Podcasts about your land

Today's guests are Jim, Tamra, and Taylor Meskimen along with Kirby Heyborne. The Meskimens were recorded in a studio in Los Angeles while Kirby was from his home in Utah. This episode discusses creating the Writers of the Future Volume 41 audiobook. Jim is an actor, comedian, and impressionist best known for his voice-over work in video games. His IMDB page has over 330 entries, some of which include Fresh Prince of Bel-Air, Thundercats, Parks and Recreation, and Jib Jabs' This Land is Your Land. Tamra is an actor who has appeared in shows such as Physical, American Crime Story, and General Hospital. She established an improv company devoted to improvising one-act plays and co-founded an acting school, The Acting Center, where she teaches and performs. Their daughter Taylor is also an actor accomplished in improv, dance, song, and film. When she isn't in recording studios, she has performed for over a decade at venues throughout Los Angeles, narrating over 130 audiobooks, including Riverdale, Enders Game Alive, and Midnight Sun. Kirby Heyborne is an actor, musician, singer, songwriter, narrator, and comedian. He has also worked extensively as an audiobook narrator, having narrated more than 2,000 books.

Today's guests are Jim, Tamra, and Taylor Meskimen along with Kirby Heyborne. The Meskimens were recorded in a studio in Los Angeles while Kirby was from his home in Utah. This episode discusses creating the Writers of the Future Volume 41 audiobook. Jim is an actor, comedian, and impressionist best known for his voice-over work in video games. His IMDB page has over 330 entries, some of which include Fresh Prince of Bel-Air, Thundercats, Parks and Recreation, and Jib Jabs' This Land is Your Land. Tamra is an actor who has appeared in shows such as Physical, American Crime Story, and General Hospital. She established an improv company devoted to improvising one-act plays and co-founded an acting school, The Acting Center, where she teaches and performs. Their daughter Taylor is also an actor accomplished in improv, dance, song, and film. When she isn't in recording studios, she has performed for over a decade at venues throughout Los Angeles, narrating over 130 audiobooks, including Riverdale, Enders Game Alive, and Midnight Sun. Kirby Heyborne is an actor, musician, singer, songwriter, narrator, and comedian. He has also worked extensively as an audiobook narrator, having narrated more than 2,000 books.

Six String Hayride Classic Country Podcast, Episode 56. Johnny Cash and The Ballad of Ira Hayes. Respect for the Legacy and Memory of Heroic American Military Members who have been recently removed or marginalized by dishonest alterations to the Arlington National Cemetery and Department of Defense Records / Archives. Johnny Cash "Ballad of Ira Hayes", "Drive On" and "Redemption Songs" , John Prine "Sam Stone", and Woody Guthrie "This Land is Your Land." A look at the Military Service of well respected musicians and their use of music to show respect for the legacy of American Veterans. Chris and Jim discuss the recent Whitewashing of American Veterans Legacies , the deliberate dishonest manipulation of history, and the lack of respect currently being shown to American Military Members. Johnny Cash gave respect to the Legacy of Marine Ira Hayes back in 1964, we have a responsibility to follow that example today to speak against the whitewashing of our history. Johnny Cash was ahead of his time with The Ballad of Ira Hayes and now it is our turn to honor Johnny's good advice. Thank You.

In this solo episode of the Brett Johnson Podcast, Brett discusses his book 'This Land is Your Land, This Land is My Land,' which explores the principles of land ownership and stewardship. Focusing on the topic of land expropriation without compensation, particularly in South Africa, Brett outlines 20 biblical principles related to land and property. The discussion emphasizes the importance of fair stewardship, the ethical considerations surrounding land ownership, and the impact of these issues on nations globally. Brett also shares insights into historical and contemporary land ownership, and how biblical economics can guide just and effective land management practices. Click here to read the book: https://shorturl.at/Hwbp5 Connect with Brett Johnson on social media: Facebook Instagram Twitter LinkedIn Visit brettjohnson.biz for articles, devotionals, and more.

Your Land is Espoused 1-19-25 Fr Linkenheld

From Bill:Reflecting upon the recent death of Alice Brock, the lady who lived in the bell tower of the abandoned church in Stockbridge, MA, along with her husband, Ray, (and Vacha, the dog) -, and who hosted the now legendary Thanksgiving feast attended by young Arlo Guthrie, that time when he got arrested trying to do his hosts a solid by dumping their excessive garbage - which subsequently soiled his record, making him ineligible for the draft. Well, reflecting upon this landmark recording made me realize how much Arlo and his song had been fundamental to my life-long, anti-authoritarian world view. And how, years later, when the war had escalated, and my turn came up for the draft, even though I escaped with a high lottery number, I was already weighing my options. I was only 14 when the song was released, but it hipped me to the absurdity of the war in Viet Nam, the legal system, and petty bureaucrats in general. Arlo accomplished this “us against them” subversion with genial irony, which he delivered with an easy charm - not to mention an impressive Travis picking style.  It didn't hurt that he had the name recognition as the scion of the OG of poetical protest singers, Woody Guthrie, whose song “This Land is Your Land,” almost became our national anthem, and was the adopted relative of “uncle” Pete Seeger, whose signature sing-along method of inspiring social change Arlo employs so effectively here.  It was a cultural bombshell, and a first in many ways: At 18 minutes, FM radio usually played it in three separate parts making each rotation an event. It was the longest song to ever gain radio play when spun in its entirety. However, here at the Hotel Bohemia, time has no meaning, so it can be played all the way through on a continuous loop.  Alice will be hosting her first post-mortal Turkey Day, so let's spin it again in her honor. BEST WISHES FROM BILL AND RICH, THE SPLENDID BOHEMIANS! 

Playlist: Pacific Street Blues & AmericanaAugust 25, 2024Back for another round, our popular trivia game, What's the Common Thread?Contact 1. BB King / Mean Old World2. Bobby Blue Bland / Ain't That Lovin' You3. Nat Cole Trio / Straighten Up (and Fly Right) 4. Charles Brown / Cryin' Mercy5. Chris O'Leary / Things Ain't Always What They Seem 6. Tommy Castro / Bad Case of Love 7. Johnny Burgin / Silently Suffering 8. Chris Cain / I'm Gunna Quit My Baby9.  Fanny / Badge 10. Eric Gales & Derek Trucks / Layla 11. Derek & the Dominoes / Got to Get Better in a Little While12. Joyann Parker / What's Good for You  13. Shannon McNally / I Ain't Living Long Like This 14. Amanda Anne Platt & the Honeycutters / Empty Little Room 15. Kim Richey / Joy Rider 16. Bruce Springsteen / Riding in My Car17. John Lee Hooker / This Land is Nobody's Land18. Carter Family / When the World's on Fire19. John Mellencamp / This Land is Your Land 20. U2 / Jesus Christ

Saturday, October 21,2023 Last Sunday, as I was preparing to sing with the youth at Gwynedd Friends Meeting, I asked the teacher what the lesson was for today. He told me that they were going to learn about Indigenous People's Day. I looked through the list of songs that I'd been singing with them, for the past 30 years or so and thought, that of all of them, "This Land is Your Land" would fit. However, I decided to change just a few words that were too specific to the European immigrants and make the song more about all who live on the earth, animals, plants, birds, insects and all other organisms. This land was made for them all to live on this finite planet Earth. Banjo: gCGce

Saturday, October 21,2023 Last Sunday, as I was preparing to sing with the youth at Gwynedd Friends Meeting, I asked the teacher what the lesson was for today. He told me that they were going to learn about Indigenous People's Day. I looked through the list of songs that I'd been singing with them, for the past 30 years or so and thought, that of all of them, "This Land is Your Land" would fit. However, I decided to change just a few words that were too specific to the European immigrants and make the song more about all who live on the earth, animals, plants, birds, insects and all other organisms. This land was made for them all to live on this finite planet Earth. Banjo: gCGce

We report on FFRF's efforts to keep Christian nationalists in check around the country. Honoring the anniversary of the birth of the anti-fascist singer/songwriter Woody Guthrie, we hear the funk/soul version of "This Land is Your Land" performed by Sharon Jones and the Dap Kings. Then, FFRF's Legal Director Patrick Elliott describes our lawsuit challenging the Louisiana law requiring the posting of the Ten Commandments in all public-school classrooms and our efforts to rein in Oklahoma's Christian nationalist State Superintendent of Public Education.

A new MP3 sermon from Covenant Family Church (OPC) is now available on SermonAudio with the following details: Title: A Blessing to Your Land Subtitle: Various Topics Speaker: Peter Bringe Broadcaster: Covenant Family Church (OPC) Event: Sunday Service Date: 6/30/2024 Bible: Proverbs 11:10-11; Proverbs 28:1-5 Length: 38 min.

Premier épisode de notre nouvelle série, This Land is Your Land, explorant les pays via leur musique, nous nous retrouvons ici pour parler musique japonaise au cinéma. Que vous soyez familiers ou non avec Sachiko Kanenobu, Susumu Hirasawa ou le groupe Happy End, vous découvrirez en écoutant cet épisode que tous ces artistes ont en commun d'apparaître au générique de films de Wim Wenders, Satoshi Kon ou encore Sofia Coppola. Des enjeux de féminisation des labels japonais dans les 70s, à l'ère de la synthpop en passant par le débat sur le rock en langue nippone et le phénomène des idols, il y a beaucoup à dire sur le sujet et nous naviguerons entre les styles musicaux (folk, rock, synthpop, jpop) et les genres cinématographiques. Alors pour en savoir plus sur la BO du Japon au cinéma et sur comment la musique choisie pour les films influe sur notre perception du pays du soleil levant, il suffit d'appuyer sur play! Bon épisode et n'oubliez pas de nous suivre sur instagram @levinyleradiogermaine ! Retrouvez la playlist de l'épisode du jour: - Sur Spotify : https://open.spotify.com/playlist/0tOkal6IMhxtjzPFs59Pmd?si=904c2a12738544d4 - Sur Deezer : https://deezer.page.link/SKmeyAPe3U99iNsd6

Join us in celebrating Kim Gentry Meyer's birthday as we delve into her inspiring journey of faith, music, and freedom in Christ. Kim, a talented musician and advocate for mental health awareness, shares her story of finding liberation in surrendering her life to God and embracing the freedom that comes from knowing Him. In this special episode, Kim discusses her latest album, "Herald," and the beautiful artwork associated with it, featuring captivating sunsets. She opens up about her passion for rescuing animals and how her love for them intersects with her music and ministry. Kim reflects on the transformative power of experiencing God's perfect love, as portrayed in her song "Perfect Love," written for an Easter service. She shares her battle with depression and the importance of addressing mental health issues within the church without judgment. Through authentic discussions and prayers, Kim emphasizes the significance of anchoring our minds in Christ and finding peace in His presence. She shares her desire to equip others with the tools needed for mental, emotional, and spiritual growth. As we journey through Kim's story, anchored in the powerful verse Romans 8:6, we are reminded of the importance of using our talents and gifts to impact the world. Kim's courage to share her gifts and experiences serves as an inspiration for all of us to step out in faith and make a difference in the lives of others. Bio: Mrs. Massachusetts 2020, award-winning songwriter and poet Kim Gentry Meyer is also an International Acoustic Music Award winner and a finalist in the USA Songwriting Competition. She has showcased at esteemed venues including the Blue Bird Café in Nashville, Tennessee, and the SXSW Festival (South by Southwest) in Austin, Texas. Meyer was recently named a 2023 Woody Guthrie Poet and was invited to read her newly published poem, “You'll Find Me There” (which appears in song form on her new album) during the 2023 Woody Guthrie Folk Festival, which celebrates the life and work of the late legendary singer/songwriter best known for his song, “This Land is Your Land.” She is also an accomplished visual artist, and painted the album cover art for her debut project, Herald, which recently released from NWN Records and Integrated Music Rights, part of the Integrity Music family. Alongside her ministry and her work in the arts, Meyer, who holds a bachelor's degree in business and a master's degree in social work, is a professional fundraiser whose proposals have raised a whopping $25 million for various non-profit organizations. She and her husband Adam currently live on Cape Cod with a home full of personally rescued dogs and cats. Anchor Verse: Romans 8:6 Connect with Kim: Website: https://www.kimgentrymeyer.com/ IG: https://www.instagram.com/kimgentrymeyer Apple Music: https://music.apple.com/us/artist/kim-gentry-meyer/1184334676 ***We love hearing from our listeners! Sharing your thoughts through reviews is a fantastic way to be a part of our podcast family and contribute to the conversation. If you've enjoyed our podcast, leaving a review is quick and easy! Just head to Apple podcasts or wherever you are tuning in and share your thoughts. Your feedback makes a big difference!***

(NOTAS Y ENLACES DEL CAPÍTULO AQUÍ: https://www.jaimerodriguezdesantiago.com/kaizen/185-manten-la-maquina-de-la-esperanza-funcionando/)Salvo que te guste mucho la música folk estadounidense de los años 40, que sospecho que no es lo más habitual entre la audiencia de este podcast, lo más probable es que no tengas ni idea de quién era Woody Guthrie.Nació el 14 de julio de 1912 en Oklahoma y murió demasiado pronto, el 3 de octubre de 1967, a los 55 años, en Nueva York. Entre esas dos fechas tuvo tiempo para casi todo, eso sí.En su infancia, vivió tres incendios en su casa, uno de los cuales le costó la vida a su hermana. Vio muy pronto cómo su madre perdía la cabeza debido a una patología neurodegenerativa, la enfermedad de Huntington. Aunque por entonces no sabían bien qué le pasaba. La ingresaron en un psiquiátrico cuando Woody tenía 14 años.A él le fue mal en los estudios, aunque sus profesores decían que era un muchacho brillante, que leía de todo. Pero si destacaba por algo era por tener una afición especial por la música. De hecho, se fue de casa a los 19, nada más morir su madre, para dedicarse a ella.Se casó por primera vez a los 20 años. Y lo haría dos veces más. Tuvo ocho hijos en total. Vivió un tiempo en California, donde ganó cierta popularidad como músico y se metió de llenó en los círculos comunistas, en los que las letras de sus canciones eran especialmente valoradas.Guthrie era un cantautor que se identificaba con la gente común, con los pobres y los oprimidos. En su guitarra solía llevar escrita bien grande una frase: «Esta máquina mata fascistas». Su mayor éxito fue una canción llamada This Land is Your Land, «Esta Tierra es tu Tierra», que no te recomiendo especialmente porque creo que la canción protesta envejece regular, la verdad.En cualquier caso, Guthrie fue enormemente influyente, en particular en una generación de músicos que lo redescubrió en sus últimos años de vida o, incluso, después de morir. Gente como Keith Richards, Ry Cooder o Bruce Springsteen dijeron admirarle. Bob Dylan lo consideró su último héroe y le dedicó una canción llamada "Song to Woody" en su primer álbum. Joe Strummer, de los Clash, llegó a usar el nombre de Woody Mellor en sus primeros años como músico a modo de homenaje.Desgraciadamente, a finales de la década de 1940, su salud empeoró. Empezó a comportarse de forma errática e inicialmente le diagnosticaron alcoholismo y esquizofrenia. Aunque después detectaron que tenía, como su madre, la enfermedad de Huntington. Pasó los últimos once años de su vida internado en instituciones psiquiátricas.Es más que evidente que Guthrie no tuvo una vida fácil. Seguramente, en aquellos 55 años de vida, comprimió muchos aprendizajes. De hecho, en las navidades de 1942, a punto de cumplir los 30, hizo lo que muchos por estas fechas: una lista de propósitos para el año nuevo. En su caso salieron 33 y todos juntos son una pequeña maravilla. Los dejó escritos y acompañados de pequeños dibujos en un cuaderno de rayas que tiene ahora el papel amarillento. Eran los siguientes:Reglas para el nuevo añoTrabaja más y mejorTrabaja con un horarioLávate los diente, si queda algunoAféitateBañateCome bien - fruta - verdura - lecheBebe muy poco, si es que bebes algoEscribe una canción al díaLleva ropa limpia. Ten buen aspectoAbrillanta tus zapatosCámbiate tus calcetinesCambia las sábanas a menudoLee buenos librosEscucha mucho la radioConoce mejor a la genteMantén limpio el ranchoNo te permitas sentirte soloPermanece alegreMantén la máquina de esperanza funcionandoSueña bienGuarda en el banco todo el dinero extraAhorra pastaTen compañía, pero no pierdas el tiempoEnvía dinero a Mary y a los niños.Toca y canta bien.Baila mejor.Ayuda a ganar la guerra — derrota al fascismoQuiere a mamáQuiere a papáQuiere a PeteQuiere a todo el mundoDecídeteDespiértate y peleaY a cuenta de Guthrie, de su máquina de la esperanza y de mis inminentes 40, hoy toca un capítulo más personal. A ver qué sale. ¿Te gusta kaizen? Apoya el podcast uniéndote a la Comunidad y accede a contenidos y ventajas exclusivas: https://www.jaimerodriguezdesantiago.com/comunidad-kaizen/

Saturday, October 21,2023 ?Last Sunday, as I was preparing to sing with the youth at Gwynedd Friends Meeting, I asked the teacher what the lesson was for today. He told me that they were going to learn about Indigenous People's Day. I looked through the list of songs that I'd been singing with them, for the past 30 years or so and thought, that of all of them, "This Land is Your Land" would fit. However, I decided to change just a few words that were too specific to the European immigrants and make the song more about all who live on the earth, animals, plants, birds, insects and all other organisms. This land was made for them all to live on this finite planet Earth. Banjo: aEAc#e

Saturday, October 21,2023 ?Last Sunday, as I was preparing to sing with the youth at Gwynedd Friends Meeting, I asked the teacher what the lesson was for today. He told me that they were going to learn about Indigenous People's Day. I looked through the list of songs that I'd been singing with them, for the past 30 years or so and thought, that of all of them, "This Land is Your Land" would fit. However, I decided to change just a few words that were too specific to the European immigrants and make the song more about all who live on the earth, animals, plants, birds, insects and all other organisms. This land was made for them all to live on this finite planet Earth. Banjo: aEAc#e

I've been fortunate to see Sarah Lee Guthrie perform on multiple occasions with her family at the annual Woody Guthrie Festival aka Woody fest in Woody's hometown of Okemah, Oklahoma.  The very first song I remember learning to sing outside of church hymns was Woody's This Land is Your Land in grade school choir back in the late 1950's.  When contacted recently by Sarah Lee's management to gauge any interest in an interview prior to an upcoming Sarah Lee Trio gig in the Kansas City area, I jumped at the chance.  I personally find it a challenge to prepare for a conversation with the descendant of a legacy artist like John Prine or Woody Guthrie; you want to be respectful of the legacy but not dwell on it to the exclusion or minimization of the talent of the artist you are speaking with… but I'm happy to say that most times it is a wonderful experience and Sarah Lee, in this instance, could not have been more gracious and forthcoming. Sarah Lee has been touring with her father Arlo Guthrie right up until he retired a couple of years ago.  She has had folks like Pete Seeger and Ramblin' Jack Elliott as grandparent figures in her life spending a good many of her Thanksgiving holidays playing Carnegie Hall as part of the annual folk gathering started by the Weavers decades ago. Though her lineage is undeniable, many are drawn to the clarity and soul behind Sarah Lee's voice.  As her website bio says, you'll be drawn to the gentle urgency of her interpretation of songs that flows from the continuity of her family, her vital artistic life and the river of songs that have guided her to where she stands how.  Enjoy this conversation with Sarah Lee Guthrie.    

In this final bonus Walled Culture podcast episode - recorded mid-2022 and kept under wraps as a special 1st anniversary episode, we welcome Fred von Lohmann, former Electronic Frontier Foundation (EFF) and Google copyright counsel. Our conversation starts with recalling how he got intrigued by copyright, crediting John Perry Barlow, and explaining how he was at the right juncture to become a tech enthusiast. Fred talks about his role at EFF during what was a unique time from a copyright perspective, characterised by pivotal court cases in the 2000s. He looks back at the impact and effects of the rights holders' battle against peer-to-peer (P2P) technology. Their fierce resistance against anything related to P2P, in his view, crippled the potential transition towards a decentralised Internet back then. He did see one silver lining from the aftermath: the P2P revolution opened music fans' eyes to what could be, pressuring the music industry to start meeting consumers' demand. Fred highlights the Digital Millennium Copyright Act's (DMCA) (invisible) role in shaping our daily lives. On the one hand, the DMCA gave a legal justification to rights holders' control over technology beyond the copyright realm by providing legal protections for Digital Rights Management (DRM). This has impacted various types of content, be it (now old-school) DVDs, eBooks or games. On the other, the DMCA boosted the Internet's success through the safe harbour regime, offering a shelter from the ‘open sea' with hurricanes of lawsuits. The latter troubled rights holders, leading Fred to discuss the emergence of (imperfect) copyright filters. In this context, he touches upon Google's Content ID, rights holder abuses, and the EU Copyright Directive's questionable filtering obligations. He puts forward a crucial, yet unanswered, question in this debate: “how do you build filters that are fair to users and also don't constrict creativity too much?” Finally, Fred briefly shares his insights on how copyright intersects with competition and innovation, especially in the context of software interfaces. In his closing remarks, he echoes some of Cory Doctorow's wisdom, as he emphasises the need to think about copyright's impact on fans and innovators.

Remember when we used to stand shoulder to shoulder with others, belting out tunes like 'This Land is Your Land' and 'If I Had a Hammer' in our school choir? The thrill of those harmonies is no small part of our shared experience. We invite you to join us on a nostalgic journey as we delve into the importance of choral singing, and how it is undeniably interwoven with our societal fabric. Have you ever considered altering your singing style to please your choir teacher? Spoiler Alert – Don't. Our conversation in this episode steers towards the importance of maintaining your unique voice. We bring you the insights from our high school choral teacher, the late Eugenia Powell, who reminded us that every setting requires its unique approach, especially gospel. We also explore the critical role of control in vibrato, how it demands practice and dedication, and the challenge it can pose.As we round up the episode, we emphasize the essence of learning from other singers, and realizing that the beauty in music often lies beyond our comfort zones. We also delve into the significance of heart posture during congregational worship – it's not merely about hitting the right notes, but about reaching out to the Almighty with a pure heart. As we strip away the frills, we are left with the unblemished gospel, a reflection of what lies deep within us. Join us for this enlightening episode as we explore the joy, the power, and the unity that singing in with others brings!Perpetuating and Promoting the Christian and Positive Idea Through the Medium of Music and Other Arts.

The Musical Legacy of John Lee Hooker (part 2 of 2)This section of the podcast includes a significant supplement to the broadcasted radio program21. Buddy Guy & Jeff Beck / Mustang Sally22. John Lee Hooker / Mustang Sally-GTO 23. Woody Guthrie / This Land is Your Land 24. John Lee Hooker / This Land is Nobody's Land25. Bonnie Raitt & John Lee Hooker / I'm in the Mood 26. Jimi Hendrix / Catfish Blues 27. Muddy Waters / Rollin' Stone28. Stevie Ray Vaughan / Voodoo Chile (Slight Return)29. The Rolling Stones w/John Lee Hooker, Eric Clapton / Boogie Chillen30. Van Morrison / Baby, Please Don't Go (featuring Jimmy Page on Guitar) 31. Mick Taylor & Max Middleton / This is Hip32. Buddy Guy & John Lee Hooker / Motor City Burning33. John Lee Hooker and Canned Heat / Bottle Up and Go ONLINE ONLY EXTENDED SHOW... 34. Jim Morrison / Roadhouse Rap35. The Doors w/ John Lee Hooker / Roadhouse Blues36. Aerosmith/ Baby, Please Don't Go 37. The Rolling Stones / Money, That's What I Want38. John Lee Hooker / I Need Some Money39. Charlie Musselwhite / Hobo Blues 40. John Lee Hooker / Anybody See My Baby41. The Rolling Stones / Anybody See My Baby42. Hank Williams / I'm Never Gonna Get Out of This Life Alive43. Bob Dylan / It's All Over Now, Baby Blue (Bill Lee)44. John Lee Hooker / TB Sheets (Van Morrison)45. Bruce Springsteen / Boom, Boom46. Gary Moore / Memory Pain 47. Led Zeppelin / Whole Lotta Love  In this live version of Whole Lotta Love, Zeppelin pays homage to many of the bands influences.   For example, the song, Whole Lotta Love is based upon the Muddy Waters track, written by Willie Dixon, You Need Love.  In the middle of the song, they'll will reference Hooker's track Boogie Chillen  when Plant sings about "mama and papa talling, you gotta let that boy rock n roo,"  They reference Etta James, Just a Little Bit with the line, "I don't want much, I just want a little bit of your love,"  Wanda Jackson and thereby Elvis Presley when they break into, Let's Have a Party,   Howlin' Wolf's, Going Down Slow, with the lines, Write my mother and tell her the shape I'm in,' and finally,  Willie Dixon's Back Door Man. There may be other references in the song - if you find some, please let me know. 

Pacific Street Blues & AmericanaThe Music and Legacy of Johnny CashJune 25, 29231. Willie Nelson & Merle Haggard / Missing Old Johnny Cash 2. Ry Cooder / Johnny Cash 3. Johnny Cash and June Carter / Jackson 4. Rodney Crowell / I Walk the Line Revisited5. Johnny Cash / The Night Hank Williams Came to Town 6. George Thorogood (Hank Williams) / Move It On Over7. James Taylor & Alison Krause (The Louvin Brothers) / How's the World Treating You8. Van Morrison (Jimmie Rodgers, The Singing Brakeman) / Mule Skinner Blues 9. Sheryl Crow / No Depression in Heaven10. Dave Alvin / Black Jack David 11. The Carter Family / The World On Fire12. Eric Bibb / This Land is Your Land 13. Marty Stuart / Hey Porter 14. Carl Perkins / Blue Suade Shoes 15. Million Dollar Quartet / Down by The Riverside (Elvis Presley, Carl Perkins, Johnny Cash, Jerry Lee Lewis)16. Clarence Gatemouth Brown / Get Rythmn 17. Robbie Fulks / Cry, Cry, Cry 

Janine joins me to discuss her renditions of the National Anthem and This Land is Your Land; moving to Long Island; Doc Pomus; studying historic preservation; getting a job as a receptionist in a service used by Howard Shore; Howard asks her to be his assistant; went to see Patti Smith perform; had to ask for lyrics from band for a shooting script, embarrassing her in front of Taj Mahal; trying to find Steve Jordan on show night; asked to create band space on home base; Leo Yoshimura balked because it didn't have union stamp; Howard called and it became bandstand; filed all paperwork, copyrights, and union activities; appearing in two sketches in the Mary Kay Place episode; SNL never cleared music rights; going through NBC's audio library and bringing music for writers to judge for sketches; Larry the cart guy; Hall Willner did the job muh better than she did; getting officially hired after Mardi Gras episode; Bonnie Raitt; the true story of Elvis Costello's 1977 appearance; giving a backhanded compliment to The Greatful Dead; hanging out with The Rolling Stones; having them sign a picture so that the crew members would know which Stone they were talking to; going to see a Broadway play with Frank Zappa the week after he hosted; not getting Kate Bush; having Gilda hug her when she said how sexy she was as Candy Slice; working on Gilda Live on Broadway; Desmond Child & Rouge; Milton Berle hated by crew who were there on his show thirty years earlier; Twitter's SNL hosts introduce musical guests; Gary Numan; Howard Shore would book someone the opposite of Jean Doumanian's picks; Sun Ra - master of the Walkman; Bette Midler; Linda Rondstadt and Phoebe Snow; The Roches appearance inspire their song "The Big Nothing"; Delbert McClinton; Bill Murray constantly playing The Amazing Rhythym Aces until they were booked; Jaco Pistorius eats the "prop" peanuts during a rehearsal of a Nick the Lounge Singer sketch; the backstage vibe of a party with show girls, camels, and Abe Lincoln: Eubie Blake & Gregory Hines; Steve Martin's Best Show Ever; helping Howard Shore score The Brood; Eugene Record; Michael Palin; crew bets when Jean Doumanian will "steal" Lorne's job; not liking Jean Doumanian; Jean not particularly liking television; SNL is for people who love TV; Walter Matthau; Kirk Douglas; O.J. Simpson; Michael Sarrazin; Marianne Faithfull; leaving with the original cast and having job taken over by Hal Wilner; Hal calling her to ask how things are done; becoming friends and producing shows with him starting in 1985; how Hal got her to start singing seriously; the real meaning of Save the Last Dance for Me; finding Van "Piano Man" Walls; her art.

“Flowers” by Miley Cyrus is spending another week on top of the Billboard 100 – quite fitting for Valentine's Day. The disco-country track has gotten people talking for a few reasons, but most notably, Cyrus invokes Bruno Mars' classic “When I Was Your Man” in both lyrical and melodic allusions. The connection between the two songs is not one of interpolation, but rather, Miley is responding to Bruno's hit through her own words: making “Flowers” an answer song.  This episode of Switched On Pop, we take a deeper look at “Flowers” and how it fits in the canon of response songs throughout history, from classics like “This Land is Your Land” to Nicki Minaj's “Anaconda.”  Songs Discussed:  Miley Cyrus – Flowers Kacey Musgraves – High Horse Gloria Gaynor – I Will Survive Dua Lipa – New Rules Bruno Mars – When I Was Your Man Ed Sheeran – Shape of You TLC – No Scrubs Katy Perry, Snoop Dogg – California Girls JAY-Z, Alicia Keys – Empire State of Mind Big Mama Thornton – Hound Dog Rufus Thomas – Bear Cat Hank Thompson – The Wild Side of Life Kitty Wells – It Wasn't God Who Made Honky Tonk Angels Ray Charles – Hit the Road, Jack Nina Simone – Come on Back Jack The Chantels – Well, I Told You UTFO – Roxanne, Roxanne Roxanne Shanté – Roxanne's Revenge UTFO – The Real Roxanne New Edition – Candy Girl The Jackson 5 – ABC Sir Mix-A-Lot – Baby Got Back Nicki Minaj – Anaconda Learn more about your ad choices. Visit podcastchoices.com/adchoices

New Year's resolution? Eat Good Food!   Today we are discussing the Hen House in Okemah, Oklahoma.   The Hen House Cafe is one of the most popular places in Okemah for homestyle comfort foods, Hen House Cafe specializes in delicious foods and friendly service. Local favorites include meatloaf and mashed potatoes, chicken and dumplings and chicken fried steak.   Plan a trip to Okemah to discover the birthplace of legendary folk musician Woody Guthrie. Learn more about the man who sang "This Land is Your Land," and explore the city's Woody Guthrie statue and murals, the Okfuskee County Historical Society & Museum or Okemah Lake.   Also discussed: Tulsa King, Onlyinokshow,  Travel OK, and The Oklahoman.   Subscribe to the Only in OK Show.     #TravelOK #onlyinokshow #Oklahoma #MadeinOklahoma #oklaproud #podcast #okherewego #traveloklahoma #Food #Okemah #TulsaKing

A new MP3 sermon from The Trinity Foundation is now available on SermonAudio with the following details: Title: Your Land, Strangers Devour It in Your Presence: Immigration and Rome Subtitle: Reformation 2022 Speaker: Steven T. Matthews Broadcaster: The Trinity Foundation Event: Special Meeting Date: 10/30/2022 Bible: Isaiah 1:7 Length: 50 min.

Join Trinity Foundation Radio host Steve Matthews for his Reformation Day 2022 presentation of "Your Land, Strangers Devour It in Your Presence: Immigration and the Unbiblical Economics and Politics of Rome."

Helen and Gavin chat about FIFA Uncovered, Black Panther: Wakanda Forever, and Good Night Oppy,  and it's Week 55 from the list of Rolling Stone's 500 Best Songs Ever, numbers 230 to 226; Mr Tambourine Man by The Byrds, This Land is Your Land by Woody Guthrie, Single Ladies (Put a Ring On It) by Beyoncé, Fortunate Son by Creedence Clearwater Revival, and There Is a Light That Never Goes Out by The Smiths.

What happened to all of the people who became students of Abraham and Sarah and what does that have to do with us? Gen. 21:33, 12:5, 18:19Bereshit Rabbah 12:14Rambam, Avoda Zara 1:3 with Yad PeshutaRabbi Joseph B. Soloveitchik, Go Forth from Your Land in Abraham's Journey, pp. 57-58.

Welcome to another episode of TotemTalks! In today's episode, we start by soaring In the Clouds with OAR, we realize This Land is Your Land with Woody Guthrie, and we find out What It's Like with Everlast. Enjoy! TotemTalks is a music podcast dedicated to breaking down a variety of musical artists in fun and educational ways. If that sounds interesting to you, please check it out! And if you enjoy listening, be sure to let us know by using #totemtalks, and following us on our Social Media! Peace and Love! Facebook: facebook.com/lowtotemband Instagram: totemtalks Twitter: low_totem Website: lowtotemband.com Become a Member of Team Totem here: https://anchor.fm/lowtotem/support --- Send in a voice message: https://anchor.fm/lowtotem/message Support this podcast: https://anchor.fm/lowtotem/support

Tom Morello, the fiery, activist leader of the rock band Rage Against the Machine, brought his guitar to Sacramento last week to lend support to the United Farm Workers and their effort to pass AB 2183, what UFW spokesman Marc Grossman calls "The Farm Worker Voting Rights Act." The bill passed both houses with comfortable majorities and is now on the governor's desk. Gov. Newsom vetoed a similar measure last year.The September 21 rally is the latest in a series of actions to bring attention to the bill. Beginning on August 3, supporters made a 355 mile march from Delano, California, retracing the route of UFW founder Cesar Chavez' 1966 march. An estimated 5000 supporters marched the final leg into Sacramento on August 26.At last week's rally, held on the west steps of the capitol, Morello told his own story of being raised in a union household and sang protest songs, closing his short set with Woody Guthrie's 'This Land is Your Land,' and inviting the crowd of about 500 to sing along.We attended the rally, recorder in hand. In this episode, we discuss the bill - and its likelihood of being signed - with Grossman, and present parts of Morello's remarks and performance.  And, as always, we tell you who had the Worst Week in CA Politics.1:13 Paul Ryan's favorite band2:57 Talking with Marc Grossman3:49 Why is the UFW here today?4:48 The opposition to AB 21835:41 What does AB 2183 do?7:28 The framework8:20 Newsom quickly vetoed a similar bill last year - is his inaction so far a signal?12:19 The difference between 1969 and today16:32 Let's check out Tom Morello17:46 "Fifty years ago, the United Farm Workers (and my mom), taught me a lesson about sacrifice and solidarity"20:01 #WWCA24:12 The Los Angeles mayoral debate26:19 The Mike Curb Congregation28:19 a union song!

Episode one hundred and fifty-three of A History of Rock Music in Five Hundred Songs looks at “Heroes and Villains” by the Beach Boys, and the collapse of the Smile album. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a sixteen-minute bonus episode available, on "I Had Too Much to Dream Last Night" by the Electric Prunes. 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. As well as the books I referred to in all the Beach Boys episodes, listed below, I used Domenic Priore's book Smile: The Story of Brian Wilson's Lost Masterpiece and Richard Henderson's 33 1/3 book on Van Dyke Parks' Song Cycle. 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. Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson by Peter Ames Carlin is the best biography of Wilson. I have also referred to Brian Wilson's autobiography, I Am Brian Wilson, and to Mike Love's, Good Vibrations: My Life as a Beach Boy. As a good starting point for the Beach Boys' music in general, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it, including the single version of “Heroes and Villains”. The box set The Smile Sessions  contains an attempt to create a finished album from the unfinished sessions, plus several CDs of outtakes and session material. Transcript [Opening -- "intro to the album" studio chatter into "Our Prayer"] Before I start, I'd just like to note that this episode contains some discussion of mental illness, including historical negative attitudes towards it, so you may want to check the transcript or skip this one if that might be upsetting. In November and December 1966, the filmmaker David Oppenheim and the conductor and composer Leonard Bernstein collaborated on a TV film called "Inside Pop: The Rock Revolution".  The film was an early attempt at some of the kinds of things this podcast is doing, looking at how music and social events interact and evolve, though it was dealing with its present rather than the past. The film tried to cast as wide a net as possible in its fifty-one minutes. It looked at two bands from Manchester -- the Hollies and Herman's Hermits -- and how the people identified as their leaders, "Herman" (or Peter Noone) and Graham Nash, differed on the issue of preventing war: [Excerpt: Inside Pop, the Rock Revolution] And it made a star of East Coast teenage singer-songwriter Janis Ian with her song about interracial relationships, "Society's Child": [Excerpt: Janis Ian, "Society's Child"] And Bernstein spends a significant time, as one would expect, analysing the music of the Beatles and to a lesser extent the Stones, though they don't appear in the show. Bernstein does a lot to legitimise the music just by taking it seriously as a subject for analysis, at a time when most wouldn't: [Excerpt: Leonard Bernstein talking about "She Said She Said"] You can't see it, obviously, but in the clip that's from, as the Beatles recording is playing, Bernstein is conducting along with the music, as he would a symphony orchestra, showing where the beats are falling. But of course, given that this was filmed in the last two months of 1966, the vast majority of the episode is taken up with musicians from the centre of the music world at that time, LA. The film starts with Bernstein interviewing Tandyn Almer,  a jazz-influenced songwriter who had recently written the big hit "Along Comes Mary" for The Association: [Excerpt: Inside Pop: The Rock Revolution] It featured interviews with Roger McGuinn, and with the protestors at the Sunset Strip riots which were happening contemporaneously with the filming: [Excerpt: Inside Pop: The Rock Revolution] Along with Frank Zappa's rather acerbic assessment of the potential of the youth revolutionaries: [Excerpt: Inside Pop: The Rock Revolution] And ended (other than a brief post-commercial performance over the credits by the Hollies) with a performance by Tim Buckley, whose debut album, as we heard in the last episode, had featured Van Dyke Parks and future members of the Mothers of Invention and Buffalo Springfield: [Excerpt: Inside Pop: The Rock Revolution] But for many people the highlight of the film was the performance that came right before Buckley's, film of Brian Wilson playing a new song from the album he was working on. One thing I should note -- many sources say that the voiceover here is Bernstein. My understanding is that Bernstein wrote and narrated the parts of the film he was himself in, and Oppenheim did all the other voiceover writing and narration, but that Oppenheim's voice is similar enough to Bernstein's that people got confused about this: [Excerpt: Inside Pop: The Rock Revolution] That particular piece of footage was filmed in December 1966, but it wasn't broadcast until April the twenty-fifth, 1967, an eternity in mid-sixties popular music. When it was broadcast, that album still hadn't come out. Precisely one week later, the Beach Boys' publicist Derek Taylor announced that it never would: [Excerpt: Brian Wilson, "Surf's Up"] One name who has showed up in a handful of episodes recently, but who we've not talked that much about, is Van Dyke Parks. And in a story with many, many, remarkable figures, Van Dyke Parks may be one of the most remarkable of all. Long before he did anything that impinges on the story of rock music, Parks had lived the kind of life that would be considered unbelievable were it to be told as fiction. Parks came from a family that mixed musical skill, political progressiveness, and achievement. His mother was a scholar of Hebrew, while his father was a neurologist, the first doctor to admit Black patients to a white Southern hospital, and had paid his way through college leading a dance band. Parks' father was also, according to the 33 1/3 book on Song Cycle, a member of "John Philip Sousa's Sixty Silver Trumpets", but literally every reference I can find to Sousa leading a band of that name goes back to that book, so I've no idea what he was actually a member of, but we can presume he was a reasonable musician. Young Van Dyke started playing the clarinet at four, and was also a singer from a very early age, as well as playing several other instruments. He went to the American Boychoir School in Princeton, to study singing, and while there he sang with Toscaninni, Thomas Beecham, and other immensely important conductors of the era. He also had a very special accompanist for one Christmas carolling session. The choir school was based in Princeton, and one of the doors he knocked on while carolling was that of Princeton's most famous resident, Albert Einstein, who heard the young boy singing "Silent Night", and came out with his violin and played along. Young Van Dyke was only interested in music, but he was also paying the bills for his music tuition himself -- he had a job. He was a TV star. From the age of ten, he started getting roles in TV shows -- he played the youngest son in the 1953 sitcom Bonino, about an opera singer, which flopped because it aired opposite the extremely popular Jackie Gleason Show. He would later also appear in that show, as one of several child actors who played the character of Little Tommy Manicotti, and he made a number of other TV appearances, as well as having a small role in Grace Kelly's last film, The Swan, with Alec Guinness and Louis Jourdain. But he never liked acting, and just did it to pay for his education. He gave it up when he moved on to the Carnegie Institute, where he majored in composition and performance. But then in his second year, his big brother Carson asked him to drop out and move to California. Carson Parks had been part of the folk scene in California for a few years at this point. He and a friend had formed a duo called the Steeltown Two, but then both of them had joined the folk group the Easy Riders, a group led by Terry Gilkyson. Before Carson Parks joined, the Easy Riders had had a big hit with their version of "Marianne", a calypso originally by the great calypsonian Roaring Lion: [Excerpt: The Easy Riders, "Marianne"] They hadn't had many other hits, but their songs became hits for other people -- Gilkyson wrote several big hits for Frankie Laine, and the Easy Riders were the backing vocalists on Dean Martin's recording of a song they wrote, "Memories are Made of This": [Excerpt: Dean Martin and the Easy Riders, "Memories are Made of This"] Carson Parks hadn't been in the group at that point -- he only joined after they'd stopped having success -- and eventually the group had split up. He wanted to revive his old duo, the Steeltown Two, and persuaded his family to let his little brother Van Dyke drop out of university and move to California to be the other half of the duo. He wanted Van Dyke to play guitar, while he played banjo. Van Dyke had never actually played guitar before, but as Carson Parks later said "in 90 days, he knew more than most folks know after many years!" Van Dyke moved into an apartment adjoining his brother's, owned by Norm Botnick, who had until recently been the principal viola player in a film studio orchestra, before the film studios all simultaneously dumped their in-house orchestras in the late fifties, so was a more understanding landlord than most when it came to the lifestyles of musicians. Botnick's sons, Doug and Bruce, later went into sound engineering -- we've already encountered Bruce Botnick in the episode on the Doors, and he will be coming up again in the future. The new Steeltown Two didn't make any records, but they developed a bit of a following in the coffeehouses, and they also got a fair bit of session work, mostly through Terry Gilkyson, who was by that point writing songs for Disney and would hire them to play on sessions for his songs. And it was Gilkyson who both brought Van Dyke Parks the worst news of his life to that point, and in doing so also had him make his first major mark on music. Gilkyson was the one who informed Van Dyke that another of his brothers, Benjamin Riley Parks, had died in what was apparently a car accident. I say it was apparently an accident because Benjamin Riley Parks was at the time working for the US State Department, and there is apparently also some evidence that he was assassinated in a Cold War plot. Gilkyson also knew that neither Van Dyke nor Carson Parks had much money, so in order to help them afford black suits and plane tickets to and from the funeral, Gilkyson hired Van Dyke to write the arrangement for a song he had written for an upcoming Disney film: [Excerpt: Jungle Book soundtrack, "The Bare Necessities"] The Steeltown Two continued performing, and soon became known as the Steeltown Three, with the addition of a singer named Pat Peyton. The Steeltown Three recorded two singles, "Rock Mountain", under that group name: [Excerpt: The Steeltown Three, "Rock Mountain"] And a version of "San Francisco Bay" under the name The South Coasters, which I've been unable to track down. Then the three of them, with the help of Terry Gilkyson, formed a larger group in the style of the New Christy Minstrels -- the Greenwood County Singers. Indeed, Carson Parks would later claim that  Gilkyson had had the idea first -- that he'd mentioned that he'd wanted to put together a group like that to Randy Sparks, and Sparks had taken the idea and done it first. The Greenwood County Singers had two minor hot one hundred hits, only one of them while Van Dyke was in the band -- "The New 'Frankie and Johnny' Song", a rewrite by Bob Gibson and Shel Silverstein of the old traditional song "Frankie and Johnny": [Excerpt: The Greenwood County Singers, "The New Frankie and Johnny Song"] They also recorded several albums together, which gave Van Dyke the opportunity to practice his arrangement skills, as on this version of  "Vera Cruz" which he arranged: [Excerpt: The Greenwood County Singers, "Vera Cruz"] Some time before their last album, in 1965, Van Dyke left the Greenwood County Singers, and was replaced by Rick Jarrard, who we'll also be hearing more about in future episodes. After that album, the group split up, but Carson Parks would go on to write two big hits in the next few years. The first and biggest was a song he originally wrote for a side project. His future wife Gaile Foote was also a Greenwood County Singer, and the two of them thought they might become folk's answer to Sonny and Cher or Nino Tempo and April Stevens: [Excerpt: Carson and Gaile, "Somethin' Stupid"] That obviously became a standard after it was covered by Frank and Nancy Sinatra. Carson Parks also wrote "Cab Driver", which in 1968 became the last top thirty hit for the Mills Brothers, the 1930s vocal group we talked about way way back in episode six: [Excerpt: The Mills Brothers, "Cab Driver"] Meanwhile Van Dyke Parks was becoming part of the Sunset Strip rock and roll world. Now, until we get to 1967, Parks has something of a tangled timeline. He worked with almost every band around LA in a short period, often working with multiple people simultaneously, and nobody was very interested in keeping detailed notes. So I'm going to tell this as a linear story, but be aware it's very much not -- things I say in five minutes might happen after, or in the same week as, things I say in half an hour. At some point in either 1965 or 1966 he joined the Mothers of Invention for a brief while. Nobody is entirely sure when this was, and whether it was before or after their first album. Some say it was in late 1965, others in August 1966, and even the kind of fans who put together detailed timelines are none the wiser, because no recordings have so far surfaced of Parks with the band. Either is plausible, and the Mothers went through a variety of keyboard players at this time -- Zappa had turned to his jazz friend Don Preston, but found Preston was too much of a jazzer and told him to come back when he could play "Louie Louie" convincingly, asked Mac Rebennack to be in the band but sacked him pretty much straight away for drug use, and eventually turned to Preston again once Preston had learned to rock and roll. Some time in that period, Van Dyke Parks was a Mother, playing electric harpsichord. He may even have had more than one stint in the group -- Zappa said "Van Dyke Parks played electric harpsichord in and out." It seems likely, though, that it was in summer of 1966, because in an interview published in Teen Beat Magazine in December 66, but presumably conducted a few months prior, Zappa was asked to describe the band members in one word each and replied: "Ray—Mahogany Roy—Asbestos Jim—Mucilage Del—Acetate Van Dyke—Pinocchio Billy—Boom I don't know about the rest of the group—I don't even know about these guys." Sources differ as to why Parks didn't remain in the band -- Parks has said that he quit after a short time because he didn't like being shouted at, while Zappa said "Van Dyke was not a reliable player. He didn't make it to rehearsal on time and things like that." Both may be true of course, though I've not heard anyone else ever criticise Parks for his reliability. But then also Zappa had much more disciplinarian standards than most rock band leaders. It's possibly either through Zappa that he met Tom Wilson, or through Tom Wilson that he met Frank Zappa, but either way Parks, like the Mothers of Invention, was signed to MGM records in 1966, where he released two solo singles co-produced by Wilson and an otherwise obscure figure named Tim Alvorado. The first was "Number Nine", which we heard last week, backed with "Do What You Wanta": [Excerpt: Van Dyke Parks, "Do What You Wanta"] At least one source I've read says that the lyrics to "Do What You Wanta" were written not by Parks but by his friend Danny Hutton, but it's credited as a Parks solo composition on the label. It was after that that the Van Dyke Parks band -- or as they were sometimes billed, just The Van Dyke Parks formed, as we discussed last episode, based around Parks, Steve Stills, and Steve Young, and they performed a handful of shows with bass player Bobby Rae and drummer Walt Sparman, playing a mix of original material, primarily Parks' songs, and covers of things like "Dancing in the Street". The one contemporaneous review of a live show I've seen talks about  the girls in the audience screaming and how "When rhythm guitarist Steve Stillman imitated the Barry McGuire emotional scene, they almost went wiggy". But The Van Dyke Parks soon split up, and Parks the individual recorded his second single, "Come to the Sunshine": [Excerpt: Van Dyke Parks, "Come to the Sunshine"] Around the time he left the Greenwood County Singers, Van Dyke Parks also met Brian Wilson for the first time, when David Crosby took him up to Wilson's house to hear an acetate of the as-yet-unreleased track "Sloop John B". Parks was impressed by Wilson's arrangement techniques, and in particular the way he was orchestrating instrumental combinations that you couldn't do with a standard live room setup, that required overdubbing and close-micing. He said later "The first stuff I heard indicated this kind of curiosity for the recording experience, and when I went up to see him in '65 I don't even think he had the voices on yet, but I heard that long rotational breathing, that long flute ostinato at the beginning... I knew this man was a great musician." [Excerpt: The Beach Boys, "Sloop John B (instrumental)"] In most of 1966, though, Parks was making his living as a session keyboard player and arranger, and much of the work he was getting was through Lenny Waronker. Waronker was a second-generation music industry professional. His father, Si Waronker, had been a violinist in the Twentieth Century Fox studio orchestra before founding Liberty Records (the label which indirectly led to him becoming immortalised in children's entertainment, when Liberty Records star David Seville named his Chipmunk characters after three Liberty executives, with Simon being Si Waronker's full forename). The first release on Liberty Records had been a version of "The Girl Upstairs", an instrumental piece from the Fox film The Seven-Year Itch. The original recording of that track, for the film, had been done by the Twentieth Century Fox Orchestra, written and conducted by Alfred Newman, the musical director for Fox: [Excerpt: Alfred Newman, "The Girl Upstairs"] Liberty's soundalike version was conducted by Newman's brother Lionel, a pianist at the studio who later became Fox's musical director for TV, just as his brother was for film, but who also wrote many film scores himself. Another Newman brother, Emil, was also a film composer, but the fourth brother, Irving, had gone into medicine instead. However, Irving's son Randy wanted to follow in the family business, and he and Lenny Waronker, who was similarly following his own father by working for Liberty Records' publishing subsidiary Metric Music, had been very close friends ever since High School. Waronker got Newman signed to Metric Music, where he wrote "They Tell Me It's Summer" for the Fleetwoods: [Excerpt: The Fleetwoods, "They Tell Me It's Summer"] Newman also wrote and recorded a single of his own in 1962, co-produced by Pat Boone: [Excerpt: Randy Newman, "Golden Gridiron Boy"] Before deciding he wasn't going to make it as a singer and had better just be a professional songwriter. But by 1966 Waronker had moved on from Metric to Warner Brothers, and become a junior A&R man. And he was put in charge of developing the artists that Warners had acquired when they had bought up a small label, Autumn Records. Autumn Records was a San Francisco-based label whose main producer, Sly Stone, had now moved on to other things after producing the hit record "Laugh Laugh" for the Beau Brummels: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Beau Brummels  had had another hit after that and were the main reason that Warners had bought the label, but their star was fading a little. Stone had also been mentoring several other groups, including the Tikis and the Mojo Men, who all had potential. Waronker gathered around himself a sort of brains trust of musicians who he trusted as songwriters, arrangers, and pianists -- Randy Newman, the session pianist Leon Russell, and Van Dyke Parks. Their job was to revitalise the career of the Beau Brummels, and to make both the Tikis and the Mojo Men into successes. The tactic they chose was, in Waronker's words, “Go in with a good song and weird it out.” The first good song they tried weirding out was in late 1966, when Leon Russell came up with a clarinet-led arrangement of Paul Simon's "59th Street Bridge Song (Feeling Groovy)" for the Tikis, who performed it but who thought that their existing fanbase wouldn't accept something so different, so it was put out under another name, suggested by Parks, Harpers Bizarre: [Excerpt: Harpers Bizarre, "Feeling Groovy"] Waronker said of Parks and Newman “They weren't old school guys. They were modern characters but they had old school values regarding certain records that needed to be made, certain artists who needed to be heard regardless. So there was still that going on. The fact that ‘Feeling Groovy' was a number 10 hit nationwide and ‘Sit Down, I Think I Love You'  made the Top 30 on Western regional radio, that gave us credibility within the company. One hit will do wonders, two allows you to take chances.” We heard "Sit Down, I Think I Love You" last episode -- that's the song by Parks' old friend Stephen Stills that Parks arranged for the Mojo Men: [Excerpt: The Mojo Men, "Sit Down, I Think I Love You"] During 1966 Parks also played on Tim Buckley's first album, as we also heard last episode: [Excerpt: Tim Buckley, "Aren't You the Girl?"] And he also bumped into Brian Wilson on occasion, as they were working a lot in the same studios and had mutual friends like Loren Daro and Danny Hutton, and he suggested the cello part on "Good Vibrations". Parks also played keyboards on "5D" by the Byrds: [Excerpt: The Byrds, "5D (Fifth Dimension)"] And on the Spirit of '67 album for Paul Revere and the Raiders, produced by the Byrds' old producer Terry Melcher. Parks played keyboards on much of the album, including the top five hit "Good Thing": [Excerpt: Paul Revere and the Raiders, "Good Thing"] But while all this was going on, Parks was also working on what would become the work for which he was best known. As I've said, he'd met Brian Wilson on a few occasions, but it wasn't until summer 1966 that the two were formally introduced by Terry Melcher, who knew that Wilson needed a new songwriting collaborator, now Tony Asher's sabbatical from his advertising job was coming to an end, and that Wilson wanted someone who could do work that was a bit more abstract than the emotional material that he had been writing with Asher. Melcher invited both of them to a party at his house on Cielo Drive -- a house which would a few years later become notorious -- which was also attended by many of the young Hollywood set of the time. Nobody can remember exactly who was at the party, but Parks thinks it was people like Jack Nicholson and Peter and Jane Fonda. Parks and Wilson hit it off, with Wilson saying later "He seemed like a really articulate guy, like he could write some good lyrics". Parks on the other hand was delighted to find that Wilson "liked Les Paul, Spike Jones, all of these sounds that I liked, and he was doing it in a proactive way." Brian suggested Parks write the finished lyrics for "Good Vibrations", which was still being recorded at this time, and still only had Tony Asher's dummy lyrics,  but Parks was uninterested. He said that it would be best if he and Brian collaborate together on something new from scratch, and Brian agreed. The first time Parks came to visit Brian at Brian's home, other than the visit accompanying Crosby the year before, he was riding a motorbike -- he couldn't afford a car -- and forgot to bring his driver's license with him. He was stopped by a police officer who thought he looked too poor to be in the area, but Parks persuaded the police officer that if he came to the door, Brian Wilson would vouch for him. Brian got Van Dyke out of any trouble because the cop's sister was a Beach Boys fan, so he autographed an album for her. Brian and Van Dyke talked for a while. Brian asked if Van Dyke needed anything to help his work go smoothly, and Van Dyke said he needed a car. Brian asked what kind. Van Dyke said that Volvos were supposed to be pretty safe. Brian asked how much they cost. Van Dyke said he thought they were about five thousand dollars. Brian called up his office and told them to get a cheque delivered to Van Dyke for five thousand dollars the next day, instantly earning Van Dyke's loyalty. After that, they got on with work. To start with, Brian played Van Dyke a melody he'd been working on, a melody based on a descending scale starting on the fourth: [Plays "Heroes and Villains" melody] Parks told Wilson that the melody reminded him vaguely of Marty Robbins' country hit "El Paso" from 1959, a song about a gunfighter, a cantina, and a dancing woman: [Excerpt: Marty Robbins, "El Paso"] Wilson said that he had been thinking along the same lines, a sort of old west story, and thought maybe it should be called "Heroes and Villains". Parks started writing, matching syllables to Wilson's pre-conceived melody -- "I've been in this town so long that back in the city I've been taken for lost and gone and unknown for a long, long time" [Excerpt: Brian Wilson and Van Dyke Parks, "Heroes and Villains demo"] As Parks put it "The engine had started. It was very much ad hoc. Seat of the pants. Extemporaneous values were enforced. Not too much precommitment to ideas. Or, if so, equally pursuing propinquity." Slowly, over the next several months, while the five other Beach Boys were touring, Brian and Van Dyke refined their ideas about what the album they were writing, initially called Dumb Angel but soon retitled Smile, should be. For Van Dyke Parks it was an attempt to make music about America and American mythology. He was disgusted, as a patriot, with the Anglophilia that had swept the music industry since the arrival of the Beatles in America two and a half years earlier, particularly since that had happened so soon after the deaths both of President Kennedy and of Parks' own brother who was working for the government at the time he died. So for him, the album was about America, about Plymouth Rock, the Old West, California, and Hawaii. It would be a generally positive version of the country's myth, though it would of course also acknowledge the bloodshed on which the country had been built: [Excerpt: The Beach Boys, "Bicycle Rider" section] As he put it later "I was dead set on centering my life on the patriotic ideal. I was a son of the American revolution, and there was blood on the tracks. Recent blood, and it was still drying. The whole record seemed like a real effort toward figuring out what Manifest Destiny was all about. We'd come as far as we could, as far as Horace Greeley told us to go. And so we looked back and tried to make sense of that great odyssey." Brian had some other ideas -- he had been studying the I Ching, and Subud, and he wanted to do something about the four classical elements, and something religious -- his ideas were generally rather unfocused at the time, and he had far more ideas than he knew what to usefully do with. But he was also happy with the idea of a piece about America, which fit in with his own interest in "Rhapsody in Blue", a piece that was about America in much the same way. "Rhapsody in Blue" was an inspiration for Brian primarily in how it weaved together variations on themes. And there are two themes that between them Brian was finding endless variations on. The first theme was a shuffling between two chords a fourth away from each other. [demonstrates G to C on guitar] Where these chords are both major, that's the sequence for "Fire": [Excerpt: The Beach Boys, "Mrs. O'Leary's Cow/Fire"] For the "Who ran the Iron Horse?" section of "Cabin Essence": [Excerpt: The Beach Boys, "Cabinessence"] For "Vegetables": [Excerpt: The Beach Boys, "Vegetables"] And more. Sometimes this would be the minor supertonic and dominant seventh of the key, so in C that would be Dm to G7: [Plays Dm to G7 fingerpicked] That's the "bicycle rider" chorus we heard earlier, which was part of a song known as "Roll Plymouth Rock" or "Do You Like Worms": [Excerpt: The Beach Boys, "Bicycle Rider"] But which later became a chorus for "Heroes and Villains": [Excerpt: The Beach Boys, "Heroes and Villains"] But that same sequence is also the beginning of "Wind Chimes": [Excerpt: The Beach Boys, "Wind Chimes"] The "wahalla loo lay" section of "Roll Plymouth Rock": [Excerpt: The Beach Boys, "Roll Plymouth Rock"] And others, but most interestingly, the minor-key rearrangement of "You Are My Sunshine" as "You Were My Sunshine": [Excerpt: The Beach Boys, "You Were My Sunshine"] I say that's most interesting, because that provides a link to another of the major themes which Brian was wringing every drop out of, a phrase known as "How Dry I Am", because of its use under those words in an Irving Berlin song, which was a popular barbershop quartet song but is now best known as a signifier of drunkenness in Looney Tunes cartoons: [Excerpt: Daffy Duck singing "How Dry I Am" https://www.youtube.com/watch?v=Ap4MMn7LpzA ] The phrase is a common one in early twentieth century music, especially folk and country, as it's made up of notes in the pentatonic scale -- it's the fifth, first, second, and third of the scale, in that order: [demonstrates "How Dry I Am"] And so it's in the melody to "This Land is Your Land", for example, a song which is very much in the same spirit of progressive Americana in which Van Dyke Parks was thinking: [Excerpt: Woody Guthrie, "This Land is Your Land"] It's also the start of the original melody of "You Are My Sunshine": [Excerpt: Jimmie Davis, "You Are My Sunshine" https://www.youtube.com/watch?v=yYvgNEU4Am8] Brian rearranged that melody when he stuck it into a minor key, so it's no longer "How Dry I Am" in the Beach Boys version, but if you play the "How Dry I Am" notes in a different rhythm, you get this: [Plays "He Gives Speeches" melody] Which is the start of the melody to "He Gives Speeches": [Excerpt: The Beach Boys, "He Gives Speeches"] Play those notes backwards, you get: [Plays "He Gives Speeches" melody backwards] Do that and add onto the end a passing sixth and then the tonic, and then you get: [Plays that] Which is the vocal *countermelody* in "He Gives Speeches": [Excerpt: The Beach Boys, "He Gives Speeches"] And also turns up in some versions of "Heroes and Villains": [Excerpt: The Beach Boys, "Heroes and Villains (alternate version)"] And so on. Smile was an intricate web of themes and variations, and it incorporated motifs from many sources, both the great American songbook and the R&B of Brian's youth spent listening to Johnny Otis' radio show. There were bits of "Gee" by the Crows, of "Twelfth Street Rag", and of course, given that this was Brian Wilson, bits of Phil Spector. The backing track to the verse of "Heroes and Villains": [Excerpt: The Beach Boys, "Heroes and Villains"] Owed more than a little to a version of "Save the Last Dance For Me" that Spector had produced for Ike and Tina Turner: [Excerpt: Ike and Tina Turner, "Save the Last Dance For Me"] While one version of the song “Wonderful” contained a rather out-of-place homage to Etta James and “The Wallflower”: [Excerpt: “Wonderful (Rock With Me Henry)”] As the recording continued, it became more and more obvious that the combination of these themes and variations was becoming a little too much for Brian.  Many of the songs he was working on were made up of individual modules that he was planning to splice together the way he had with "Good Vibrations", and some modules were getting moved between tracks, as he tried to structure the songs in the edit. He'd managed it with "Good Vibrations", but this was an entire album, not just a single, and it was becoming more and more difficult. David Anderle, who was heading up the record label the group were looking at starting, would talk about Brian playing him acetates with sections edited together one way, and thinking it was perfect, and obviously the correct way to put them together, the only possible way, and then hearing the same sections edited together in a different way, and thinking *that* was perfect, and obviously the correct way to put them together. But while a lot of the album was modular, there were also several complete songs with beginnings, middles, ends, and structures, even if they were in several movements. And those songs showed that if Brian could just get the other stuff right, the album could be very, very, special. There was "Heroes and Villains" itself, of course, which kept changing its structure but was still based around the same basic melody and story that Brian and Van Dyke had come up with on their first day working together. There was also "Wonderful", a beautiful, allusive, song about innocence lost and regained: [Excerpt: The Beach Boys, "Wonderful"] And there was CabinEssence, a song which referenced yet another classic song, this time "Home on the Range", to tell a story of idyllic rural life and of the industrialisation which came with westward expansion: [Excerpt: The Beach Boys, "CabinEssence"] The arrangement for that song inspired Van Dyke Parks to make a very astute assessment of Brian Wilson. He said later "He knew that he had to adhere to the counter-culture, and I knew that I had to. I think that he was about as estranged from it as I was.... At the same time, he didn't want to lose that kind of gauche sensibility that he had. He was doing stuff that nobody would dream of doing. You would never, for example, use one string on a banjo when you had five; it just wasn't done. But when I asked him to bring a banjo in, that's what he did. This old-style plectrum thing. One string. That's gauche." Both Parks and Wilson were both drawn to and alienated from the counterculture, but in very different ways, and their different ways of relating to the counterculture created the creative tension that makes the Smile project so interesting. Parks is fundamentally a New Deal Liberal, and was excited by the progresssive nature of the counterculture, but also rather worried about its tendency to throw the baby out with the bathwater, and to ignore the old in pursuit of the new. He was an erudite, cultured, sophisticated man who thought that there was value to be found in the works and attitudes of the past, even as one must look to the future. He was influenced by the beat poets and the avant garde art of the time, but also said of his folk music period "A harpist would bring his harp with him and he would play and recite a story which had been passed down the generations. This particular legacy continued through Arthurian legend, and then through the Middle Ages, and even into the nineteenth century. With all these songs, half of the story was the lyrics, and the folk songs were very interesting. They were tremendously thought-driven songs; there was nothing confusing about that. Even when the Kingston Trio came out -- and Brian has already admitted his debt to the Kingston Trio -- 'Tom Dooley', the story of a murder most foul 'MTA' an urban nightmare -- all of this thought-driven music was perfectly acceptable.  It was more than a teenage romantic crisis." Brian Wilson, on the other hand, was anything *but* sophisticated. He is a simple man in the best sense of the term -- he likes what he likes, doesn't like what he doesn't like, and has no pretensions whatsoever about it. He is, at heart, a middle-class middle-American brought up in suburbia, with a taste for steaks and hamburgers, broad physical comedy, baseball, and easy listening music. Where Van Dyke Parks was talking about "thought-driven music", Wilson's music, while thoughtful, has always been driven by feelings first and foremost. Where Parks is influenced by Romantic composers like Gottschalk but is fundamentally a craftsman, a traditionalist, a mason adding his work to a cathedral whose construction started before his birth and will continue after his death, Wilson's music has none of the stylistic hallmarks of Romantic music, but in its inspiration it is absolutely Romantic -- it is the immediate emotional expression of the individual, completely unfiltered. When writing his own lyrics in later years Wilson would come up with everything from almost haiku-like lyrics like "I'm a leaf on a windy day/pretty soon I'll be blown away/How long with the wind blow?/Until I die" to "He sits behind his microphone/Johnny Carson/He speaks in such a manly tone/Johnny Carson", depending on whether at the time his prime concern was existential meaninglessness or what was on the TV. Wilson found the new counterculture exciting, but was also very aware he didn't fit in. He was developing a new group of friends, the hippest of the hip in LA counterculture circles -- the singer Danny Hutton, Mark Volman of the Turtles, the writers Michael Vosse and Jules Siegel, scenester and record executive David Anderle -- but there was always the underlying implication that at least some of these people regarded him as, to use an ableist term but one which they would probably have used, an idiot savant. That they thought of him, as his former collaborator Tony Asher would later uncharitably put it, as "a genius musician but an amateur human being". So for example when Siegel brought the great postmodern novelist Thomas Pynchon to visit Brian, both men largely sat in silence, unable to speak to each other; Pynchon because he tended to be a reactive person in conversation and would wait for the other person to initiate topics of discussion, Brian because he was so intimidated by Pynchon's reputation as a great East Coast intellectual that he was largely silent for fear of making a fool of himself. It was this gaucheness, as Parks eventually put it, and Parks' understanding that this was actually a quality to be cherished and the key to Wilson's art, that eventually gave the title to the most ambitious of the complete songs the duo were working on. They had most of the song -- a song about the power of music, the concept of enlightenment, and the rise and fall of civilisations: [Excerpt: The Beach Boys, "Surf's Up"] But Parks hadn't yet quite finished the lyric. The Beach Boys had been off on tour for much of Brian and Van Dyke's collaboration, and had just got back from their first real tour of the UK, where Pet Sounds had been a smash hit, rather than the middling success it had been in the US, and "Good Vibrations" had just become their first number one single. Brian and Van Dyke played the song for Brian's brother Dennis, the Beach Boys' drummer, and the band member most in tune with Brian's musical ambitions at this time. Dennis started crying, and started talking about how the British audiences had loved their music, but had laughed at their on-stage striped-shirt uniforms. Parks couldn't tell if he was crying because of the beauty of the unfinished song, the humiliation he had suffered in Britain, or both. Dennis then asked what the name of the song was, and as Parks later put it "Although it was the most gauche factor, and although maybe Brian thought it was the most dispensable thing, I thought it was very important to continue to use the name and keep the elephant in the room -- to keep the surfing image but to sensitise it to new opportunities. One of these would be an eco-consciousness; it would be speaking about the greening of the Earth, aboriginal people, how we had treated the Indians, taking on those things and putting them into the thoughts that come with the music. That was a solution to the relevance of the group, and I wanted the group to be relevant." Van Dyke had decided on a title: "Surf's Up": [Excerpt: The Beach Boys, "Surf's Up"] As the group were now back from their tour, the focus for recording shifted from the instrumental sessions to vocal ones. Parks had often attended the instrumental sessions, as he was an accomplished musician and arranger himself, and would play on the sessions, but also wanted to learn from what Brian was doing -- he's stated later that some of his use of tuned percussion in the decades since, for example, has come from watching Brian's work. But while he was also a good singer, he was not a singer in the same style as the Beach Boys, and they certainly didn't need his presence at those sessions, so he continued to work on his lyrics, and to do his arrangement and session work for other artists, while they worked in the studio. He was also, though, starting to distance himself from Brian for other reasons. At the start of the summer, Brian's eccentricity and whimsy had seemed harmless -- indeed, the kind of thing he was doing, such as putting his piano in a sandbox so he could feel the sand with his feet while he wrote, seems very much on a par with Maureen Cleave's descriptions of John Lennon in the same period. They were two newly-rich, easily bored, young men with low attention spans and high intelligence who could become deeply depressed when understimulated and so would get new ideas into their heads, spend money on their new fads, and then quickly discard them. But as the summer wore on into autumn and winter, Brian's behaviour became more bizarre, and to Parks' eyes more distasteful. We now know that Brian was suffering a period of increasing mental ill-health, something that was probably not helped by the copious intake of cannabis and amphetamines he was using to spur his creativity, but at the time most people around him didn't realise this, and general knowledge of mental illness was even less than it is today. Brian was starting to do things like insist on holding business meetings in his swimming pool, partly because people wouldn't be able to spy on him, and partly because he thought people would be more honest if they were in the water. There were also events like the recording session where Wilson paid for several session musicians, not to play their instruments, but to be recorded while they sat in a pitch-black room and played the party game Lifeboat with Jules Siegel and several of Wilson's friends, most of whom were stoned and not really understanding what they were doing, while they got angrier and more frustrated. Alan Jardine -- who unlike the Wilson brothers, and even Mike Love to an extent, never indulged in illegal drugs -- has talked about not understanding why, in some vocal sessions, Brian would make the group crawl on their hands and knees while making noises like animals: [Excerpt: The Beach Boys, "Heroes and Villains Part 3 (Animals)"] As Parks delicately put it "I sensed all that was destructive, so I withdrew from those related social encounters." What this meant though was that he was unaware that not all the Beach Boys took the same attitude of complete support for the work he and Brian had been doing that Dennis Wilson -- the only other group member he'd met at this point -- took. In particular, Mike Love was not a fan of Parks' lyrics. As he said later "I called it acid alliteration. The [lyrics are] far out. But do they relate like 'Surfin' USA,' like 'Fun Fun Fun,' like 'California Girls,' like 'I Get Around'? Perhaps not! So that's the distinction. See, I'm into success. These words equal successful hit records; those words don't" Now, Love has taken a lot of heat for this over the years, and on an artistic level that's completely understandable. Parks' lyrics were, to my mind at least, the best the Beach Boys ever had -- thoughtful, intelligent, moving, at times profound, often funny, often beautiful. But, while I profoundly disagree with Love, I have a certain amount of sympathy for his position. From Love's perspective, first and foremost, this is his source of income. He was the only one of the Beach Boys to ever have had a day job -- he'd worked at his father's sheet metal company -- and didn't particularly relish the idea of going back to manual labour if the rock star gig dried up. It wasn't that he was *opposed* to art, of course -- he'd written the lyrics to "Good Vibrations", possibly the most arty rock single released to that point, hadn't he? -- but that had been *commercial* art. It had sold. Was this stuff going to sell? Was he still going to be able to feed his wife and kids? Also, up until a few months earlier he had been Brian's principal songwriting collaborator. He was *still* the most commercially successful collaborator Brian had had. From his perspective, this was a partnership, and it was being turned into a dictatorship without him having been consulted. Before, it had been "Mike, can you write some lyrics for this song about cars?", now it was "Mike, you're going to sing these lyrics about a crow uncovering a cornfield". And not only that, but Mike had not met Brian's new collaborator, but knew he was hanging round with Brian's new druggie friends. And Brian was behaving increasingly weirdly, which Mike put down to the influence of the drugs and these new friends. It can't have helped that at the same time the group's publicist, Derek Taylor, was heavily pushing the line "Brian Wilson is a genius". This was causing Brian some distress -- he didn't think of himself as a genius, and he saw the label as a burden, something it was impossible to live up to -- but was also causing friction in the group, as it seemed that their contributions were being dismissed. Again, I don't agree with Mike's position on any of this, but it is understandable. It's also the case that Mike Love is, by nature, a very assertive and gregarious person, while Brian Wilson, for all that he took control in the studio, is incredibly conflict-avoidant and sensitive. From what I know of the two men's personalities, and from things they've said, and from the session recordings that have leaked over the years, it seems entirely likely that Love will have seen himself as having reasonable criticisms, and putting them to Brian clearly with a bit of teasing to take the sting out of them; while Brian will have seen Love as mercilessly attacking and ridiculing the work that meant so much to him in a cruel and hurtful manner, and that neither will have understood at the time that that was how the other was seeing things. Love's criticisms intensified. Not of everything -- he's several times expressed admiration for "Heroes and Villains" and "Wonderful" -- but in general he was not a fan of Parks' lyrics. And his criticisms seemed to start to affect Brian. It's difficult to say what Brian thinks about Parks' lyrics, because he has a habit in interviews of saying what he thinks the interviewer wants to hear, and the whole subject of Smile became a touchy one for him for a long time, so in some interviews he has talked about how dazzlingly brilliant they are, while at other times he's seemed to agree with Love, saying they were "Van Dyke Parks lyrics", not "Beach Boys lyrics". He may well sincerely think both at the same time, or have thought both at different times. This came to a head with a session for the tag of "Cabinessence": [Excerpt: The Beach Boys, "Cabinessence"] Love insisted on having the line "over and over the crow flies uncover the cornfield" explained to him, and Brian eventually decided to call Van Dyke Parks and have him come to the studio. Up to this point, Parks had no idea that there was anything controversial, so when Brian phoned him up and very casually said that Mike had a few questions about the lyrics, could he come down to the studio? He went without a second thought. He later said "The only person I had had any interchange with before that was Dennis, who had responded very favorably to 'Heroes and Villains' and 'Surf's Up'. Based on that, I gathered that the work would be approved. But then, with no warning whatsoever, I got that phone call from Brian. And that's when the whole house of cards came tumbling down." Parks got to the studio, where he was confronted by an angry Mike Love, insisting he explain the lyrics. Now, as will be, I hope, clear from everything I've said, Parks and Love are very, very, *very* different people. Having met both men -- albeit only in formal fan-meeting situations where they're presenting their public face -- I actually find both men very likeable, but in very different ways. Love is gregarious, a charmer, the kind of man who would make a good salesman and who people use terms like "alpha male" about. He's tall, and has a casual confidence that can easily read as arrogance, and a straightforward sense of humour that can sometimes veer into the cruel. Parks, on the other hand, is small, meticulously well-mannered and well-spoken, has a high, precise, speaking voice which probably reads as effeminate to the kind of people who use terms like "alpha male", and the kind of devastating intelligence and Southern US attention to propriety which means that if he *wanted* to say something cruel about someone, the victim would believe themselves to have been complimented until a horrific realisation two days after the event. In every way, from their politics to their attitudes to art versus commerce to their mannerisms to their appearance, Mike Love and Van Dyke Parks are utterly different people, and were never going to mix well. And Brian Wilson, who was supposed to be the collaborator for both of them, was not mediating between them, not even expressing an opinion -- his own mental problems had reached the stage where he simply couldn't deal with the conflict. Parks felt ambushed and hurt, Love felt angry, especially when Parks could not explain the literal meaning of his lyrics. Eventually Parks just said "I have no excuse, sir", and left. Parks later said "That's when I lost interest. Because basically I was taught not to be where I wasn't wanted, and I could feel I wasn't wanted. It was like I had someone else's job, which was abhorrent to me, because I don't even want my own job. It was sad, so I decided to get away quick." Parks continued collaborating with Wilson, and continued attending instrumental sessions, but it was all wheelspinning -- no significant progress was made on any songs after that point, in early December. It was becoming clear that the album wasn't going to be ready for its planned Christmas release, and it was pushed back to January, but Brian's mental health was becoming worse and worse. One example that's often cited as giving an insight into Brian's mental state at the time is his reaction to going to the cinema to see John Frankenheimer's classic science fiction horror film Seconds. Brian came in late, and the way the story is always told, when he was sat down the screen was black and a voice said from the darkness, "Hello Mr. Wilson". That moment does not seem to correspond with anything in the actual film, but he probably came in around the twenty-four minute mark, where the main character walks down a corridor, filmed in a distorted, hallucinatory manner, to be greeted: [Excerpt: Seconds, 24:00] But as Brian watched the film, primed by this, he became distressed by a number of apparent similarities to his life. The main character was going through death and rebirth, just as he felt he was. Right after the moment I just excerpted, Mr. Wilson is shown a film, and of course Brian was himself watching a film. The character goes to the beach in California, just like Brian. The character has a breakdown on a plane, just like Brian, and has to take pills to cope, and the breakdown happens right after this: [Excerpt: Seconds, from about 44:22] A studio in California? Just like where Brian spent his working days? That kind of weird coincidence can be affecting enough in a work of art when one is relatively mentally stable, but Brian was not at all stable. By this point he was profoundly paranoid -- and he may have had good reason to be. Some of Brian's friends from this time period have insisted that Brian's semi-estranged abusive father and former manager, Murry, was having private detectives watch him and his brothers to find evidence that they were using drugs. If you're in the early stages of a severe mental illness *and* you're self-medicating with illegal drugs, *and* people are actually spying on you, then that kind of coincidence becomes a lot more distressing. Brian became convinced that the film was the work of mind gangsters, probably in the pay of Phil Spector, who were trying to drive him mad and were using telepathy to spy on him. He started to bar people who had until recently been his friends from coming to sessions -- he decided that Jules Siegel's girlfriend was a witch and so Siegel was no longer welcome -- and what had been a creative process in the studio degenerated into noodling and second-guessing himself. He also, with January having come and the album still not delivered, started doing side projects,  some of which, like his production of tracks for photographer Jasper Daily, seem evidence either of his bizarre sense of humour, or of his detachment from reality, or both: [Excerpt: Jasper Daily, "Teeter Totter Love"] As 1967 drew on, things got worse and worse. Brian was by this point concentrating on just one or two tracks, but endlessly reworking elements of them. He became convinced that the track "Fire" had caused some actual fires to break out in LA, and needed to be scrapped. The January deadline came and went with no sign of the album. To add to that, the group discovered that they were owed vast amounts of unpaid royalties by Capitol records, and legal action started which meant that even were the record to be finished it might become a pawn in the legal wrangling. Parks eventually became exasperated by Brian -- he said later "I was victimised by Brian Wilson's buffoonery" -- and he quit the project altogether in February after a row with Brian. He returned a couple of weeks later out of a sense of loyalty, but quit again in April. By April, he'd been working enough with Lenny Waronker that Waronker offered him a contract with Warner Brothers as a solo artist -- partly because Warners wanted some insight into Brian Wilson's techniques as a hit-making producer. To start with, Parks released a single, to dip a toe in the water, under the pseudonym "George Washington Brown". It was a largely-instrumental cover version of Donovan's song "Colours", which Parks chose because after seeing the film Don't Look Back, a documentary of Bob Dylan's 1965 British tour, he felt saddened at the way Dylan had treated Donovan: [Excerpt: George Washington Brown, "Donovan's Colours"] That was not a hit, but it got enough positive coverage, including an ecstatic review from Richard Goldstein in the Village Voice, that Parks was given carte blanche to create the album he wanted to create, with one of the largest budgets of any album released to that date. The result was a masterpiece, and very similar to the vision of Smile that Parks had had -- an album of clever, thoroughly American music which had more to do with Charles Ives than the British Invasion: [Excerpt: Van Dyke Parks, "The All Golden"] But Parks realised the album, titled Song Cycle, was doomed to failure when at a playback session, the head of Warner Brothers records said "Song Cycle? So where are the songs?" According to Parks, the album was only released because Jac Holzman of Elektra Records was also there, and took out his chequebook and said he'd release the album if Warners wouldn't, but it had little push, apart from some rather experimental magazine adverts which were, if anything, counterproductive. But Waronker recognised Parks' talent, and had even written into Parks' contract that Parks would be employed as a session player at scale on every session Waronker produced -- something that didn't actually happen, because Parks didn't insist on it, but which did mean Parks had a certain amount of job security. Over the next couple of years Parks and Waronker co-produced the first albums by two of their colleagues from Waronker's brains trust, with Parks arranging -- Randy Newman: [Excerpt: Randy Newman, "I Think It's Going to Rain Today"] And Ry Cooder: [Excerpt: Ry Cooder, "One Meat Ball"] Waronker would refer to himself, Parks, Cooder, and Newman as "the arts and crafts division" of Warners, and while these initial records weren't very successful, all of them would go on to bigger things. Parks would be a pioneer of music video, heading up Warners' music video department in the early seventies, and would also have a staggeringly varied career over the years, doing everything from teaming up again with the Beach Boys to play accordion on "Kokomo" to doing the string arrangements on Joanna Newsom's album Ys, collaborating with everyone from U2 to Skrillex,  discovering Rufus Wainwright, and even acting again, appearing in Twin Peaks. He also continued to make massively inventive solo albums, releasing roughly one every decade, each unique and yet all bearing the hallmarks of his idiosyncratic style. As you can imagine, he is very likely to come up again in future episodes, though we're leaving him for now. Meanwhile, the Beach Boys were floundering, and still had no album -- and now Parks was no longer working with Brian, the whole idea of Smile was scrapped. The priority was now to get a single done, and so work started on a new, finished, version of "Heroes and Villains", structured in a fairly conventional manner using elements of the Smile recordings. The group were suffering from numerous interlocking problems at this point, and everyone was stressed -- they were suing their record label, Dennis' wife had filed for divorce, Brian was having mental health problems, and Carl had been arrested for draft dodging -- though he was later able to mount a successful defence that he was a conscientious objector. Also, at some point around this time, Bruce Johnston seems to have temporarily quit the group, though this was never announced -- he doesn't seem to have been at any sessions from late May or early June through mid-September, and didn't attend the two shows they performed in that time. They were meant to have performed three shows, but even though Brian was on the board of the Monterey Pop Festival, they pulled out at the last minute, saying that they needed to deal with getting the new single finished and with Carl's draft problems. Some or all of these other issues almost certainly fed into that, but the end result was that the Beach Boys were seen to have admitted defeat, to have handed the crown of relevance off to the San Francisco groups. And even if Smile had been released, there were other releases stealing its thunder. If it had come out in December it would have been massively ahead of its time, but after the Beatles released Sgt Pepper it would have seemed like it was a cheap copy -- though Parks has always said he believes the Beatles heard some of the Smile tapes and copied elements of the recordings, though I don't hear much similarity myself. But I do hear a strong similarity in "My World Fell Down" by Sagittarius, which came out in June, and which was largely made by erstwhile collaborators of Brian -- Gary Usher produced, Glen Campbell sang lead, and Bruce Johnston sang backing vocals: [Excerpt: Sagittarius, "My World Fell Down"] Brian was very concerned after hearing that that someone *had* heard the Smile tapes, and one can understand why. When "Heroes and Villains" finally came out, it was a great single, but only made number twelve in the charts. It was fantastic, but out of step with the times, and nothing could have lived up to the hype that had built up around it: [Excerpt: The Beach Boys, "Heroes and Villains"] Instead of Smile, the group released an album called Smiley Smile, recorded in a couple of months in Brian's home studio, with no studio musicians and no involvement from Bruce, other than the previously released singles, and with the production credited to "the Beach Boys" rather than Brian. Smiley Smile has been unfairly dismissed over the years, but it's actually an album that was ahead of its time. It's a collection of stripped down versions of Smile songs and new fragments using some of the same motifs, recorded with minimal instrumentation. Some of it is on a par with the Smile material it's based on: [Excerpt: The Beach Boys, "Wonderful"] Some is, to my ears, far more beautiful than the Smile versions: [Excerpt: The Beach Boys, "Wind Chimes"] And some has a fun goofiness which relates back to one of Brian's discarded ideas for Smile, that it be a humour album: [Excerpt: The Beach Boys, "She's Going Bald"] The album was a commercial flop, by far the least successful thing the group had released to that point in the US, not even making the top forty when it came out in September, though it made the top ten in the UK, but interestingly it *wasn't* a critical flop, at least at first. While the scrapping of Smile had been mentioned, it still wasn't widely known, and so for example Richard Goldstein, the journalist whose glowing review of "Donovan's Colours" in the Village Voice had secured Van Dyke Parks the opportunity to make Song Cycle, gave it a review in the New York Times which is written as if Goldstein at least believes it *is* the album that had been promised all along, and he speaks of it very perceptively -- and here I'm going to quote quite extensively, because the narrative about this album has always been that it was panned from the start and made the group a laughing stock: "Smiley Smile hardly reads like a rock cantata. But there are moments in songs such as 'With Me Tonight' and 'Wonderful' that soar like sacred music. Even the songs that seem irrelevant to a rock-hymn are infused with stained-glass melodies. Wilson is a sound sculptor and his songs are all harmonious litanies to the gentle holiness of love — post-Christian, perhaps but still believing. 'Wind Chimes', the most important piece on the album, is a fine example of Brian Wilson's organic pop structure. It contains three movements. First, Wilson sets a lyric and melodic mood ("In the late afternoon, you're hung up on wind chimes"). Then he introduces a totally different scene, utilizing passages of pure, wordless harmony. His two-and-a-half minute hymn ends with a third movement in which the voices join together in an exquisite round, singing the words, "Whisperin' winds set my wind chimes a-tinklin'." The voices fade out slowly, like the bittersweet afternoon in question. The technique of montage is an important aspect of Wilson's rock cantata, since the entire album tends to flow as a single composition. Songs like 'Heroes and Villains', are fragmented by speeding up or slowing down their verses and refrains. The effect is like viewing the song through a spinning prism. Sometimes, as in 'Fall Breaks and Back to Winter' (subtitled "W. Woodpecker Symphony"), the music is tiered into contrapuntal variations on a sliver of melody. The listener is thrown into a vast musical machine of countless working gears, each spinning in its own orbit." That's a discussion of the album that I hear when I listen to Smiley Smile, and the group seem to have been artistically happy with it, at least at first. They travelled to Hawaii to record a live album (with Brian, as Bruce was still out of the picture), taking the Baldwin organ that Brian used all over Smiley Smile with them, and performed rearranged versions of their old hits in the Smiley Smile style. When the recordings proved unusable, they recreated them in the studio, with Bruce returning to the group, where he would remain, with the intention of overdubbing audience noise and releasing a faked live album: [Excerpt: The Beach Boys, "California Girls [Lei'd studio version]"] The idea of the live album, to be called Lei'd in Hawaii, was scrapped, but that's not the kind of radical reimagining of your sound that you do if you think you've made an artistic failure. Indeed, the group's next albu

There's a story behind this week's show. The Blues Society of Omaha asked me and Glenn, who fills in from time to time, to go on the main stage of our annual, In the Market for the Blues, and discuss the history of the blues. So we did. Sorta. The blues is a pretty big topic - especially to pack into 45 minutes. Instead, I put together A History of the Blues (rather than The History...). I decided to discuss some of the events that made the blues the artform it is today including The Great Migrations of Blacks from the American South to the north and west, some of the sources for blues music including field recordings, Chess Records, and John Hammond. I also told some stories like how John Lomax's efforts to get a recording label for Leadbelly tied together with the sit-com Friends, or how John Hammond's search for Robert Johnson created, in large part, the sound that was Classic Rock, or how a Memphis kid's love of a jug band player lead, indirectly, to several hit recording acts in the 60s and 70s. Or how Reg Dwight played the blues and became Elton John.  We are ecclectricity and, ideally, you find that entertaining and informative. At the very least, but perhaps the most important, the show is not predictable or driven by cliches. Thanks for giving this a lesson.It was an act of love putting this together. I hope you enjoy the effort. Pacific Street BluesAugust 7, 2022Link to Visuals1. Blue House and the Rent to Own Horns / I Put a Spell on You2. Dave Alvin / Highway 663. W.C. Handy /Beale Street Blues 4. Louis Armstrong / What Did I Do (to be so Black and Blue)? 5. Alan Lomax / Spoken Word6. Rev. Gary Davis / Candy Man 7. Bessie Jones and the Group8. Blind Willie Johnson / John the Revelator (Rex Granite Band, Mellencamp, Son House) 9. Tedeschi Trucks Band / Keep Your Lamp Trimmed and Burning 10. Leadbelly / New Orleans11. Lonnie Donegan / Rock Island Line12. The Animals / House of the Rising Sun13. Mark Knopfler (Dire Straits) / Donegan's Gone 14. Bruce Springsteen / spoken15. Woody Guthrie / This Land is Your Land 6. The Carter Family / When the World's on Fire 17. Johnny Cash & June Carter Cash / Jackson18. Bob Dylan & Johnny Cash / North Country Girl 19. Memphis Jug Band / KC Moan20. Charlie Musselwhite / Blues Gave Me a Ride (Elvin Bishop [Paul Butterfield Blues Band], Ben Harper)21. Lovin' Spoonful / What a Day for a Daydream (Even Dozen Jug Band; Jonathan Sebastian, David Grisom (Grateful Dead), Steve Katz (Blood Sweat & Tears), 22. Maria Muldaur/ Midnight at the Oasis

If you grew up in the United States, you are most likely familiar with the song “This Land is Your Land”, one of the most famous American folk songs. Though it has been rerecorded and performed by many famous artists, you may not know the original writer and performer, Woody Guthrie. Woody Guthrie was born in 1912 and was, and still is, one of the most influential figures American folk music. He traveled across the U.S. for much of his life, lived through the Great Depression, the Dust Bowl, and World War II, and settled down in New York in the early 1950s. During this time, his health began to deteriorate, and he was hospitalized many times and was misdiagnosed with things from alcoholism to schizophrenia. In 1954, upon his admission to psychiatric hospital, he finally received the correct diagnosis: Huntington's Disease (HD). Sadly, Guthrie passed from complications of HD in 1967, but following his death, his ex-wife Marjorie Mazia founded the Huntington's Disease Society of America, and helped bring Huntington's Disease and the importance of research on the disease to the public eye. This publicity was well needed, as HD was not well known at the time and commonly misdiagnosed (such as the case of Guthrie's mother, who was institutionalized when he was 14, but posthumously diagnosed) (Woody Guthrie Official Website, n.d.). Though today there is a lot more information on the disease, there is still a long way to go to curing this fatal disease. Recent research has been looking towards the field of epigenetics to learn more about HD and possible treatments. But first, it is important to fully understand Huntington's disease and what causes it.

Carolyn Finney is a storyteller, author, and a cultural geographer who is deeply interested in issues related to identity, difference, creativity, and resilience. She's focused on developing greater cultural competency within environmental organizations, institutions, and the overall environmental movement. As the author of “Black Faces, White Spaces: Reimagining the Relationship of African Americans to the Great Outdoors”, she is dedicated to challenging mainstream media on their representation of difference while increasing awareness of the part that privilege plays in shaping who gets to speak on environmental issues, policy, and action.Today on The Trail Ahead, Faith and Addie sit with Carolyn for an insightful conversation about the importance of politics within the outdoor space. Carolyn shares her thoughts on what diversification of the outdoors, specifically the environmental movement could look like, why it's important to create a space that allows for more evolved conversation, and why we need to honor the changes that we as humans go through. Together, they discuss what a progress-oriented mindset within the environmental movement looks like, and why it's important to honor the products and results of different generations.This is an incredibly raw conversation that took place in the wake of some truly pivotal and disheartening events. However, Carolyn leaves us feeling inspired and motivated by sharing her decades of wisdom in this episode.Episode Resources:Finney Website: https://www.carolynfinney.com/Black Faces, White Spaces on Bookshop: https://bookshop.org/books/black-faces-white-spaces-reimagining-the-relationship-of-african-americans-to-the-great-outdoors/9781469614489The Story of This Land is Your Land by Woody Guthrie: https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/media-and-interactives/media/music/story-behind-the-song/the-story-behind-the-song/this-land-is-your-land/Sierra Club Grapples With Founder John Muir's Racismhttps://www.smithsonianmag.com/smart-news/sierra-club-grapples-founder-john-muirs-racism-180975404/Kaylynn TwoTrees: https://ktwotrees.com/about/America Outdoors with Baratunde Thurstonon: https://www.forbes.com/sites/simonthompson/2022/07/19/baratunde-thurston-on-the-value-of-america-outdoors-and-the-power-of-pbs/?sh=3376cd295834

This Land is Your Land! Need I say more? ------------------"May your morning begin shattering expectations right out of the gate. I hope my message brings a smile to your face. May you gain knowledge, become inspired, or collect a trivial fact that you might use in a contest someday." -MichaelFor the past 30 years, Michael has changed his phone message EVERY SINGLE DAY! It's a daily activity, as automatic as brushing his teeth.​ He does 2 unique messages daily: one on his cell phone and one on his landline. The time has come to share them. (Hasn't the time comes to get rid of the landline? :)

The legacy of Woody Guthrie   Ten years later, we revisit a show celebrating the Centennial of the birth of Woody Guthrie with interviews from Pete Seeger and former Senator Fred Harris. Pete Seeger Our first guest today was a truly great American, perhaps the leading progressive icon of our times. In honor of the centennial of the birth of Woody Guthrie, Pete had some fun telling stories on Woody, and revealing the history of the anthem “This Land is Your Land.”  http://www.peteseegermusic.com/  http://www.woodyguthrie.org/   Fred Harris Fred Harris was a populist when he was the U.S. senator from Oklahoma. He talked with us about the legacy of Woody Guthrie and the lessons we learned from the Dust Bowl Era of American history. Jim Hightower   An Angry Public Will Overcome Arrogant Officials   Donald Trump's criminal attempt to steal the 2020 election failed, but it's not the only recent coup attack on our democracy. In the last few years, a cabal of right-wing zealots have plotted to seize control of the US Supreme Court. By hook and crook, they've installed a six-judge majority, and now they're using them as a political cudgel to try stealing not just a constitutional right, but an inherent human right from American women – the right to make their own reproductive decisions. By judicial fiat, the right-wing judges have decreed that the state will make birth decisions, regardless of what mothers want. This is the Republican Party's current concept of “small government.” Bill Press The Man Who Could Primary Sen. Sinema   Congressman Ruben Gallego of Arizona. This is his fourth term in Congress where he focuses on national security issues and the health and welfare of veterans. He's a veteran himself having served in Iraq as an infantryman in the Marines. He is the son of Hispanic immigrants and the first in his family to attend college, in this case Harvard University. If you'd like to hear the entire episode, visit BillPressPods.com.  

Posted 7/4/22This week the C.O.W.boys are celebrating Independence Day. Along with some fun and lively conversation on the topic, you'll also hear some great music from Riders in the Sky (Wah-hoo), Michael Martin Murphey (My Country Under God), R.W. Hampton (My Country's Not for Sale), and Brenn Hill (No Country for Faithless Men). There is also some great cowboy poetry this week from Yvonne Hollenbeck (Flag Out on the Ranch). We'll have the ever popular Dick's Pick (This Land is Your Land), Cowpoke Poetry, and a whole bunch of goofin' off too!

Today, Walt and Alan welcome guest, Barry King from B.K. on the Air to join them in a discussion about patriotism. They open with thoughts on celebrating Independence Day in America and what it means to them. After a brief discussion, they get into the heart of the discussion. To prepare for the show, they each came up with a topic and those would be used to create a TOP 5 list. The topics were: Patriotic Music, Patriotic Figures (real) and Patriotic Films. Top 5 Patriotic Songs Walt 1. America the Beautiful by Ray Charles 2. Ragged Old Flag by Johnny Cash 3. American Soldier by Toby Keith 4. God Bless America by Kate Smith 5. America by Neil Diamond Honorable Mentions: In America by Charlie Daniels Band and Courtesy of the Red, White and Blue by Toby Keith Barry 1. The Stars and Stripes Forever by John Philip Sousa 2. Back in the USA by Chuck Berry 3. America the Beautiful by Katherine Lee Bates / Samuel A. Ward 4. This is My Country by Don Ray and Al Jacobs 5. America by Neil Diamond Honorable Mentions: Star Spangled Banner by Francis Scott Key, God Bless America by Kate Smith and Livin' in America by James Brown Alan 1. America by Neil Diamond 2. Proud to be an American by Lee Greenwood 3. Pink Houses by John Mellencamp 4. Ballad of the Green Beret by SSGT. Barry Sadler 5. Battle of New Orleans by Johnny Horton Honorable Mentions: America the Beautiful by Ray Charles, Take me Home, Country Roads by John Denver, and This Land is Your Land by Woody Guthrie Top 5 Patriotic Figures Barry 1. George Washington 2. Chuck Yeager 3. Paul Revere 4. General Douglas MacArthur 5. Normal Rockwell Honorable Mentions: Audie Murphy, Neil Armstrong, Bob Hope, Gary Sinise Alan 1. Abraham Lincoln 2. George Washington 3. Thomas Jefferson 4. Ronald Reagan 5. Dr. Martin Luther King, Jr. Honorable Mentions: George S. Patton, James Madison, Jackie Robinson Walt 1. George Washington 2. General George S. Patton 3. Samuel Clemens, aka Mark Twain 4. Henry Ford 5. Daniel Boone Honorable Mentions: General Jimmy Doolittle, General Douglas MacArthur, Paul Revere, Ronald Reagan, Ed DiGilio Top 5 Patriotic Movies Alan 1. Patton 2. Saving Private Ryan 3. The Patriot 4. Mr. Smith Goes to Washington 5. Apollo 13 Honorable Mentions: Miracle, Captain America: The First Avenger, 13 Hours Walt 1. The Longest Day 2. Patton 3. Miracle 4. Top Gun (1986) 5. Flags of Our Fathers Honorable Mentions: Midway (1976), Midway (2019), Sergeant York and Saving Private Ryan Barry 1. The Patriot 2. The Right Stuff 3. Sergeant York 4. Yankee Doodle Dandy 5. Captain America: The First Avenger Honorable Mentions: Patton, Apollo 13, Saving Private Ryan, MacArthur, The Longest Day and Red Dawn (1984) Make sure you have subscribed to The Wilder Ride on your pod-catcher of choice so you will not miss a single episode! If you have not already done so, please come join our Listeners' Group on Facebook. Just visit our public page and click on the button to join the group. And don't forget you can support the show by visiting our Patreon page where they have a ton of exclusive content! You can learn more about us by visiting our About Us page. You can also find us on Facebook, Twitter and Instagram.

Cornucopias: https://www.cornucopias.io/ https://linktr.ee/CornucopiasGame Twitter: https://twitter.com/CornucopiasGame?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor Support the channel and get Bloom emojis: https://www.youtube.com/bigpey/join Discord for giveaways/community questions: https://discord.gg/bigpey Clips channel for shorter versions of the podcast! https://www.youtube.com/channel/UC2WHhUETnywKWwMevGR7HyQ Twitter for Cardano updates: https://twitter.com/bigpeyYT Bloom Pool - Stakepool with high returns that minted the 8th block on Cardano! https://bloompool.io/ --------------------------------------------------------------------------------------------------------------------- https://odysee.com/$/invite/@bigpey:8 | Decentralized YouTube Email for business inquiries: peyton@bloompool.io Timestamps: 0:00 Intro 4:16 Land Sale 9:27 Land Utility 13:01 Geographical Significance 15:08 Can Anyone Come to Your Land 16:08 Can You Charge Users To Mine Resources 17:41 How Much Land is going to be sold in first & future sales 18:34 Will New Land Sales make the old ones obsolete 19:54 Limit on Land Sale Supply 22:20 Cost of Land Sale and Custom Dome 22:45 Where does the cost come from 27:32 What are the Bubble Jets and Utility 29:12 Public Transportation 30:01 Copi Token and Utility 33:31 NFT2Tree Sale 36:39 Copi Token Usage 37:16 Testnet Launch Date 39:17 Join The Cornucopias Community 41:27 Final Words --- Support this podcast: https://anchor.fm/bigpeyyt/support

The exhibit detailing Woody Guthrie's life has just concluded its run at the Morgan Library and Museum in New York City, with displays and items lent to the museum by the Woody Guthrie Center in Tulsa, Oklahoma. We'll hear Woody's songs performed Elizabeth Mitchell, Joel Raphael, Joe Rollin Porter, Sara Grey and Woody himself. We'll also hear remembrances of Woody from Pete Seeger and a selection from a wire recording of a 1949 performance of Woody with his wife Marjorie. A tribute to Woody Guthrie in song and story … this week, on the Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysBrownie McGhee & Sonny Terry / “Blues for the Lowlands” / The Giants of the Blues / Legacy InternationalPete Seeger / “Pete Meets Woody” / Pete Remembers Woody / AppleseedWoody Guthrie / “California Blues” / 100th Anniversary Collection / Not NowPete Seeger / “Woody Writes 'This Land is Your Land'” / Pete Remembers Woody / AppleseedPete Seeger / “America Learns 'This Land is Your Land'” / Pete Remembers Woody / AppleseedWoody Guthrie / “This Land is Your Land” / Folkways:The Original Vision / Smithsonian FolkwaysWoody Guthrie / “Intro: How Much? How Long?” / The Live Wire / RounderWoody Guthrie / “Cowboy Waltz” / 100th Anniversary Collection / Not NowElizabeth Mitchell / “Little Seed” / Little Seed / Smithsonian FolkwaysArlo Guthrie / “Deportees” / Arlo Guthrie / Rising SonJoel Raphael / “I Ain't Got No Home” / The Songs of Woody Guthrie Vol. 1&2 / InsideJoe Rollin Porter / “Black Jack Davy” / Take This Hammer / JuropoSara Grey w/ Kieron Means / “Belle Starr” / Down in Old Delores / FellsidePete Seeger / “The Last Time I Heard Woody Sing” / Pete Remembers Woody / AppleseedPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

This week, kick start your summer listening with 25 NEW tracks from artists you already know and love! We're good at the gym, in the car, at work, or on the lawnmower. Take Pacific St Blues & Americana with you wherever you go! Give us the love too!Post a photo of what you're doing when you listen to Pacific St Blues & Americana. Whether on broadcast or podcast, post a photo on the PSB&A Facebook page.1. J Geils Band / Find Me a New Love 2. Tower of Power / Mr. Pitiful 3. Southside Johnny & the Asbury Jukes / I Don't Wanna Go Home4. Little Steven / Saw the Light 5. Lil Ed & the Blues Imperials / Deep In My Soul 6. Mississippi Heat / Madeleine 7. The Claudettes / Hammer and Tickle8. The Nighthawks / You Seem Distant 9. Rex Granite Band / The Man in Chapter 210. Chuck Leavell / Forever Blue 11. Eric Clapton / Alabama Woman Blues12. Kenny Neal / Blues Keeps Chasing Me 13. Sue Foley /  Southern Men 14. Eric Bibb / This Land is Your Land 15. Bonnie Raitt / Waiting for You to Blow 16. Joanne Shaw Taylor (feat Joe Bonamassa) / Don't Go AWay Mad17. Lyle Lovett / 12th of June 18. Keb Mo / Lean on Me 19. Los Lobos / Jamaica Say You Will20. Doobie Brothers / Easy 

The gang is singing "This Land is Your Land" as they finish off the Best Disneyland Resort Land bracket! - Carly returns, and spins some Disneyland CM yarns. - Chris cracks open a skunked beer. - Chris manifests the return of baseball. - Where are the pipes for the Tom Sawyer Island bathrooms? - Chris's meal schedule. - Kyle brings up the petrified tree. - Did the Golden Horseshoe ever have mozzarella sticks? - Chris eats corndogs like a psychopath. - Carly's does her Storybookland speech. Got a rebuttal? Want to be a tiebreaker host? We'd love to hear from you: Support us on Patreon: cutt.ly/GerisGang Email us at mousemadnesspodcast@gmail.com Tweet us @MouseMadnessPod Follow us on Instagram @MouseMadnessPod Chat with us on Discord: discord.gg/qwpqAWA Join our Facebook Community: fb.me/MouseMadnessPodcast

A guilt ridden man whose wife was killed when she fell off a cliff, believes her spirit lives in another woman he met at her grave.  Commentary on Henry J. Taylor's program Your Land and Mine which was promoted at the end of this episode. 

Recap and commentary of Sister Wives S14E9: This Land is Your Land....Or Hers? --- Support this podcast: https://anchor.fm/maryjane-kay/support

Top 5 Songs about AmericaIntro/Outro: Star Spangled Banner (Live) by Jimi Hendrix5. Born in the U.S.A. by Bruce Springsteen4. This Land is Your Land by Woody Guthrie3. America by Simon & Garfunkel2. God Bless the U.S.A. by Lee Greenwood1. America the Beautiful by Ray CharlesHappy 4th of July!!

On this episode of This Land is Your Land explore the largest waterfall in the state at Bash Bish Falls State Park.  Located on the Massachusetts, New York border Bash Bish falls offers a unique history, and beautiful scenery. DCR's Alec Gillman, Regional Interpretive Coordinator for DCR's West Region highlights interesting information about the park and why it is important to practice responsible stewardship while visiting state parks.

This episode of This Land is Your Land focuses on Halibut Point State Park located in the coastal town of Rockport Massachusetts. Learn about the history of the park with the hosts of the podcast, along with Park Supervisor Ramona Latham who offers a unique view into a beautiful park that offers of majestic views, geological wonders and a rich history. 

Nicole sits down with singer-songwriter Raye Zaragoza to talk about "This Land is Your Land," the role of folk music in the American dream, and crafting new songs that accurately tell our stories.Raye Zaragoza is an award-winning singer-songwriter who Paste Magazine called “one of the most politically relevant artists in her genre.” First-generation Japanese-American on her mother's side, indigenous on her father's side, and raised in New York City, Raye shares her unique perspective and stories through songs that are both inspiring and thought-provoking. rayezaragoza.com | patreon.com/rayezaragozaListen to the playlist Raye created for this conversation:https://open.spotify.com/playlist/5a8aTpPtoUezTJJTIzkYWm?si=2uuNKnhOTLSDkq2MztwwUgThe ARD Podcast is produced by Nicole Cardoza and edited by Mallory Cheng. Learn more and subscribe to our daily newsletter: antiracismdaily.com 

In this final episode of Season 1, guest Courtney Sieloff gives us her candid take on breaking into the world of politics from an economically challenged background, and what it's really like behind the scenes of a major political campaign. Followed by a conversation by C & K, where they dissect the complicated tribal undertones of class and privilege in America today. Guests: Courtney Sieloff Links: Asana Creative Solutions CREDITS: Hosted by: Caitlin Scholl and Katie Wilson Sound Design & Editing by: Ian Carlsen Mixing & Mastering by: Chris Burns Opening music: “America” by Bill Callahan Closing music: “This Land is Your Land” by Caitlin Scholl © OPEN EYE | media, productions, projects & FRIEND ENERGIES Productions

In this important episode we hear guest Loryn Wilson Carter talk about race, space, and coming up black in a white community. Followed by a conversation with C & K, where as white women they unpack their own biases, as well as what they have in common. Guests: Loryn Wilson Carter Links: Loryn's Blog & Patreon CREDITS: Hosted by: Caitlin Scholl and Katie Wilson Sound Design & Editing by: Ian Carlsen Mixing & Mastering by: Chris Burns Opening music: “America” by Bill Callahan Closing music: “This Land is Your Land” by Caitlin Scholl © OPEN EYE | media, productions, projects & FRIEND ENERGIES Productions