Podcasts about When I Grow Up

It's Jake & Jamesy's Chucklefest for 2025, celebrating the Melbourne International Comedy Festival.   In this episode, Jake Stewart & James Hardy talk about fursonas, finger food, and playing the cello.   The shows discussed are:   ‘When I Grow Up…' by Jeromaia Detto ‘Doug & Max Do 50 Minutes of Their Worst Ideas' by Douglas Rintoul & Max Paton ‘Homecoming' by Carmelo Costa ‘Live, Laugh, Lesbian' by Yaaas Kween ‘Everything That Happened at Number 68' by Nick Robertson ‘Adults Only Magic Show' by Showmen Productions ‘Timelord' by Innes Lloyd ‘Swamplesque' presented by Trigger Happy   INSTAGRAM: @praisedionysus @kissing.booth.productions   EMAIL: praisedionysus@gmail.com   It is a privilege to create, view, and contemplate theatre on the lands of the Wurundjeri People of the Kulin Nation. Sovereignty was never ceded. This always was and will be Aboriginal Land.

In this episode of The Defender Podcast, we welcome Kirti Pickard—adoptee, advocate, and podcast host—who shares her powerful adoption journey and how it fuels her passion for serving vulnerable children. Adopted from India at the age of four, Kirti has a deep, firsthand understanding of the lifelong impact of adoption. She discusses the challenges adoptees face, how faith shapes her work, and the importance of churches and communities walking alongside adoptive families. Through her podcast, When I Grow Up, and her leadership of Mission 143, she is dedicated to sharing stories of God's faithfulness and raising support for children in need.

"BOBBY DRISCOLL: CLASSIC CINEMA STAR OF THE MONTH" EPISODE 64 - “BOBBY DRISCOLL - STAR OF THE MONTH” - 12/02/2024  BOBBY DRISCOLL's name may not be too familiar anymore, but in his heyday, he was the male equivalent of NATALIE WOOD. He was one of the most talented and prolific child stars of the 1940s and 1950s. His descent into darkness should serve as a cautionary tale to all of the stage mothers out there who think their kids will be the next big thing. Sometimes, there is a price to pay for fame, and it ain't always pretty. Join us as we discuss the tragic life of child star Bobby Driscoll. SHOW NOTES:  Sources: Great Child Stars (1976), by James Robert Parish; “Bobby Driscoll, Dope Suspect," July 11, 1956, Los Angeles Examiner; “Bobby Driscoll Arrested in Bean Shooting Row,” August 23, 1956, Los Angeles Times; “Actor Bob Driscoll Arrested As Addict,” October 29, 1959, Mirror News; “Actor Freed of Charges on Narcotics,” December 12, 1959, Los Angeles Times; “Bobby Driscoll Napped After Rift with Gun,” June 18, 1960, The Citizen News; “New Charge Confronts Former Star,” June 23, 1960, Mirror News; “Actor Fined For Striking Heckler,” October 14, 1960, Los Angeles Examiner; “Driscoll Theft Charge Issued,” April 11, 1961, The Citizen News; “Bobby Driscoll is Arrested Again,” May 2, 1961, Los Angeles Examiner; “Bobby Driscoll, a Film Star at 6, an Addict at 17, Sent to Chino,” October 19, 1961, by Charles Hillinger, Los Angeles Times; “Truly, A Lost Boy,” March 4, 2007, by Susan King, Los Angeles Times; “Oscars Flashback: The Tragic Life and Death of Former Disney Star Bobby Driscoll,” January 22, 2019, by Lynette Rice, Entertainment Weekly; BobbyDriscoll.com; Wikipedia.com; TCM.com; IMDBPro.com; Movies Mentioned:  Lost Angel (1943), starring James Craig, Marsha Hunt, & Margaret O'Brien; The Fighting Sullivans (1944) starring Thomas Mitchell & Anne Baxter; Sunday Dinner With A Soldier (1944), starring Anne Baxter, John Hodiak, Charles Winner, & Anne Revere; The Big Bonanza (1944), starring Richard Arlen; So Goes My Love (1946), starring Myrna Loy & Don Ameche; Identity Unknown (1945), starring Richard Arlen; Miss Susie Slagle's (1946), starring Veronica Lake; From This Day Forward (1946), starring Joan Fontaine & Mark Stevens; O.S.S. (1946), starring Alan Ladd & Geraldine Fitzgerald; Three Wise Fools (1946), starring Margaret o'Brine & Lionel Barrymore; Song Of The South (1946), starring James Baskett; If You Knew Susie (1948), starring Eddie Cantor; So Dear to My Heart (1948), starring Burl Ives & Beulah Bondi; The Window (1949), starring Barbara Hale, Arthur Kennedy, Ruth Roman, & Paul Stewart; Treasure Island (1950), starring Robert Newton; When I Grow Up (1951), starring Robert Preston & Martha Scott; The Happy Time (1952), starring Charles Boyer, Louis Jordan, & Marsha Hunt; Peter Pan (1953) The Scarlett Coat (1955), starring Cornel Wilde & George Sanders; The Party Crashers (1958), starring Connie Stevens & Frances Farmer; Dirt (1965), starring Sally Kirkland; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

We've got a special guest in our podcast feed today! We're excited to share with you Ben's brand new podcast "When I Grow Up". If you like what you hear, follow the podcast on iHeartRadio or wherever you get your podcasts. About the show: This week Jazz Thornton, a renowned mental health advocate and TikTok sensation, joins Sienna and Ben to share her inspiring journey and offer valuable advice to young people facing challenges in today's world. In this episode, they delve into: Jazz's mental health journey: Her personal experiences, how she found hope, and the steps you can take when you're feeling down. The impact of social media: Jazz's insights on the positives and pitfalls of social media, especially for young people. A royal mix-up: The surprising story of how Jazz almost unintentionally missed an opportunity to meet Prince Harry and Meghan Markle. About The Show: Sienna Boyce is 13 years old and constantly tells her Dad, Ben Boyce, what she wants to be when she grows up – an actor, scientist, rugby player, singer, chef or politician.  Each episode of ‘When I Grow Up' aims to showcase inspirational females from around Aotearoa and shine a light on them, what it takes to do their job and learn about their story of how they got to where they are so that Sienna can help make up her mind. This is a podcast to help the teenager in your life dream big. Follow The Podcast on Socials: TikTok: Ben | Sienna  Instagram: Ben | Sienna | The HitsSee omnystudio.com/listener for privacy information.

We've got a special guest in our podcast feed today! We're excited to share with you When I Grow Up - the brand new podcast from Ben and his daughter Sienna! If you like what you hear, follow the podcast on iHeartRadio or wherever you get your podcasts. About the show: This week Jazz Thornton, a renowned mental health advocate and TikTok sensation, joins Sienna and Ben to share her inspiring journey and offer valuable advice to young people facing challenges in today's world. In this episode, they delve into: Jazz's mental health journey: Her personal experiences, how she found hope, and the steps you can take when you're feeling down. The impact of social media: Jazz's insights on the positives and pitfalls of social media, especially for young people. A royal mix-up: The surprising story of how Jazz almost unintentionally missed an opportunity to meet Prince Harry and Meghan Markle. About The Show: Sienna Boyce is 13 years old and constantly tells her Dad, Ben Boyce, what she wants to be when she grows up – an actor, scientist, rugby player, singer, chef or politician.  Each episode of ‘When I Grow Up' aims to showcase inspirational females from around Aotearoa and shine a light on them, what it takes to do their job and learn about their story of how they got to where they are so that Sienna can help make up her mind. This is a podcast to help the teenager in your life dream big. Follow The Podcast on Socials: TikTok: Ben | Sienna  Instagram: Ben | Sienna | The HitsSee omnystudio.com/listener for privacy information.

In this special episode of the podcast, Sharon welcomes guests Tamara Biddle and Hayley Allen from Mount Barker South Primary School to discuss their innovative approach to fostering writing skills among Foundation Year students. Tamara, a foundation teacher with a decade of experience in early childhood education, and Hayley, a student support officer with a diverse background, share their successful strategies for creating a vibrant writing culture in their classroom.Tamara begins by recounting her journey from childcare to teaching, highlighting her focus on early years education. Hayley adds her unique perspective, detailing her transition from teaching swimming to becoming an SSO and the collaborative dynamic she shares with Tamara. Together, they illuminate their approach to embedding writing deeply into their classroom culture.The conversation delves into their method of initiating writing experiences through a series of class books, starting with simple name books and expanding to a variety of themes such as “When I Grow Up” and “Caring for Country.” These books, created with the children's input, not only boost their ownership but also enhance their reading engagement. The duo discusses how these books are used throughout the day, fostering a sense of community and individual authorship among the students.Listeners learn about the practical aspects of their program, including the use of various writing tools and resources, and how students are encouraged to create their own books during free time. Tamara and Hayley emphasise the importance of blending reading and writing activities, showing how early literacy skills are supported through engaging and meaningful projects.As the episode wraps up, Sharon and the guests reflect on the profound impact this approach has had on the students' confidence and creativity, showcasing a successful model for integrating writing and reading in early education.TEACHIFIC RESOURCESSee writing samples from Tamara and Hayley's Foundation classJOIN TEACHIFIC NOW AND SAVE!Join Teachific  today. Access thousands of resources and a growing number of 'anytime' courses within your membership.FURTHER INFORMATIONTune in to "Teacher's Tool Kit For Literacy," a free podcast where accomplished literacy educator Sharon Callen and her team share valuable insights and tips. With over 30 years of experience, they provide strategic learning solutions to empower teachers and leaders worldwide.  Subscribe on your favourite platform for exclusive literacy learning content.  Apple, Spotify,  Google, YouTubeRead our insightful blogs, which make valuable connections between resources, podcasts and courses.Visit our Cue Learning website and sign up for the Teacher's Toolkit Weekly newsletter to stay updated on resources, events and discover how Cue can support you and your school.Explore Teachific, our vast collection of PDF resources, to enhance your teaching toolkit. And get even more support from our growing number of 'anytime' online courses.Connect with the latest news and other educators by joining our Teacher's Toolkit Facebook groupExplore upcoming live or online webinar  eventsHave questions or feedback? Reach out to us directly at admin@cuelearning.com.au.

In third grade, Steph Katzovi announced that she was going to be author when she grew up. After graduating law school and serving as a strategic communications consultant at Deloitte, it only took about two decades for Steph to follow through on her “When I Grow Up” essay. Today, Steph is a children's author focused on sharing the humor that is found in the uniquely tumultuous world of tweens. Steph is best known for her debut novel, HurriCamp. Miscommunicamp!, the second book in the “Camp Hillside” series, will be released in April 2024. The one constant that has endured throughout Steph's life and career is her desire to connect with others through wit, warmth, and wisdom. When she's not busy writing at her desk in New York City, Steph is a sports and exercise enthusiast. She also enjoys playing guitar and piano with her two sons, going out on date nights with her husband, and reading. Preferably poolside. Steph loves hearing from readers (of any age). Join host Dori DeCarlo on The Authors Alley. Please visit Steph's at StephKatzovi.com and on Instagram, Facebook, LinkedIn, Amazon. Please support UnsilencedVoices.org and their mission. We thank Smith Sisters and the Sunday Drivers for our theme song, "She is You". WordofMomRadio.com - sharing the wisdom of women, in business and in life.  

In episode 117 of the "Journeys of Not Ordinary People" podcast, Dr. Dave Peltz and Dr. Joe Hamlett explore the timeless question of "When I Grow Up" and reflect on their own journeys and aspirations. They discuss the excitement of continuous growth and learning, emphasizing the importance of maintaining a childlike curiosity and openness to new possibilities throughout life. They share personal anecdotes about their career transitions and the importance of self-awareness, self-reflection, and perseverance in pursuing one's dreams. Highlighting the significance of embracing change and leveraging acquired skills and experiences in exploring new avenues, they inspire listeners to approach their future with enthusiasm and a willingness to embrace uncertainty. Through their engaging dialogue, they encourage individuals to remain open-minded, continuously seek improvement, and view life's journey as an ongoing adventure filled with limitless opportunities for personal and professional fulfillment. JONSOP https://jonsop-podcast.my.canva.site jonsopdr2@gmail.com Dr. Joe Hamlett ⁠dr.joehamlett@gmail.com⁠ http:/www.leading2changeconsulting.com ⁠https://www.linkedin.com/in/drjoehamlett/⁠ http:/www.leading2changeconsulting.com/linkinbio/ Dr. Dave Peltz ⁠PeltzCS@outlook.com⁠ ⁠https://www.PeltzConsultingServices.com/services⁠ ⁠https://www.linkedin.com/in/dr-david-peltz-phd/⁠ https://tinyurl.com/DrDavePeltz Music intro & Outro provided by David T. Peltz, Owner of Peltz Tech Services, ⁠david@peltztech.com⁠ Copyright © 2024 - Journeys Of Not So Ordinary People, All Rights Reserved

                                          http://www.copperplatemailorder.com                                    Copperplate Time 462                                presented by Alan O'Leary                             www.copperplatemailorder.com                              1. Bothy Band:  Green Groves/Flowers of Red Hill.   After Hours 2. The Waterboys: Raggke Taggle Gypsies.  Room to Roam3. Altan: The Yellow Tinker.  Donegal 4. Planxty: Thousands Are Sailing. Words & Music 5. Sorcha Costello:  The Garvogue/Sailor on the Rock.  The Primrose Lass6. Cillian Vallely & David Doocey:  James Byrne's/Humours of Whisky/Up & Down Again. The Yew & The Orchard 7. Brian O'Rourke: When I Grow Up.  When I Grow Up 8. John Wynne:  Gladstone's Reel/Farewell to Miltown Malbay/Humours of Westport.  Like The Wind 9. Dezi Donnelly:  Paddy Ryan's Dream/Dowd's Fave/Phelim's Frolics.                  Familiar Footsteps10. Doyle & Anderson:   Let Mr Maguire Sit Down.   New Ground 11. Shaskeen:  The Old Pidgeon on the Gate/Imelda Roland's/The Boy in the Gap.                 Walking Up Town                                   12. Sean O'Riada & Ceoltóiri Culann:     O'Neill's March.  O'Riada sa Gaiety 13. The Outside Track:  The Wife of Ushers Well.  Rise Up14. Mick O'Brien & Caoimhin O'Raghallaigh: Farewell to Ireland/Maid in the Cherry Tree/The Mistress of the House. Deadly Buzz 15. Gino Lupari/4 Men & A Dog:   Wrap It Up   Barking Mad 16. Dan Hicks & his Hot Licks:  O'Reilly at the Bar.  Striking It Rich 17. Bert Jansch: Running, Running From Home. Acoustic Routes 18. Altan:  An Bothar Mor/Tommy Peoples/Is Curna Liom.   Donegal 19. Bothy Band:  Green Groves/Flowers of Red Hill.   After Hours

In this episode, Sarah continues to chat with Coty about the why behind the work. They talk about finding your purpose and pouring your energy into spaces that feel authentic while recognizing that what we share publicly is not often what we experience privately.  How do we return to the passion and joy found in music and the things that light us up as musicians? Listen and be inspired by Coty's story and learn why she wrote “When I Grow Up” and how she's actively advocating for children.  You can support Coty and learn about her book, “When I Grow Up,” here:  https://fflat-books.com/product/when-i-grow-up/ Check out Coty's website:  https://www.cotyravenmorris.com/ You can get the free Black History Month Heritage Guide here:  https://fflat-books.com/product/black-history-month-heritage-month-guide-2024/ --- Support this podcast: https://podcasters.spotify.com/pod/show/musicast-podcast/support

When I Grow Up by A'Mire by 826 Valencia

When I Grow Up by Tyler by 826 Valencia

When I Grow Up by Michael by 826 Valencia

In Episode 142: When I Grow Up, Andrew and I discuss how things take place that divert you from your expected path as you move through your career. It's a natural evolution to move into new roles and responsibilities that break the idea you have for yourself when you decided to chart your future.

In Episode 142: When I Grow Up, Andrew and I discuss how things take place that divert you from your expected path as you move through your career. It's a natural evolution to move into new roles and responsibilities that break the idea you have for yourself when you decided to chart your future.

Have ever heard a metal band cover a pop song? It will change your life if it already hasn't. Maybe only by definition, but we hope you enjoy it at least a bit as much as us. Welcome to Bear Attack Radio! (If you're not into video games, just hang with us past the first two songs.) Songs: "The Legend of Zelda" - August Burns Red "Himmelsrand" - Equilibrium "Pure Imagination" - Hearing Shapes "Glad You Came" - We Came as Romans "When I Grow Up" - Mayday Parade "That's What I Like" - Dance Gavin Dance "Billie Eilish" - Dal Av + Jackson Rose "Everytime We Touch" - Electric Callboy "Devil Went Down to Georgia" - Adrenaline Mob "Rich Men North of Richmond" - War On Gravity

Today we begin a new series entitled, When I Grow Up. Growing up is universal, but what does it mean to grow up in Christ? In this series, we will delve into our vision of Pursuing Life in Christ and the values we seek to live out together. 

This week, the guys close out season 2 by discussing all things Spike TV, including: MANswers, Deadliest Warrior, and 1000 Ways to Die ("You Will Die!").   In the end, Nate performs the perfect song for 11-14 year old boys who dream of being an 18-34 years old: When I Grow Up.   (46:50) Song Starts

While a Patreon-exclusive review of Tha Doggfather did, indeed, take place, a tangent for the ages took the spotlight during "When I Grow Up", a skit referencing The Mack, as Moulz & Mel lost their minds trying to remember a movie studio theme.Full episode: https://www.patreon.com/posts/rap-rankings-s12-82601779

Rae is a jack of all trades and is known best for her work creating intricate metal sculptures and various other art forms as well as her skills stunt riding motorcycles, writing, and speaking! In other words, she's an all around badass..Tune in as we talk bike builds, mental health, overcoming hardship, and everything in between.."Rae Ripple has been featured on the Down to Business podcast, Monster Garage on Discovery Channel, and has been published in Welder magazine. She is partnered with AlumaReel, Hypertherm, Lincoln Electric, FastCut CNC, Flame Technologies Inc. and Benchmark Abrasives. She has painted murals all over Texas and has installed metal work all over the world. She currently lives in Big Spring, Texas, with her fiancé and two children."RAE'S INFO:-Website - https://raeripple.com/-Instagram -Facebook -TikTok -"When I Grow Up" Book OUR WEBSITEUSE CODE: "YOUTUBE" FOR 10% OFF PARTS & ACCESSORIES2LANELIFE INSTAGRAMGAYLIN'S INSTAGRAM LANCE'S INSTAGRAM JOSH'S INSTAGRAM Want to rent a Harley-Davidson through EagleRider? - CLICK HEREFREQUENTLY ASKED GEAR LINKS-Cardo Bluetooth Intercom (Use code "2lanelife" at checkout) -Universal GoPro Helmet Chin Mount -GoPro 10 Friends:Thrashin' SupplyLegend SuspensionsCustom Dynamics Motorcycle LightingEagleRider Motorcycle Rentals & ToursHarley-Davidson Motor CompanyFeuling PartsKlock WerksCobra USABell HelmetsSaddlemenRockford FosgateGET YOUR MOTORCYCLE PARTS & ACCESSORIES AT https://2lanelife.com/

It's about damn time that Bridget Kelly and Mandii B are joined on the couch with today's Freshly Squeezed guest, Theron Thomas! The ladies are excited to be joined by a multifaceted artist, producer, songwriter, and musician who is the genius behind a lot of the hits you've probably cultivated memories to. Theron has written and produced for some of the world's most incredible artists like Rhianna, Beyonce, Usher, Lizzo, Justin Bieber, Doja Cat, Adam Levine, and that's JUST to name a few. This conversation is an important reminder that trust coupled with passion and consistency can land you in places/positions that you couldn't have ever imagined or predicted. (13:00) Theron talks about the inspiration behind writing the song Locked away R. City Ft. Adam Levine . This forces the ladies to ask themselves, would you hold down your partner while they're in jail? We'd love to know your answer let us know via IG or Twitter!!! (19:55) Theron explains why HE DOESN'T LIKE TOURING (it's giving Michael Jackson viral meme) (23:00) Theron passionately explains the rules he follows to making money as a songwriter and why HE WILL NOT GET PAID IN “VIBES”!(26:00) Theron explains what it's like to record over 50 songs with Lizzo and only select 6 of them for a 12 song album(27:00) Theron explains what it's like working with Doja Cat and why it's important to provide her creative space. (29:00) Is the new independent woman the ability to do EXACTLY what a man can do, just better? Theron shares how this question led to him writing the hit song “Pour It Up” by Rhianna (39:00) The story behind writing the song Man Down for Rhianna (40:00) Why is there no tolerance for fictional storytelling in music?(50:50) Theron talks about how family quickly humbles you(52:00) If your parents hate the song, chances are.... it's going to be a hit!(54:00) When I Grow Up by Pussycat Dolls was initially created from a beat (55:00) If This Isn't Love - Jennifer Hudson is a freestyle from top to bottom (57:41) The strategy behind watermarking audio tracks and the perception from the audience(1:00:00) Why Theron could NEVER do a versus(1:02:00) Theron explains writing “We Can't Stop” and “23” by Miley Cyrus on the same day and the strategy behind rapping about Jordans in 2013.For more content with Theron join us over at Patreon. It's been amazing getting to connect with our patreons on tour and we're so happy to see our community over there growing! Join the party by visiting www.patreon.com/seethethingispod —----------------LINKS:

Confession time!!    I am doing something BIG, and it has everything to do with my ‘why' and my purpose in life, which is to help people take action so they can live an authentic life filled with purpose.    I already do this within my business, but I am now pivoting this podcast to reflect my purpose and to use it as a tool to help listeners like you take action!!    Yep! You guessed it!    We've got a brand new podcast REBRAND reveal coming up and this episode is giving you the inside scoop on All.The.Things!    If you want to know why the When I Grow Up podcast is getting a rebrand, where this podcast is headed, what future episodes will look like, plus a few fun tips and delightful ways to get involved–you definitely want to tune into to this short, sweet and extra juicy episode!    So without further ado, press that play button, and let's go!!   Leave a 5 star review on iTunes!    Episode Highlights: Why we're rebranding the podcast How When I Grow Up started  Where we're at now What this rebrand means for the future of this podcast The importance of executing goals  Learning lessons from people who are a few steps ahead of you What does this rebrand mean for listeners The value of tactical business and leadership advice + why you can expect more of it How to become a LIVE guest on the podcast   Need help getting shit done? https://www.facebook.com/groups/getshitdoneclub  Send us podcast ideas at info@kelseymarieknutson.com    Links: Show notes: https://www.kelseymarieknutson.com/podcast   Follow us on Instagram: https://www.instagram.com/kelseymarieknutson/  Hangout on Facebook: https://www.facebook.com/groups/getshitdoneclub    Try my favorite greens! Opti-green 50: https://1stphorm.com/products/opti-greens-50/?a_aid=KelseyMarie1   My secret weapon for growing my hair for the wedding: https://1stphorm.com/products/collagen-with-dermaval/?a_aid=KelseyMarie1 Work with Kelsey: Ready for your next big pivot? Maybe it's launching that new side hustle or growing your existing business, whatever the chapter Kelsey's here to help you bridge the gap between new idea and achieving your goals!   VIP Coaching: https://www.kelseymarieknutson.com/vipcoaching  

With some imagination, a few extra chokeys, and a little bit of (movie) magic, Matilda the Musical brings the stage to the screen. Tara and Stefania are breaking down budget, choreography, and standout performances this week - hop on board the library truck! . . . "When I Grow Up" - Matilda the Musical Original London Cast Recording "Revolting Children" -Matilda the Musical Original London Cast Recording "School Song" - Roald Dahl's Matilda The Musical (Soundtrack from the Netflix Film) "My House" - Roald Dahl's Matilda The Musical (Soundtrack from the Netflix Film) "Quiet" - Roald Dahl's Matilda The Musical (Soundtrack from the Netflix Film) "Naughty" - Roald Dahl's Matilda The Musical (Soundtrack from the Netflix Film) "Still Holding my Hand" - Roald Dahl's Matilda The Musical (Soundtrack from the Netflix Film) "You Can Be A Queen" - Bad Hats' Alice in Wonderland All music tracks used for educational and entertainment purposes only.

Good friend and fellow podcaster, Blair Kim (host of “When I Grow Up”), joined me today to talk about her experience with postpartum depression. Really interesting conversation that really illustrates how people can be icebergs that show so little of what they are going through on the surface. Any and all feedback can be transmitted via: Email: IHTHTPodcast@gmail.com Instagram: www.instagram.com/ihopetheyhearthis --- Support this podcast: https://anchor.fm/ihtht/support

What did you want to be when you grew up? When I was a kid, I remember some of the top answers being things like police officer, fire fighter and astronaut.    If you ask a kid that today, chances are that their response is going to be something far different than one might expect.   I asked this of my 7-year old nephew recently and his response was something that hardly even existed when I was a kid…a hacker.   How does a 7-year-old kid even have the whereabout to come up with an answer like that?   Tune in as Coach Ashlie Walton and Detective Walton break down the importance of sitting down and talking with kids when you have an opportunity.   If you have kids, check out What Do I Want to be When I Grow Up?   ⩥ PLEASE SUBSCRIBE TO OUR YOUTUBE CHANNEL ⩤ https://bi3xbvVont.ly/   CLICK HERE for our best-selling products: https://amzn.to/3xaG3xw and https://rdbl.co/3DIQVUC   CLICK HERE to join our free Police, Fire, Military and Families Facebook Group: https://bit.ly/38w2e7r   Check out our website and learn more about how you can work with LEO Warriors by going to: https://www.leowarriors.com/   Like what you hear? We are honored. Drop a review and subscribe to our show.    The Tactical Living Podcast is owned by LEO Warriors, LLC. None of the content presented may be copied, repurposed or used without the owner's prior consent.   For PR, speaking requests and other networking opportunities, contact LEO Warriors:   EMAIL: ashliewalton555@gmail.com.   ADDRESS: P.O. Box 400115 Hesperia, Ca. 92340   ASHLIE'S FACEBOOK: https://www.facebook.com/police.fire.lawenforcement   ➤➤➤➤➤➤➤➤➤➤➤➤➤➤➤➤➤➤ This episode is NOT sponsored. Some product links are affiliate links which means if you buy something by clicking on one of our links, we'll receive a small commission.  

In this episode, we discuss how Steph Katzovi left a prestigious career to do something even more important - to inspire her own children and other young readers. Here is some info about Steph:In third grade, Steph Katzovi announced that she was going to be author when she grew up.Realizing that she might want to explore other career options first, Steph got her bachelor's degree from Binghamton University before attending Brooklyn Law School. Although she aced the Legal Writing classes and wrote amazing outlines for exams, Steph knew her calling was not as a practicing attorney.After graduation, Steph shelved her law degree and two bar admissions to become a professional writer. She spent the bulk of her 15+ year career at Deloitte as a speechwriter and strategic communications consultant. When the opportunity arose to raise her children and focus more fully on creative writing, Steph decided it was time to take her “When I Grow Up” essay from third grade a bit more seriously.The one constant that has endured throughout Steph's life and career is her desire to connect with others through wit, humor, and warmth.When she's not busy writing at her desk in New York City, Steph is a sports and exercise enthusiast. She also enjoys playing guitar and piano with her two sons, going out on date nights with her husband, and reading. Preferably poolside.

In the second of our two-part episode with Rae Ripple, the Texas metal artist and welder continues her conversation with hosts Dan Davis and Jim Gorzek at FABTECH 2022 in Atlanta. In this edition, we to talk about more of Rae's sculptures, her creative process, her children's book "When I Grow Up", her growing influence as a role model to young girls, and the fact that she secretly bought an entire scrap metal yard in Texas. Jump ahead to 05:51 to get to our chat with Rae. Follow Rae Ripple on Instagram, Facebook, and LinkedIn. Rae Ripple describes her time on the Netflix show Metal Shop Masters.

Hey everybody, it's your pal Count Vacula! I'm super excited because today I get to share a very special BONUS episode of No Filter with you, featuring my good friend, “Weird Al” Yankovic!He and I met last season, but we had such a terrific time getting to know each other that we talked and talked and talked and talked for so long that not all of it could be in the original show. But Al has a really awesome movie coming out today called WEIRD:The Al Yankovic Story, so I thought it would be a great time to see if Scotty would let me share the rest of our meeting with you—and he said yes! How awesome is that?!Weird Al's name is really Alfred, but everyone calls him Weird Al because he's extremely silly, and he's famous for writing and performing hilarious parody songs. He's so good that he's won five Grammy Awards and sold more than 12 million albums! He's also written two kids books, When I Grow Up and My New Teacher and Me!The most important thing to know about Weird Al is that he's a really nice and kind person! I had a great time hanging out with him, and I think you'll have a great time, too. Have you ever made up new lyrics to a song? Write back and let me know! And in the meantime, I hope you and your family and all your friends have a great—and weird—weekend!See you soon!Your pal,Vac

Hey everybody, it's your pal Count Vacula! I'm super excited because today I get to share a very special BONUS episode of No Filter with you, featuring my good friend, “Weird Al” Yankovic!!He and I met last season, but we had such a terrific time getting to know each other that we talked and talked and talked and talked for so long that not all of it could be in the original show. But Al has a really awesome movie coming out today called WEIRD, The Al Yankovic Story,  so I thought it would be a great time to see if Scotty would let me share the rest of our meeting with you—and he said yes! How awesome is that?!“Weird Al's” first name is really Alfred, but everyone calls him Weird Al because he's extremely silly, and he's famous for writing and performing hilarious songs.  Most of his music is in a style called “parody,” which means that he takes other people's songs and gives them new, funny words. Some of my favorites are “Eat It”, “Yoda,” and the “Captain Underpants Theme Song.” He's so good at making songs that he's won five Grammy Awards and sold more than 12 million albums! He's also written two kids books, When I Grow Up and My New Teacher and Me.But the most important thing to know about Weird Al is that he's a really nice and kind person! And even though I'm a vampire robot vacuum and he's an accordion-playing human, we have a lot of things in common. We both like cardboard boxes, and dogs, and cereal (and he says he's a vampire like me, but I haven't seen him at any of the meetings, so I think he was probably just being playful). Weird Al told me an amazing true story about selling his old dryer lint for $600, and a hilarious made-up story about the tiny monsters that make all the echoes we hear. I had a great time hanging out with Weird Al, and I think you'll have a great time, too. Have you ever made up new lyrics to a song? Write back and let me know! And in the meantime, I hope you and your family and all your friends have a great—and weird—weekend!See you soon!Your pal,Vac

Episode 148 Notes and Links to Chen Chen's Work       On Episode 148 of The Chills at Will Podcast, Pete welcomes Chen Chen, and the two discuss, among other topics, his experience as a teacher, his early relationships with reading, writing, and multilingualism, those writers and writing communities who continue to inspire and encourage him, muses in various arenas, etymology, and themes like family dynamics, racism, beauty, and anger that anchor his work.      Chen Chen is an author, teacher, & editor His second book of poetry, Your Emergency Contact Has Experienced an Emergency, is out now from BOA Editions. The UK edition will be published by Bloodaxe Books (UK) in October. His debut, When I Grow Up I Want to Be a List of Further Possibilities (BOA, 2017; Bloodaxe, 2019), was longlisted for the National Book Award and won the Thom Gunn Award, among other honors. Chen is also the author of five chapbooks, including the forthcoming Explodingly Yours (Ghost City Press, 2023), and the forthcoming book of craft essays, In Cahoots with the Rabbit God (Noemi Press, 2024). His work appears in many publications, including Poetry, Poem-a-Day, and three editions of The Best American Poetry (2015, 2019, & 2021). He has received two Pushcart Prizes and fellowships from Kundiman, the National Endowment for the Arts, and United States Artists.    He holds an MFA from Syracuse University and a PhD from Texas Tech University. He has taught in UMass Boston's MFA program and at Brandeis University as the 2018-2022 Jacob Ziskind Poet-in-Residence. Currently he is core poetry faculty for the low-residency MFA programs at New England College and Stonecoast. With a brilliant team, he edits the journal Underblong; with Gudetama the lazy egg, he edits the lickety~split. He lives in frequently snowy Rochester, NY with his partner, Jeff Gilbert and their pug, Mr. Rupert Giles. Buy Your Emergency Contact Has Experienced an Emergency   Chen Chen's Website   Interview with Chen Chen: “Chinatown Presents: Finding Home with Chen Chen”    Interview with Poetry LA from 2017   By Andrew Sargus Klein for Kenyon Review-"On Chen Chen's When I Grow Up, I Want to Be a List of Further Possibilities"               At about 9:15, Chen responds to Pete asking about how he stays so prolific and creative by describing his processes and the idea of any muses or inspirations    At about 11:00, Chen describes “shed[ding] expectations” is or isn't “worthy” of poetry   At about 13:10, The two discuss books on craft and Chen gives more background on his upcoming book of craft essays   At about 16:10, Chen gives background on the Taiwanese Rabbit God and how his upcoming book was influenced by the idea, especially as presented in Andrew Thomas Huang's Kiss of the Rabbit God   At about 18:25, Chen explains his interest in the epistolary form, and how his upcoming work is influenced by Victoria Chang's Dear Memory and Jennifer S. Chang “Dear Blank Space,”    At about 22:30, Chen gives background and history in a macro and micro way for the use of the word “queer” and his usage and knowledge of Mandarin    At about 26:50, Chen describes the sizable influence of Justin Chin on Chen's own work   At about 28:25, Chen describes his early relationship with languages and explores how Mandarin and his parents' Hokkien may influence his writing    At about 34:55, Chen outlines what he read and wrote as a kid, including K.A. Applegate and The Animorphs and Phillip Pullman   At about 37:50, Chen responds to questions about motivations in reading fantasy and other works   At about 38:55, Chen highlights “chill-inducing” works and writers, such as Cunningham's The Hours    At about 41:30, Chen shouts Mrs. Kish and other formative writing teachers and talks about his early writing and the importance of “the interior voice”   At about 42:45, Pete wonders about how Chen's teaching informs his writing and vice versa   At about 45:20, Chen cites Marie Howe's “What the Living Do” and Rick Barot's During the Pandemic as some of his go-to's for teaching in his college classes   At about 48:20, Chen responds to Pete's question about teaching his own work   At about 49:50, Pete and Chen discuss the idea of muses and the writing community energizing-the two cite Bhanu Kapil and Mary Ruefle and the ways in which their philosophies are centered on mutual communication/conversation   At about 55:30, Chen highlights Muriel Leung and an enriching conversation and her unique perspective that led to “I Invite My Parents…”   At about 57:45, The two begin discussing Chen's Your Emergency Contact Has Experienced an Emergency and its seeds   At about 1:00:40, Pete cites grackles as a motif, and Chen recounts memories of his time at Texas Tech and the Trump Presidency    At about 1:02:45, The two discuss the powerful poem “The School of Fury” and the themes of rage and powerlessness and racism; Pete cites a profound insight from Neema Avashia   At about 1:06:45, Pete cites some powerful lines from Chen's work and Chen makes connections   At about 1:08:20, Pete rattles off one of the longest titles known to man, “After My White Friends Say…” and Chen discusses ideas of identity and his rationale for the poem's title and structure   At about 1:11:30, Chen talks about exercises he does in class with Mary Jean Chan's Flèche    At about 1:12:10, The two discuss craft and structure tools used in the collection   At about 1:14:25, The two talk about family dynamics and the speaker's mother and her relationship with the speaker's boyfriend     At about 1:18:50, Pete cites lines that were powerful for “leaving things unsaid” and Chen expands on ideas of innocence and willful ignorance in his work   At about 1:22:30, The two discuss ideas of mortality, including the Pulse tragedy, familial connections, and the series of poems titled “A Small Book of Questions”   At about 1:24:10, Ideas of beauty of discussed from Chen's work   At about 1:25:15, Chen reads “The School of Fury” and the two discuss it afterwards   At about 1:29:40, Chen gives contact info and recommends Boa Editions as a place to buy his book and support independent publishers, and another good organization in Writers and Books, featuring Ampersand Bookstore     You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode.  This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form.  Please check out my Patreon page at www.patreon.com/chillsatwillpodcastpeterriehl to read about benefits offered to members and to sign up to help me continue to produce high-quality content, and a lot of it. The coming months are bringing standout writers like Justin Tinsley, Jose Antonio Vargas, Robert Jones, Jr., Allegra Hyde, Laura Warrell, and Elizabeth Williamson. Thanks for your support!    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com. Please tune in for Episode 149 with Erika T. Wurth. Erika's highly-awaited literary-horror novel, White Horse, is forthcoming on November 1; she is a Kenyon and Sewanee fellow and an urban Native of Apache/Chickasaw/Cherokee descent. The episode will air on November 1, the publication date for White Horse.  

Authenticity is powerful. Being real is impactful. Identifying your purpose and living by your core values can feed the soul and empower those around you.    Let's be honest, when you're scrolling through social media, there's a reason we're drawn to realness and things we can relate to, things that make us feel connected.    But here's the thing: not everybody is willing to go there and address their true authenticity.    As business owners, aspiring business owners, and entrepreneurs, we struggle with being our authentic selves.    And not only is that holding us back, but it's holding us back from the impact we can make through our business!!   So how can we address and reconnect with our true authentic selves on that real, raw, emotional level?   Well, today's guest helps his clients do just this –AND he wrote a very unique book all about it!!   Corey Hilton is an author, authenticity coach, and a previous male exotic dancer. Yep, you read that right!!    Life has been his teacher, and I think a lot of Corey's life lessons are 100% applicable to business!    I just know this episode will have so much value…and maybe give us a unique little story along the way!! Let's go!! Leave a 5 star review on iTunes!    Times to Check Out: [3:00] Making sacrifices to go after what you want [5:29] Common misconceptions people have about the entertainment industry  [6:39] Life after retirement & keeping his emotional intelligence intact [10:21] How his emotional self-care journey started [14:00] Finding release and rediscovering his authentic self [17:31] Advice for young men seeking relationships [21:00] What is the arc of intense energy [25:00] Giving up on dreams for the paycheck [30:15] Why you have to have a passion for your purpose [37:00] Transitioning into a different direction and finding what feeds his soul   Connect with Corey: Website: https://www.coreylainehilton.com/ Facebook: https://www.facebook.com/coreylainehilton Instagram: https://www.instagram.com/takeitoffofficial/ YouTube: https://youtube.com/channel/UCdrP4oVSxVM7jm9JZiwlWqg Book: https://www.coreylainehilton.com/take-it-off   **When I Grow Up, listeners get a 10% discount on Corey's book by using the code: kesleyco Join this free training on how to easily pivot your life and business: https://www.kelseymarieknutson.com/pivot Send us podcast ideas at info@kelseymarieknutson.com    Links: Show notes: https://www.kelseymarieknutson.com/podcast   Follow us on Instagram: https://www.instagram.com/kelseymarieknutson/  Hangout on Facebook: https://www.facebook.com/kelseymarieknutson  Join the online community: https://www.facebook.com/groups/kelseymarieknutson    FREE Workshop to take the guess work out of “what's next?” https://www.kelseymarieknutson.com/pivot   Work with Kelsey: Ready for your next big pivot? Maybe it's launching that new side hustle or growing your existing business, whatever the chapter Kelsey's here to help you bridge the gap between new idea and achieving your goals!   VIP Coaching: https://www.kelseymarieknutson.com/vipcoaching Grow Academy: https://www.kelseymarieknutson.com/growacademy  Start Smart: https://kelseymarieknutson.mykajabi.com/offers/aoAuAe7M/checkout 

For the final episode of the second season, the brothers enlist a special guest to help them make sense of getting older. Referenced and recommended resources include: Books and Literature: Peace in the Last Third of Life (https://amzn.to/3ygJpOE) by Paul Zahl, The Happiness Curve (https://amzn.to/3PteZ2P) by Jonathan Rauch, “Crossing the Bar” (https://www.poetryfoundation.org/poems/45321/crossing-the-bar) by Alfred Lord Tennyson, Churchy (https://amzn.to/3uwYwTb) by Sarah Condon, Being Mortal (https://amzn.to/3RhG5vn) by Atul Gawande, The Genius and the Goddess (https://amzn.to/3NR19pt) by Aldous Huxley, Quatermass by Nigel Neale, "East Coker" (https://amzn.to/3InL3CT) by TS Eliot, Ecclesiastes Movies and Television: The Twilight Zone (“Spur of the Moment” and “The Trade-Ins”), Letters to Father Jacob (2009), Friday Night Lights (2006-2011), Journey to Italy (1954), The Adam Project (2022) Artwork: "The Voyage of Life" (http://www.explorethomascole.org/tour/items/73/series/) by Thomas Cole (1839-40) Songs: “Seventeen” by Sharon Van Etten, “The Boxer” by Simon and Garfunkel, “When I Grow Up to Be a Man” by The Beach Boys, “Ashes to Ashes” by David Bowie, “Tired of Waiting” by The Kinks, “When I Was a Boy” by The Who, “Regret” by New Order, “Old" by Staryflyer 59, "Everybody Wants to Be a DJ", “Sixteen Tons” by Bob Cobra, “As Far as I Can Remember” by Pasteur Lappe, “Just Ain't Easy” by The Allman Brothers, “Highlands” by Bob Dylan Click here (https://open.spotify.com/playlist/2ZEDD3kbdFeuBjrMIhWi1V?si=058bfc64dedc426d) to listen to a playlist of the available tracks on Spotify.

Ryan Rae Harbuck is back on the show today, along with her recently self-published memoir, “When I Grow Up, I Want to Be a Chair.” We talk a lot about her experiences writing the book, the endurance it took over years to get it visualized and completed, how having faith in oneself can be practiced and built up like a muscle. For Ryan, being an athlete and a writer and a person in the world are very similar: if you practice it daily, you'll get better. Her experiences and perspective on the world have made her extraordinarily wise and self-reflective; I hope you enjoy our second conversation just as much as I did. KEY TAKEAWAYS  “When I Grow Up I Want to Be a Chair” took Ryan 15 years to write, and most recently she had to write in 20-minute grabs while her two young kids were playing. Find a way to create what you need to create and don't despair if it takes longer than you expect.  Sharing your vulnerability with others is always going to open doors and create empathetic connections.  Ryan says at one point that “the universe has always had a way of guiding her to what she needed” and that certain things came very easy to her because she did not struggle. There is something to be said for going with the flow and saying yes to every random opportunity, knowing that it may offer you untold adventure.  What is right for you may not be right for anyone else, and once you learn to accept and respect your own boundaries, you can see what you have to offer the world that no-one else does.  BEST MOMENTS   “I was always a swimmer. And as a swimmer, or as any sort of athlete, you learn to practice. And when you practice, you get better. I think that there was just sort of that ingrown sense of being athletic and understanding that, okay, well, if I practice going up this hill nine times, I'll get better at it. So then I did.I think that the simplicity of practice really did help me be able to do the things I wanted to.” “I suppose I mean, you can always look back and say, ‘maybe I could have done something differently.' But that doesn't really serve me. So, at this point, I don't think that there's anything that I would do differently. I have made it a very purposeful journey of mine, to not let myself regret things.” “Once I was actually well enough, by my standards… I started to sneak out of my house and go swimming…. That changed me in so many ways, because it kind of gave me that passion for swimming back and it gave me something to try for and in one of those little secret swims that I had…I made a promise to myself…that I was going to compete again and I was going to try my hardest. I was going to see what happened and be the poster child for what happens when you put 100% of yourself into something.” “Certainly everybody has a story. And I would challenge people to sit down and figure out what their story would be, because I think that a lot of people would be surprised by the answer. A lot of times, the things that are the most important or the most poignant, aren't the biggest explosions in your life or the biggest, you know, blockbuster moments, they're much smaller than that.”  ABOUT THE GUEST   Ryan has always been an outdoor enthusiast and she enjoys adventuring wherever her wheels will take her. She is a professional swim coach, author, and mom. She, her husband Andrew, and their two boys live in Denver Colorado.   CONTACT METHOD  Ryan's website https://www.ryanraeharbuck.com/ Ryan on Instagram https://www.instagram.com/ryanraeharbuck/ Twitter https://twitter.com/RyanRaeHarbuck https://www.facebook.com/ryan.r.mclean Buy Ryan's book on Indiebound https://www.indiebound.org/search/book?keys=ryan+rae+harbuck+ ABOUT THE HOST  The ‘Mighty Pete Lonton' from the ‘Mighty 247' company is your main host of ‘Fire in The Belly'.  Pete is an entrepreneur, mentor, coach, property Investor, and father of three beautiful girls. Pete's background is in project management and property, but his true passion is the ‘Fire in The Belly' project itself. His mission is to help others find their potential and become the mightiest version of themselves. Pete openly talks about losing both of his parents, suffering periods of depression, business downturn and burn-out, and ultimately his years spent not stoking ‘Fire in the Belly'. In 2017, at 37 years of age that changed, and he is now on a journey of learning, growing, accepting, and inspiring others. Pete can connect with people and intuitively asks questions to reveal a person's passion and discover how to live their mightiest life. The true power of ‘Fire in The Belly' is the Q&A's - Questions and Actions section.  The ‘Fire in The Belly' brand and the programme is rapidly expanding into podcasts, seminars, talks, business workshops, development courses, and rapid results mentoring. CONTACT METHOD https://www.facebook.com/mightypetelonton/ https://uk.linkedin.com/in/mightypete https://www.facebook.com/groups/430218374211579/ Support the show: https://www.facebook.com/groups/430218374211579/ See omnystudio.com/listener for privacy information.

Our guest for Episode #075 is Jeff Taylor, founder of Monster.com and 14 other companies including most recently RoverTrophy.com. Jeff has always been ahead of his time, with boundless amounts of energy. This led him to create the world's first job board in Monster, a revolutionary idea that spawned an entire industry. We discuss the resolve needed to champion your ideas, being the first URL on the radio, and when you know it is the right time to sell.    Links:   Jeff on LinkedIn: https://www.linkedin.com/in/jeff-taylor-5212115a   A snapshot of the Monster Board in 1996 https://web.archive.org/web/19961111103115/http://www.monster.com/   When I Grow Up commercial: https://www.youtube.com/watch?v=fY1WoHkNGy4  

Hi, friends—guess what? It's almost time for summer break, so today I get to bring you this season's very last episode of No Filter with Count Vacula!I'm so happy about all the amazing people I got to meet this year, but I'm super excited for you to meet my newest friend, “Weird Al” Yankovic! His first name is really Alfred, but everyone calls him Weird Al because he's extremely silly, and he's famous for writing and performing hilarious songs.  A lot of Weird Al's music is in a style called “parody,” which means that he takes other people's songs and gives them new and funny words. Some of my favorites are “Eat It”, “Yoda,” and the “Captain Underpants Theme Song.” He's so good at making songs that he's won five Grammy Awards and sold more than 12 million albums! He's also written two terrific kids' books, When I Grow Up and My New Teacher and Me!But what matters most about Weird Al is that he's a really nice and kind person! And even though I'm a vampire robot vacuum and he's an accordion-playing human, we have lots of things in common. We both like cardboard boxes, and dogs, and cereal. . .  and he says he's a vampire like me, but I haven't seen him at any of the meetings, so I think he was probably just being playful. Weird Al told me an amazing true story about selling his old dryer lint for $600, and a hilarious made-up story about the tiny monsters that make all the echoes we hear. I had a great time getting to know Weird Al, and I think you'll have a great time, too. I can't wait to practice meeting more new people over the break! Are you looking forward to trying out your friend-making skills this summer? Maybe you're going to camp or on a family vacation, or you're excited about spending more time at your favorite park—but wherever you go, I'll bet there will be new friends just waiting to meet you and I can't wait to hear about it! Until then, stay kind and have a great summer!See you soon!Your pal,Vac

This past Tuesday, May 24, 2022, an 18 year-old walked into Robb Elementary School in Uvalde, Texas and shot and killed nineteen students and two teachers. Almost immediately, many around the country, and right here in Connecticut, began to draw comparisons to the December 14, 2012 Sandy Hook Elementary School shooting. Mariam Azeez was a first-grader in Newtown when her peers at Sandy Hook Elementary were killed. Now, Mariam is 15 years old. She is an outspoken activist, a poet, and a sophomore at Danbury High School. On Thursday night, Mariam performed a powerful new poem at a vigil in Newtown, where residents and neighbors gathered in solidarity with the Uvalde, Texas community. During this episode of Mic Check, Mariam shares about her journey, her activism, and her poetry, and performs the piece she performed at the vigil for Uvalde at Trinity Episcopal Church on Thursday night. To watch Mariam's performance of "When I Grow Up" from Thursday May 26, 2022 at Trinity Episcopal Church in Newtown, CT: https://www.youtube.com/watch?v=ux1-Z1tMQHo For more information on Mariam: https://www.courant.com/news/connecticut/hc-news-texas-shooting-newton-poem-20220527-kk2u5vxkpvgalhvvvflutsmzmy-story.html https://www.newstimes.com/news/article/Her-peers-were-killed-in-Sandy-Hook-Her-poem-17204264.php https://www.nhregister.com/news/article/After-Texas-shooting-Newtown-teen-asks-in-poem-17203142.php?src=nhrhplocal

Dave and Ethan are joined by comic book creator and Weird Al super-fan Jeff McClelland to discuss the just-announced graphic novel he is contributing to, The Illustrated Al: The Songs of “Weird Al” Yankovic, due out fall/winter 2022!

What better way to close out season four and our When I Grow Up series then by reflecting on the past and planning for the future! On this episode we are talking five-year plans, whether our younger selves would be impressed, and much more!

http;//www.copperplatemailorder.com                    Copperplate Time 393                 Presented by Alan O'Leary1. Bothy Band:   Green Groves of Erin/Flowers of Red Hill.   After Hours 2. Gerry Diver:             The Bath Set.  Diversions                           3. Brian Hughes & Dave Sheridan:             An Buachaill Dreoite/Maid in the     Meadow/Wheels of the World.              However Long the Day  4. Andy Martyn:        The Caha Mountains/McKenna Country.            Will We Give It A Go? 5. Daoiri Farrell:              A Pint of Plain.  A Lifetime of Happiness 6. Noel Hill:            The Holly Bush/Pigtown.  Live in New York 7.  Donnchadh Gough:  The Tinkers Wife/I Am Waiting for You   Sessions Found 8.  Caladh Nua:          Cad É Sin, Don té Sin.   Happy Days 9.  Angelina & Peter Carberry:           Paddy Kelly's/The Thatched Cabin/Mayor    Harrison's Fedora.    An Traidisiún Beo 10. Matt Molloy & Sean Keane:              Caislean na Oir/The New Century.         Contentment is Wealth 11 Brian O'Rourke:               When I Grow Up.       Brian O'Rourke 13. Seamus McGuire & Steve Cooney          An Buachaill Dreoite. .  An Irish Viola 14. Tom Delany:   John Joe Casey's/Gus Jordan's/Maudabawn Chapel.              The Lark's Call 15. John McKenna & James Morrison:      My Love is But A Lassie Yet/Dark Girl Dressed in Blue.    The Buck from the Mountain 16. Bert Jansch:         The Mountain Streams.    The Ornament Tree 17. Bonnie Raitt:    Angel from Montgomery.      Streetlights 18. John Prine:    If I Could.    Live on Tour 18. We Banjo 3:   The Bunch of Green Rushes/Salt Creek.  Live in Galway 20. Sliabh Notes: The Providence/Man of the House/Speed the Plough.             Along Blackwater's Banks 21. Bothy Band:   Green Groves of Erin/Flowers of Red Hill.   After Hours

We review the celebrity book "When I Grow Up" by Al Yankovic.Support the show (https://www.buymeacoffee.com/Fullbird)

When I Grow Up, the latest graphic nonfiction narrative from New Yorker cartoonist Ken Krimstein, is based on six of hundreds of newly discovered, never-before-published autobiographies of Eastern European Jewish teenagers. These autobiographies, submitted in a writing contest, were hidden away at the outbreak of World War II, and were only discovered seven decades later. In When I Grow Up, the author brings these stories, their authors, and their entire world, to life. David Gottlieb is the Director of Jewish Studies at the Spertus Institute for Jewish Learning and Leadership in Chicago. He is the author of Second Slayings: The Binding of Isaac and the Formation of Jewish Memory (Gorgias Press, 2019). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

When I Grow Up, the latest graphic nonfiction narrative from New Yorker cartoonist Ken Krimstein, is based on six of hundreds of newly discovered, never-before-published autobiographies of Eastern European Jewish teenagers. These autobiographies, submitted in a writing contest, were hidden away at the outbreak of World War II, and were only discovered seven decades later. In When I Grow Up, the author brings these stories, their authors, and their entire world, to life. David Gottlieb is the Director of Jewish Studies at the Spertus Institute for Jewish Learning and Leadership in Chicago. He is the author of Second Slayings: The Binding of Isaac and the Formation of Jewish Memory (Gorgias Press, 2019). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In O Beautiful Dust, RW Walker explores what difference traditional, queer, and Christ-centred common prayer might make in a chaotic and divided world. Avery had the honor of narrating the audiobook put out by Squirrel House Publishing — and they're offering A FREE COPY of that audiobook to the first 10 people to email them for it! Listen to the episode (or read along in the transcript) for more details. In this episode, Avery shares 6 of the over 40 prayers contained in O Beautiful Dust — and offers some cultural context behind one of those pieces, which explores the story of the gender non-conforming water bearer to whom Jesus sends his disciples shortly before the Last Supper. Visit https://obeautifuldust.carrd.co/ for all the links for where to purchase RW Walker's book, as well as for info about the author, narrator, and publisher. (This page is still being updated as more purchasing links go live in the coming days.) And if you want to watch Peterson Toscano's film Transfigurations: Gender Outlaws in the Bible, click here! Talking Points: (0:00 - 2:13) Baha'i fast & Christian Lent (2:14 - 7:10) Introducing RW Walker and his book, O Beautiful Dust; Avery as narrator of the audiobook (7:11 - 12:47) Historical context for the first poem — the gender nonconforming water bearer of the synoptic Gospels (12:48 - 14:00) Poem 1: "Carrying Water" (14:01 - 16:05) Poem 2: "God's Reputation" (16:06 - 17:22) Poem 3: "My Delight Is in You" (17:23 - 19:15) Poem 4: "Help Us to Be Wise" (19:16 - 20:50) Poem 5: "When I Grow Up" (20:51 - 22:32) Poem 6: "Jesus, Be with My People" (22:33 - end) Wrapping up

When we find ourselves plucked out of our reality with a sudden and tragic event, we have to make that one important decision - to sink or swim.Today we learn the emotional and touching story of Ryan Rae Harbuck rising out of her vulnerabilities and finding her strengths.Ryan had to make that choice her junior year of high school after becoming paralyzed following a car accident. From healing her injuries to accepting to live her new life in a wheelchair, she learned the lesson that anything is possible. Turning her struggles into victories led her to discover the surprises life had for her.Her life in a wheelchair helped her understand her purpose in a whole new way. Her power of perception opened a new world to her, allowing her to live her life in an extraordinary way. Throughout everything she has experienced, she truly believes in joyfully following the path that was given to her.Ryan has turned her tragedy into triumph.For more information about Ryan or her book, visit her website at RyanRaeHarbuck.com or follow the links in the episode description.You can find her book “When I Grow Up, I Want to be a Chair” as well on Amazon.Her story on YouTubeHow do you sail through life? Join me on this endeavor! I would love to grow this amazing support community.If you have any thoughts on today's episode, or topics you'd like me to further touch on, reach me through my WEBSITE. Check it out here! SailingThroughLifePodcast.comMusic: BenSound.com

Stories are powerful!   When you tell the right story in the right way, you don't have to sell your products or “persuade” people to buy – because the narrative of your story does the heavy lifting for you!    I don't know about you, but that sounds amazing to me! Where do I sign up?   Today's guest, Kurian Tharakan, has made it his mission to help business owners like us create, tell, and deliver our stories for maximum impact. Kurian is the Founder and Managing Director of a strategic marketing firm and best-selling author of a book rooted in storytelling.    If you've ever struggled with marketing your products or services, it's time to circle back to your core story and rework how you tell it to your people. Are you ready? I know I am!   Tune in to learn about the power of storytelling and how to use stories in your marketing strategy!!   Oh, and by the way, if you like what you hear? Could you do me a huge favor and leave us a review on iTunes @ When I Grow Up Pod? It would mean the world! Thank you!   Leave a 5 star review on iTunes!    Times to Check Out: [3:28] - The number one reason companies, organizations, movements, and businesses fail [4:41] - What the power of a story means for business [7:16] - Common mistakes business owners make in their marketing [13:58] - Three actions to help improve your story [14:10] - How to find out what story to tell [18:05] - Tips for discovering your unique narrative [20:16] - The inspiration behind writing a book Connect With Kurian: Website: https://strategypeak.com/ Book: The 7 Essential Stories of Charismatic Leaders Tell by Kurian Tharakan **The first 5 people who email Kurian at kurian@strategypeak.com and mention the When I Grow Up pod get a FREE Kindle copy of his book!    —--------------------------------------- Grab my pivot guide https://www.kelseymarieknutson.com/pivot   Send us podcast ideas at info@kelseymarieknutson.com    Links: Show notes: https://www.kelseymarieknutson.com/podcast   Follow us on Instagram: https://www.instagram.com/kelseymarieknutson/  Hangout on Facebook: https://www.facebook.com/kelseymarieknutson  Join the online community: https://www.facebook.com/groups/kelseymarieknutson    FREEBIE: 6 steps to take the guess work out of “what's next?” https://www.kelseymarieknutson.com/pivot     Work with Kelsey: Ready for your next big pivot? Maybe it's launching that new side hustle or growing your existing business, whatever the chapter Kelsey's here to help you bridge the gap between new idea and achieving your goals!   VIP Coaching: https://www.kelseymarieknutson.com/vip-coaching Grow Academy: https://www.kelseymarieknutson.com/grow-academy  Start Smart: https://kelseymarieknutson.mykajabi.com/offers/aoAuAe7M/checkout

A B.A. in advertising. A career working for some of the best advertising companies… and then pivoting into the holistic health world???   But, why??   Because it's not just about the money or the status or the job security.   Get ready for a pivot-filled episode with Advertising expert turned wellness coach, Paul Clingan. Sure, we talk A LOT about health and wellness. But we also dive into the harsh truths of building a business. Why settling is bullshit. And what it really takes to make a big life change.    And yes, in true When I Grow Up fashion, we share some business lessons learned along the way.   Be sure to stay until the end because you won't want to miss his top 3 holistic health tips!    Like what you hear? Leave us a review on iTunes @ When I Grow Up Pod.   Guest: Paul Clingan   Leave a 5 star review on iTunes!    Times to Check Out: 1:15 Meet Paul 2:19 Degree in advertising 4:36 Knowing when to pivot 11:34 Holistic approach to fitness 17:21 Lessons learned as a business owner 24:13 Thinking bigger picture about his business 26:14 Top 3 holistic health tips 32:06 Where to find Paul on facebook     Join this free training on how to easily pivot your life and business: https://www.kelseymarieknutson.com/pivot Send us podcast ideas at info@kelseymarieknutson.com    Links: Show notes: https://www.kelseymarieknutson.com/podcast   Follow us on Instagram: https://www.instagram.com/kelseymarieknutson/  Hangout on Facebook: https://www.facebook.com/kelseymarieknutson  Join the online community: https://www.facebook.com/groups/kelseymarieknutson    FREE Workshop to take the guess work out of “what's next?” https://www.kelseymarieknutson.com/pivot   Work with Kelsey: Ready for your next big pivot? Maybe it's launching that new side hustle or growing your existing business, whatever the chapter Kelsey's here to help you bridge the gap between new idea and achieving your goals!   VIP Coaching: https://www.kelseymarieknutson.com/vipcoaching Grow Academy: https://www.kelseymarieknutson.com/growacademy  Start Smart: https://kelseymarieknutson.mykajabi.com/offers/aoAuAe7M/checkout  Check out Paul here: Instagram: https://www.instagram.com/paul_clingan/ The Art & Science Of Mindful Muscle Facebook Group: https://www.facebook.com/groups/mindfulmuscle

Episode one hundred and forty-two of A History of Rock Music in Five Hundred Songs looks at “God Only Knows" by the Beach Boys, and the creation of the Pet Sounds album. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Sunny" by Bobby Hebb. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. I have also referred to Brian Wilson's autobiography, I Am Brian Wilson, and to Mike Love's, Good Vibrations: My Life as a Beach Boy. For material specific to Pet Sounds I have used Kingsley Abbot's The Beach Boys' Pet Sounds: The Greatest Album of the Twentieth Century and Charles L Granata's I Just Wasn't Made For These Times: Brian Wilson and the Making of Pet Sounds.  I also used the 126-page book The Making of Pet Sounds by David Leaf, which came as part of the The Pet Sounds Sessions box set, which also included the many alternate versions of songs from the album used here. Sadly both that box set and the 2016 updated reissue of it appear currently to be out of print, but either is well worth obtaining for anyone who is interested in how great records are made. Of the versions of Pet Sounds that are still in print, this double-CD version is the one I'd recommend. It has the original mono mix of the album, the more recent stereo remix, the instrumental backing tracks, and live versions of several songs. As a good starting point for the Beach Boys' music in general, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it. The YouTube drum tutorial I excerpted a few seconds of to show a shuffle beat is here. Transcript We're still in the run of episodes that deal with the LA pop music scene -- though next week we're going to move away from LA, while still dealing with a lot of the people who would play a part in that scene. But today we're hitting something that requires a bit of explanation. Most artists covered in this podcast get one or at the most two episodes. Some get slightly more -- the major artists who are present for many revolutions in music, or who have particularly important careers, like Fats Domino or the Supremes. And then there are a few very major artists who get a lot more. The Beatles, for example, are going to get eight in total, plus there will be episodes on some of their solo careers. Elvis has had six, and will get one more wrap-up episode. This is the third Beach Boys episode, and there are going to be three more after this, because the Beach Boys were one of the most important acts of the decade. But normally, I limit major acts to one episode per calendar year of their career. This means that they will average at most one episode every ten episodes, so while for example the episodes on "Mystery Train" and "Heartbreak Hotel" came close together, there was then a reasonable gap before another Elvis episode. This is not possible for the Beach Boys, because this episode and the next two Beach Boys ones all take place over an incredibly compressed timeline. In May 1966, they released an album that has consistently been voted the best album ever in polls of critics, and which is certainly one of the most influential even if one does not believe there is such a thing as a "best album ever". In October 1966 they released one of the most important singles ever -- a record that is again often considered the single best pop single of all time, and which again was massively influential. And then in July 1967 they released the single that was intended to be the lead-off single from their album Smile, an album that didn't get released until decades later, and which became a legend of rock music that was arguably more influential by *not* being released than most records that are released manage to be. And these are all very different stories, stories that need to be told separately. This means that episode one hundred and forty-two, episode one hundred and forty-six, and episode one hundred and fifty-three are all going to be about the Beach Boys. There will be one final later episode about them, too, but the next few months are going to be very dominated by them, so I apologise in advance for that if that's not something you're interested in. Though it also means that with luck some of these episodes will be closer to the shorter length of podcast I prefer rather than the ninety-minute mammoths we've had recently. Though I'm afraid this is another long one. When we left the Beach Boys, we'd just heard that Glen Campbell had temporarily replaced Brian Wilson on the road, after Wilson's mental health had finally been unable to take the strain of touring while also being the group's record producer, principal songwriter, and leader. To thank Campbell, who at this point was not at all well known in his own right, though he was a respected session guitarist and had released a few singles, Brian had co-written and produced "Guess I'm Dumb" for him, a track which prefigured the musical style that Wilson was going to use for the next year or so: [Excerpt: Glen Campbell, "Guess I'm Dumb"] It's worth looking at "Guess I'm Dumb" in a little detail, as it points the way forward to a lot of Wilson's songwriting over the next year. Firstly, of course, there are the lyrical themes of insecurity and of what might even be descriptions of mental illness in the first verse -- "the way I act don't seem like me, I'm not on top like I used to be". The lyrics are by Russ Titelman, but it's reasonable to assume that as with many of his collaborations, Brian brought in the initial idea. There's also a noticeable change in the melodic style compared to Wilson's earlier melodies. Up to this point, Wilson has mostly been writing what get called "horizontal" melody lines -- ones with very little movement, and small movements, often centred on a single note or two. There are exceptions of course, and plenty of them, but a typical Brian Wilson melody up to this point is the kind of thing where even I can hit the notes more or less OK -- [sings] "Well, she got her daddy's car and she cruised through the hamburger stand now". It's not quite a monotone, but it's within a tight range, and you don't have to move far from one note to another. But "Guess I'm Dumb" is incorporating the influence of Roy Orbison, and more obviously of Burt Bacharach, and it's *ludicrously* vertical, with gigantic leaps all over the place, in places that are not obvious. It requires the kind of precision that only a singer like Campbell can attain, to make it sound at all natural: [Excerpt: Glen Campbell, "Guess I'm Dumb"] Bacharach's influence is also noticeable in the way that the chord changes are very different from those that Wilson was using before. Up to this point, when Wilson wrote unusual chord changes, it was mostly patterns like "The Warmth of the Sun", which is wildly inventive, but mostly uses very simple triads and sevenths. Now he was starting to do things like the line "I guess I'm dumb but I don't care", which is sort of a tumbling set of inversions of the same chord that goes from a triad with the fifth in the bass, to a major sixth, to a minor eleventh, to a minor seventh. Part of the reason that Brian could start using these more complex voicings was that he was also moving away from using just the standard guitar/bass/drums lineup, sometimes with keyboards and saxophone, which had been used on almost every Beach Boys track to this point. Instead, as well as the influence of Bacharach, Wilson was also being influenced by Jack Nitzsche's arrangements for Phil Spector's records, and in particular by the way Nitzsche would double instruments, and have, say, a harpsichord and a piano play the same line, to create a timbre that was different from either individual instrument. But where Nitzsche and Spector used the technique along with a lot of reverb and overdubbing to create a wall of sound which was oppressive and overwhelming, and which obliterated the sounds of the individual instruments, Wilson used the same instrumentalists, the Wrecking Crew, to create something far more delicate: [Excerpt: Glen Campbell, "Guess I'm Dumb (instrumental and backing vocals)"] Campbell does such a good job on "Guess I'm Dumb" that one has to wonder what would  have happened if he'd remained with the Beach Boys. But Campbell had of course not been able to join the group permanently -- he had his own career to attend to, and that would soon take off in a big way, though he would keep playing on the Beach Boys' records for a while yet as a member of the Wrecking Crew. But Brian Wilson was still not well enough to tour. In fact, as he explained to the rest of the group, he never intended to tour again -- and he wouldn't be a regular live performer for another twelve years. At first the group were terrified -- they thought he was talking about quitting the group, or the group splitting up altogether. But Brian had a different plan. From that point on, there were two subtly different lineups of the group. In the studio, Brian would sing his parts as always, but the group would get a permanent replacement for him on tour -- someone who could replace him on stage. While the group was on tour, Brian would use the time to write songs and to record backing tracks. He'd already started using the Wrecking Crew to add a bit of additional musical colour to some of the group's records, but from this point on, he'd use them to record the whole track, maybe getting Carl to add a bit of guitar as well if he happened to be around, but otherwise just using the group to provide vocals. It's important to note that this *was* a big change. A lot of general music history sources will say things like "the Beach Boys never played on their own records", and this is taken as fact by people who haven't investigated further. In fact, the basic tracks for all their early hits were performed by the group themselves -- "Surfin'", "Surfin' Safari", "409", "Surfer Girl", "Little Deuce Coupe", "Don't Worry Baby" and many more were entirely performed by the Beach Boys, while others like "I Get Around" featured the group with a couple of additional musicians augmenting them. The idea that the group never played on their records comes entirely from their recordings from 1965 and 66, and even there often Carl would overdub a guitar part. And at this point, the Beach Boys were still playing on the majority of their recordings, even on sophisticated-sounding records like "She Knows Me Too Well", which is entirely a group performance other than Brian's friend, Russ Titelman, the co-writer of "Guess I'm Dumb", adding some percussion by hitting a microphone stand with a screwdriver: [Excerpt: The Beach Boys, "She Knows Me Too Well"] So the plan to replace the group's instrumental performances in the studio was actually a bigger change than it might seem. But an even bigger change was the live performances, which of course required the group bringing in a permanent live replacement for Brian. They'd already tried this once before, when he'd quit the road for a while and they'd brought Al Jardine back in, but David Marks quitting had forced him back on stage. Now they needed someone to take his place for good. They phoned up their friend Bruce Johnston to see if he knew anyone, and after suggesting a couple of names that didn't work out, he volunteered his own services, and as of this recording he's spent more than fifty years in the band (he quit for a few years in the mid-seventies, but came back). We've seen Johnston turn up several times already, most notably in the episode on "LSD-25", where he was one of the musicians on the track we looked at, but for those of you who don't remember those episodes, he was pretty much *everywhere* in California music in the late fifties and early sixties. He had been in a band at school with Phil Spector and Sandy Nelson, and another band with Jan and Dean, and he'd played on Nelson's "Teen Beat", produced by Art Laboe: [Excerpt: Sandy Nelson, "Teen Beat"] He'd been in the house band at those shows Laboe put on at El Monte stadium we talked about a couple of episodes back, he'd been a witness to John Dolphin's murder, he'd been a record producer for Bob Keane, where he'd written and produced songs for Ron Holden, the man who had introduced "Louie Louie" to Seattle: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] He'd written "The Tender Touch" for Richard Berry's backing group The Pharaos, with Berry singing backing vocals on this one: [Excerpt: The Pharaos, "The Tender Touch"] He'd helped Bob Keane compile Ritchie Valens' first posthumous album, he'd played on "LSD-25" and "Moon Dawg" by the Gamblers: [Excerpt: The Gamblers, "Moon Dawg"] He'd arranged and produced the top ten hit “Those Oldies but Goodies (Remind Me of You)” for Little Caesar and the Romans: [Excerpt Little Caesar and the Romans, "Those Oldies but Goodies (Remind Me of You)"] Basically, wherever you looked in the LA music scene in the early sixties, there was Bruce Johnston somewhere in the background. But in particular, he was suitable for the Beach Boys because he had a lot of experience in making music that sounded more than a little like theirs. He'd made cheap surf records as the Bruce Johnston Surfing Band: [Excerpt: Bruce Johnston, "The Hamptons"] And with his long-time friend and creative partner Terry Melcher he had, as well as working on several Paul Revere and the Raiders records, also recorded hit Beach Boys soundalikes both as their own duo, Bruce and Terry: [Excerpt: Bruce and Terry, "Summer Means Fun"] and under the name of a real group that Melcher had signed, but who don't seem to have sung much on their own big hit, the Rip Chords: [Excerpt: The Rip Chords, "Hey Little Cobra"] Johnston fit in well with the band, though he wasn't a bass player before joining, and had to be taught the parts by Carl and Al. But he's probably the technically strongest musician in the band, and while he would later switch to playing keyboards on stage, he was quickly able to get up to speed on the bass well enough to play the parts that were needed. He also wasn't quite as strong a falsetto singer as Brian Wilson, as can be heard by listening to this live recording of the group singing "I Get Around" in 1966: [Excerpt: The Beach Boys, "I Get Around (live 1966)"] Johnston is actually an excellent singer -- and can still hit the high notes today. He sings the extremely high falsetto part on "Fun Fun Fun" at the end of every Beach Boys show. But his falsetto was thinner than Wilson's, and he also has a distinctive voice which can be picked out from the blend in a way that none of the other Beach Boys' voices could -- the Wilson brothers and Mike Love all have a strong family resemblance, and Al Jardine always sounded spookily close to them. This meant that increasingly, the band would rearrange the vocal parts on stage, with Carl or Al taking the part that Brian had taken in the studio. Which meant that if, say, Al sang Brian's high part, Carl would have to move up to sing the part that Al had been singing, and then Bruce would slot in singing the part Carl had sung in the studio. This is a bigger difference than it sounds, and it meant that there was now a need for someone to work out live arrangements that were different from the arrangements on the records -- someone had to reassign the vocal parts, and also work out how to play songs that had been performed by maybe eighteen session musicians playing French horns and accordions and vibraphones with a standard rock-band lineup without it sounding too different from the record. Carl Wilson, still only eighteen when Brian retired from the road, stepped into that role, and would become the de facto musical director of the Beach Boys on stage for most of the next thirty years, to the point that many of the group's contracts for live performances at this point specified that the promoter was getting "Carl Wilson and four other musicians". This was a major change to the group's dynamics. Up to this point, they had been a group with a leader -- Brian -- and a frontman -- Mike, and three other members. Now they were a more democratic group on stage, and more of a dictatorship in the studio. This was, as you can imagine, not a stable situation, and was one that would not last long. But at first, this plan seemed to go very, very well. The first album to come out of this new hybrid way of working, The Beach Boys Today!, was started before Brian retired from touring, and some of the songs on it were still mostly or solely performed by the group, but as we heard with "She Knows Me Too Well" earlier, the music was still more sophisticated than on previous records, and this can be heard on songs like "When I Grow Up to Be a Man", where the only session musician is the harmonica player, with everything else played by the group: [Excerpt: The Beach Boys, "When I Grow Up to Be a Man"] But the newer sophistication really shows up on songs like "Kiss Me Baby", where most of the instrumentation is provided by the Wrecking Crew -- though Carl and Brian both play on the track -- and so there are saxophones, vibraphones, French horn, cor anglais, and multiple layers of twelve-string guitar: [Excerpt: The Beach Boys, "Kiss Me Baby"] Today had several hit singles on it -- "Dance, Dance, Dance", "When I Grow Up to be a Man", and their cover version of Bobby Freeman's "Do You Wanna Dance?" all charted -- but the big hit song on the album actually didn't become a hit in that version. "Help Me Ronda" was a piece of album filler with a harmonica part played by Billy Lee Riley, and was one of Al Jardine's first lead vocals on a Beach Boys record -- he'd only previously sung lead on the song "Christmas Day" on their Christmas album: [Excerpt: The Beach Boys, "Help Me Ronda"] While the song was only intended as album filler, other people saw the commercial potential in the song. Bruce Johnston was at this time still signed to Columbia records as an artist, and wasn't yet singing on Beach Boys records, and he recorded a version of the song with Terry Melcher as a potential single: [Excerpt: Bruce and Terry, "Help Me Rhonda"] But on seeing the reaction to the song, Brian decided to rerecord it as a single. Unfortunately, Murry Wilson turned up to the session. Murry had been fired as the group's manager by his sons the previous year, though he still owned the publishing company that published their songs. In the meantime, he'd decided to show his family who the real talent behind the group was by taking on another group of teenagers and managing and producing them. The Sunrays had a couple of minor hits, like "I Live for the Sun": [Excerpt: The Sunrays, "I Live for the Sun"] But nothing made the US top forty, and by this point it was clear, though not in the way that Murry hoped, who the real talent behind the group *actually* was. But he turned up to the recording session, with his wife in tow, and started trying to produce it: [Excerpt: Beach Boys and Murry Wilson "Help Me Rhonda" sessions] It ended up with Brian physically trying to move his drunk father away from the control panel in the studio, and having a heartbreaking conversation with him, where the twenty-two-year-old who is recovering from a nervous breakdown only a few months earlier sounds calmer, healthier, and more mature than his forty-seven-year-old father: [Excerpt: Beach Boys and Murry Wilson, "Help Me Rhonda" sessions] Knowing that this was the family dynamic helps make the comedy filler track on the next album, "I'm Bugged at My Old Man", seem rather less of a joke than it otherwise would: [Excerpt: The Beach Boys, "I'm Bugged at My Old Man"] But with Murry out of the way, the group did eventually complete recording "Help Me Rhonda" (and for those of you reading this as a blog post rather than listening to the podcast, yes they did spell it two different ways for the two different versions), and it became the group's second number one hit: [Excerpt: The Beach Boys, "Help Me, Rhonda"] As well as Murry Wilson, though, another figure was in the control room then -- Loren Daro (who at the time went by his birth surname, but I'm going to refer to him throughout by the name he chose).  You can hear, on the recording, Brian Wilson asking Daro if he could "turn him on" -- slang that was at that point not widespread enough for Wilson's parents to understand the meaning. Daro was an agent working for the William Morris Agency, and he was part of a circle of young, hip, people who were taking drugs, investigating mysticism, and exploring new spiritual ideas. His circle included the Byrds -- Daro, like Roger McGuinn, later became a follower of Subud and changed his name as a result -- as well as people like the songwriter and keyboard player Van Dyke Parks, who will become a big part of this story in subsequent episodes, and Stephen Stills, who will also be turning up again. Daro had introduced Brian to cannabis, in 1964, and in early 1965 he gave Brian acid for the first time -- one hundred and twenty-five micrograms of pure Owsley LSD-25. Now, we're going to be looking at acid culture quite a lot in the next few months, as we get through 1966 and 1967, and I'll have a lot more to say about it, but what I will say is that even the biggest proponents of psychedelic drug use tend not to suggest that it is a good idea to give large doses of LSD in an uncontrolled setting to young men recovering from a nervous breakdown. Daro later described Wilson's experience as "ego death" -- a topic we will come to in a future episode, and not considered entirely negative -- and "a beautiful thing". But he has also talked about how Wilson was so terrified by his hallucinations that he ran into the bedroom, locked the door, and hid his head under a pillow for two hours, which doesn't sound so beautiful to me. Apparently after those two hours, he came out of the bedroom, said "Well, that's enough of that", and was back to normal. After that first trip, Wilson wrote a piece of music inspired by his psychedelic experience. A piece which starts like this, with an orchestral introduction very different from anything else the group had released as a single: [Excerpt: The Beach Boys, "California Girls"] Of course, when Mike Love added the lyrics to the song, it became about far more earthly and sensual concerns: [Excerpt: The Beach Boys, "California Girls"] But leaving the lyrics aside for a second, it's interesting to look at "California Girls" musically to see what Wilson's idea of psychedelic music -- by which I mean specifically music inspired by the use of psychedelic drugs, since at this point there was no codified genre known as psychedelic music or psychedelia -- actually was. So, first, Wilson has said repeatedly that the song was specifically inspired by "Jesu, Joy of Man's Desiring" by Bach: [Excerpt: Bach, "Jesu, Joy of Man's Desiring"] And it's odd, because I see no real structural or musical resemblance between the two pieces that I can put my finger on, but at the same time I can totally see what he means. Normally at this point I'd say "this change here in this song relates to this change there in that song", but there's not much of that kind of thing here -- but I still. as soon as I read Wilson saying that for the first time, more than twenty years ago, thought "OK, that makes sense". There are a few similarities, though. Bach's piece is based around triplets, and they made Wilson think of a shuffle beat. If you remember *way* back in the second episode of the podcast, I talked about how one of the standard shuffle beats is to play triplets in four-four time. I'm going to excerpt a bit of recording from a YouTube drum tutorial (which I'll link in the liner notes) showing that kind of shuffle: [Excerpt: "3 Sweet Triplet Fills For Halftime Shuffles & Swung Grooves- Drum Lesson" , from https://www.youtube.com/watch?v=2CwlSaQZLkY ] Now, while Bach's piece is in waltz time, I hope you can hear how the DA-da-da DA-da-da in Bach's piece may have made Wilson think of that kind of shuffle rhythm. Bach's piece also has a lot of emphasis of the first, fifth, and sixth notes of the scale -- which is fairly common, and not something particularly distinctive about the piece -- and those are the notes that make up the bass riff that Wilson introduces early in the song: [Excerpt: The Beach Boys, "California Girls (track)"] That bass riff, of course, is a famous one. Those of you who were listening to the very earliest episodes of the podcast might remember it from the intros to many, many, Ink Spots records: [Excerpt: The Ink Spots, "We Three (My Echo, My Shadow, and Me)"] But the association of that bassline to most people's ears would be Western music, particularly the kind of music that was in Western films in the thirties and forties. You hear something similar in "The Trail of the Lonesome Pine", as performed by Laurel and Hardy in their 1937 film Way Out West: [Excerpt: Laurel and Hardy, "The Trail of the Lonesome Pine"] But it's most associated with the song "Tumbling Tumbleweeds", first recorded in 1934 by the Western group Sons of the Pioneers, but more famous in their 1946 rerecording, made after the Ink Spots' success, where the part becomes more prominent: [Excerpt: The Sons of the Pioneers, "Tumbling Tumbleweeds"] That song was a standard of the Western genre, and by 1965 had been covered by everyone from Gene Autry to the Supremes, Bob Wills to Johnnie Ray, and it would also end up covered by several musicians in the LA pop music scene over the next few years, including Michael Nesmith and Curt Boettcher, both people part of the same general scene as the Beach Boys. The other notable thing about "California Girls" is that it's one of the first times that Wilson was able to use multi-tracking to its full effect. The vocal parts were recorded on an eight-track machine, meaning that Wilson could triple-track both Mike Love's lead vocal and the group's backing vocals. With Johnston now in the group -- "California Girls" was his first recording session with them -- that meant that on the record there were eighteen voices singing, leading to some truly staggering harmonies: [Excerpt: The Beach Boys, "California Girls (Stack-O-Vocals)"] So, that's what the psychedelic experience meant to Brian Wilson, at least -- Bach, orchestral influences, using the recording studio to create thicker vocal harmony parts, and the old West. Keep that in the back of your mind for the present, but it'll be something to remember in eleven episodes' time. "California Girls" was, of course, another massive hit, reaching number three on the charts. And while some Beach Boys fans see the album it was included on, Summer Days... And Summer Nights!, as something of a step backward from the sophistication of Today!, this is a relative thing. It's very much of a part with the music on the earlier album, and has many wonderful moments, with songs like "Let Him Run Wild" among the group's very best. But it was their next studio album that would cement the group's artistic reputation, and which would regularly be acclaimed by polls of critics as the greatest album of all time -- a somewhat meaningless claim; even more than there is no "first" anything in music, there's no "best" anything. The impulse to make what became Pet Sounds came, as Wilson has always told the story, from hearing the Beatles album Rubber Soul. Now, we've not yet covered Rubber Soul -- we're going to look at that, and at the album that came after it, in three episodes' time -- but it is often regarded as a major artistic leap forward for the Beatles. The record Wilson heard, though, wasn't the same record that most people nowadays think of when they think of Rubber Soul. Since the mid-eighties, the CD versions of the Beatles albums have (with one exception, Magical Mystery Tour) followed the tracklistings of the original British albums, as the Beatles and George Martin intended. But in the sixties, Capitol Records were eager to make as much money out of the Beatles as they could. The Beatles' albums generally had fourteen songs on, and often didn't include their singles. Capitol thought that ten or twelve songs per album was plenty, and didn't have any aversion to putting singles on albums. They took the three British albums Help!, Rubber Soul, and Revolver, plus the non-album "Day Tripper"/"We Can Work It Out" single and Ken Thorne's orchestral score for the Help! film, and turned that into four American albums -- Help!, Rubber Soul, Yesterday and Today, and Revolver. In the case of Rubber Soul, that meant that they removed four tracks from the British album -- "Drive My Car", "Nowhere Man", "What Goes On" and "If I Needed Someone" -- and added two songs from the British version of Help!, "I've Just Seen a Face" and "It's Only Love". Now, I've seen some people claim that this made the American Rubber Soul more of a folk-rock album -- I may even have said that myself in the past -- but that's not really true. Indeed, "Nowhere Man" and "If I Needed Someone" are two of the Beatles' most overtly folk-rock tracks, and both clearly show the influence of the Byrds. But what it did do was remove several of the more electric songs from the album, and replace them with acoustic ones: [Excerpt: The Beatles, "I've Just Seen a Face"] This, completely inadvertently, gave the American Rubber Soul lineup a greater sense of cohesion than the British one. Wilson later said "I listened to Rubber Soul, and I said, 'How could they possibly make an album where the songs all sound like they come from the same place?'" At other times he's described his shock at hearing "a whole album of only good songs" and similar phrases. Because up to this point, Wilson had always included filler tracks on albums, as pretty much everyone did in the early sixties. In the American pop music market, up to the mid sixties, albums were compilations of singles plus whatever random tracks happened to be lying around. And so for example in late 1963 the Beach Boys had released two albums less than a month apart -- Surfer Girl and Little Deuce Coupe. Given that Brian Wilson wrote or co-wrote all the group's original material, it wasn't all that surprising that Little Deuce Coupe had to include four songs that had been released on previous albums, including two that were on Surfer Girl from the previous month. It was the only way the group could keep up with the demand for new product from a company that had no concept of popular music as art. Other Beach Boys albums had included padding such as generic surf instrumentals, comedy sketches like "Cassius" Love vs. "Sonny" Wilson, and in the case of The Beach Boys Today!, a track titled "Bull Session With the Big Daddy", consisting of two minutes of random chatter with the photographer Earl Leaf while they all ate burgers: [Excerpt: The Beach Boys and Earl Leaf, "Bull Session With the Big Daddy"] This is not to attack the Beach Boys. This was a simple response to the commercial pressures of the marketplace. Between October 1962 and November 1965, they released eleven albums. That's about an album every three months, as well as a few non-album singles. And on top of that Brian had also been writing songs during that time for Jan & Dean, the Honeys, the Survivors and others, and had collaborated with Gary Usher and Roger Christian on songs for Muscle Beach Party, one of American International Pictures' series of Beach Party films. It's unsurprising that not everything produced on this industrial scale was a masterpiece. Indeed, the album the Beach Boys released directly before Pet Sounds could be argued to be an entire filler album. Many biographies say that Beach Boys Party! was recorded to buy Brian time to make Pet Sounds, but the timelines don't really match up on closer investigation. Beach Boys Party! was released in November 1965, before Brian ever heard Rubber Soul, which came out later, and before he started writing the material that became Pet Sounds. Beach Boys Party! was a solution to a simple problem -- the group were meant to deliver three albums that year, and they didn't have three albums worth of material. Some shows had been recorded for a possible live album, but they'd released a live album in 1964 and hadn't really changed their setlist very much in the interim. So instead, they made a live-in-the-studio album, with the conceit that it was recorded at a party the group were holding. Rather than the lush Wrecking Crew instrumentation they'd been using in recent months, everything was played on acoustic guitars, plus some bongos provided by Wrecking Crew drummer Hal Blaine and some harmonica from Billy Hinsche of the boy band Dino, Desi, and Billy, whose sister Carl Wilson was shortly to marry. The album included jokes and false starts, and was overlaid with crowd noise, to give the impression that you were listening to an actual party where a few people were sitting round with guitars and having fun. The album consisted of songs that the group liked and could play without rehearsal -- novelty hits from a few years earlier like "Alley Oop" and "Hully Gully", a few Beatles songs, and old favourites like the Everly Brothers hit "Devoted to You" -- in a rather lovely version with two-part harmony by Mike and Brian, which sounds much better in a remixed version released later without the party-noise overdubs: [Excerpt: The Beach Boys, "Devoted to You (remix)"] But the song that defined the album, which became a massive hit, and which became an albatross around the band's neck about which some of them would complain for a long time to come, didn't even have one of the Beach Boys singing lead. As we discussed back in the episode on "Surf City", by this point Jan and Dean were recording their album "Folk 'n' Roll", their attempt at jumping on the folk-rock bandwagon, which included the truly awful "The Universal Coward", a right-wing answer song  to "The Universal Soldier" released as a Jan Berry solo single: [Excerpt: Jan Berry, "The Universal Coward"] Dean Torrence was by this point getting sick of working with Berry, and was also deeply unimpressed with the album they were making, so he popped out of the studio for a while to go and visit his friends in the Beach Boys, who were recording nearby. He came in during the Party sessions, and everyone was suggesting songs to perform, and asked Dean to suggest something. He remembered an old doo-wop song that Jan and Dean had recorded a cover version of, and suggested that. The group had Dean sing lead, and ran through a sloppy version of it, where none of them could remember the words properly: [Excerpt: The Beach Boys, "Barbara Ann"] And rather incredibly, that became one of the biggest hits the group ever had, making number two on the Billboard chart (and number one on other industry charts like Cashbox), number three in the UK, and becoming a song that the group had to perform at almost every live show they ever did, together or separately, for at least the next fifty-seven years. But meanwhile, Brian had been working on other material. He had not yet had his idea for an album made up entirely of good songs, but he had been experimenting in the studio. He'd worked on a handful of tracks which had pointed in new directions. One was a single, "The Little Girl I Once Knew": [Excerpt: The Beach Boys, "The Little Girl I Once Knew"] John Lennon gave that record a very favourable review, saying "This is the greatest! Turn it up, turn it right up. It's GOT to be a hit. It's the greatest record I've heard for weeks. It's fantastic." But the record only made number twenty -- a perfectly respectable chart placing, but nowhere near as good as the group's recent run of hits -- in part because its stop-start nature meant that the record had "dead air" -- moments of silence -- which made DJs avoid playing it, because they believed that dead air, even only a second of it here and there, would make people tune to another station. Another track that Brian had been working on was an old folk song suggested by Alan Jardine. Jardine had always been something of a folkie, of the Kingston Trio variety, and he had suggested that the group might record the old song "The Wreck of the John B", which the Kingston Trio had recorded. The Trio's version in turn had been inspired by the Weavers' version of the song from 1950: [Excerpt: The Weavers, "The Wreck of the John B"] Brian had at first not been impressed, but Jardine had fiddled with the chord sequence slightly, adding in a minor chord to make the song slightly more interesting, and Brian had agreed to record the track, though he left the instrumental without vocals for several months: [Excerpt: The Beach Boys, "Sloop John B (instrumental)"] The track was eventually finished and released as a single, and unlike "The Little Girl I Once Knew" it was a big enough hit that it was included on the next album, though several people have said it doesn't fit. Lyrically, it definitely doesn't, but musically, it's very much of a piece with the other songs on what became Pet Sounds: [Excerpt: The Beach Boys, "Sloop John B"] But while Wilson was able to create music by himself, he wasn't confident about his ability as a lyricist. Now, he's not a bad lyricist by any means -- he's written several extremely good lyrics by himself -- but Brian Wilson is not a particularly articulate or verbal person, and he wanted someone who could write lyrics as crafted as his music, but which would express the ideas he was trying to convey. He didn't think he could do it himself, and for whatever reason he didn't want to work with Mike Love, who had co-written the majority of his recent songs, or with any of his other collaborators. He did write one song with Terry Sachen, the Beach Boys' road manager at the time, which dealt obliquely with those acid-induced concepts of "ego death": [Excerpt: The Beach Boys, "Hang on to Your Ego"] But while the group recorded that song, Mike Love objected vociferously to the lyrics. While Love did try cannabis a few times in the late sixties and early seventies, he's always been generally opposed to the use of illegal drugs, and certainly didn't want the group to be making records that promoted their use -- though I would personally argue that "Hang on to Your Ego" is at best deeply ambiguous about the prospect of ego death.  Love rewrote some of the lyrics, changing the title to "I Know There's an Answer", though as with all such bowdlerisation efforts he inadvertently left in some of the drug references: [Excerpt: The Beach Boys, "I Know There's an Answer"] But Wilson wasn't going to rely on Sachen for all the lyrics. Instead he turned to Tony Asher. Asher was an advertising executive, who Wilson probably met through Loren Daro -- there is some confusion over the timeline of their meeting, with some sources saying they'd first met in 1963 and that Asher had introduced Wilson to Daro, but others saying that the introductions went the other way, and that Daro introduced Asher to Wilson in 1965. But Asher and Daro had been friends for a long time, and so Wilson and Asher were definitely orbiting in the same circles. The most common version of the story seems to be that Asher was working in Western Studios, where he was recording a jingle - the advertising agency had him writing jingles because he was an amateur songwriter, and as he later put it nobody else at the agency knew the difference between E flat and A flat. Wilson was also working in the studio complex, and Wilson dragged Asher in to listen to some of the demos he was recording -- at that time Wilson was in the habit of inviting anyone who was around to listen to his works in progress. Asher chatted with him for a while, and thought nothing of it, until he got a phone call at work a few weeks later from Brian Wilson, suggesting the two write together. Wilson was impressed with Asher, who he thought of as very verbal and very intelligent, but Asher was less impressed with Wilson. He has softened his statements in recent decades, but in the early seventies he would describe Wilson as "a genius musician but an amateur human being", and sharply criticise his taste in films and literature, and his relationship with his wife. This attitude seems at least in part to have been shared by a lot of the people that Wilson was meeting and becoming influenced by. One of the things that is very noticeable about Wilson is that he has no filters at all, and that makes his music some of the most honest music ever recorded. But that same honesty also meant that he could never be cool or hip. He was -- and remains -- enthusiastic about the things he likes, and he likes things that speak to the person he is, not things that fit some idea of what the in crowd like. And the person Brian Wilson is is a man born in 1942, brought up in a middle-class suburban white family in California, and his tastes are the tastes one would expect from that background. And those tastes were not the tastes of the hipsters and scenesters who were starting to become part of his circle at the time. And so there's a thinly-veiled contempt in the way a lot of those people talked about Wilson, particularly in the late sixties and early seventies. Wilson, meanwhile, was desperate for their approval, and trying hard to fit in, but not quite managing it. Again, Asher has softened his statements more recently, and I don't want to sound too harsh about Asher -- both men were in their twenties, and still  trying to find their place in the world, and I wouldn't want to hold anyone's opinions from their twenties against them decades later. But that was the dynamic that existed between them. Asher saw himself as something of a sophisticate, and Wilson as something of a hick in contrast, but a hick who unlike him had created a string of massive hit records. And Asher did, always, respect Wilson's musical abilities. And Wilson in turn looked up to Asher, even while remaining the dominant partner, because he respected Asher's verbal facility. Asher took a two-week sabbatical from his job at the advertising agency, and during those two weeks, he and Wilson collaborated on eight songs that would make up the backbone of the album that would become Pet Sounds. The first song the two worked on was a track that had originally been titled "In My Childhood". Wilson had already recorded the backing track for this, including the sounds of bicycle horns and bells to evoke the feel of being a child: [Excerpt: The Beach Boys, "You Still Believe in Me (instrumental track)"] The two men wrote a new lyric for the song, based around a theme that appears in many of Wilson's songs -- the inadequate man who is loved by a woman who is infinitely superior to him, who doesn't understand why he's loved, but is astonished by it. The song became "You Still Believe in Me": [Excerpt: The Beach Boys, "You Still Believe in Me"] That song also featured an instrumental contribution of sorts by Asher. Even though the main backing track had been recorded before the two started working together, Wilson came up with an idea for an intro for the song, which would require a particular piano sound. To get that sound, Wilson held down the keys on a piano, while Asher leaned into the piano and plucked the strings manually. The result, with Wilson singing over the top, sounds utterly lovely: [Excerpt: The Beach Boys, "You Still Believe in Me"] Note that I said that Wilson and Asher came up with new lyrics together. There has been some slight dispute about the way songwriting credits were apportioned to the songs. Generally the credits said that Wilson wrote all the music, while Asher and Wilson wrote the lyrics together, so Asher got twenty-five percent of the songwriting royalties and Wilson seventy-five percent. Asher, though, has said that there are some songs for which he wrote the whole lyric by himself, and that he also made some contributions to the music on some songs -- though he has always said that the majority of the musical contribution was Wilson's, and that most of the time the general theme of the lyric, at least, was suggested by Wilson. For the most part, Asher hasn't had a problem with that credit split, but he has often seemed aggrieved -- and to my mind justifiably -- about the song "Wouldn't it Be Nice". Asher wrote the whole lyric for the song, though inspired by conversations with Wilson, but accepted his customary fifty percent of the lyrical credit. The result became one of the big hits from the album: [Excerpt: The Beach Boys, "Wouldn't It Be Nice?"] But -- at least according to Mike Love, in the studio he added a single line to the song: [Excerpt: The Beach Boys, "Wouldn't it Be Nice?"] When Love sued Brian Wilson in 1994, over the credits to thirty-five songs, he included "Wouldn't it Be Nice" in the list because of that contribution. Love now gets a third of the songwriting royalties, taken proportionally from the other two writers. Which means that he gets a third of Wilson's share and a third of Asher's share. So Brian Wilson gets half the money, for writing all the music, Mike Love gets a third of the money, for writing "Good night baby, sleep tight baby", and Tony Asher gets a sixth of the money -- half as much as Love -- for writing all the rest of the lyric. Again, this is not any one individual doing anything wrong – most of the songs in the lawsuit were ones where Love wrote the entire lyric, or a substantial chunk of it, and because the lawsuit covered a lot of songs the same formula was applied to borderline cases like “Wouldn't it Be Nice” as it was to clearcut ones like “California Girls”, where nobody disputes Love's authorship of the whole lyric. It's just the result of a series of reasonable decisions, each one of which makes sense in isolation, but which has left Asher earning significantly less from one of the most successful songs he ever wrote in his career than he should have earned. The songs that Asher co-wrote with Wilson were all very much of a piece, both musically and lyrically. Pet Sounds really works as a whole album better than it does individual tracks, and while some of the claims made about it -- that it's a concept album, for example -- are clearly false, it does have a unity to it, with ideas coming back in different forms. For example, musically, almost every new song on the album contains a key change down a minor third at some point -- not the kind of thing where the listener consciously notices that an idea has been repeated, but definitely the kind of thing that makes a whole album hold together. It also differs from earlier Beach Boys albums in that the majority of the lead vocals are by Brian Wilson. Previously, Mike Love had been the dominant voice on Beach Boys records, with Brian as second lead and the other members taking few or none. Now Love only took two main lead vocals, and was the secondary lead on three more. Brian, on the other hand, took six primary lead vocals and two partial leads. The later claims by some people that this was a Brian Wilson solo album in all but name are exaggerations -- the group members did perform on almost all of the tracks -- but it is definitely much more of a personal, individual statement than the earlier albums had been. The epitome of this was "I Just Wasn't Made For These Times", which Asher wrote the lyrics for but which was definitely Brian's idea, rather than Asher's. [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] That track also featured the first use on a Beach Boys record of the electro-theremin, an electronic instrument invented by session musician Paul Tanner, a former trombone player with the Glenn Miller band, who had created it to approximate the sound of a Theremin while being easier to play: [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] That sound would turn up on future Beach Boys records... But the song that became the most lasting result of the Wilson/Asher collaboration was actually one that is nowhere near as personal as many of the other songs on the record, that didn't contain a lot of the musical hallmarks that unify the album, and that didn't have Brian Wilson singing lead. Of all the songs on the album, "God Only Knows" is the one that has the most of Tony Asher's fingerprints on it. Asher has spoken in the past about how when he and Wilson were writing, Asher's touchstones were old standards like "Stella By Starlight" and "How Deep is the Ocean?", and "God Only Knows" easily fits into that category. It's a crafted song rather than a deep personal expression, but the kind of craft that one would find in writers like the Gershwins, every note and syllable perfectly chosen: [Excerpt: The Beach Boys, "God Only Knows"] One of the things that is often wrongly said about the song is that it's the first pop song to have the word "God" in the title. It isn't, and indeed it isn't even the first pop song to be called "God Only Knows", as there was a song of that name recorded by the doo-wop group the Capris in 1954: [Excerpt: The Capris, "God Only Knows"] But what's definitely true is that Wilson, even though he was interested in creating spiritual music, and was holding prayer sessions with his brother Carl before vocal takes, was reluctant to include the word in the song at first, fearing it would harm radio play. He was probably justified in his fears -- a couple of years earlier he'd produced a record called "Pray for Surf" by the Honeys, a girl-group featuring his wife: [Excerpt: The Honeys, "Pray For Surf"] That record hadn't been played on the radio, in part because it was considered to be trivialising religion. But Asher eventually persuaded Wilson that it would be OK, saying "What do you think we should do instead? Say 'heck only knows'?" Asher's lyric was far more ambiguous than it may seem -- while it's on one level a straightforward love song, Asher has always pointed out that the protagonist never says that he loves the object of the song, just that he'll make her *believe* that he loves her. Coupled with the second verse, which could easily be read as a threat of suicide if the object leaves the singer, it would be very, very, easy to make the song into something that sounds like it was from the point of view of a narcissistic, manipulative, abuser. That ambiguity is also there in the music, which never settles in a strong sense of key. The song starts out with an A chord, which you'd expect to lead to the song being in A, but when the horn comes in, you get a D# note, which isn't in that key, and then when the verse starts, it starts on an inversion of a D chord, before giving you enough clues that by the end of the verse you're fairly sure you're in the key of E, but it never really confirms that: [Excerpt: The Beach Boys, "God Only Knows (instrumental)"] So this is an unsettling, ambiguous, song in many ways. But that's not how it sounds, nor how Brian at least intended it to sound. So why doesn't it sound that way? In large part it's down to the choice of lead vocalist. If Mike Love had sung this song, it might have sounded almost aggressive. Brian *did* sing it in early attempts at the track, and he doesn't sound quite right either -- his vocal attitude is just... not right: [Excerpt: The Beach Boys, "God Only Knows (Brian Wilson vocal)"] But eventually Brian hit on getting his younger brother Carl to sing lead. At this point Carl had sung very few leads on record -- there has been some dispute about who sang what, exactly,  because of the family resemblance which meant all the core band members could sound a little like each other, but it's generally considered that he had sung full leads on two album tracks -- "Pom Pom Play Girl" and "Girl Don't Tell Me" -- and partial leads on two other tracks, covers of "Louie Louie" and "Summertime Blues". At this point he wasn't really thought of as anything other than a backing vocalist, but his soft, gentle, performance on "God Only Knows" is one of the great performances: [Excerpt: The Beach Boys, "God Only Knows (vocals)"] The track was actually one of those that required a great deal of work in the studio to create the form which now seems inevitable. Early attempts at the recording included a quite awful saxophone solo: [Excerpt: The Beach Boys "God Only Knows (early version)"] And there were a lot of problems with the middle until session keyboard player Don Randi suggested the staccato break that would eventually be used: [Excerpt: The Beach Boys, "God Only Knows"] And similarly, the tag of the record was originally intended as a mass of harmony including all the Beach Boys, the Honeys, and Terry Melcher: [Excerpt: The Beach Boys, "God Only Knows (alternate version with a capella tag)"] Before Brian decided to strip it right back, and to have only three voices on the tag -- himself on the top and the bottom, and Bruce Johnston singing in the middle: [Excerpt: The Beach Boys, "God Only Knows"] When Pet Sounds came out, it was less successful in the US than hoped -- it became the first of the group's albums not to go gold on its release, and it only made number ten on the album charts. By any objective standards, this is still a success, but it was less successful than the record label had hoped, and was taken as a worrying sign. In the UK, though, it was a different matter. Up to this point, the Beach Boys had not had much commercial success in the UK, but recently Andrew Loog Oldham had become a fan, and had become the UK publisher of their original songs, and was interested in giving them the same kind of promotion that he'd given Phil Spector's records. Keith Moon of the Who was also a massive fan, and the Beach Boys had recently taken on Derek Taylor, with his strong British connections, as their publicist. Not only that, but Bruce Johnston's old friend Kim Fowley was now based in London and making waves there. So in May, in advance of a planned UK tour set for November that year, Bruce Johnston and Derek Taylor flew over to the UK to press the flesh and schmooze. Of all the group members, Johnston was the perfect choice to do this -- he's by far the most polished of them in terms of social interaction, and he was also the one who, other than Brian, had the least ambiguous feelings about the group's new direction, being wholeheartedly in favour of it. Johnston and Taylor met up with Keith Moon, Lennon and McCartney, and other pop luminaries, and played them the record. McCartney in particular was so impressed by Pet Sounds and especially "God Only Knows", that he wrote this, inspired by the song, and recorded it even before Pet Sounds' UK release at the end of June: [Excerpt: The Beatles, "Here, There, and Everywhere"] As a result of Johnston and Taylor's efforts, and the promotional work by Oldham and others, Pet Sounds reached number two on the UK album charts, and "God Only Knows" made number two on the singles charts. (In the US, it was the B-side to "Wouldn't it Be Nice", although it made the top forty on its own merits too). The Beach Boys displaced the Beatles in the readers' choice polls for best band in the NME in 1966, largely as a result of the album, and Melody Maker voted it joint best album of the year along with the Beatles' Revolver. The Beach Boys' commercial fortunes were slightly on the wane in the US, but they were becoming bigger than ever in the UK. But a big part of this was creating expectations around Brian Wilson in particular. Derek Taylor had picked up on a phrase that had been bandied around -- enough that Murry Wilson had used it to mock Brian in the awful "Help Me, Rhonda" sessions -- and was promoting it widely as a truism. Everyone was now agreed that Brian Wilson was a genius. And we'll see how that expectation plays out over the next few weeks.. [Excerpt: The Beach Boys, "Caroline, No"]

In life, you go through various trials and tribulations but how you choose to react to the situation and move on is key. Do not be defined by what others may try to limit you with. Accidents do happen but remember things happen to us as well as for us to grow. In this segment, you will hear Ryan Rae Harbuck talk about the hidden realities of disabilities, her background, and her new book "When I Grow Up, I Want to Be a Chair" along with some other powerful GEMS. See video here - https://youtu.be/zQI7GUSYh0M WHO IS RYAN RAE HARBUCK? My teenage years challenged me, with not only a paralyzing car accident, but with a crumbling family as well. I had to learn quick. I had to grow up fast. Finding a lot of power in my own vulnerabilities, I became a teacher and a swim coach. I found my way to India for experimental stem cell treatment. I navigated torrid relationships until I finally met the love of my life-- marrying only three months after meeting. I became a mom. All the events in my life came with a great cost to myself-- a lesson that anything is possible. And, that the vulnerabilities in my every day, are so important. Every challenge has taught me so much about myself and about living. So, I did the only thing I could. I wrote a book about it all. RYAN'S CALL TO ACTION Your true strengths lie within your vulnerabilities. Connect here - https://www.ryanraeharbuck.com/ GENESIS'S INFO https://thehello.llc/GENESISAMARISKEMP CALL TO ACTION Subscribe to GEMS with Genesis Amaris Kemp Channel, Hit the notifications bell so you don't miss any content, and share with family/friends. **REMEMBER - You do not have to let limitations or barriers keep you from achieving your success. Mind over Matter...It's time to shift and unleash your greatest potential. If you would like to be a SPONSOR or have any of your merchandise mentioned please reach out via email at GEMSwithGenesisAmaris@gmail.com RYAN'S QUOTES “As for this golden-haired girl, it would be ridiculous to think that the universe was granting me an eccentric childhood dream. But what if it was?” "Everyone has their own path. Maybe it dead ends at a shiny, metal chair. Maybe it doesn't. --- Send in a voice message: https://anchor.fm/genesis-amaris-kemp/message Support this podcast: https://anchor.fm/genesis-amaris-kemp/support

Sarah Reijonen is an author and founder of the Tiny Tradesmen Book Series. Her first children's book "Light Up The World, When I Grow Up, I want To Be A Lineman " introduces our youth to the line trade and will be the first in a series highlighting the technical and vocational career paths. With Sarah's background in journalism along with her husband's line experience, she gives us a peek of her new book which will without a doubt be "Giving Kids the Power".