLY WRONG!!!  In our "That Was Then" segment we start with a Biblical/historical example of a woman charged with adultery (a crime punishable by death back then)  and in our "This Is Now" segment shift to a non-religious modern account of a man wrongly accused and sentenced to over 200 years for a brutal sexual assault.  In both cases, the defendants were (eventually) ACQUITTED of all charges.  Marvin Anderson, with the help of the Innocence Project shared riveting details about his fight for freedom in his own words.  Lastly, after getting an example from scripture of when we should or shouldn't acquit (forgive) we rehashed some catch phrases that stemmed from past hurts caused by another person or circumstance. 

This episode highlights icons of society who soldiered through the harshest criticism to accomplish their dreams and fulfill their purpose.  Our "That Was Then" segment dissects the sibling rivalry between Moses (the 2nd most criticized man on earth besides Jesus), his big sister Miriam and his slightly older brother Aaron.   In our "This  Is Now" segment we rehash the blistering criticism faced by Martin Cooper (inventor of the cell phone), Steve Jobs, Jennifer Hudson and the Beatles.  From them we learn the difference between constructive and destructive criticism.

Sermon by Rabbi Nicole Auerbach, "That Was Then, This Is Now"June 18, 2021

Religiously Incorrect Podcast 1/24/2021"That Was Then, This is Now Pt 2"This week, Pastor Jeff and Pastor Todd welcome special guests Pastor Dave Holbrook and Pastor Michael Harrison to add insight to our discussion on pastoral transitions. Be sure to like our pages on FB, IG, and Twitter! Follow our YouTube Page for our exclusive 1ST SUNDAY episodes of RIP!#RIP #REALRAWUNCUTHosts: Pastor Todd and Pastor JeffProduced by: Michael J.Production: Big Mike, Mr. LarryDesign by: Larry JohnsonMusic: J. AustinFOLLOW:WEBSITE: http://www.ReligiouslyIncorrectPodcast.comFACEBOOK: https://www.facebook.com/ReligiouslyIncorrectPodcastTWITTER: https://www.twitter.com/OfficialRIPCINSTAGRAM: https://www.instagram.com/ReligiouslyIncorrectPodcast

Religiously Incorrect Podcast 1/17/2021“That Was Then, This Is Now”Pastoral changes are never easy. Pastor Jeff and Pastor Todd give an inside look at the process of transitioning from one church to another. #RIP #RealRawUncutHosts: Pastor Todd and Pastor JeffProduced by: Michael J.Production: Big Mike, Mr. LarryDesign by: Larry JohnsonMusic: J. AustinFOLLOW:WEBSITE: http://www.ReligiouslyIncorrectPodcast.comFACEBOOK: https://www.facebook.com/ReligiouslyIncorrectPodcastTWITTER: https://www.twitter.com/OfficialRIPCINSTAGRAM: https://www.instagram.com/ReligiouslyIncorrectPodcast

Are you a woman in midlife? Do you have a little more time now to do a little identity rediscovery? Join me on THAT WAS THEN, THIS IS YOU, where we will work on building new confidence and creating a personal and home style that is a fabulous start for your lovely "Part II Debut". I'll help you smash any negative self-talk while we share stories from our jam-packed past lives- Told by a flawed mom of 4 millennial daughters and life coach for women in midlife, Mary. --- Send in a voice message: https://anchor.fm/badassmidlife/message

In this episode of the Second Success Podcast, Dr Rakish Rana talks with TV Presenter, Hayley Palmer. Hayley started out her career in Radio at Voice Fm, and quickly moved to presenting the Drive time show on Vibe 107.6. Her passion for radio shined through, which secured her hosting a 3 hour Show on Love Sport Radio & presenting the Showbiz News. Her talent was picked up by SKY TV where she currently presents an 80's music show on Prime time Saturday night, where guests have included favourites from my teenage years, including Kim Wilde, Toyah Willcox & Bucks Fizz, and a weekly chat show called ‘At Home with Hayley' where guests have included Duncan James, Courtney Act & Lady Colin Campbell, and also which was recently voted in Closer Magazine's top 20 Shows of the week. Hayley's natural and warm persona, has landed her to Host Prestigious Events such as Live at Television Centre, National Film Awards, An evening with Carter Savoy & interview at The National Television Awards & the Dancing on Ice launch. Hayley also writes a weekly entertainment column for Revive Magazine. Hayley is co-presenting a new show called ‘That Was Then, This Is Now' a reboot of Tops of the Pops, with broadcaster Mike Read, and producer Mike Stock (of Stock, Aitken & Waterman) In this podcast, we'll hear what kinds of mindset and daily habits Hayley believes were key to acheiving success!! How can you support the podcast? 1. Share it on your social media platforms. 2. Tell your friends and family 3. Please follow, subscribe and review Episodes released every Tuesday 6am GMT. --- Send in a voice message: https://anchor.fm/theclearcoach/message

Join Ariel Faye on Contemporary Christian Music Talk Episode 38! Listening and going more in-depth with songs and artists, “That Was Then, This Is Now” by Josh Wilson and “For Freedom” by United Pursuit. Follow, suggest songs and artists to Ariel Faye on Twitter @ArielFayeR or on Facebook at Ariel Faye.

SHOW NOTES:  On Episode 23, Pete discusses the legend S.E. Hinton and her “endings that echo” throughout his life, so memorable in their rawness and beauty. You can now subscribe to the podcast on Apple Podcasts, and leave a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Spotify, and, as of this week, on Amazon Music! Follow Pete on IG, where he is @chillsatwillpodcast, or on Twitter, where he's @chillsatwillpo1. This is a passion project for Pete, a DIY operation, and he'd love for your help in promoting what he's convinced is a unique and spirited look at an often-ignored art form. You can find That Was Then, This is Now and The Outsiders anywhere you buy books. That Was Then, This is Now was published in 1971 by Viking Penguin Publishing, and The Outsiders was published in 1967 by Viking Penguin Publishing. The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com. Thanks again for listening, and Pete hopes that these quarantine days bring you texts by writers with MAD Skills whose work gives you chills at will. The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other cool song played on this episode was “Hoops” (Instrumental Version”) by Matt Weidauer, used through Arches Audio. Matt's artist page can be found here. Authors Mentioned and Allusions and Songs Referenced During the Episode:   Amazement GIF #1 Amazement GIF #2

Van Halen – A Different Kind Of Truth On this episode, we have a round table discussion of sorts. Ralph Viera (a/k/a Dr. Fukk) and James West join Marc and Lee to discuss an album that many Van Halen fans were clamoring for. Thanks to Wolfie [Wolfgang]  Van Halen (bassist on the album), we got it! We chime in on our opinions of the songs and talk about related things of interest in regard to Van Halen. Ralph’s track of the day is a live version of Lynyrd Skynyrd’s “Needle and the Spoon”, James’ track is a song by Down called, “Bury Me With Smoke.” Marc picked a track from the Tubes called, “Talk To Ya Later” and Lee picked a song by Earth Quake called, “Guarding You.” As a code, the episode concludes with a Lee Gerstmann song called, “That Was Then.” Peace, everybody! Stay well and continue to be entertained by good music. J

Pastor: Steve Coker Scriptures: Luke 2:9-11 Matthew 4:16 (Isaiah 9:2)

It’s time for hippies, the flea market, and the California Raisins, as we cover “That Was Then, This is Dumb,” on this week’s Morgendorks! Helen and Jake have some friends from their old hippie days visiting for the weekend, and they’re bringing that 60s lifestyle with ‘em. Meanwhile, Daria escapes to the flea market, where she helps Trent and Jessie unload some vintage vinyls. For our Cultural Context, we dig yet again into hippies—but this time, taking a more in-depth look at the social and political importance of the movement. What did it really mean to “believe in stuff” back then? Also: the California Raisins. ANNOUNCEMENT: We now have a Patreon! If you’re interested in supporting the show, just head on over here! We’ll be giving shout-outs and producing additional content including Cultural Context posts, episode observations, and more! Also, we’re taking your suggestions for further contributor bonuses! Check it out! Exclamation points! ANOTHER ANNOUNCEMENT: Morgendorks is now offering episode transcriptions! If someone you know might be interested in the show but can’t listen for accessibility reasons, point them in the direction of our website, where transcriptions are going live. They take a while to produce, so right now there’s only one—but more are on the way! Links: DVDaria | Anne Bernstein interview (2006) Berlin Farmer’s Market Meet the Raisins Smithsonian.com | Fifty Years Ago, a Rag-Tag Group of Acid-Dropping Activists Tried to “Levitate” the Pentagon Washington Post | The Day Anti-Vietnam War Protesters Tried to Levitate the Pentagon Wikipedia | “Flower Power” (photograph) Gallup | Americans Look Back at Vietnam War Outpost Daria Reborn Website: morgendorks.podbean.com Patreon: patreon.com/morgendorks Email: morgendorks@gmail.com Twitter: @morgendorks Facebook: fb.me/morgendorks.podcast

Dr. Snuggles and friends return for episode 45 of Get Soft, your guide to the truly astonishing world of softcore films, and the world’s number one podcast on that subject! It's the finale of Get Soft’s Bikini Summer Summer, as we take on 1997’s Bikini Summer III: South Beach Heat! This time the action moves from LA across to Miami, and the plot goes from oddly ambitious in the last one to what might charitably be described as threadbare. Jamie, a makeup artist for a bikini contest, ends up competing, even though she insists she’s more interested in painting than posing and doesn’t have the body for it anyway. Given Jamie is played by actual former bikini model Heather Elizabeth Parkhurst, you can probably guess where it’s going. What you might not have seen coming is the scummy undercurrent of homophobia (through what is honestly a very offensive caricature) and uncomfortable sexism (although probably the sexism might be sort of expected, who knows). It’s a weird one, but if you start watching a series you simply cannot not watch every film. It’s the law. Also, everyone’s favourite, Jim Ether joins us, and for some reason this episode is 2 and a half hours long. It’s not entirely clear why. And, we look at the life and career of star and associate producer Heather Elizabeth Parkhurst! She was in Sherman Oaks, she was a member of the Swedish Bikini Team, and she had guest spots on a bunch of TV shows ranging from fondly remembered (Married...with Children, Get a Life, The George Carlin Show) to barely remembered (Top of the Heap, Rachel Gunn R.N., That Was Then). Also she was the titular Lisa in the video for Pauly Shore’s hit (?) single Lisa Lisa in 1991. We listen to it. It’s worse than you remember. Hey, why not call us on our hotline? (724) 2GO-GO69 or (724) 246-4669!

What if you could change your life by changing your handwriting? The theory behind graphotherapy is simple: change the handwriting stroke and you change the associated handwriting trait.As a writer and film producer/ director, Gary Lindberg has won over 100 major national and international awards. He is the co-writer and producer of the Paramount Pictures feature film “That Was Then, This Is Now” starring Emilio Estevez and Morgan Freeman. http://calumeteditions.com/authors/gary-lindberg/Jane Hollis, MA, LP is a licensed Psychologist in private practice. Using Psychological testing of candidates for employment and promotion, Jane Hollis works with small to large corporations. Designed and facilitated team-building workshops based on personality assessment to promote cooperation, stress reduction and productivity.

As a writer and film producer/ director, Gary Lindberg has won over 100 major national and international awards. He is the co-writer and producer of the Paramount Pictures feature film “That Was Then, This Is Now” starring Emilio Estevez and Morgan Freeman. http://calumeteditions.com/authors/gary-lindberg/

Life can throw you hard, curve balls. During these incredibly difficult times, it easy to commit to throwing in the towel. The only thing that might stop you from resigning to living a mediocre life is another person sharing her or his story of moving from deep, deep despair to victory, joy and peace. Saturday, July 21, 2018, starting at 11am/EST (New York City time), #books #author, Denise Turney, will delve into these very issues.  Special Off The Shelf Book talk #radio guest is Paulette Harper, a talented writer, motivational speaker and life coach. Paulette is the senior editor of the anthology, Arise From The Ashes. Other books that Paulette has written include Completely Whole, Secret Places Revealed, Living Separate Lives, Princess Neveah and That Was Then, This is Now.  Denise and Paulette will explore ways to overcome some of life's hardest difficulites. They will also take on book writing and share book marketing tips. Tune in! This show might help to change your life for the better! Tell your family, friends, colleagues, neighbors and book lovers everywhere to catch Off The Shelf at 11am/EST. Connect to the show LIVE by dialing (347) 994-3490! See you Saturday, July 21 at 11am/EST. Prepare to be blessed!

DON'T MISS THIS ONE! This week's episode gets bananas. I talk about the video game God of War for a little while, but the show REALLY gets going when I review the Hallmark movie "The Beach House" starring Andie MacDowell. That, plus music reviews of albums by Frank Turner, John Moreland, and a nod to Jason Isbell and some talk about my own music career as well. It's a good one. Dig it! 0:00 - Intro Stuff including a plug for my new album "It Could Be Worse." 8:12 - Music break #1 - "That Was Then" from "It Could Be Worse" 8:45 - Video Game Review: God of War (from the perspective of someone who didn't play it) 27:53 - Music Break #2 - "Remember Me" from the "Sorry I Didn't Mean to Shout" release 28:25 - Hallmark Movie review: The Beach House 38:12 - Music Break #3 - "The Best" from the "Ink Stained Fingers" album 38:43 - Music reviews of stuff by Frank Turner, John Moreland, and a nod toward Jason Isbell. 48:23 - Music Break #4 - "Please" off of the "Out from the Light" album 48:53 - Outro comments, including me plugging a gig. Thanks! Be sure to check out the companion blog at http://emptychecking.blogspot.com for more information.

Full blog post: https://emptychecking.blogspot.com/2017/11/episode-14-you-did-nothing-to-deserve.html Long episode this week, because I kinda got into a serious thing talking about Ric Flair. I review the ESPN 30 for 30 documentary on Flair, talk about wrestling in general, review the 2017 releases by The National and the Jesus and Mary Chain, talk about my shoes, talk about the dentist, and play the guitar. All that and other stuff! Here's the outline: 0:00 - Introduction stuff. 2:48 - Shoes! Dentist! Etc! (Including talking about an upcoming thing I'll be doing on the podcast.) 9:26 - Guitar Break #1 - "That Was Then" acoustic sample. 10:55 - Music reviews for The National's "Sleep Well Beast" and the Jesus and Mary Chain's "Damage and Joy." Also my current listening: Leonard Cohen and Rush. 26:11 - Guitar Break #2 - "Amanda, I'm Tired" acoustic sample. 28:12 - Review of ESPN's 30 for 30 on Ric Flair, including a healthy amount of fan-boying over Ric Flair and his career. 58:47 - Guitar Break #3 - "No One Leaves St. Louis" acoustic sample. 1:00:42 - This week in WWE Wrestling. 1:13:13 - Closing remarks/exit music.

Download This Awesome Podcast: http://bit.ly/2Wx2gAN Rod Khleif is an entrepreneur, real estate investor, multiple business owner, author, mentor, and community philanthropist who is passionate about business, life, success, and giving back. As one of the country's top real estate investors, Rod has personally owned and managed over 2,000 apartments and homes. Rod is Host of the #1 Ranked iTunes Real Estate Podcast which has been downloaded more than 1,500,000 times – “The Lifetime Cash Flow Through Real Estate Investing Podcast.”  Rod is the author of “How to Create Lifetime Cash Flow Through Multifamily Properties” considered to be an essential “textbook” for aspiring multifamily investors.  As an accomplished entrepreneur, Rod has built several successful multi-million dollar businesses. As a community philanthropist, Rod founded and directs The Tiny Hands Foundation, which has benefited more than 50,000 community children and families in need. Rod has combined his passion for real estate investing and business development coaching with his personal philosophy of goal setting, envisioning, and manifesting success to become one of America's top real estate investment and business development trainers. From www.rodkhleif.com … Rod Khleif immigrated to the USA at six years old in 1966. He remembers his mother crying as they past the Statue of Liberty. WHERE DID ROD GET HIS WORK ETHIC: “My Dad and Mom really struggled. My Mom… actually I got my work ethic from her. Because she babysat kids to have extra money for us. She was very entrepreneurial. She invested in the stock market. She was a Housewife. She bought the house across the street. And she bought this when I was about fourteen. And when I was about to graduated from High School a few years later she told me she made about twenty grand in equity on it… it had gone up twenty grand. And I'm like I'M DOING THAT!” WHAT CATAPULTED ROD FROM MEDIOCRITY to SUCCESS: Rod got his Brokers license as soon as he turned 18. “I didn't make any money my first year. Made ten grand… twelve or fifteen my second year. My third year though, I met a guy who taught me about MINDSET and ATTITUDE and I made in the hundred thousand range…” MENTORSHIP!!! Find a Mentor! Rod 10xed his profits BEFORE 10X was even a thing!!! All because of a MENTOR! “In 2006 my portfolio went up 17 million dollars while I slept.” And the 2008 came along. Rod had about 800 units and SFR properties spread through out three states and he got crushed. “I lost it all. I call these seminars. This was a 50 Million Dollar Seminar for me.” HUGE LESSON: “What was fascinating to me was that my multi families did just fine, it cash flowed throughout that crisis. My single families didn't. The reason being… they were spread out… LISTEN IN FOR WHY IT COSTS MORE TO HOLD SINGLE FAMILY RENTALS!!! THAT WAS THEN, THIS IS NOW… ON MINDSET: 80 percent of your success in anything is MINDSET or PSYCHOLOGY. Only 20 percent is the mechanics… 80 percent or maybe even 90 percent is your ability or motivation TO TAKE ACTION! LISTEN IN FOR ALL THE TOOLS YOU NEED TO HELP YOU WITH MINDSET! MORNING ROUTINE: “One of the gifts I give to all my students: “The Miracle Morning” by Hal Elrod. ANOTHER BOOK RECOMMENDATION: “The Secret” WORDS TO LIVE BY!! Nike - “Just do it!” “Everything starts from a place of gratitude.” “Get yourself to a point where you are feeling incredible emotion for these things that you want as if you have already have them.” BIG WHY His lovely wife. HOW TO FIND ROD: Please listen to his podcast! Read his books! You can find this all at: www.rodkhleif.com BONUS VALUE ADD: FREE BOOK!!!! “How to Create Lifetime Cash Flow Through Multifamily Properties” by Rod Khleif Text ROD to 41411 We are so honored to have had Rod on our podcast! So GRATEFUL!!! And so grateful to you for listening!!! Thank you! See acast.com/privacy for privacy and opt-out information.

This week in Know The Ledge Podcast, we proudly presents an interview with Intell. He recently released his album That Was Then, This Is Now, which has blown us away. Intell is a skillful and devoted rapper, with a lot of assets to offer to the modern rap game. He worked his way from the underground with not only talent, but also immense persistence and determination, and now he is on the brink of an international breakthrough. The new album is being released through Goon MuSick, which is based in Europe and known as the legendary Hip Hop producer team Snowgoon’s record label. And through the record label Nah Bro Entertainment, whose CEO is the rapper Sean Strange. Intell is born in Staten Island, New York with Wu blood in his veins, being that U-God from Wu-Tang Clan is his father. Intell has featured on Method Man's The Meth Lab album, and the Snowgoons produced track Word Of Mouth on Intell's album features Inspectah Deck. Intell has found his own style and is flowing with the best of them, add to that very intelligent lyrics from a healthy mindset. Intell is one of the most talented American rappers with both feet on the ground. Listen to an interview with him and a couple of dope tracks from the Intell album That Was Then, This Is Now in the newest episode of Know The Ledge. TRACKLISTE : BIORIGINALS - BIORIGINALITY SNOOP DOGG FT REDMAN, METHOD MAN & B-REAL - MOUNT KUSHMORE MARLON CRAFT - TRUTH IS ICE CUBE - GOOD COP BAD COP MC LYTE - ROUGHNECK INTELL - THE PEOPLE DECIDE INTELL - THE BLACKOUT MANUS BELL - WHAT UP IS ? SNOWGOONS FT GHOSTFACE KILLAH, ILL BILL, ASPECTS & SICK JACKEN - KILLAZ SUPREME DABBLA FT GRAZIELLA - PSYCHOVILLE MILEZ GRIMEZ - GUNPOWDER

Paulette Harper joins me to discuss her first full length novel, "Secret Places Revealed" and her inspiring chronical of her path through the roughest time in her life, "That Was Then, This Is Now, This Broken Vessel Restored". Paulette writes books that bring spiritual water to people in life's deserts. Besides being a multi award winning author, workshop facilitator, speaker and ordained Elder, Paulette is also the owner of Write Now Literary Virtual Book Tours where she helps authors develop and market their books.   Interview Highlights:   Paulette Harper's writing journey from non-fiction to fiction The event in Paulette's life that inspired her to write her books How this writing journey was not her original intention but how God had a different plan for her We discuss Paulette Harper's first full length novel "Secret Places Revealed" Paulette share an interesting story of how the title came about We delve in the Paulette's use of tension to create a love story that is a real page turner We talk about Paulette's chronical of a trial in her life: That Was Then, This Is Now, This Broken Vessel Restored" Paulette discusses the two questions people ask themselves when they are in a low point We talk about how "That Was Then, This is Now, This Broken Vessel Restored" has help readers through some very rough moments in their lives Paulette briefly describes her other books, the services she provided to help other writers and Write Now Literary Book Tours Paulette Harper's Amazon Page https://www.amazon.com/Paulette-Harper/e/B004FEJKCQ/ref=dp_byline_cont_pop_ebooks_1   Paulette Harper's Websites https://www.pauletteharper.com/ http://wnlbooktours.com/   Paulette Harper's Social Media Links Twitter:  @pauletteharper Goodreads:  https://www.goodreads.com/author/show/5824102.Paulette_Harper Facebook:  authorpauletteharper Instagram:  pauletteharper1

A naturally gifted musician, San Diego born bassist Darryl Williams began playing bass at the young age of 13. Within two years he was playing at local clubs and events around the San Diego area, which includes opening up for smash RnB group Lakeside. He also played with Gospel Legend Shirley Caesar at age 16. After graduating from high school, Williams did a four-month tour of Japan with other young talented musicians, which he states as being "unforgettable". Upon returning to the States, that same band did a three-month tour opening for soul legend Al Green. After that tour, Darryl enrolled in the Jazz Program at San Diego State University and studied with San Diego legends Gunner Biggs and Rick Helzer. With a hunger to grow musically, he sought out other teachers as well which includes former Miles Davis and John Coltrane bassist Marshall Hawkins, Sarah Vaughn bassist Bob Magnusson, great San Diego bassist Cecil Mcbee Jr. and San Diego sax icon Hollis Gentry III. By age 21, Williams was a regular on the San Diego music scene performing regularly with artist like Hollis Gentry, Evan Marks and Patrick Yandall to name a few. In 1997, Williams moved to Las Vegas and performed regularly at all the prestigious Hotels and Casinos working with headliners and recording artist. One of the artist Williams performed regularly with was Las Vegas Hall Fame inductee Clint Holmes. In 1999, Williams was hired as Musical Director for The International House Of Blues Foundation and continued working with several artist and was involved several recording projects. From 2001 to 2003 he was one of the in house bassists at the world renowned Blue Note Jazz Club in which performed with sax legend Chico Freeman, RnB legend Angela Bofil and was the co-host of the Sunday Night Blue Note Jam Session. Williams was also the second call bassist for Chaka Khan from 2003-2004, which included several performances across the States. From 2003 to 2007 Williams worked with several recording artist in Las Vegas such as Ronnie Foster, Ghalib Ghallab, Tevin Campbell, Clint Holmes, Keith Washington, Skip Martin, Howard Hewitt and many more. In 2008 Williams relocated to California. Upon relocating, he released his first solo CD, “That Was Then” and received high praises from several top smooth jazz writers and dj’s. In a Jazz Times Magazine article dated October 2008, noted jazz writer Brian Soergel says, “ Is there room for another smooth jazz bassist to join the ranks of Wayman Tisdale, Brian Bromberg, Michael Manson and Gerald Veasley? In the case of Darryl Williams the answer is an enthusiastic yes”! Two songs from Williams debut effort were featured on the Weather Channel and can be heard today on Sirius XM radio, Music Choice and international and national radio stations alike. From 2008 to current, Williams has performed or toured with several of the top Contemporary Jazz Artist of today. Some notable names include Euge Groove, Michael Lington, Richard Elliot, Mindi Abair, Jeff Lorber, Peter White, Brenda Russell, Jeff Golub, Paul Brown, Darren Rahn, Jessy J, Everette Harp, Jeff Kashiwa, Eric Darius, "Queen Of Disco" Gloria Gaynor and many more. Williams continues to record today with several artists and can be heard on Jonathan Fritzen's upcoming release "Magical" as well as working on his second release, which he intends to release in January 2013. He is also the current touring bassist for the "White Hot Summer Groove Tour" which features artists Peter White and Euge Groove as well as Euge Groove’s regular touring bassist.http://www.darrylwilliamsmusic.com/

We discuss Rock Bottom, Clean and Sober, CASTAWAYS and That Was Then. Our website: We Don’t Wanna Wait Email: wedontwannawait@gmail.com Twitter: @WeDontWannaWait Join our discussion group: facebook.com/groups/Dawsonsgroup Download

Thank you for listening to Words Unspoken: The Hills Podcast. In this special bonus episode Jem and Susan discuss the MTV tenth anniversary special “That Was Then, This Is Now.” If you would like to read the article Jem references about Lauren Conrad you can find it here: https://theringer.com/lauren-conrad-the-hills-10-years-ffc64855ae5#.u7ssols19 We appreciate everyone who has taken the time to get in touch with us and tell us what you think about the podcast. Please rate and review us on the iTunes store. It will help more people find us. https://itunes.apple.com/us/podcast/words-unspoken-hills-podcast/id1119698676 We would love to hear your feedback. Email us at wordsunspokenpodcast@gmail.com and find us on Facebook https://facebook.com/wordsunspokenpodcast, on Twitter at https://twitter.com/thehillspodcast and on Instagram at https://instagram.com/wordsunspokenpodcast. Theme song by Josh Lamkin Photo by Citron Smurf https://www.flickr.com/photos/41108635@N00/3133272453/ This podcast is not associated with or endorsed by MTV or any affiliates

PETER O'FALLON is a writer, director, and producer with a career spanning commercials, film, and television.  His commercials won several Cleo awards, which helped him make the jump to feature film.  O'Fallon directed the cult classic "Suicide Kings," with Christopher Walken and Denis Leary, and he also co-wrote and directed "A Rumor of Angels" starring Vanessa Redgrave and Ray Liotta.  His television work includes "American Gothic" for CBS, "That Was Then" for ABC, "Eureka" for Syfy, "Blade" for Spike, and "The Riches" and "Legit" for FX, the latter of which he co-created with comedian Jim Jefferies.  O'Fallon's latest project is Lifetime's "Unreal" starring Constance Zimmer.

Worship Artist, Josh Wilson, joins me in the studio this week as we discuss his new CD "That Was Then, This is Now" and talk about getting past your past. Forgiveness is a hard thing, and it is sometimes more difficult to forgive ourselves.

Dr. David Blix's '70, professor of religion delivers a Chapel Talk from 2007, "That Was Then, This Is Now." (Episode 62)

Our culture seems to be addicted to extreme makeovers. Whether it is a house or a person, we LOVE to see dramatic pictures of before and after. This week's song, "That Was Then, This Is Now" by Josh Wilson, leads us to Ephesians where we discover a dramatic picture of us before Christ and after Christ. I introduce a pretty neat tool that will help you clearly visualize this contrast. I hope you try it for yourself! On this episode I discuss: Listening to Scripture using YouVersion Reading the entire letter to the Ephesians The contrast of who we were before and after Christ - Ephesians 5:8 The Bible Interaction Tool - "Pick a Side: Charting Contrasts in Scripture" Unpacking Ephesians 4 to discover "that was then" vs. "this is now" Reading in unfamiliar translations for things to jump out at you Not allowing anger to control us The poverty spirit and what it is contrasted with How God's characteristics spans both columns Additional Resources Lyrics Story behind the song by Josh Wilson - YouTube This Week's Challenge Read/listen to Ephesians daily...that's my 19-minute-a-day challenge to you! Make time on one day this week to choose a section or chapter of Ephesians to chart the contrasts you see. Here's a final challenge, I do not currently wear all of the characteristics of my new wardrobe in the "this is now" column. Join me in highlighting or circling one thing you will work on to be sure it is in the "this is now" column of your life (see mine here). This won't happen through will-power, but through the power of the Holy Spirit living in you. Download the free resource - "Pick a Side: Charting Contrasts in Scripture"  

THAT WAS THEN, THIS IS NOW We're looking back at Supernatural's season two episodes 'No Exit,' 'The Usual Suspects,' and 'Crossroad Blues.'

THAT WAS THEN, THIS IS NOW We're looking back at Supernatural's season two's 'Simon Said' and 'All Hell Breaks Loose.'  Our special guest is Gabriel Tigerman.  He will be joining us to chat about his role as Supernatural's Andy Gallagher.

That Was Then, This Is Now:  Discussion of Supernatural's 'Shadow,' 'Devil's Trap,' and 'Born Under a Bad Sign.' SHADOW While investigating a mysterious death in Chicago, Sam (Jared Padalecki) and Dean (Jensen Ackles) run into Meg (guest star Nicki Aycox), who is thrilled to see Sam again. The brothers soon discover Meg is behind the murders and attempt to catch her. Unfortunately, Meg is one step ahead of them and unleashes shadow spirits on the brothers to ambush them. Sam and Dean realize the trap isn't for them, but for their father (Jeffrey Dean Morgan). DEVIL'S TRAP On a mission to save their father (Jeffrey Dean Morgan) from Meg (guest star Nicki Aycox), Sam (Jared Padalecki) and Dean (Jensen Ackles) seek help from an old family friend, Bobby (guest star Jim Beaver). When Meg shows up on Bobby's doorstep, the brothers lure her into a trap and exorcise the demon from her body after learning where John is being held prisoner. While trying to rescue John, the demon shows up and a full battle ensues between the Winchesters and the demon they have been searching for all their lives. BORN UNDER A BAD SIGN After receiving a frantic call from Sam (Jared Padalecki), who has been missing for over a week, Dean (Jensen Ackles) races to his brother's side. He finds Sam covered in blood, but unable to remember anything that happened. Upon investigation, the brothers are horrified to discover a tape that shows Sam killing another hunter in cold blood, causing Sam to believe his evil side is finally taking over.  

That Was Then, This is Now Discussion of Supernatural's Phantom Traveler, Bloody Mary, and Skin PHANTOM TRAVELER On TransNational flight 2485, a man possessed by the spirit of the Phantom Traveler causes the plane to crash, leaving only five survivors left alive. Sam (Jared Padalecki) and Dean (Jensen Ackles) must exorcise the angry spirit before it attacks the survivors. The brothers realize the only way to do that is to take the battle to the skies. BLOODY MARY In suburban Nebraska, a group of partying high school teens jokingly dare their friend Charlie (guest star Marnette Patterson) to look into the mirror and repeat 'Bloody Mary, Bloody Mary, Bloody Mary," not knowing this will unleash a series of mysterious murders. Sam (Jared Padalecki) and Dean (Jensen Ackles) realize that Bloody Mary has the power to travel through all reflective surfaces when she is hunting a victim. Worried that teens are accidentally summoning Bloody Mary, Sam and Dean race to destroy the violent spirit before she can kill again. SKIN Sam (Jared Padalecki) and Dean (Jensen Ackles) come to the aid of Sam's old college buddy after he is accused of a murder he swears he didn't commit. The brothers discover a shapeshifter is adopting the likenesses of others and murdering people. The brothers' race to stop the shapeshifter takes a terrifying turn when he shifts into the likeness of Dean.

That Was Then, This is Now We are discussing Supernatural's first 3 episodes, Pilot, Wendigo, and Dead in the Water. Pilot Two brothers, Sam (Jared Padalecki, "Gilmore Girls") and Dean Winchester (Jensen Ackles, "Smallville"), witness their mother's paranormal death as children and grow up trained to fight by a distraught father who wants nothing more than to hunt down the thing that killed his wife. Sam escapes to college to start a new, normal life, but gets pulled back in after Dean shows up on his doorstep to tell him their father is missing. Following clues from their father's eerie phone message, the boys travel to a small town and encounter a violent and vengeful spirit called the "Woman in White." Eric Kripke wrote the episode directed by David Nutter. Wendigo Sam (Jared Padalecki) and Dean (Jensen Ackles) follow the coordinates left in their father's journal and land in the middle of the woods where they investigate the disappearance of several campers. The two brothers soon learn they are dealing with a Wendigo, a creature made famous in Native America legends. A Wendigo is a former human whose cannibalism has transformed him into a creature with superhuman strength and speed that feasts on human flesh. Eric Kripke wrote the episode directed by David Nutter Dead in the Water Sam  and Dean investigate a series of mysterious drownings written off as suicides. They discover the spirit is an angry little boy with the power to travel through water who is taking revenge on certain town inhabitants for a dark secret buried long ago. Dean forms a bond with a young boy who seems to have the power of premonition. Sera Gamble & Raelle Tucker wrote the episode directed by Kim Manners.

THAT WAS THEN, THIS IS NOW   Lalo Schifrin - Danube Incident Portishead - Sour Times Massive Attack - Blue Lines Tom Scott & The L.A. Express - Sneakin' In The Back Marvin Gaye - What’s Happening Brother Fudge Fingas - Gettin’ Together Yosebu - You Will See Four Tops - A Simple Game The Weeknd - House Of Balloons Siouxsie & the Banshees - Happy House Chris de Burgh – The Lady in Red Oneohtrix Point Never - Nobody Here The Human League - The Things That Dreams Are Made Of Kelis vs Richard X - Finest Dreams Astrud Gilberto - Fly Me To The Moon Asheru Featuring Talib Kweli - Mood Swing Duke Ellington & John Coltrane - In A Sentimental Mood

Saturday, March 26, 2011 starting at 11 a.m. (EST) on “Off the Shelf Radio” (http://www.blogtalkradio.com/Denise-Turney-) Denise Turney sits down with Paulette Harper, minister, public speaker and author of the books, That Was Then, This is Now and Completely Whole. Turney and Harper will discuss the spiritual, emotional and psychological benefits gained from accepting change. They will also discuss how people can face the hardest points of their lives and begin to heal so that they can live vibrant lives. Paulette Harper’s followers who tune into the live interview will be made aware of the author’s upcoming events, book signings and speaking engagements. Book lovers who tune into the show live can have their questions answered directly by Paulette Harper or /and Denise Turney. “Paulette Harper has spent years studying the connections between spirit and psyche. Her heart’s desire is to help equip her readers and listeners to let go of pain and grasp the rewards of positive change,” Turney shares. “As a workshop leader and author, her business acumen allows her to help teach others practical steps they can take to increase their book sales.” On Saturday, March 26, 2011 beginning at 11:00 a.m. (EST) author and business leader, Paulette Harper, and Denise Turney will connect for an hour during the live on-air feature radio interview at “Off The Shelf.“ Listeners can connect to the interview live by dialing 347-994-3490. They can also connect to the live feature interview thru the Internet at http://www.blogtalkradio.com/Denise-Turney-

Special Guest, Best Selling Author and Inspirational Speaker, Paulette Harper - Breathing a breath of fresh air into Christian writing, Inspirational Speaker, Paulette Harper is a woman of purpose, passion and power. Paulette seeks to inspire women from all walks of life.Ms. Harper’s writing career begins in 2007 with her first published book “That Was Then, This Is Now” which achieved national recognition by being awarded a finalist in the 2009 Next Generation Indie Book Award and ranked consecutively on the Black Christian Publishers Bestsellers List for Independent Publishers, Non-Fiction. Published articles have appeared on CBN, Internet’ Café, WOW magazine, Black Pearl Magazine and Divine Inspirations.

At the top of the hour Cyrus Webb welcomes author Benjamin Shultz to Conversations LIVE! Radio to discuss his book LET NOTHING YOU DISMAY. At 30 minutes past the hour, Webb will welcome author Paulette Harper to discuss her book THAT WAS THEN, THIS IS NOW.

08-27-2009 Ronald Davis Chapel Message on "That Was Then, This is Now." Order CD Quality Sermons Here

08-27-2009 Ronald Davis Chapel Message on "That Was Then, This is Now." Order CD Quality Sermons Here

Paulette Harper is an emerging Christian Author making her debut with her first inspirational book “That Was Then, This Is Now, This Broken Vessel Restored”. A heart-wrenching account of one woman’s true story of determination, loss and triumph. In her book, she outlines how a heart attitude of surrender allows God to use a broken vessel for His ultimate plans of Glory.