Podcasts about Theremin

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Josh and I research how the unique instrument, called a theremin, could be used in paranormal investigating. If you are an electronics guru and would like to collaborate with us to create a brand new idea into the paranormal field, feel free to reach out to us at storiesinthecemetery@gmail.comArticle/Blog post for this episode: https://storiesinthecemetery.com/what-the-hell-is-a-theremin-and-how-can-we-use-it-for-paranormal-investigating/Music "Renegade" provided by Beatnik.References used to create this episode.Burton, T. (Director). (1993). The Nightmare Before Christmas [Film]. https://www.imdb.com/title/tt0107688/?ref_=fn_all_ttl_1Cendrowski, M. (Director). (2011, January 6). The Bus Pants Utilization (Season 4, Episode 12) [TV series episode]. In The Big Bang Theory. https://www.imdb.com/title/tt1632227/?ref_=ttep_ep_12Cendrowski, M. (Director). (2013). Sheldon's Theremin [Film]. https://www.youtube.com/watch?v=_YYABE0R3uA (Original work published 2011)Eyck, C. (Director). (2021). Sally's Song [Film]. YouTube. https://www.youtube.com/watch?v=IhtZh9nR6ZgLed Zeppelin (Director). (1973). Led Zeppelin: The Song Remains the Same – “Whole Lotta Love” Clip [Film]. https://www.youtube.com/watch?v=KPhXm-UPfEULeon Theremin | Lemelson. (n.d.). Lemelson-MIT. Retrieved February 27, 2025, from https://lemelson.mit.edu/resources/leon-thereminMalewar, A. (2016, October 31). Theremin: The Musical Instrument That You Never Touch To Play. Tech Explorist. Retrieved February 27, 2025, from https://www.techexplorist.com/theremin-musical-instrument-never-touch-play/4027/Sussman, E. (Director). (1999). The Theremin: How it Works [Film]. https://www.youtube.com/watch?v=QxagF-SczIE

Insatiable Life.Based on the post by x sociate23, in 3 parts. Listen to the ► Podcast at Steamy Stories.Planetary Survey had been right about the unpredictable weather patterns on Carter II. It was barely two days after the pond incident and only three weeks into their stay and the unstable star had apparently entered a cooling period. Cold fronts had rushed in from the polar regions, mixing with the warmer equatorial winds to cause icy rainfall to pelt the HAB in a near constant downpour. Nighttime temperatures plummeted to near freezing. Their shelter was insulated but the thin plasticine walls could only keep out so much of the cold. Complicating matters was the fact that their heating unit had shorted out the day prior when some sort of electric beetle had tried to get its rocks off with the heating element.Curt poked his head out of the cocoon of his sleeping bag to check the thermometer near his bunk. It registered forty-four degrees and dipped lower as he watched. He shivered as he looked over at Eza's bundled form. The poor girl was not taking the temperature inversion well. She shivered and shook beneath the thin padding of her sleep sleeve. He cursed again the short-sighted designers who hadn't taken into account the possible need to build a fire inside the HAB."Kurt?" came a muffled stutter from her olive grab sleeper."Yes?"She poked her face out of the cinched hole, looking like a giant blue faced caterpillar. A beautiful caterpillar."I know you have done all you can with the heat unit," she said, her teeth chattering, "But I am r-r-really cold.""I'm sorry I couldn't do more.""P-p-perhaps you can. I red that in t-t-times of crisis, T-Terrans would huddle together for warmth. Might we t-t-try that?" She knew she would be taking a risk being that close to him, but it was the lesser of two evils.Curt was also hesitant. He didn't trust his body not to betray his lust for her. His cock was already tingling at the thought. But she needed his help, and he couldn't deny those deep green eyes that stared pleadingly at him. So, he agreed, climbing from his sleep sleeve as he began to remove his tunic."W-w-what are you doing?" she asked hesitantly, feeling the stirring again at the sight of his deliciously tanned flesh."One less layer of clothes. It'll help warm you up faster," he explained."Shall I disrobe as well?"'Hell yes!' his mind screamed but instead he said, "No, that won't be necessary."He climbed into the sleep sleeve beside her and she immediately plastered herself to his side, her arm gripping so hard that it forced the air from his lungs. Wrapping his arm around her, she scooted closer, her heavy tits pressing against his side. Her body felt like it was on fire and for a moment he worried she might be sick with fever. But then he remembered that Venusians have a higher body temp than humans. No wonder she was suffering. Eza buried her face into his neck, pulling him closer still.Her body was racked by uncontrolled spasms, and he rubbed her arms and her back to try to warm her while at the same time trying to ignore the fact that only a thin layer of molyester separated her heavenly skin from his own. But she was making it difficult, her supplely scaled leg wrapping possessively around his. The temp, as well as his manhood, began to rapidly rise inside the sleeve.At length, the tremors subsided, and she relaxed against him with a melodious sigh. Her leg shifted higher, coming dangerously close to grazing his throbbing erection. Now he was trembling but not due to the cold.Eza felt it again, the burning, the desire. Feeling his body against hers, the churning inside her was more than she could bear any longer. Even the moments when she had given in were not enough to truly sate the sensations. She had to tell him. But what would he say? Would he be repulsed by her needs?"Kurt?" she mewed."Yes?""I have a confession to make," she said into his chest, "I have been keeping a secret from you.""It's okay, everyone is entitled to their secrets." Even as he said it, his mind was racing trying to think what it could be. None of the possibilities seemed pleasant."But this is different because it involves you. You see I... I have imprinted upon you.""What does that mean?"She raised herself up onto an elbow to look at him. His face glowed nearly as blue as her own in the light of the twin moons that shone down through the skylight."When a Venusian comes of age, as I have, they imprint upon the person they have chosen as their agrah.""Agrah?"She looked at him sheepishly."Loosely translated it means their... their lover."The face, as well as the mind behind it, showed surprise but before he could speak, she interrupted him."There's more.""More?""As part of the imprinting, a Venusian will develop an empathic connection with their agrah.""And what does that mean?""It means I can feel your emotions." Her eyes burned into his as she leaned in closer, "I know you were watching me by the lake."The Earthling's eyes widened in panic as he tried to explain himself but a Venusian finger to his lips silenced him."I know because I felt you. Your emotions for me were so strong that they...they made me...what is the word..." She stared off as if trying to remember but then her green eyes pierced him with a look that made his stomach do flips, "Horny."Curt lay there, staring blankly with her pointy finger still pressed to his lips. She felt his jumbled emotions: fear, trepidation, uncertainty. But above all she felt the one emotion that she too longed to indulge in: desire."I wish to demonstrate kissing," she said to his stupefied expression. He nodded into her finger. The hand it was attached to, moved to cup his jaw. She could feel his throbbing pulse, it matched the thunder of her own.Their lips coming together once more was like the attraction of two oppositely charged particles. Eza was now the demonstrator, wriggling her supple blue lips against his and he wondered if she had been practicing. Then his eyes shot open and crossed as her snake-like tongue slithered into his mouth. It wrestled with his, coiling and swirling, nearly filling his whole mouth. She literally shoved it down his throat and somehow he managed to resist the urge to cough. When he had first seen it by the lake, he had thought it would feel raspy but instead it was as silky and smooth as a strand of satin. He quivered at the feeling of it and was breathing hard by the time she ended the kiss."Where... did you learn... that?" he gasped."It was under a subheading called: Frenching," she explained. But then her face took on a sad expression, "I am sorry. I know I am not very good at it. I umm!"Curt pulled her into a savage kiss that filled both their minds with a haze of red heat. The sweet metal taste was overwhelming his senses as his tongue invaded her mouth. Her body seemed to melt against him as she sighed into his mouth like a harmonica.As the kiss lengthened, their hands and bodies became active. His hands caressed her arms and back, hers groped at his chest and abs. His body writhed beneath her touch while hers moved to straddle him. He felt the burning heat from her loins, she the hardened ridge of his manhood beneath his trousers. His strong hands sought her ass, gently squeezing the rounded humps. She sighed in yet another octave at the feeling, her hips grinding against his. Her lips pulled away, her eyes shining with yearning."Make fuck to me," she pleaded.His smile at her improper grammar only widened further as she sat upright, her webbed hand reaching for the zipper of her tunic. She tugged the faster tantalizingly slow, exposing inch after glorious inch of her blue flesh. Her heavy tits fell free of the garment as she tossed it aside. Her goblets hung before him like twin Christmas ornaments, and he reached for his newly unwrapped gifts.She shivered at his touch. The hands, though roughened and calloused from the work on their ship, nonetheless brushed across her skin like whispers from a feather. They glided across the rounded expanse, kneading the soft flesh like modeling clay. She gasped as he tweaked her plump, blueberry nipples between thumb and forefinger.Leaning forward, she took hold of her tit to aim the dark nib at his pink, receptive lips. They parted, enveloping the gooseflesh of her areola. She sucked in her breath as he began to suckle like a babe, lapping and mouthing the sensitive bud. Compulsively she ground her already damp sex against the buried ridge of his cock as he sucked more of her tender flesh into his mouth. Suddenly his hips thrust as if trying to force his way through their clothes, his hands pulling their loins tightly together.Eza climaxed at the motion and the unbridled emotion she felt from him in that moment. Her hand pulled his head closer to her bosom, her fleshy tit threatening to suffocate him as she let out a snaky hiss between clenched teeth. At last, she released her hold but his respite was short lived as her mouth descended, smothering him with feverish kisses. They pulled away to whisper into his ear."I wish to demonstrating something."Then he felt it. Her serpent tongue flicked out to slither through the conch shaped hollows of his ear. It lapped at the lobe before trailing down the curve of his neck and across his exposed collarbone. He shivered as his traveled across the expanse of his chest, rode the bulges of his abs. Her small hands pulled at the waist of his pants so that her tongue could slink beneath the material to lick the tender flesh just above his pubes. The entire time, her eyes never left his, the stare down only heightening his desire.His cock strained at its confines, threatening to rip the fabric as her hands worked to free it. It sprang to attention immediately, lightly hitting her in the nose and making her giggle. But her smiled faded, replaced with a look of awe at the pillar of flesh before her. She never expected him to be so big. He was a good nine inches, well over the five and three quarters the texts said was the average. He was also thick, her small webbed hand barely fitting around it as she delicately grasped the shaft. It felt as hot and hard as a recently fire beryllium rocket. Though she felt unsure of herself, this being her first time with any male, she couldn't help the rush of heat to her loins at the thought that Curt would soon be inside of her, filling her up, splitting her like a piece of du'Nar wood. Staring into his beautiful brown eyes that peered down at her with uninhibited desire, she opened her mouth as if she were about to bite into an apple.Her blueberry lips closed around the red delicious of his head and Curt gasped. Her lips were like satin as she slowly worked them across his mushroom shaped head. Her green eyes never left his face, wanting to gauge his reactions. The look of lust in them added to the feel of her lips on his cock. Emboldened by his whimpers of pleasure, she began to suck harder, taking more of him into her mouth with each stroke. Her purple curls swayed with the motions of her gently bobbing head.All at once she stopped, his cock head still in her mouth. He at first thought something was wrong but then he felt it: her tongue coiling around the head like an anaconda with its prey. He shivered at the new sensation of his cock being gripped in such a way as her lips resumed their sucking. He saw (and felt) the tongue slither out past her lips to twist and twirl down his length. He couldn't breathe, could only stare at her as she did things to his cock that no Terran girl, no matter how tongue twistingly talented, could ever do. He was shaking by the time her dark python released its victim."Was that acceptable?" she asked eagerly."Where the fuck did you learn that?!"Her face darkened with a look of guilt."My-my roommate at the Academy. She used to entertain many Terran males. One night while she thought I was asleep, she brought a man to our dorm. I-I watched her do that to him before they copulated."Curt's eyebrow shot up in surprise. 'This Venusian vixen is just full of surprises,' he thought."My, my. Aren't you a dirty girl.""I am not dirty," she said indignantly, "I am very hygienic.""That's not what that...Never mind.""Do you wish that I should continue?" she asked, going back to the subject still in her hand."Actually, I have a better idea.""What?""This roommate. Did the man she was with put his head between her legs by any chance?""Yes, he seemed to be trying to consume her.""Well, Lieutenant," he said with a mischievous grin, "Prepared to be consumed."He saw her eyes widened as she gulped.Eza was hesitant about her pending consumption, the almost painfully cries of her roommate fresh in her mind but she allowed herself to be laid down. The fact that Curt was eying her body like a buffet did not help her apprehension. But then he leaned down to kiss her gently, tenderly. She relaxed into the kiss, his lips melting away the tension but at the same time stoking up a fire of anticipation deep within her. His lips broke away to travel down her body. Though it was much shorter than hers, it nevertheless sent tingles through her as he wove lazy circles and trails down the nape of her neck, across the pointed domes of her tits, down the slope of her navel free belly. She lifted her legs so that he could remove her already soaked shorts.Her smell hit him hard, filling his lungs and driving his desire to a new level. Her legs parted, causing her indigo flower to blossom. Her breathing was shallow, her legs trembling as he ran kisses up and down her inner thighs. Her body seized, her hands clenching the sheets beneath her at his lips found her core.Her dark blue lips almost burned his tongue, they felt so hot but he would rather risk injury than remove it from their heavenly silkiness. Her scent as intoxicating, her taste luxurious. It dawned on him as he felt her body quaking that his were the first lips to taste her and he set out to make her first tonguing one for the ages.He lipped her folds, lapped at her metal flavored fluids as they flowed from her. Spreading her vulva to expose more of her lavender love tunnel, he plunged his tongue into her petals, wriggling it like a hungry bumble bee.The Venusian began to make sounds that could only be described as yodeling modulated through a Theremin, her moans of pleasure changing octave several times. He sought her clit and found that she had not one but two pointed nubs, one in front of the other. His tongue made figure eights around the twin pips, his lips slurping the dark pearls of her Venus clam.Eza cried out as she came, her hand seizing his head to pull his face deeper. Her juices drowned him and he gulped them greedily, the excess spilling down his chin. She writhed, stretched and sang as he lustfully devoured her. She would later tell him that the orgasms he evoked in her had been intensified by her feeling his strong desire to pleasure her.A massive orgasm grabbed hold, contorting her body into a near fetal position. She collapsed back, gasping for breath, her tits heaving.He climbed atop her and her lips were aflame as they sought his, her hands pulling him closer. He raised himself on strong, sinewy arms, his dark eyes filled with desire, an emotion he broadcast like a thousand-watt transmitter. She felt the heated tip of his cock at her entrance. She wanted him inside of her so badly but suddenly she felt hesitant, almost ashamed."Kurt?""Yes?""I-I haven't...I mean... this is my first... time.""I kinda figured as much.""Is that acceptable?""Only if you are okay with me being your first."The look she gave told him the answer to that. Without another word, he slowly began to ease himself inside her. Pain shot through her as muscles stretched and fibers tore. She wanted this more than anything but could not hide the look of pain on her face as her eyes scrunched shut. He stopped."You, okay?""Y-yes," she breathed."Should I stop?""No!" she nearly shouted, her eyes flying open and locking with his. Then more gently, "No, please keep going."Curt was hesitant now. He was barely inside of her and she was already incredibly tight. He worried they might not be physically compatible and as much as he wanted to make love to her, he also didn't want to cause her any undo harm.Eza felt his empathy and concern for her. It made her heart valve swell, made her desire him even more.

Insatiable Life.Based on the post by x sociate23, in 3 parts. Listen to the ► Podcast at Steamy Stories.Planetary Survey had been right about the unpredictable weather patterns on Carter II. It was barely two days after the pond incident and only three weeks into their stay and the unstable star had apparently entered a cooling period. Cold fronts had rushed in from the polar regions, mixing with the warmer equatorial winds to cause icy rainfall to pelt the HAB in a near constant downpour. Nighttime temperatures plummeted to near freezing. Their shelter was insulated but the thin plasticine walls could only keep out so much of the cold. Complicating matters was the fact that their heating unit had shorted out the day prior when some sort of electric beetle had tried to get its rocks off with the heating element.Curt poked his head out of the cocoon of his sleeping bag to check the thermometer near his bunk. It registered forty-four degrees and dipped lower as he watched. He shivered as he looked over at Eza's bundled form. The poor girl was not taking the temperature inversion well. She shivered and shook beneath the thin padding of her sleep sleeve. He cursed again the short-sighted designers who hadn't taken into account the possible need to build a fire inside the HAB."Kurt?" came a muffled stutter from her olive grab sleeper."Yes?"She poked her face out of the cinched hole, looking like a giant blue faced caterpillar. A beautiful caterpillar."I know you have done all you can with the heat unit," she said, her teeth chattering, "But I am r-r-really cold.""I'm sorry I couldn't do more.""P-p-perhaps you can. I red that in t-t-times of crisis, T-Terrans would huddle together for warmth. Might we t-t-try that?" She knew she would be taking a risk being that close to him, but it was the lesser of two evils.Curt was also hesitant. He didn't trust his body not to betray his lust for her. His cock was already tingling at the thought. But she needed his help, and he couldn't deny those deep green eyes that stared pleadingly at him. So, he agreed, climbing from his sleep sleeve as he began to remove his tunic."W-w-what are you doing?" she asked hesitantly, feeling the stirring again at the sight of his deliciously tanned flesh."One less layer of clothes. It'll help warm you up faster," he explained."Shall I disrobe as well?"'Hell yes!' his mind screamed but instead he said, "No, that won't be necessary."He climbed into the sleep sleeve beside her and she immediately plastered herself to his side, her arm gripping so hard that it forced the air from his lungs. Wrapping his arm around her, she scooted closer, her heavy tits pressing against his side. Her body felt like it was on fire and for a moment he worried she might be sick with fever. But then he remembered that Venusians have a higher body temp than humans. No wonder she was suffering. Eza buried her face into his neck, pulling him closer still.Her body was racked by uncontrolled spasms, and he rubbed her arms and her back to try to warm her while at the same time trying to ignore the fact that only a thin layer of molyester separated her heavenly skin from his own. But she was making it difficult, her supplely scaled leg wrapping possessively around his. The temp, as well as his manhood, began to rapidly rise inside the sleeve.At length, the tremors subsided, and she relaxed against him with a melodious sigh. Her leg shifted higher, coming dangerously close to grazing his throbbing erection. Now he was trembling but not due to the cold.Eza felt it again, the burning, the desire. Feeling his body against hers, the churning inside her was more than she could bear any longer. Even the moments when she had given in were not enough to truly sate the sensations. She had to tell him. But what would he say? Would he be repulsed by her needs?"Kurt?" she mewed."Yes?""I have a confession to make," she said into his chest, "I have been keeping a secret from you.""It's okay, everyone is entitled to their secrets." Even as he said it, his mind was racing trying to think what it could be. None of the possibilities seemed pleasant."But this is different because it involves you. You see I... I have imprinted upon you.""What does that mean?"She raised herself up onto an elbow to look at him. His face glowed nearly as blue as her own in the light of the twin moons that shone down through the skylight."When a Venusian comes of age, as I have, they imprint upon the person they have chosen as their agrah.""Agrah?"She looked at him sheepishly."Loosely translated it means their... their lover."The face, as well as the mind behind it, showed surprise but before he could speak, she interrupted him."There's more.""More?""As part of the imprinting, a Venusian will develop an empathic connection with their agrah.""And what does that mean?""It means I can feel your emotions." Her eyes burned into his as she leaned in closer, "I know you were watching me by the lake."The Earthling's eyes widened in panic as he tried to explain himself but a Venusian finger to his lips silenced him."I know because I felt you. Your emotions for me were so strong that they...they made me...what is the word..." She stared off as if trying to remember but then her green eyes pierced him with a look that made his stomach do flips, "Horny."Curt lay there, staring blankly with her pointy finger still pressed to his lips. She felt his jumbled emotions: fear, trepidation, uncertainty. But above all she felt the one emotion that she too longed to indulge in: desire."I wish to demonstrate kissing," she said to his stupefied expression. He nodded into her finger. The hand it was attached to, moved to cup his jaw. She could feel his throbbing pulse, it matched the thunder of her own.Their lips coming together once more was like the attraction of two oppositely charged particles. Eza was now the demonstrator, wriggling her supple blue lips against his and he wondered if she had been practicing. Then his eyes shot open and crossed as her snake-like tongue slithered into his mouth. It wrestled with his, coiling and swirling, nearly filling his whole mouth. She literally shoved it down his throat and somehow he managed to resist the urge to cough. When he had first seen it by the lake, he had thought it would feel raspy but instead it was as silky and smooth as a strand of satin. He quivered at the feeling of it and was breathing hard by the time she ended the kiss."Where... did you learn... that?" he gasped."It was under a subheading called: Frenching," she explained. But then her face took on a sad expression, "I am sorry. I know I am not very good at it. I umm!"Curt pulled her into a savage kiss that filled both their minds with a haze of red heat. The sweet metal taste was overwhelming his senses as his tongue invaded her mouth. Her body seemed to melt against him as she sighed into his mouth like a harmonica.As the kiss lengthened, their hands and bodies became active. His hands caressed her arms and back, hers groped at his chest and abs. His body writhed beneath her touch while hers moved to straddle him. He felt the burning heat from her loins, she the hardened ridge of his manhood beneath his trousers. His strong hands sought her ass, gently squeezing the rounded humps. She sighed in yet another octave at the feeling, her hips grinding against his. Her lips pulled away, her eyes shining with yearning."Make fuck to me," she pleaded.His smile at her improper grammar only widened further as she sat upright, her webbed hand reaching for the zipper of her tunic. She tugged the faster tantalizingly slow, exposing inch after glorious inch of her blue flesh. Her heavy tits fell free of the garment as she tossed it aside. Her goblets hung before him like twin Christmas ornaments, and he reached for his newly unwrapped gifts.She shivered at his touch. The hands, though roughened and calloused from the work on their ship, nonetheless brushed across her skin like whispers from a feather. They glided across the rounded expanse, kneading the soft flesh like modeling clay. She gasped as he tweaked her plump, blueberry nipples between thumb and forefinger.Leaning forward, she took hold of her tit to aim the dark nib at his pink, receptive lips. They parted, enveloping the gooseflesh of her areola. She sucked in her breath as he began to suckle like a babe, lapping and mouthing the sensitive bud. Compulsively she ground her already damp sex against the buried ridge of his cock as he sucked more of her tender flesh into his mouth. Suddenly his hips thrust as if trying to force his way through their clothes, his hands pulling their loins tightly together.Eza climaxed at the motion and the unbridled emotion she felt from him in that moment. Her hand pulled his head closer to her bosom, her fleshy tit threatening to suffocate him as she let out a snaky hiss between clenched teeth. At last, she released her hold but his respite was short lived as her mouth descended, smothering him with feverish kisses. They pulled away to whisper into his ear."I wish to demonstrating something."Then he felt it. Her serpent tongue flicked out to slither through the conch shaped hollows of his ear. It lapped at the lobe before trailing down the curve of his neck and across his exposed collarbone. He shivered as his traveled across the expanse of his chest, rode the bulges of his abs. Her small hands pulled at the waist of his pants so that her tongue could slink beneath the material to lick the tender flesh just above his pubes. The entire time, her eyes never left his, the stare down only heightening his desire.His cock strained at its confines, threatening to rip the fabric as her hands worked to free it. It sprang to attention immediately, lightly hitting her in the nose and making her giggle. But her smiled faded, replaced with a look of awe at the pillar of flesh before her. She never expected him to be so big. He was a good nine inches, well over the five and three quarters the texts said was the average. He was also thick, her small webbed hand barely fitting around it as she delicately grasped the shaft. It felt as hot and hard as a recently fire beryllium rocket. Though she felt unsure of herself, this being her first time with any male, she couldn't help the rush of heat to her loins at the thought that Curt would soon be inside of her, filling her up, splitting her like a piece of du'Nar wood. Staring into his beautiful brown eyes that peered down at her with uninhibited desire, she opened her mouth as if she were about to bite into an apple.Her blueberry lips closed around the red delicious of his head and Curt gasped. Her lips were like satin as she slowly worked them across his mushroom shaped head. Her green eyes never left his face, wanting to gauge his reactions. The look of lust in them added to the feel of her lips on his cock. Emboldened by his whimpers of pleasure, she began to suck harder, taking more of him into her mouth with each stroke. Her purple curls swayed with the motions of her gently bobbing head.All at once she stopped, his cock head still in her mouth. He at first thought something was wrong but then he felt it: her tongue coiling around the head like an anaconda with its prey. He shivered at the new sensation of his cock being gripped in such a way as her lips resumed their sucking. He saw (and felt) the tongue slither out past her lips to twist and twirl down his length. He couldn't breathe, could only stare at her as she did things to his cock that no Terran girl, no matter how tongue twistingly talented, could ever do. He was shaking by the time her dark python released its victim."Was that acceptable?" she asked eagerly."Where the fuck did you learn that?!"Her face darkened with a look of guilt."My-my roommate at the Academy. She used to entertain many Terran males. One night while she thought I was asleep, she brought a man to our dorm. I-I watched her do that to him before they copulated."Curt's eyebrow shot up in surprise. 'This Venusian vixen is just full of surprises,' he thought."My, my. Aren't you a dirty girl.""I am not dirty," she said indignantly, "I am very hygienic.""That's not what that...Never mind.""Do you wish that I should continue?" she asked, going back to the subject still in her hand."Actually, I have a better idea.""What?""This roommate. Did the man she was with put his head between her legs by any chance?""Yes, he seemed to be trying to consume her.""Well, Lieutenant," he said with a mischievous grin, "Prepared to be consumed."He saw her eyes widened as she gulped.Eza was hesitant about her pending consumption, the almost painfully cries of her roommate fresh in her mind but she allowed herself to be laid down. The fact that Curt was eying her body like a buffet did not help her apprehension. But then he leaned down to kiss her gently, tenderly. She relaxed into the kiss, his lips melting away the tension but at the same time stoking up a fire of anticipation deep within her. His lips broke away to travel down her body. Though it was much shorter than hers, it nevertheless sent tingles through her as he wove lazy circles and trails down the nape of her neck, across the pointed domes of her tits, down the slope of her navel free belly. She lifted her legs so that he could remove her already soaked shorts.Her smell hit him hard, filling his lungs and driving his desire to a new level. Her legs parted, causing her indigo flower to blossom. Her breathing was shallow, her legs trembling as he ran kisses up and down her inner thighs. Her body seized, her hands clenching the sheets beneath her at his lips found her core.Her dark blue lips almost burned his tongue, they felt so hot but he would rather risk injury than remove it from their heavenly silkiness. Her scent as intoxicating, her taste luxurious. It dawned on him as he felt her body quaking that his were the first lips to taste her and he set out to make her first tonguing one for the ages.He lipped her folds, lapped at her metal flavored fluids as they flowed from her. Spreading her vulva to expose more of her lavender love tunnel, he plunged his tongue into her petals, wriggling it like a hungry bumble bee.The Venusian began to make sounds that could only be described as yodeling modulated through a Theremin, her moans of pleasure changing octave several times. He sought her clit and found that she had not one but two pointed nubs, one in front of the other. His tongue made figure eights around the twin pips, his lips slurping the dark pearls of her Venus clam.Eza cried out as she came, her hand seizing his head to pull his face deeper. Her juices drowned him and he gulped them greedily, the excess spilling down his chin. She writhed, stretched and sang as he lustfully devoured her. She would later tell him that the orgasms he evoked in her had been intensified by her feeling his strong desire to pleasure her.A massive orgasm grabbed hold, contorting her body into a near fetal position. She collapsed back, gasping for breath, her tits heaving.He climbed atop her and her lips were aflame as they sought his, her hands pulling him closer. He raised himself on strong, sinewy arms, his dark eyes filled with desire, an emotion he broadcast like a thousand-watt transmitter. She felt the heated tip of his cock at her entrance. She wanted him inside of her so badly but suddenly she felt hesitant, almost ashamed."Kurt?""Yes?""I-I haven't...I mean... this is my first... time.""I kinda figured as much.""Is that acceptable?""Only if you are okay with me being your first."The look she gave told him the answer to that. Without another word, he slowly began to ease himself inside her. Pain shot through her as muscles stretched and fibers tore. She wanted this more than anything but could not hide the look of pain on her face as her eyes scrunched shut. He stopped."You, okay?""Y-yes," she breathed."Should I stop?""No!" she nearly shouted, her eyes flying open and locking with his. Then more gently, "No, please keep going."Curt was hesitant now. He was barely inside of her and she was already incredibly tight. He worried they might not be physically compatible and as much as he wanted to make love to her, he also didn't want to cause her any undo harm.Eza felt his empathy and concern for her. It made her heart valve swell, made her desire him even more.

Episode 150 Chapter 11 Electronic Music Performance Instruments (1920– 40). Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast.   Playlist: ELECTRONIC MUSIC PERFORMANCE INSTRUMENTS (1920– 1950)   Time Track Time Start Introduction –Thom Holmes 01:35 00:00 1.     Luigi Russolo, “Serenata” (1924). Mechanical noise-intoners and orchestra. 02:01 01:38 2.     Leon Theremin, “Deep Night” (1930). The inventor playing his own instrument. 01:48 04:16 3.     Orchestra Raymonde, “Romantique” (1934). Song featuring the Electronde, an instrument based on the Theremin made by Martin Taubman. 02:55 06:06 4.     Edgard Varèse, “Ecuatorial” (1934). Scored for chorus, small orchestra, organ, and two Ondes Martenots. Performance under the direction of Pierre Boulez in 1983. 12:11 09:00 5.     Paul Hindemith, “Langsames Stück und Rondo für Trautonium” (1935). Oskar Sala played the Trautonium. 05:29 21:02 6.     Olivier Messaien, “Oraison” (1937) for Ondes Martenot and orchestra. 07:43 26:34 7.     John Cage, “Imaginary Landscape No. 1” (1939). Radios and turntables playing test signals. 08:37 34:14 8.     Slim Galliard Quartet, “Novachord Boogie” (1946). Featured the Hammond Novachord organ/synthesizer. 02:57 42:50 9.     Lucie Bigelow Rosen, “That Old Refrain” (1948) for Theremin and piano. 03:25 45:48 10.   Miklós Rózsa. “Subconscious” from Spellbound (1948). Musical score for the Alfred Hitchcock film featuring Dr. Samuel J. Hoffman on Theremin. 02:07 49:14 11.   Clara Rockmore, “Valse Sentimentale” (Tchaikovsky) (1977) for Theremin. Later performance of the famous Thereminist from the 1930s-1940s. 02:07 51:22   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

JACK FELDSTEIN – he/him (Book & Co-Lyrics / Radio Play Adaptation)Jack is an award-winning writer and neon animation filmmaker. His almost thirty neon animation films, including The Ecstasy of Gary Green and A Wondrous Film about Emma Brooks have screened worldwide from Lincoln Center and NYC's Angelika Cinema to Rotterdam International Film Festival and Sydney International Film Festival. As a writer, his playscripts including A House Like Any Other, The Confessions of Peter McDowell and The Process have won prizes in Australia, Britain and the USA. His playscript of Three Months with Pook was a finalist in the BBC International Play Competition and winner of the TRU VOICES COMPETITION in New York. His plays have been staged with many productions in Australia, New York and the USA.  Originally from Australia, he lives in NYC and developed many of his plays at Workshop Theater in Midtown where he was an artist member.PAUL DOUST - he/him (Music & Co-Lyrics / Additional Orchestrations / Arrangements)Paul is an award-winning composer for stage and screen and the composer of the world's first Theremin-based musical: Falling in Love with Mr. Dellamort. Paulʼs TV credits include Pawn Stars, Catfish and Chrisley Knows Best. He also wrote original music for Google Waymo, LPGA and Morgan Stanley, among other recent advertising campaigns. Paul is also a renowned choral composer and arranger. He released his debut album Reinventions in 2019.InFalling in Love with Mr. Dellamort, the new audio musical, three lost souls receive an unexpected invitation to spend New Year's Eve at Maison Dellamort: a remote South Carolina guest house with a peculiar yet magnetic host. With its original take on classic themes of unrequited love, mortality and deception, and featuring a stunning cast of Broadway's most beloved stars, this distinctive audio experience will transport listeners into a world laced with the iconic theremin, Foley-style effects, and an original pop score.

La storia del theremin, il primo strumento elettronico inventato dal russo Leonard Theremin oltre 100 anni fa. Una carrellata di artisti che più o meno a sorpresa hanno inserito questo affascinante strumento nelle loro composizioni.

Missing your rambling relatives this holiday season? You're in luck! Tune in to Jason and Skip as they ramble through weather reports, amp fixes, book recommendations, reflective impedance, reverb-driven line-out and more on our 141st episode! Want to be a part of our show? Just email us a question or voice memo to podcast@fretboardjournal.com. Some of the topics discussed this week:  :48 Weather report: Rain in the West, bomb cyclones in the PNW 4:32 A 1968 Heathkit catalog with DIY Harmony Guitar kits 6:35 Thanksgiving at the Simmons house 7:09 A noisy Alamo; Pathfinder, the band (link); bands named after amplifiers  8:49 Our sponsors: Grez Guitars; Emerald City Guitars and Amplified Parts (Jensen speakers are currently on sale!)  10:58 Deluxe Amplication's red can El Pato Practice amp! (link, I said green on the podcast...my bad) 11:50 Pre-order William J. Simmons' new book, 'Love and Degradation: Excessive Desires in Queer-Feminist Art' (pre-order link)  12:51 Recommended reading: 'The Golden Ocean' by Patrick O'Brian 14:33 What's on Skip's bench? The secret solid state guru in Sacramento, not to be confused with the washing machine guru 18:54 The Truth About Vintage Amps Patreon page; guided tours of the Skip universe?  20:50 Jason interviews a yogi on the Fretboard Journal podcast (link)  22:35 Adding a half-power switch to a push-pull amp?, tortilla chips  29:48 Would a variac set to 110v help new amps?  31:49 Mullard 10M tubes; going back to school; Skip has all the NOS Amperex 12AX7s   37:58 A Denver TAVA meetup?; one filter cap or two in a Gibson GA-25? Replacing non-polarized electrolytic caps by twisting two regular negative caps together 41:03 More on Skip's new (old) Fender Duo Sonic 48:26 Using your Fender's reverb circuit to drive a speaker; Sherlock Holmes' lazy brother 52:36 Skip is going to make an outboard tremolo pedal 53:09 Why do some reverb tanks have bags? 52:22 A non-alcoholic cocktail featuring ginger ale and cranberry juice 56:02 "I smile at pretty solder joints;" Riddim Restoration of Bellingham, Washington (link)  1:00:45 An early 60's Geloso 215AN, a diode bridge and a choke to create negative voltage; and Denver chocolate pudding cake   1:07:14 Reusing old blown transformers 1:09:00 KVMR Community Radio (link) 1:10:05 A mid-‘50s theremin schematic; the Theremin documentary   Hosted by amp tech Skip Simmons and co-hosted/produced by Jason Verlinde of the Fretboard Journal.  Don't forget, we have a Patreon page. Join us to get show updates and get to the front of the question line. 

Heute dreht sich natürlich alles um unsere ersten 3 Tourkonzerte und unsere Eindrücke und Erlebnisse. Es geht um nicht eingelöste oder einlösbare Versprechen, Pizza Funghi ohne Pilze, vielerlei Fails und das Theremin. So wirklich kommen wir nicht dazu, viele Fragen zu beantworten, aber es gibt immerhin eine kleine Runde zu den kommenden Konzerten in Dresden und Glauchau. Dafür haben wir uns für einen von Andrés favorisierten Namen der neuen Song-Rubrik entschieden: Perlentaucher. Damit hat Ralf schon die zweite Rubrik benannt. Wir bedanken uns aber trotzdem sehr für alle Einsendungen! ' Hier geht's zu unserer Playlist der Podcast-Rubrik "Perlentaucher": https://solarfake.ffm.to/perlentaucher (Achtung, neuer Smartlink, die Links bei den Streaming-Anbietern bleiben gleich.) Wir freuen uns immer über positive Bewertungen, z.B. auf Spotify oder Apple Music. Schickt uns gern weiter Fragen, Schnellrunden, Themen für den Podkasten oder einfach nette Mails an podcast@solarfake.de Entgegen der geäußerten Befürchtung von Sven funktioniert die E-Mail-Adresse wieder. ;-)

Att spela på en synth utan att ens röra den - den där gudalika, magiska känslan, hade det ens varit möjligt utan Theremin? Lisa hoppar in i kabinettet och gräver fram allt vi ville veta om denna legendariska maskin.

En nuestra centésimo séptima entrega abordamos el interesante encuentro entre la música y la C-F. Dada la amplitud del tema nos centramos en la música pop-rock de los años 60, en la que nos encontramos con grandes nombres como Jimi Hendrix, los Byrds, Pink Floyd o David Bowie. Como complemento comentamos también el origen del Theremin junto a una película y dos libros relacionados con la temática. 0:06:00 - El Theremin. 0:30:00 - Música y C-F en los 60 (1). 1:20:30 - "Privilegio" de Peter Watkins (1967). 2:01:00 - Música y C-F en los 60 (2). 2:47:00 - "En Alas de la Canción" de Thomas M. Disch (1979). 3:46:00 - "El Maestro Cantor" de Orson Scott Card (1980). 4:22:15 - Comentarios de los oyentes y despedida. Hemos preparado dos listas, en YouTube y Spotify, con las canciones que comentamos en el programa. Youtube: https://t.ly/qz6sz Spotify: https://t.ly/R7lqy Síguenos y contacta con nosotros a través de Facebook (www.facebook.com/retronautas), Twitter (@losretronautas), Bluesky (@losretronautas.bsky.social) o escríbenos a nuestro correo electrónico: losretronautas@gmx.com Puedes también unirte a nuestro canal de Telegram. Contacta con nosotros para facilitarte el enlace. Si te ha gustado este programa y quieres invitarnos a un café, puedes hacerlo a través de: https://ko-fi.com/retronautas Y si estás comprometido con la C-F viejuna puedes unirte a la infantería móvil retronaútica en: https://www.patreon.com/losretronautas o aquí mismo, en Ivoox. Como patrocinador, serás informado de nuestros planes de vuelo, y tendrás acceso anticipado a los podcast "Micronautas". Saludos desde los días del futuro pasado.

My chemistry teacher called today Mole Day, and while this story doesn't have much chemistry in it, it does have a mole: a Londoner called William Lyttle ver wanted your clothes to act like a Theremin? A pair of researchers from the Intelligent Instruments develops sound-rich smart fabrics known as "e-textiles." Great London Eccentrics: The Mole Man Of Hackney (Londonist) e-textiles make sounds like electronic musical instruments when users touch or stretch them (designboom) We dig it when people back this show on Patreon --- Support this podcast: https://podcasters.spotify.com/pod/show/coolweirdawesome/support

City Plus FM: Theremin Ep. 2 Ennio Morricone: The Ecstacy of Gold: Carolina Ecky (2.47) The Flight of the Bumblebee: Carolina Ecky (1.27) How to Play a Scale: Carolina Ecky (2.05) Carolina Ecky Tiny Desk (0.00 - 3.17) Regis Campo: Dance floor with Pulsing for Theremin and Orchestra (Fade in 3.30 - 6.00 Fade Out) Carolina Ecky Brussels Philharmonic Bohuslav Martinu: Fantasie for String Quartet, Oboe, Theremin and Piano (Fade in 1.03 - 3.47 Fade Out) Fazil Say: Mesopotamia Symphony No. 2 (Fade In 1.05 - 2.15 Fade Out) Joseph Schillinger: First Airphonic Suite (Olesya Rostovskaya) (0.00 - 4.45 Fade Out) Lund Quartet: Sequoia Live (0.00 - 6.30 Fade Out) 24 Lund Quartet: Lipa (5.42) Rob Schwimmer: Vertigo (4.58) Rob Schwimmer: Messiaen Quartet for the End of Time (6.07) Haken Continuum Board

Stéphan geht mit uns nach vorne in die Vergangenheit und stellt uns einige der skurrilsten elektronischen Instrumente ever vor. Wieder mal eines dieser Kapitel, das nur unser Podcast schreibt und sonst keiner. Ohren auf! SPOTIFY Playlist 2024 (mit den Songs aus unserem Podcast) Achtung: Die Liste enthält natürlich leider nur die auf Spotify verfügbaren Titel. Wie wir aber alle wissen, gibt es noch ein Musikuniversum jenseits von Streaming. YouTube (der ganze Rest) Facebook (mit News aus der Rockmusik und allem, was glücklich macht) Anregungen, Ideen? Dann schreibt uns doch mal - wmruv2021@gmail.com Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude. Gern unterstützen wir dich bei deiner Podcast-Produktion.

City Plus FM: Theremin Ep. 1 Leon Theremin Playing Theremin (1.32) Bernard Hermann: The Day the Earth Stood Still (0.00 - 1.50 ) Ed Wood (0.10 - 1.45 ) Good Vibration Beach Boys (0.00 - 2.05 Fade Out) The Swan Clara Rockmore (2.53) Berceuse (Tchaikovsky): Clara Rockmore (4.45) Summertime: Clara Rockmore (2.48) Marine: Uri Caine, Mark Feldman, Rob Schwimmer (6.55) Rob Schwimmer: Waltz For Clara (2.40) Over the Rainbow: Peter Pringle (3.05) Pamelia Kurstin: Theremin Orchestra (3.40) Pamelia Kurstin: Autumn Leaves (1.41) Claire de Lune: Gregoire Blanc (5.23) Schindler's List: Gregoire Blanc (4.20)

Good Morning! Did you feel the Earthquake? Travis tells us about his walk yesterday and he met someone with an interesting background and this man happens to play the Theremin. Also, we might have started a conversation about the Dodgers and the possibility of having Ohtani pitch this year. Happy Birthday Travis Mom. We debut a NEW SEGMENT called the FARR SIDE - D'Marco will share Learn more about your ad choices. Visit megaphone.fm/adchoices

This is such a cool episode. We're talking all things theremin with Nick Kizirnis and Pamelia Stickney. This episode has been a long time in the making and well worth the wait. There's some theremin history and some rumors about the inventor. Nick and Pam discuss how the instrument works and what weird things affect the sound and performance. I learn how to tune a theremin, what a thereminist's worst nightmare is and if anyone has ever done a theremin version of dueling banjos.  Nick has a new album out called Every Moment. Grab it wherever you buy music nowadays. Check out his website, nickkizirnis.com or @nickkizirnis on instagram for more news. Check out Pamelia's music and all of her bands on Facebook or @blueblut_in_vienna on Instagram. Follow us @PerformanceAnx on socials. Our merch is at performanceanx.threadless.com. Send us coffee money at ko-fi.com/performanceanxiety. Now let's jump into the theremin on Performance Anxiety on the Pantheon Podcast Network. It isn't just for sci-fi anymore. Learn more about your ad choices. Visit megaphone.fm/adchoices

This is such a cool episode. We're talking all things theremin with Nick Kizirnis and Pamelia Stickney. This episode has been a long time in the making and well worth the wait. There's some theremin history and some rumors about the inventor. Nick and Pam discuss how the instrument works and what weird things affect the sound and performance. I learn how to tune a theremin, what a thereminist's worst nightmare is and if anyone has ever done a theremin version of dueling banjos.  Nick has a new album out called Every Moment. Grab it wherever you buy music nowadays. Check out his website, nickkizirnis.com or @nickkizirnis on instagram for more news. Check out Pamelia's music and all of her bands on Facebook or @blueblut_in_vienna on Instagram. Follow us @PerformanceAnx on socials. Our merch is at performanceanx.threadless.com. Send us coffee money at ko-fi.com/performanceanxiety. Now let's jump into the theremin on Performance Anxiety on the Pantheon Podcast Network. It isn't just for sci-fi anymore. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on My Little Underground, my old friend from the Long Island music scene, Poly Vinylchloryd (Nick Bedo) comes on the show to discuss his two kraut/moog/psychedelic inspired new EPs; ‘Switched on Theremin' (covers) and ‘Invisible intonation' (originals). Nick also discussed his love performing in drag and beauty, his time hosting the WJFF 90.5 FM Radio Catskill show Electronic Hair Pieces, his definition of psychedelic music, insight on his future music projects and more! —- Listen Polly Vinylchloryd:  https://pollyvinylchloryd.bandcamp.com/music https://www.youtube.com/@PollyVMusic/videos Follow Polly Vinylchloryd: https://www.instagram.com/pollyvmusic/ Listen to My Little Underground: https://podcasters.spotify.com/pod/show/mlupod Follow My Little Underground: https://www.instagram.com/mlupod/ #mlupod --- Support this podcast: https://podcasters.spotify.com/pod/show/mlupod/support

Lords: * Elena * Nathalie * https://alienmelon.itch.io/ [cw:flashing lights] Topics: * Fish-based screensavers * Fire safety * The Aquarium and the Glass Harmonica * https://www.youtube.com/watch?v=KOx7zmO5ppw * https://www.youtube.com/watch?v=2FAc3HmfoSY * I Am Running Into A New Year by Lucille Clifton * https://nextworldover.tumblr.com/post/738271770264600576 * I went to Japan * https://nerdparadise.com/mspaint/stereogram Microtopics: * Shikiori Ink. * The Computer Museum in Berlin. * Back when you saw fish-based screen savers everywhere. * The Roku app fish screen saver. * A rock in the aquarium that says "Roku" * 11 hours of fish content. * Fish nerds sitting in a small box at the bottom of the ocean getting hype over seeing a small worm. * An animated gif of fish nerds getting hype. * A live jellyfish web cam that is just in principle. * A web cam of the thing that goes donk and everyone cheers when it goes donk. * The fish screen saver where you need to keep buying floppy disks with fish food on it or the fish die. * Don't copy that fish food! * The startup selling digital rabbit food going out of business so all the digital rabbits go into hibernation. * The Life Cycle of Software Objects. * Being unable to open your front door because the smart lock ran out of batteries. * Everybody congratulating you on the infuriating guy you made up to get mad at. * Fire safety anecdotes. * Glass top electric stoves that look just like induction stoves, as a prank. * How fire extinguishers taste. * Looking at fire extinguisher dust and thinking "let's get the blood brain barrier involved." * Leaving the stove on. * Broiling a sandwich and the whole sandwich catches fire. * A five year old doing science experiments with a lit candle. * The UX design of grease fires. * The William Shatner song about the dangers of deep frying a turkey. * Relating to the teens coming into fashion for like a week and then the next week the teens are like "You're still trying to relate? That's cheugy AF." * Self-moistening fingertips. * Soaking your fingertips in water for eight minutes to get them pruny. * The Canon of harmonica virtuoso music. * Ethereal floating tones that fade in and out of existence. * The Flat Bells. * The Mellotron as a slightly more physical sampler. * Clara Rockmore playing "The Swan" on Theremin. * Bit-doers playing "The Swan" on Otamatone. * Letting go of what you said to yourself about yourself when you were 16, 26, even 36. * The assumption that you need to be forgiven for something. * The sun coming up on this episode of Topic Lords. * Working up the courage to climb the mountain you see every day from your back yard. * Really tall hills you can walk up. * What it's like to not hear cars constantly. * Designing a building to sound good – even if it isn't a concert hall. * Car-free cities. * Biking in a bike-centric environment. * Throwing your body into traffic and hoping drivers care about the legal liability of running someone over. * The intersection where you always see the skid marks from kids doing donuts. * Doing watercolors but with ink. * Buying a bunch of art supplies and never using them because you're afraid to waste them. * How do you get your paintbrush to do what you want? * How watercolors behave depending on how wet the painting is and how wet the paintbrush is. * Scraping your knife on the painting and it just looks like a shed. * Is it a bunch of cats or is it the word "gay"? * Images that look like stereograms but aren't. * The blank canvas stereogram. * Crowds staring at the enormous stereograms hanging up in the Mall of America. * Stereogram artists accounting for pupillary distance. * Making a stereogram in MS Paint.

Anybody home? Clean up all your grandma demons because the bookclub gang is back for another episode. Join us as we catch up on the listener feedbag, talk about the "Hellboy: The Crooked Man,' teaser trailer and read "Hellboy and the B.P.R.D. 1957!" Quick, how many characters can you name that have a white streak in their hair? 05:33 - Listener Feeback 42:58 - Whaddya See, Whaddya Say? 43:02 - Hellboy; The Crooked Man trailer discussion Legion S3 finale spoilers  1:06:05-1:06:49 1:11:00 - Hellboy and the B.P.R.D. Family Ties Buy a sketchbook from Laurence Campbell  https://www.getcampbell.com/drawings-and-commissions-sketchbook After Realm Kickstarter by Oeming https://t.co/bFYe9mGMkD Hellboy 30th Anniversary Items from Dark Horse Direct https://www.darkhorsedirect.com/products/hellboy-hand-of-glory-candle https://www.darkhorsedirect.com/products/hellboy-loteria-game https://www.darkhorsedirect.com/products/hellboy-30th-anniversary-deluxe-vinyl-figure Mignola's eBay store https://www.ebay.com/usr/chrismig57 Josh Edelglass - Illustrator and Pop Culture Writer https://joshuaedelglass.com/ Régis Campo – "Dancefloor With Pulsing" for Theremin and Orchestra  Gary Lucas - “The Golem” - His “The creepiest Jewish children's album” Busy Being Born and Gods & Monsters “Fata Morgana” BPRD ASCII art https://drive.google.com/file/d/1HkLM7wZ4w91uYgbt2Patsk-4RjwQzo1w/view?usp=sharing ASCII art site https://meatfighter.com/ascii-silhouettify/ "Witchfinder Theme," by Andrew Adair https://andrewadair.bandcamp.com/ "39" by The Cure used for educational purposes only opening and closing theme by https://onlybeast.com

Vancouver's Stephen Hamm Theremin Man has just released his sophomore album Songs for the Future with the accompanying video “Planet Earth”. Following the critical acclaim of his debut album, Theremin Man, this latest offering promises a thrilling journey into the realms of electro-rock. Songs for the Future explores themes ranging from isolation and hope to science fiction and fantasy. Each track invites listeners on a cosmic voyage through sound and emotion, with a nod to interdimensional and intergalactic entities. Building on the sonic landscapes established in the first album Theremin Man, Hamm's new album expands his artistic vision. From ethereal melodies to pulsating rhythms, each composition is meticulously crafted to transport audiences to new dimensions. "I'm excited to share Songs for the Future with everyone," says Hamm. "This album represents a new chapter in my creative journey. Unlike the first Theremin Man album, which was a solo effort, I also had some great help with this new album from Shawn Mrazek (Flash Bastard, The Evaporators) on drums and Felix Fung (Pointed Sticks, Colleen Rennison, Mode Modern) on guitar and production.” Stephen Hamm has been a pivotal member of the Vancouver Music and Arts scene for over 25 years. He's played bass, keyboards and sang in bands like Slow, Tankhog, Canned Hamm and Nardwuar And The Evaporators. Today, Stephen is Theremin Man, a space traveler and storyteller who sends waves of good vibes and dance beats out to his followers, affectionately known as “The Space Family”. Since stalking the Pacific Northwest with his legendary rock bands, Stephen has shifted his focus to mastering the Theremin, an early electronic instrument that one does not touch but plays by interacting with magnetic fields around two antennae. In recent years Stephen has studied under the tutelage of German Theremin virtuoso Carolina Eyck and New York based Thereminist Dorit Chrysler. Stephen's solo show, based around Theremin and Synthesizer is a psychedelic electro musical journey into new abstract dimensions of sound. Photo Credit: Ryan M. Clark D I S C O V E R Website:https://stephenhamm.ca/homeInstagram: https://www.instagram.com/thereminmanFacebook: https://www.facebook.com/stephen.hamm.7 Bandcamp: https://thereminman.bandcamp.comYoutube: https://www.youtube.com/channel/UCTILaNOR-MdEeyXOs_uWj7A UPCOMING LIVE DATESSaturday July 6, The Wise Hall opening for Roots Roundup This episode is brought to you byGo to BETTERHELP.com/apologue for confidential online counselling.use the code word Apologue for a 7 day free trial Pledge monthly with Patreon https://www.patreon.com/apologueShop Apologue products at http://apologue.ca/shop

Original air date: 10/21/23 *This is an unlocked episode. For access to premium episodes, new chapters of SEKRET MACHINE MUSIC, upcoming installments of DEMON FORCES, NOID-FM mixes, and the Grotto of Truth Discord, subscribe to the Al-Wara' Frequency at patreon.com/subliminaljihad. In Part Two of SEKRET MACHINE MUSIC, Dimitri and Khalid jump to the opposite end of the political spectrum to explore the fascinating life of Soviet inventor Leon Theremin, including: the intense ideological contention over Theremin's inventions in the West, Theremin's incredible story of showing Vladimir Ilyich Lenin how to play “The Lark” on the Thereminvox in 1920, Theremin's move to New York City in 1927, becoming a celebrity sensation for the NYC silk toppers, losing his wife to an American Nazi, modern attempts to frame Theremin as a “Soviet Faust” who sold his soul to Stalin in order to keep inventing, his friendship with synesthesia enthusiast Albert Einstein, Theremin's employment at RCA and early television innovations, getting married to African-American dancer Lavinia Williams, his mysterious disappearance from NYC at the start of World War 2, being “a bit of a rezident” in New York, Armand Hammer and the AMTORG Trading Corp, spying on all the silk toppers, spending WW2 in a top secret Soviet science gulag, creating “The Thing” powerless surveillance device, and Leon Theremin's long-awaited triumphant admission to the Communist Party of the Soviet Union in 1991.

This week. I share your picks for songs to hear again for the first time, and they are great picks. I rage about the US governments stupid decisions regarding touring artists from foreign (to the US) countries, and I share a handful of great new tunes... Hi Ren by Ren (from YOUR picks for songs to hear again for the first time) Featured this week: The Road by Droze and the Drift Zombieland by Jake Bugg Electric Love by Velvet Wasted She Plays the Theremin by Balancing Act Connect with Songs That Don't Suck Website | ⁠⁠Instagram⁠ | Threads | Facebook | TikTok | X This Year's Songs That Don't Suck ~ 2024 Songs That Don't Suck Last Year's  Songs That Don't Suck ~ 2023 Songs That Don't Suck --- Send in a voice message: https://podcasters.spotify.com/pod/show/songsthatdontsuck/message

Jay begins this episode with Paul Hindemith, who in 1921 combined his interest in ragtime with his love of Bach. There is also a minuet by Ravel, glancing back at Haydn. There is a song by Zemlinsky, setting Langston Hughes. There are wonders and curiosities in this episode—which, by the way, has a sponsor: Michael Lohafer, who, as Jay says, is “a particular authority on Mozart.” Mr. Lohafer says, “My sponsorship is on behalf of all attentive listeners to Music for a While who enjoy the well-considered selections that always delight the ear.” Bach, Fugue in C minor from “The Well-Tempered Clavier,” Book 1 Hindemith, “Ragtime (Well-Tempered)” Ravel, “Menuet sur le nom d'Haydn” Schumann, “Faschingsschwank aus Wien” Zemlinsky, “Afrikanischer Tanz” from “Symphonische Gesänge” Liszt, “Canzonetta del Salvator Rosa” from “Années de pèlerinage, deuxième année: Italie” Vasks, Dolcissimo from “The Book” Prokofiev, Sonata No. 7, Precipitato Martinů, Fantasia for String Quartet, Oboe, Theremin, and Piano Gounod, “Ah! lève-toi, soleil!” from “Roméo et Juliette” Tchaikovsky-Pletnev, Pas de deux from “The Nutcracker”

What was that Frankenstein music machine with all the dials, sliders, patch cords etc., that made other-worldly sounds that were supposed to resemble “real” instruments, like strings, horns and flutes, but didn't? It was the mighty Moog, invented by Cornell doctoral student and Theremin salesman, Robert Moog. He hooked up with musician-educator Herb Deutsch, developed the voltage regulation for oscillators and modulators, and the thing caught on.The first time most of us heard it was on Wendy Carlos' SWITCHED ON BACH record, which, by aligning itself to one of the world's most beloved composers, became a sensation in 1968, and was a defining feature of Stanley Kubrick's A Clockwork Orange.  Not long after that it became an absolute must have for the Prog matadors like Keith Emerson of ELP.  The Beatles also used it extensively on Abby Road, etc. The list goes on and on. Speaking for myself, I've always found the Moog and the electronic sounds it made cold and clinical (though fascinating). However, on this record its positively cuddly, and it makes me smile when I recall that it was used by the Muppets for the Swedish Chef routine.  Composed by Gershon Kingsley, this hit version of Popcorn was recorded by Stan Free of Hot Butter, and its lighter than air. 

Enjoy this 28-minute musical journey that was improvised and filmed live in Northeast Los Angeles with DJ Douggpound, Vic Berger and special musical guests Mac Demarco & Molly Lewis, Mr. Dobro and Shakewell. Recorded by Luke Burba & Robert Julian Fronzo. Mixed by Luke Burba. Theremin by Brian Bonelli. Produced by Producer Matt. Support Office Hours, watch a full extra hour of each episode, and get tons of additional content like this with OFFICE HOURS+. Get a FREE seven-day trial at patreon.com/officehourslive. Check out our merch, watch the video version and find everything else at officialofficehours.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Auch in diesem Jahr sprechen wir zum Internationalen Frauentag über Frauen aus der Popgeschichte, die bislang viel zu wenig Beachtung bekommen haben. Mit dieser Spezialfolge wollen wir das ändern. Zu Gast bei Katharina Heinius ist die ehemalige Lucilectric-Sängerin Luci van Org. Nachdem es im letzten Spezial zum Internationalen Frauentag einen Rundumschlag gab zu Frauen, die in den Geschichtsbüchern zu kurz gekommen sind, wie Blueserfinderin Ma Rainey, Rock'n'Roll-Erfinderin Rosetta Tharpe oder Sylvia Robinson, die den ersten kommerziell erfolgreichen Hip-Hop-Song überhaupt produziert hat ("Rapper's Delight" von der Sugarhill Gang) geht es dieses Mal um die Pionierinnen der elektronischen Musik. Auch in diesem Jahr ist Musikerin, Produzentin, Songwriterin, Autorin und Schauspielerin Luci van Org wieder mit dabei und spricht mit SWR1 Musikredakteurin Katharina Heinius über großartige Frauen der Musikgeschichte. Für Luci van Org gibt es einen ganz besonderen Punkt, der sie an elektronischer Musik fasziniert: "Die Möglichkeit, autark ganze Musikstücke zu kreieren. Das ist gerade für Frauen ganz wichtig gewesen, weil [...] es gab immer Männer, die versucht haben, dir zu sagen, was du zu tun und zu lassen hast und wie du es zu machen hast. Und an so einem Rechner kannst du einfach sitzen und selbst bestimmen, wie etwas klingt [...]." Das ermächtigt die Musikerinnen und auch Musiker natürlich dazu unabhängiger von anderen zu werden. Wer möchte, kann durch diese Technik alle Rollen, die es beim Musikmachen auszuführen gibt, selber ausführen. Egal, ob Komponistin, Produzentin und auch ausführende Künstlerin. Die Anfänge der elektronischen Musik beginnen weitaus früher, als man vielleicht denkt, nämlich schon in den 1920er Jahren mit dem Theremin. Wie dieses obskure Instrument gespielt wird, das erklärt Musikerin Luci van Org, die selbst stolze Theremin-Besitzerin ist, im Meilensteine Podcast. Über das Theremin meint sie "Menschen, die Theremin spielen, wirken immer ein bisschen wie in einer Séance. Die halten die Hände in der Luft und machen seltsame Gesten." Und die erste große Theremin-Virtuosin war, die eigentlich als Violinistin ausgebildete Konzertgeigerin, Clara Rockmore. Die hat eine ganz besondere Technik erfunden, um das Instrument zu beherrschen. Dr. Who ist eine der bekanntesten Fernsehserien aller Zeiten und auch eine der Serien, die es schon am längsten gibt. 1963 startete die Serie und auch heute werden noch neue Folgen produziert. Und im Intro der Science-Fiction-Serie gab es schon 1963 elektronische Musik, gespielt von der Mathematikerin Delia Derbyshire auf Synthesizern. Bis zur "Dr. Who"-Serie war elektronische Musik ganz und gar nicht "in aller Munde", wie man so schön sagt, sondern es wurde immer eher verächtlich darauf geschaut, da elektronische Musik "kein Herz und keine Seele" habe. Heute wird ganz anders auf elektronische Musik geblickt und für diesen Wandel ist auch Delia Derbyshire und ihre Titelmelodie zu "Dr. Who" verantwortlich. Auch deshalb zählt sie für das Musikmagazin "Musikexpress" zu den "100 wichtigsten Frauen im Pop". Eine der ersten elektronischen Kompositionen aus einem Computer kommen von der US-Amerikanerin Laurie Spiegel. Mit Lochkarten, Klaviatur, Joystick und Tasten komponierte sie 1974 ihren Song "Appalachian Grove 1", mit dem sie die Melodien in die vorher avantgardistische, elektronische Musik brachte und dadurch auch mehr Gefühl. Während wir elektronische Musik (theoretisch) heute mit dem Laptop gemütlich von der Couch aus machen können, war der Computer, mit dem Laurie Spiegel Musik gemacht hat, so groß wie ein Wohnzimmer, unglaublich teuer und stand in einer Forschungseinrichtung. Laurie Spiegel komponierte aber nicht nur Musik auf dem Computer, sondern sie hat mit "Music Mouse" auch eines der ersten Computerprogramme zum Musik machen programmiert. __________ Shownotes SWR1 Meilensteine Folge zu "Sports" von Huey Lewis and The News: https://www.ardaudiothek.de/episode/swr1-meilensteine/huey-lewis-and-the-news-sports/swr1/94770170/ Spezialfolge zum Internationalen Frauentag 2023: https://www.ardaudiothek.de/episode/swr1-meilensteine/spezialfolge-zum-internationalen-frauentag-2023/swr1/12436977/ SWR1 Leute mit Luci van Org: https://www.ardaudiothek.de/episode/swr1-leute/mehr-starke-frauen-in-einer-maennerdominierten-welt/swr1/13104787/ Clara Rockmore spielt das Theremin: https://www.youtube.com/watch?app=desktop&v=pSzTPGlNa5U ARTE-Doku über "verkannte Heldinnen der elektronischen Musik: https://www.arte.tv/de/videos/104017-000-A/sisters-with-transistors-die-verkannten-heldinnen-der-elektronischen-musik/ Demo von Music Mouse: https://www.youtube.com/watch?v=D-mmEvGOopk SWR Artikel zu Luci van Org: https://www.swr.de/swr1/swr1leute/luci-van-org-lucilectric-cross-media-kunstlerin-100.html Künstlerseite zum Projekt "Luciana Soteira" von Luci van Org: https://www.laetitium.de/artists/lucina-soteira/ __________ Über diese Songs wird im Podcast gesprochen (08:04) – “The Swan” von Clara Rockmore (17:45) – “Dr. Who Titelmelodie” von Delia Derbyshire (33:02) – “Appalachian Grove 1” von Laurie Spiegel (40:40) – “Three Sonic Spaces” von Laurie Spiegel (41:32) – “Offen” von Meystersinger (43:18) – “Tempel” von Lucina Soteira __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de

THE FEMININE TOUCH Vol 2. Playlist 00.00 Lisa Bella Donna ‘Night Flight' (album Night Flight) https://lisabelladonna.bandcamp.com 09.22 Hannah Peel ‘Ecovocative' (album Fir Wave) www.hannahpeelmusic.bandcamp.com 12.59 Kelly Moran ‘Ultraviolet Helix' (album Ultraviolet) https://kellymoran.bandcamp.com 21.34 The Allegorist ‘Redwinged Phoenix' (album Blind Emperor) https://theallegorist.bandcamp.com 28.28 Marie Wilhelmine Anders ‘Winter' (EP Echoes)https://triplicaterecords.bandcamp.com 36.56 Tukico ‘Timeless In The Depth' (album Primitive) www.subcontinentalrecords.bandcamp.co 41.55 Gilda Razani & Hans Wanning ‘Matab for Theremin & Synthesiser' https://gildarazani.de/ 43.51 Carolina Eyck ‘On Wings of Light and Time' (album Theremin & Voice) https://www.carolinaeyck.com 48.18 Delphine Tesla ‘Bells Of Ether' (album Eko Lunae) http://www.delphinetesla.com 57.00 Meg Bowles ‘Cloudburst Over a Parched Land' (album Pilgrimage) https://megbowles.bandcamp.com 01.03.26 Kara- Lisa Coverdale ‘Icon/c' (album After Touches) https://kara-liscoverdale.bandcamp.com/ 01.07.12 Kaitlyn Aurelia Smith & Suzanne Ciani ‘A New Day' (album FRKWYS vol,13: Sunergy) https://kaitlynaureliasmith.bandcamp.com/ 01.18.37 Helene Vogelsinger ‘Reminiscence' (album Reminiscence) https://helenevogelsinger.bandcamp.com/releases 01.27.38 Novellor ‘Laura Palmer's Theme' (EP Wrapped in Plastic) https://noveller.bandcamp.com/album/wrapped-in-plastic 01.33.00 Jenny & Her Epileptic Dog ‘Iberian Space Onion' (Various Transmissions From The Secret Cinema, Vol 1) www.lifesavicnic.bandcamp.com 01.38.37 LYDIA ‘Time' (album Emanation) www.lydia-music.bandcamp.com 01.43.40 Julianna Barwick ‘In Light ft.Jónsi' (album Healing Is A Miracle) https://juliannabarwick.bandcamp.com 01.49.13 Elin Piel ‘Vanta' (album Tone Science Module No6 Protons & Neutrons) https://dinrecords.bandcamp.com 01.54.32 36 & Awakened Souls Awakened Souls ‘Shelter/Ripples' (album The Other Side Of Darkness) https://pitp.bandcamp.com 02.01.34 Mareena & JakoJako ‘Phantasma' (album Atlas Der Gedanken) https://muzaneditions.bandcamp.com 02.06.29 Olga Wojciechowska ‘Primal Fear' (album Maps & Mazes) www.timereleasedsound.bandcamp.com 02.10.40 Gydja ‘Mjötvið ‘mæran fyr mold neðan' (album Ár var alda) https://winter-light.bandcamp.com/yum 02.19.46 Leila Abdul Rauf ‘The Emerges 1: Rebirth' (album Phantasiai) https://leilaabdulrauf.bandcamp.com/ 02.24.59 Sarah Davachi ‘Diaphonia Basilica' (Cantus, Descant) https://sarahdavachi.bandcamp.com 02.30.27 Kali Malone ‘Living Torch II' (album Living Torch) *** https://kalimalone.bandcamp.com/album/living-torch 02.38.42 Jodie Lowther 'Speaks Of Spirits' (album Roseberry) www.jodielowther.bandcamp.com 02.44.37 Pleq feat Strie ‘Our Worlds Are Frozen' www.headphonecommute.bandcamp.com 02.48.35 Nadia Struiwigh 'Soundshag' (album WHRRU) https://nadiastruiwigh.bandcamp.com 02.53.05 Hania Rani ‘Hawaii Oslo' (album Live From Studio S2) https://haniarani.bandcamp.com 03.02.00 Cilvarium ‘Luciora' (album The Seventh Secret) https://cilvarium.bandcamp.com/album/the-7th-secret 03.06.30 Alira Mun ‘Gnosis' www.aliramun.bandcamp.com 03.10.24 Caminauta ‘Live Part 1' (album Synth Fest Trance-Live Set Session) https://caminauta.bandcamp.com 03.19.28 Penelope Trappes ‘Gnostic State' (single )*** https://penelopetrappes.bandcamp.com/track/gnostic-state 03.24.03 Striē ‘Perpetual Journey' (EP Perpetual Journey) https://shop.serein.co.uk/album/perpetual-journey 03.28.25 Oliviaway ‘More Than Just A Dream' (EP More Than Just A Dream) https://oliviaway.bandcamp.com 03.33.52 Julia Kent ‘Imbalance' (album Temporal) www.music.juliakent.com 03.37.44 Christine Ott ‘Time To Die' (album Time To Die) www.christineott.bandcamp.com 03.45.54 Serena Gabriel: feat Steve Roach ‘Changing Tides' *** (album Inanna's Dream) https://projektrecords.bandcamp.com/yum 03.54.33 Sherry Finzer ‘Through The Veil' www.higherlevel.medi Edit ***

Step right up to a sonic adventure! Dmitri's recent experience at NAMM uncovered a treasure trove of musical innovation as well as future classics, all together under one roof. Journey with Dmitri through some of NAMM's latest offerings. The Music Tectonics podcast goes beneath the surface of the music industry to explore how technology is changing the way business gets done. Visit musictectonics.com to find shownotes and a transcript for this episode, and find us on LinkedIn, Twitter, and Instagram. Let us know what you think!

Episode 117 Electronic Keyboards in Jazz, A Recorded History, Part 1 of 2 Playlist   Length Start Time Introduction 05:42 00:00 1.             Vernon Geyer, “Day After Day” from All Ashore / Day After Day (1938 Bluebird). Soloist, Hammond Electric Organ, Vernon Geyer. 02:22 05:42 2.             Milt Herth Quartet / Milt Herth Trio, “Minuet in Jazz” from Home-Cookin' Mama With The Fryin' Pan / Minuet In Jazz (1938 Decca). Milt Herth was one of the first to record with the Hammond Organ Model A. His playing was more focused on melody and counterpoint and not so much on creating a lush progression of chords. This was recorded a few years before the availability of the Leslie rotating speaker, which added a special tone quality to later Hammonds, such as the model B3. 02:44 08:04 3.             Milt Herth Quartet / Milt Herth Trio, “Looney Little Tooney” from Flat Foot Floojie / Looney Little Tooney (1938 Decca).  Vocals, O'Neil Spencer; Drums, O'Neil Spencer; Guitar, Teddy Bunn; Hammond Organ, Milt Herth; Piano, Willie Smith (The Lion). 02:50 10:46 4.             "Fats" Waller And His Rhythm, “Come Down to Earth, My Angel” from Come Down To Earth, My Angel / Liver Lip Jones (1941 Bluebird). Waller was an extremely popular ragtime and stride piano player and vocalist. In this number, he takes a rare turn on an electric organ, presumably an early model Hammond. Vocals, Piano, Electric Organ, "Fats" Waller; Bass, Cedric Wallace; Clarinet, Tenor Saxophone, Gene Sedric; Drums, Slick Jones; Guitar, Al Casey; Trumpet, John Hamilton. 03:10 13:36 5.             Collins H. Driggs, “When Day is Done” from The Magic Of The Novachord (1941 Victor). Soloist, Hammond Novachord, Collins H. Driggs. This was an early polyphonic keyboard that generated its sounds using valve, or vacuum tube, oscillators. Made by Hammond, the Novachord was an entirely different electronic instrument than its tone-wheel organs. The Novachord had unique, synthesizer-like controls over envelope generation, band pass filtering and vibrato controlled by a series of flip switches, offering the keyboardist a unique suite of sounds. 03:11 16:45 6.             The Four Clefs, “It's Heavenly” from It's Heavenly / Dig These Blues (1943 Bluebird). Hammond Electric Organ, James Marshall. Another organ recording and a nice duet with a guitarist Johnny "Happy" Green. 02:41 19:54 7.             Ethel Smith And The Bando Carioca, “Tico-Tico” from Tico-Tico / Lero Lero / Bem Te Vi Atrevido (1944 Decca). Another was a popular and skilled organist using a pre-B3 Hammond. 02:45 22:36 8.             Slim Gaillard Quartette, “Novachord Boogie” from Tee Say Malee / Novachord Boogie (1946 Atomic Records). Bass, Tiny Brown; Drums, Oscar Bradley; Guitar, Slim Gaillard; Piano, Dodo Marmarosa. While the Hammond Novachord plays a prominent role in this recording, the player is not credited. 02:57 25:20 9.             Milt Herth And His Trio,” Twelfth Street Rag” from Herthquake Boogie / Twelfth Street Rag (1948 Decca). Recorded in New York, NY, September 5, 1947. Described on the recording as a “Boogie Woogie Instrumental.” Hammond Organ, Milt Herth; Drums, Piano, Uncredited. Herth had been recording with the Hammond organ since 1937. 03:10 28:16 10.         Ben Light With Herb Kern And Lloyd Sloop, “Benny's Boogie” from Benny's Boogie / Whispering (1949 Tempo). This track includes the triple keyboard combination of piano, organ, and Novachord. Hammond Electric Organ , Herb Kern; Piano, Ben Light; Hammond Novachord, Lloyd Sloop. 02:37 31:27 11.         Johnny Meyer Met Het Kwartet Jan Corduwener, “There's Yes! Yes! in your Eyes” from Little White Lies / Thereʼs Yes! Yes! In Your Eyes (1949 Decca). Accordion player Johnny Meyer added a Hammond Solovox organ to his musical arrangements. The Solovox was monophonic and it added a solo voice to his performances. This recording is from the Netherlands. 03:22 34:04 12.         E. Robert Scott, R.E. Wolke, “Instructions For Playing Lowrey Organo” (excerpt) from Instructions For Playing Lowrey Organo (circa 1950 No Label). Promotional disc produced by piano and organ distributor Janssen, presumably with the cooperation of Lowrey. This is a 12-inch 78 RPM disc, but is undated, so I believe that picking 1950 as the release year is safe because the Organo was introduced in 1949 and 78 RPM records were already beginning to be replaced in 1950 by the 33-1/3 RPM disc. Recordings of this instrument are extremely rare. I have no such examples within a jazz context, but being a competitor of the Hammond Solovox, I thought this was worth including. 03:23 37:26 13.         Ethel Smith, “Toca Tu Samba” from Souvenir Album (1950 Decca). One of the great female masters of the Hammond Electric Organ was Ethel Smith. Her performances were mostly considered as pop music, but she had the knack for creating Latin jazz tracks such as this. Featuring The Bando Carioca; Hammond Electric Organ soloist, Ethel Smith. 02:25 40:48 14.         The Harmonicats, “The Little Red Monkey” from The Little Red Monkey / Pachuko Hop (1953 Mercury). Jerry Murad's Harmonicats were an American harmonica-based group. On this number, they included the electronic instrument known as the Clavioline. The Clavioline produced a fuzzy square wave that could be filtered to roughly imitate many other instruments. The record is inscribed with the message, “Introducing the Clavioline,” but the player is not mentioned. 01:56 43:12 15.         Djalma Ferreira E Seus Milionarios Do Ritmo, “Solovox Blues” from Parada De Dança N. 2 (1953 Musidisc). From Brazil comes a jazz group that included the Hammond Solovox Organ as part of its ensemble. Invented in 1940, the Solovox was a monophonic keyboard intended as an add-on to a piano for playing organ-flavored solos. It had a 3-octave mini keyboard and controls over vibrato and attack time, and tone settings for deep, full, and brilliant. Piano, Hammond Solovox Organ, Djalma Ferreira; Bass, Egidio Bocanera; Bongos, Amaury Rodrigues; Drums, Cecy Machado; Guitar, Nestor Campos. 02:31 45:08 16.         Eddie Baxter, “Jalousie” from Temptation (1957 Rendezvous Records). Piano, Hammond Organ, Celesta (Electronic Celeste), Krueger Percussion Bass, Eddie Baxter; rhythm section, uncredited. Like Ethel Smith, Baxter was pushing the limits of popular music with his virtuosity on the organ and other instruments. In this track you can hear the electronic celesta with its chime-like sounds near the beginning before the electric organ and guitar dominate the rest of the piece. 02:33 47:38 17.         Eddie Baxter, “Temptation” from Temptation (1957 Rendezvous Records). Hammond Electric Organ, Eddie Baxter. Piano, Hammond Organ, Wurlitzer Electric Piano, Krueger Percussion Bass, Eddie Baxter. In this track, you can clearly hear the Wurlitzer electric piano in several sections. 02:08 50:10 18.         Le Sun Ra And His Arkestra, “Advice to Medics” from Super-Sonic Jazz (1957 El Saturn Records). This excursion into one of the first records released by Sun Ra as a bandleader of the Arkestra was recorded in 1956 at RCA Studios, Chicago. This track is a solo for the Wurlitzer Electric Piano, an instrument invented in 1954 and that was quickly adopted by many jazz and popular music players. 02:02 52:17 19.         Le Sun Ra And His Arkestra, “India” from Super-Sonic Jazz (1957 El Saturn Records). A work featuring the Wurlitzer Electric Piano played by Sun Ra, miscellaneous percussion; electric bass, Wilburn Green; Drums, Robert Barry and William Cochran; Timpani, Timbales, Jim Herndon; and trumpet, Art Hoyle. 04:48 54:18 20.         Le Sun Ra And His Arkestra, “Springtime in Chicago” from Super-Sonic Jazz (1957 El Saturn Records). This work features Sun Ra playing the acoustic and electric pianos. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran. 03:50 59:14 21.         Le Sun Ra And His Arkestra, “Sunology” from Super-Sonic Jazz (1957 El Saturn Records). Another number with both the acoustic and electric pianos. Of interest is how Sun Ra moves deftly from one keyboard to the other (these recordings were made in real time), often mid-phrase. This was a style of playing that Sun Ra would continue to perfect throughout his long career and many electronic keyboards. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran; Alto Saxophone, James Scales; Alto Saxophone, Baritone Saxophone, Pat Patrick. 12:47 01:02:54 22.         Steve Allen, “Electronic Boogie” from Electrified Favorites (1958 Coral). From Steve Allen, who played the Wurlitzer Electric Piano on this track. This track has the characteristic brashness that was typical of the Wurlitzer sound. 02:23 01:15:40 23.         Steve Allen, “Steverino Swings” from Electrified Favorites (1958 Coral). From Wurlitzer Electric Piano, Steve Allen. Unlike many tracks featuring the Wurlitzer Electric, which make use of its distortion and emphasize its sharp attack, it was possible to closely mimic an acoustic piano as well, as Allen does here. I had to listen to this several times before I believed that it was the Wurlitzer, as the liner notes state. But you can hear certain tell-tale sounds all along the way—such as the slight electrified reverb after a phrase concludes and the occasional thump of the bass notes played by the left hand. 02:54 01:18:02 24.         Michel Magne, “Larmes En Sol Pleureur (Extrait D'un Chagrin Emmitouflé)” from Musique Tachiste (1959 Paris). Jazz expression in a third-stream jazz setting by French composer Michel Magne. Third-stream was a music genre that fused jazz and classical music. The term was coined in 1957 by composer Gunther Schuller after which there was a surge of activity around this idea. In this example, the Ondes Martenot and vocalist add jazz nuances to a chamber music setting, the interpretation being very jazz-like. Ondes Martenot, Janine De Waleine; Piano, Paul Castagnier; Violin, Lionel Gali; Voice, Christiane Legrand. 02:38 01:20:54 25.         Ray Charles, “What'd I Say” from What'd I Say (1959 Atlantic). This might be the most famous track ever recorded using a Wurlitzer Electric Piano. The fuzzy, sharp tone added depth and feeling to the playing. The opening bars were imitated far and wide for radio advertising of drag races during the 1960s. 05:05 01:23:30 26.         Lew Davies And His Orchestra, “Spellbound” from Strange Interlude (1961 Command). This was one of Enoch Light's productions from the early 1960s, when stereo separation was still an experiment. This is the theme from the Hitchcock movie with a melody played on the Ondioline, a monophonic organ and an otherwise jazzy arrangement with a rhythm section, reeds, and horns. Arrangement, Lew Davies; Ondioline, Sy Mann; Bass, Bob Haggart, Jack Lesberg; Cymbalum, Michael Szittai; Drums, George Devens, Phil Kraus; French Horn,Paul Faulise, Tony Miranda; Guitar, Tony Mottola; Reeds, Al Klink, Ezelle Watson, Phil Bodner, Stanley Webb; Trombone, Bobby Byrne, Dick Hixon, Urbie Green; Produced by, Enoch Light. 03:29 01:28:34 27.         Sy Mann and Nick Tagg, “Sweet and Lovely” from 2 Organs & Percussion (1961 Grand Award). Duets on the Hammond B3 and Lowrey Organs “propelled by the urgent percussive drive of a brilliant rhythm section.” This is a unique opportunity to contract and compare the sounds of the Hammond and Lowrey organs with percussion. Hammond B3 Organ, Sy Mann, Nick Tagg. The track begins with the Lowrey and demonstrates the sliding tone effects made possible by its Glide foot switch. 02:58 01:32:02 28.         Enoch Light And The Light Brigade, “Green Eyes” from Vibrations (1962 Command). More stereo separation hijinks from Enoch Light. This tune features the Ondioline in an exchange of lines with the guitar and other instruments. The Ondioline is first heard at about 35 seconds. Ondioline, Milton Kraus; Bass, Bob Haggart; Guitar, Tony Mottola; Percussion, Bobby Rosengarden, Dan Lamond, Ed Shaughnessy, Phil Kraus; Piano, Moe Wechsler; Trumpet – Doc Severinsen; Woodwind – Phil Bodner, Stanley Webb; Produced by, Enoch Light. 02:50 01:34:59 29.         Jimmy Smith, “Begger for the Blues” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). Jimmy Smith was a great jazz soloist on the Hammond B3 organ. This stripped-down arrangement shows his nuanced expression skills with the organ. 07:26 01:37:49 30.         Jimmy Smith, “Walk On The Wild Side” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). This big band arrangement of a theme from the movie Walk on the Wild Side features the Hammond B3 of Smith in the context of a full jazz orchestration. 05:54 01:45:12 31.         Dick Hyman And His Orchestra, “Stompin' At The Savoy” from Electrodynamics (1963 Command). Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. Hyman shows off the steady, smooth tonalities of the Lowrey and also makes use of the Glide foot switch right from the beginning with that little whistling glissando that he repeats five times in the first 30 seconds. 02:50 01:51:06 32.         Sun Ra, “The Cosmos” from The Heliocentric Worlds Of Sun Ra, Vol. I (1965 ESP Disc). The instrumentation on this entire album is quite experimental, especially the dominance of the bass marimba, Electronic Celesta, and timpani of Sun Ra. The celesta is seldom heard on jazz records, but it is the only electronic keyboard found on this track. Marimba, Electronic Celesta, timpani, Sun Ra; Percussion, Jimhmi (sp Jimmy) Johnson; Performer, Sun Ra And His Solar Arkestra; Baritone Saxophone, Percussion, Pat Patrick; Bass, Ronnie Boykins; Bass Clarinet, Wood Block, Robert Cummings; Bass Trombone, Bernard Pettaway; Flute, Alto Saxophone, Danny Davis; Percussion, timpani, Jimmi Johnson; Piccolo Flute, Alto Saxophone, Bells, Spiral Cymbal, Marshall Allen. 07:31 01:53:54 33.         Sun Ra And His Solar Arkestra, “The Magic City” from The Magic City (1966 Saturn Research). You won't be disappointed to know that Sun Ra gave the Clavioline a turn on this album. This was prior to his experimenting with synthesizers, which we will cover in Part 2 of this exploration of early electronic keyboards in jazz. He incorporated the Clavioline in many of his mid-1960s recordings. Clavioline, Piano, Sun Ra; Alto Saxophone, Danny Davis, Harry Spencer; Percussion, Roger Blank; Trombone, Ali Hassan; Trumpet, Walter Miller. 27:24 02:01:22 34.         Clyde Borly & His Percussions, “Taboo” from Music In 5 Dimensions (1965 Atco). Vocals, Ondes Martenot, Janine De Waleyne. Yes, Ms. De Waleyne was a French vocalist and Ondes Martenot player. 03:33 02:28:44 35.         Jeanne Loriod, Stève Laurent and Pierre Duclos, ''Ordinateur X Y Z” from Ondes Martenot (1966 SONOROP). Album of broadcast library music from France that happened to feature the Ondes Martenot played Jeanne Loriod; drums, uncredited. The dynamic expression features of the monophonic electronic instrument can be clearly experienced on this track. 02:05 02:32:16 36.         Roger Roger, “Running with the Wind” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. This track features a solo Ondes Martenot and is backed by an electric harpsichord. The Ondes Martenot used the same electronic principle to create smooth, flowing tones as the Theremin, only that it was controlled by a keyboard. In this piece, the articulation of the Ondes Martenot is quite apart from that of the Theremin, including its double-tracked tones and the quick pacing which is rather un-Theremin-like. 01:28 02:34:20 37.         Roger Roger, “Night Ride” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. While this track features a flute solo, you can hear the Ondes Martenot from time to time, especially in the middle break. Other uncredited musician play drums, harp, and perhaps a celesta on this track. 01:35 02:35:45 Opening background music: Dick Hyman And His Orchestra, “Mack the Knife,” “Satin Doll” and “Shadowland” from Electrodynamics (1963 Command). Dick Hyman playing the Lowrey organ. Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can download the PDF, for free, on my blog, Noise and Notations at thomholmes.com

New reading with Chase Griffin and Christina Quay. With music by M. Kilcullen... Between the pages of an ever-shifting eternal text known as the Patasphere, a coven of psychedelic fiction fanatics and a duo of agents working for a private intelligence firm known as The Geist, LLC navigate their ways simultaneously through a labyrinthian pilgrimage to the ole haunts of their favorite thoughtform, a cult classic weird fiction author named Rocco Atleby, who may or may not be both creator and destroyer of their world. Out now from Maudlin House. Get the book! https://shop.maudlinhouse.net/

Episode: 1818 Leon Theremin's remarkable music machine.  Today, our guest, scientist Andrew Boyd, talks about the man who wed music to electricity.

Guests Gaz Williams - Producer, bassplayer, music technologist Yoad Nevo - producer, mix engineer Waves Developer For preshow and Ad free version and much more: Patreon.com/sonicstate     iZotope Creative Mix Bundle  - Vocal Synth, Stutter Edit 2, Neoverb and  Neutron 4 Elements  Let your sound palette shine -  with mixing & creative FX. The Creative Mix  Bundle is yours for  $49 - Saving an astonishing $497  At izotope.com  Don't forget the code SONIC10 to save 10% Save up to 66% on a world class production suite with Komplete 14,  with Cyber Seasons deals, save for a limited time only  at native-instruments.com And exclusively for listeners of Sonic TALK, take 10% off your software purchase at Native-Instruments.com with the code SONIC10. Some restrictions apply. And exclusively for listeners of Sonic TALK, take 10% off your software purchase at Native-Instruments.com with the code SONIC10. Some restrictions apply.  00:00:15 SHOW START 00:02:03 OSMOSE Competition (ends Jan 20th) 00:02:12 AD: SonicState Patreon 00:16:12 AD: iZotope Ozone 11 00:17:01 Chompi Ships But... 00:30:40 Stylophone Pitch Theremin 00:37:27 AD: N.I. Kontrol S Series 00:38:23 SoundCloud For Sale 00:46:38 Gforce Axxess 00:52:07 Franklin 6 input DI Where to Watch/Listen - We now stream the live show to Youtube Live,  Facebook Live as well as at  Sonicstate.com/live every Weds at 4pm UK time- please do join in. Preshow available on Twitch. You can also download the audio version from RSS FEED 

Ali has been practicing energy service, clairvoyant readings, energy healings and teaching techniques to care for the energy system since 2005. She lives in Humboldt Park, Chicago. She can often be found biking around the city, hanging out with friends or playing Theremin with Velcro Lewis Group and other musicians. She was trained at InVision, school of psychic abilities. Ali has been teaching valuable and rejuvenating techniques to experience a more fulfilling energy system for over 12 years. She now does private readings and meditation sessions online and in person. Keep an eye out for classes and special event appearances! www.alihunger.com

PodM - Léon Theremin era un físico, ingeniero electrónico y violonchelista aficionado de San Petersburgo. En 1918, tras la Revolución, se encontraba estudiando las ondas electromagnéticas por encargo del gobierno. Estaba investigando la detección del movimiento a través de las ondas para desarrollar una alarma inalámbrica, cuando se percató de que la presencia de su mano en el campo electromagnético alteraba la frecuencia reproducida por el dispositivo. Había inventado el primer instrumento musical electrónico de la Historia. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

This month we're joined by special guest David Salonen!!! Here's the highlights: How to play a Theremin, Ungrateful trick or treaters, Erik used to be a pyromaniac, Pranks and retaliation, Sibling Rivalry, How to deal with a bully, Current TV/Films vs the Classics, Reading books vs watching shows, Fear Factor and eating bugs, Super Tasters, Smokers voice, Trying new things, Military caffeine gum, Themes in 90's Hip Hop songs, And much more…

It's the soundtrack to all the best spooky settings: the Theremin. Learn all about it just in time for Halloween! Be sure to like and share with a friend!  Music: https://imslp.org/wiki/The_Schmaltz_Continuum_(Kram%2C_Richard) https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode https://imslp.org/wiki/A_Rose_for_Ecclesiastes_(Yamamoto%2C_Jun) https://creativecommons.org/licenses/by-nc-nd/3.0/legalcode

Getting in tandem with psychomagnetic rapports and poignant quietudes. A bit of Freudian-Quaalude lounge music with the band HypnoLiquid Motion. Tonal give-aways. Cleopatra Denial Syndrome vs. Resonant Harems. The admission of denial and denial as admission. Being the steward of your inverted Memory Palace. Being in charge of your psychic constructs and heralding your unknown terrain. Balancing Integration and Insinuation. The Allegory of the Theremin. Unmediated Sound Generation and the influence of the Hidden Hand. The impact and influence of our movements and our presence. The adversarial universe hunting of language, and the venn diagram of  yourself and the universe being one.    Then it's onto embodied rooms and cohabitating the atmosphere. In borne constructs. The Grand Metaphysic operating in the background. Allowing a few trees into the Memory Palace and a bench in the Swamp. Touring each other's private architecture and murky inner landscapes. Untapped fluids of permeability. The malcontent of the Unmelded. The camo-ambush membrane. Allowing the 3rd Man to teach rapid fire riddles to the class. Then, David gives us a gender bending exploitation flick that takes place in Normandy during WWII called, "Motherhouse".   Hide and Seek as a mode of practice, self-mastery, and navigation. The value of a grumbling belly. Facing some hard work and some creative procrastination. David's inhuman ability to not feel hunger. Memory gaps of the inescapable substrata and the fantasy of controlling time. Flushing out the repressive. The Blue Begonia Diner. Prophetic nail wounds under black caps. Wrangling trauma, and the Wendigo curse of Norman, Oklahoma.

Wapx093 (saison 10) avec au sommaire : American Fotoplayer : Hit it Joe ! What is a Fotoplayer ? Joe Rinaudo : L'entrée des gladiateurs Koka's Drone Box n°1 C'est quoi, déjà, ça ? Bruce Hornsby - The way it is par Glaucio Cristelo 2Pac : Changes par Boyce Avenue Covers : Brass Against : Karma Police Robert Meyer : Smell like Teen Spirit au theremin Sayo Komada : Johnny B.Goode au shamisen Phileas Rogue : Star Trek à l'accordéon Amy Turk : Sultans of Swing à la harpe celtique Leila Martial & ses mignonnettes Sons zarbi : Jouer du porte-savon Le ventilateur des Electronicos Fantasticos Guitare banjo préservatif SaxoDidge Saro : Billie Jean Intelligence artificielle, par There I ruined it : Johnny Cash sings Barbie Girl The Beach Boys sing Hurt Frank Sinatra sings Lil John's Get Low Et si... Si Mark Knopfler jouait Sweet Child o' mine Si Britney Spears faisait du blues Si les Smashing Pumpkins avaient composé Sympathy for the devil Trucs en vrac : Glecio Nascimento : She'll be coming round the Mountain à la basse Lewis Floyd Henry : Ace of Spades Queen vs Lynyrd Skynyrd : Sweet fat bottomed Alabama Led Zeppelin vs Iron Maiden : Whole lotta trooper Teddy Swims : Bed on fire La +BCdM : Gordon Lightfoot : If you could read my mind par Barbra Streisand - Johnny Cash - Neil Young Early Morning Rain par Peter, Paul & Mary Gordon Lightfoot : Me & Bobby McGee - Wreck of the Edmund Fitzgerald Whitney Houston : Greatest love of all La Playlist de la +BCdM : sur le Tube à Walter sur Spotify (merci John Cytron) sur Deezer (merci MaO de Paris) sur Amazon Music (merci Hellxions) et sur Apple Music (merci Yawourt) Vote pour la Plus Belle Chanson du Monde Le son mystère (51'42) : La voix d'Arthur Conan Doyle après sa mort Avec : MaO Fanny Pincho Aude Pat Hogun David LYC Merci à : Barberouss Yschwen Court Jus Stéphane Krisquette François TJP K Rot Pop goes the WZA David LYC Chris Crapez Didtwit Michel Buffa Xzimnut Liens cités : Walter sur Mastodon Walter sur BlueSky Le générique de fin est signé Cousbou

An exiled anxiety-ridden podcaster is tasked with being the jumpman to an alien who's found soaking in his home. On Episode 583 of Trick or Treat Radio we discuss the Hulu Exclusive flick No One Will Save You from director Brian Duffield! We also talk all raw about our favorite type of aliens, we learn some new terms, and Dracula and Renfield make another appearance! So grab your favorite household item for killing aliens, try not to get hung up on your trauma, and strap on for the world's most dangerous podcast!Stuff we talk about: Joe Bob Briggs, The Last Drive-In, swaddlin' balls, “soaking”, jumpman, Ribspreader, Diana Prince, search history, AEW, Billy Gunn, Wrestlers, Al Snow, OVW, Gen V, The Boys, Garth Ennis, Captain Picardo, Wolfie's new mixer, Underwater, Brian Duffield, No One Will Save You, Hulu, Love and Monsters, The Babysitter, Barfly, Mickey Rourke, Strays, jamming on the one, movies without dialogue, Theremin, 50s sci-fi scores, alien home invasion, traditional gray man style alien, G.I. Joe, the silent issue, Independence Day, the threshold of where the movie magic wears off, night terrors, Dracula explaining the gimmick of KISS to Renfield, Talk To Me, Netflix and Marinate, Jumpman Extraordinaire, Invasion of the Jumpman, Clicking and Gurgling, Feed on Tweed, The Ultimate Alien Home Invasion, and Reading is Fundamenthol.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

This podcast is a commentary and does not contain any copyrighted material of the reference source. We strongly recommend accessing/buying the reference source at the same time. ■Reference Source https://www.ted.com/talks/pamelia_kurstin_the_untouchable_music_of_the_theremin ■Post on this topic (You can get FREE learning materials!) https://englist.me/46-academic-words-reference-from-pamelia-kurstin-the-untouchable-music-of-the-theremin-ted-talk/ ■Youtube Video https://youtu.be/9ZrZCmK0pGA (All Words) https://youtu.be/4hJrRHaF2cU (Advanced Words) https://youtu.be/dxmIohw8nyg (Quick Look) ■Top Page for Further Materials https://englist.me/ ■SNS (Please follow!)

SynopsisWhen a flying saucer circled over Washington, DC, in the classic 1951 sci-fi film, “The Day the Earth Stood Still,” it did so to music played on an electronic instrument known as the Theremin.Its Russian inventor, Leon Theremin, was born in St. Petersburg on today's date in 1896. In 1927 Theremin traveled to America, where he obtained a patent for an electronic instrument he called the Thereminovox. In the 1930s, Theremin arranged concerts for his creation at New York's Carnegie Hall.Then, in 1938, without explanation, Theremin disappeared. Some said it was because he was in debt, others because he was married to two women at the same time. The truth was even stranger: Theremin was a spy.He had been passing on American technical information to the Soviets. Ironically, when he returned home, Theremin was immediately thrown into a Soviet prison for seven years. While incarcerated, he developed miniature electronic eavesdropping devices for the Soviet government.Decades later, in 1989, as the Soviet Union was collapsing, the 92-year old Theremin again showed up in New York to be honored at a festival of electronic music, amazed that his name and instrument were even remembered.Music Played in Today's ProgramBernard Herrmann (1911 – 1975) The Day the Earth Stood Still National Philharmonic; Bernard Herrmann, conductor. London 443 899Igor Stravinsky (1882 – 1971) Berceuse, fr The Firebird Clara Rockmore, theremin; Nadia Reisenberg, piano Delos 1014

Seriah is joined by Super_inframan and author, researcher, and experiencer Jeremy Vaeni. Jeremy brings his unique, sarcastic sense of humor. Topics include an experience with the late Jeff Ritzmann, strange light phenomenon, the Paratopia podcast, Project Archivist, UFO disclosure, George Hansen, David Jacobs, Bud Hopkins, Emma Woods, hypnotic regression, alien abduction phenomenon, UFO Magazine, Nancy Burns, Peter Robbins, Carol Rainey, Brooklyn Bridge Abduction, Hopkin's misconduct, Paul Kimball, abduction as a spiritual experience, lack of progress in paranormal fields, a bizarre ghost hunting experience in Gettysburg, electronics in paranormal research, an experience with a Theremin, an encounter with a dark formless entity, a lost tape, Jeff Ritzmann's strange experience with a female apparition, the trickster element in high strangeness, a very weird light incident, Whitley Streiber's novel “2012: The War for Souls”, Mac Tonnies, kundalini energy, a weird encounter in a field, a strange orb/ball of light experience, multiple explanations for paranormal phenomenon, cognitive dissonance, nonsensical actions of entities, aliens with outdated technology, Bigfoot showing up in suburban areas, anomalous ghost hunting EVPs, southern Lizardman sightings, Seriah's bizarre EVP recording, fox sounds, ghost hunters fooled by coyotes, cougar encounters, Saxon's experience with a weird massive snake, an encounter with a bizarre, possibly folkloric entity in Japan, the limits of perception and the human brain, linguistics, Noam Chomsky, the importance of language to forming an understanding, the Lakota language, the Australian Indigenous language, Tiokasin Ghosthorse, the exclusiveness of the discussion about space, “The Infinite Now” podcast, Jeremy's book “Aliens: The First and Final Disclosure”, humor and high strangeness, absurdity in the paranormal, Native Hawaiian worldview, cultural appropriation, George Hansen and Trickster theory, an alleged dancing figurine of the Virgin Mary, ego in the paranormal world, Steven Greer, Kim Carlsberg, Zachariah Sitchin, human/alien hybrid theory, channeling, spiritual grifting, Scott Lilienfeld and hypnosis, and much more! This is a one of a kind, wide-ranging and delightful conversation!

Seriah is joined by Super_inframan and author, researcher, and experiencer Jeremy Vaeni. Jeremy brings his unique, sarcastic sense of humor. Topics include an experience with the late Jeff Ritzmann, strange light phenomenon, the Paratopia podcast, Project Archivist, UFO disclosure, George Hansen, David Jacobs, Bud Hopkins, Emma Woods, hypnotic regression, alien abduction phenomenon, UFO Magazine, Nancy Burns, Peter Robbins, Carol Rainey, Brooklyn Bridge Abduction, Hopkin's misconduct, Paul Kimball, abduction as a spiritual experience, lack of progress in paranormal fields, a bizarre ghost hunting experience in Gettysburg, electronics in paranormal research, an experience with a Theremin, an encounter with a dark formless entity, a lost tape, Jeff Ritzmann's strange experience with a female apparition, the trickster element in high strangeness, a very weird light incident, Whitley Streiber's novel “2012: The War for Souls”, Mac Tonnies, kundalini energy, a weird encounter in a field, a strange orb/ball of light experience, multiple explanations for paranormal phenomenon, cognitive dissonance, nonsensical actions of entities, aliens with outdated technology, Bigfoot showing up in suburban areas, anomalous ghost hunting EVPs, southern Lizardman sightings, Seriah's bizarre EVP recording, fox sounds, ghost hunters fooled by coyotes, cougar encounters, Saxon's experience with a weird massive snake, an encounter with a bizarre, possibly folkloric entity in Japan, the limits of perception and the human brain, linguistics, Noam Chomsky, the importance of language to forming an understanding, the Lakota language, the Australian Indigenous language, Tiokasin Ghosthorse, the exclusiveness of the discussion about space, “The Infinite Now” podcast, Jeremy's book “Aliens: The First and Final Disclosure”, humor and high strangeness, absurdity in the paranormal, Native Hawaiian worldview, cultural appropriation, George Hansen and Trickster theory, an alleged dancing figurine of the Virgin Mary, ego in the paranormal world, Steven Greer, Kim Carlsberg, Zachariah Sitchin, human/alien hybrid theory, channeling, spiritual grifting, Scott Lilienfeld and hypnosis, and much more! This is a one of a kind, wide-ranging and delightful conversation! - Recap by Vincent Treewell of The Weird Part Podcast Outro Music by The Jon Stickley Trio with "Darth Radar". Download

Peter Dinklage has won multiple Emmy awards for playing the iconic character Tyrion Lannister on HBO's "Game of Thrones" in a role that helped him become an international superstar.  However roughly eight years before that show first went on the air, he had his first true breakout role playing the more unassuming Finbar McBride in this relatively unassuming comedy/drama directed by Tom McCarthy.  McCarthy would also go on to bigger things as he would eventually direct the Best Picture-winning Spotlight in 2015.  Together they collaborated here on a bittersweet story of a quiet loner who finds that despite his best efforts to keep to himself and JUST study and watch trains, he can't help but meet interesting new people.  Playing the various new people whom Finn befriends are Patricia Clarkson, Bobby Cannavale (in one of HIS early breakout roles), and Michelle Williams.  On the surface, this is very much a movie about trains but UNDER the surface?  Let's find out....Host: Geoff Gershon Editors: Geoff and Ella GershonProducer: Marlene Gershonhttps://livingforthecinema.com/Facebook:https://www.facebook.com/Living-for-the-Cinema-Podcast-101167838847578Instagram:https://www.instagram.com/livingforthecinema/Letterboxd:https://letterboxd.com/Living4Cinema/ 

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

In this conclusion of a 2-part episode from 2021, Gilbert and Frank chat with Oscar-winning writer-director Brad Bird and Oscar-winning composer Michael Giacchino about James Bond homages, iconic superhero themes, incorporating everyday objects into movie soundtracks and the over-the-top pleasures of the Wachowskis' "Speed Racer." Also, Bernard Herrmann plays the Theremin, Lily Tomlin (almost) voices Edna Mode, Brad directs a modern-day film classic and Michael reveals the key to his Oscar-winning score for "Up." PLUS: "Tomorrowland"! The brilliance of Jerry Goldsmith! Al Hirt meets the Green Hornet! Milton Bradley's Fireball Island! And Michael recalls his time on "Lost"! (Thanks again to audio producer extraordinaire John Murray!) Learn more about your ad choices. Visit megaphone.fm/adchoices