Vybez4Life Podcast Ep.100 with 100 Hip Hop, RnB, Afrobeats & Reggae Dancehall tracks from artists like Gunna, Young Thug, Young Dolph, Fivio Foreign, Roddy Rich, Dej Loaf, Summer Walker, Saweetie, Morray, Kid Ink, Kendrick Lemar, Wiz Khalifa, Central Cee, Headie One, Tion Wayne, Abra Cadabra, MoStack, Aitch, Morrison, M24, K-Trap, #RCG Sixty, Dappy, WSTRN, Squash, Elephant Man, Teejay, Jahvillani, DeMarco, Popcaan, Nicky B, Shaniel Muir, Charly Black, Vybz Kartel, I-Octane, Moyann, Tifa, Jahmiel, Gyptian, Skillibeng, Prohgres, Stylo G, Vershon, Devonte, Navino, J Balvin, Raybekahh, Davido, Mr.Eazi, plus much much more!!! Vybez4Life bringing you vibes for life!!!
We all know the saying, "words have power." But have you ever stopped to think about just how powerful your words can be? It's not just about the words you say to others, but the words you say to yourself as well. Your words have the power to manifest your deepest desires. So if you're not careful, you could be manifesting things you don't even want! That's why it's so important to be mindful of the words you use. Show notes: http://SarahProut.com/abracadabra Dear Universe Journal: https://DearUniverse.com Sponsor: Go to BetterHelp.com/PROUT for 10% off your first month of therapy. Learn more about your ad choices. Visit megaphone.fm/adchoices
En este episodio, Pablo Cerda nos deleitara con: MOURNING SUN/BITTERDUSK ‘‘Spirals Unseen’ - Mourning Sun ‘Árbol Cósmico’ - Bitterdusk LUCIFER 1 ‘Abracadabra’ ‘Sabbath’ LUCIFER 2 ‘Faux Pharaoh’ ‘Reaper On Your Heels’ ‘Dreamer’ ‘California Sun’ LUCIFER 3 ‘Ghosts’ ‘Leather Demon’ ‘Coffin Fever’ ‘Midnight Phantom’ LUCIFER 4 ‘Wild Hearses’ ‘Archangel of Death’ ‘Crucifix (I burn for you)’ ‘Bring Me His Head’
Ce jeudi 24 novembre, les soutiens-gorge recyclés, remis à neuf et au goût du jour par Abracadabra Upcycling ont été abordés par Noémie Wira et Margaux Plus, cofondatrice de Abracadabra Upcycling, dans la chronique La pépite, dans l'émission Good Morning Business, présentée par Laure Closier et Christophe Jakubyszyn, sur BFM Business. Retrouvez l'émission du lundi au vendredi et réécoutez la en podcast.
Como prometimos aquí está una nueva entrega dedicada a JOSE MARIA CANO en la que repasaremos sus composiciones, fuera de los trabajos que hizo para el grupo Mecano, que ya vimos en un podcast anterior. José María Cano quería ser cantautor, como sus ídolos Serrat o Aute, pero su idea no gustó en casa, así que marchó a estudiar arquitectura en Valencia, destacando en la rama de dibujo artístico, hasta que a los 19 años volvió a Madrid para ayudar a su padre en su negocio y estudiar empresariales, alternando con su pasión por la música. Finalmente fue contratado por la CBS como integrante del grupo musical Mecano, acompañado de su hermano Nacho y como vocalista Ana Torroja. La discográfica estaba más interesada en las canciones más pop que escribía su hermano que en las letras más serias de José María que tuvo que esforzarse para sacar adelante su estilo. Sin embargo muchos cantantes supieron ver su capacidad como compositor y le pidieron canciones que José María con su camaleónica habilidad supo hacer trajes a la medida de cada intérprete como veremos en la selección que hemos preparado. Tras disolverse el grupo Mecano, José María aún tenía mucho que decir tanto en el mundo de la música como en el de la pintura. Espero que disfrutes con este paseo con las melodías y letras escritas por José María Cano. 00h 00’00” Presentación 00h 01’18” Al alba – José María Cano y amigos 00h 04’54” ¿Qué haces tú en el mundo? – José María Cano y amigos 00h 08’31” 1982-1992 COMPONIENDO PARA OTROS 00h 09’30” No aguanto a tus padres – Iván 00h 12’21” Te quiero amor – Miguel Bosé 00h 15’41” Abracadabra – Alaska 00h 18’40” Hoy te he visto en la terraza de un bar – Daniela Romo 00h 21’06” Te fuiste – Massiel 00h 25’11” Ana y Miguel – Mocedades 00h 29’20” Crucemos – Ana Belén 00h 35’13” Enfrentarnos de nuevo a la vida - Emmanuel 00h 39’15” Fuiste un trozo de hielo en la escarcha – Amaya Uranga 00h 43’11” Luces de bohemia para Elisa – Emmanuel 00h 47’28” Miradas de amor – Massiel 00h 52’04” Solo – Emmanuel 00h 56’23” Ay que caray – Sara Montiel 01h 00’16” Elegia del niño marinero (Alberti) – Rosa León 01h 03’50” Lía – Ana Belén 01h 08’44” Tempo de vals – Chayanne 01h 12’44” Y aunque te haga calor – Julio Iglesias 01h 16’26” 1997 LUNA 01h 17’57” Hijo de la Luna – Montserrat Caballé 01h 23’15” Te quiero morena – Plácido Domingo 01h 27’50” Bajo el cielo de Sevilla – Teresa Berganza 01h 33’06” Fuego de amar – María José Martos, Ainhoa Arteta & Ignacio Giner 01h 40’53” Llévame niño p’al cura – Ainhoa Arteta 01h 45’08” Jaleo 01h 53’52” Arrorró, arrorró – Ainhoa Arteta 01h 58’00” Un gitano sin su honor – Plácido Domingo 02h 02’46” Epílogo – Renée Fleming 02h 05’58” 2000 JOSECANO 02h 07’24” Y ahora tengo un novio 02h 10’45” Quedó en Valencia 02h 13’25” Despedida 02h 14’38” A la luna de Valencia – Mario Frangoulis
Haig's Kabob House presents "Paisan & Friends" hosted by that crazy Italian, Paisan Kapitan. ARMOcadabra! You have heard magicians say, "Abracadabra" when they're performing a trick. Well on Hye Jams Radio, The Magic is in the Music so we say ARMOcadabra! Check out the magical New Jams from: Diana Harutyunyan, Spitakci Hayko, DJ Davo, Drew, Arman Hovhannisyan and Jane. Plus Hits your know and love from: Armenchik, Reincarnation Band, Harout Pamboukjian, Oksy Avdalyan, Suro, Sammy Flash, Super Sako, DJ Jilber, Hrag, Rosa Linn, Rafo Khachatryan, Arshak Stepanyan, Lilit Hovhannisyan and A Chilla--to name a few. It's a high energy, incredible line up for your entertainment pleasure. Ain't nuttin' but a party...right here on Hye Jams Radio!
214 - High school drop out to multi-million dollar serial-entrepreneur (leveraging marketing, messaging and social media for rapid growth) Ft. Candy Kemp READY TO WORK WITH ME? Fill out this form and schedule a call to chat: JOIN NOW Are you ready to go big as a spiritual entrepreneur? Join me in my Aligned Coaches Academy so you can get clear about your vision, create a roadmap for your career and lay a strong foundation for massive abundance in your business. JOIN THE BUSINESS BUILDER HUB NOW WITH 50% OFF YOUR FIRST MONTH: JOIN NOW EPISODE DESCRIPTION: Mum of 4, Gold Coast gal & serial entrepreneur Currently own Supple Skin Co & teaching others how to start their own business through her course Abracadabra, you're a boss. I came across today's guest via a viral tiktok video that shared the insane amount of growth she was able to make $750,000 in the first 6 months of starting her Supple Skin Co business. In this episode, we cover: How Candy created 10 successful businesses without a degree, not finishing high school and and also not coming from money. Made 15k on the first day of starting business without spending a single cent on it The way she does business is not your typical way, completely the opposite. Check out more from Candy and Supple Skin Co at: https://suppleskinco.com (use code: empowerwithem for 20% off) https://candykemp.com.au https://www.tiktok.com/@candycocokemp https://www.instagram.com/candycocokemp/ READY TO WORK WITH ME? Fill out this form and schedule a call to chat: APPLY HERE Has the podcast been helpful for you? Screenshot this episode, add it to your Instagram and tag me @empowerwithem. This helps spread the word of this podcast to other people like you, who are ready to take massive, aligned action into becoming their most empowered self. If you haven't done so already, follow the podcast so you don't miss out on any new episodes. Follow now! JOIN THE BUSINESS BUILDER HUB NOW WITH 50% OFF YOUR FIRST MONTH: JOIN NOW More Empower With Em Resources: Connect with me on Instagram | Empower With Em Podcast Instagram | Join our Podcast Facebook Community | Join our Free Build Your Business Community
Instrumentals: 1) 'RAW' Prod. andll - https://www.youtube.com/watch?v=2HjDX... 2) 'Resurrect' Prod. Homage - https://youtu.be/OVvCpys0BXg 3) 'Influx' Prod. Homage - https://www.youtube.com/watch?v=NQLaV...BEST OF OMEGLE BARS VOL. 3 OUT NOW!! Spotify - https://open.spotify.com/album/5TQefOPaWJL3zt8novT4Ef?si=IqZlTfKHQDOcKW6E3rUtLgApple Music - https://music.apple.com/us/artist/harry-mack/459468822JOIN THE PATREON FAMILY: http://patreon.com/harrymackJOIN MY DISCORD: https://discord.gg/8yXRxbFSHOP MY MERCH: https://shop.harrymackofficial.comHARRY MACK CLIPS CHANNEL: https://www.youtube.com/channel/UCcnA...WANT TO BE A SPONSOR? firstname.lastname@example.org FOLLOW ME ON SOCIALS: TikTok: http://tiktok.com/@harrymackofficialFacebook: https://www.facebook.com/harrymackInstagram: https://www.instagram.com/harrymackTwitch: https://twitch.tv/harrymackofficialTwitter: https://twitter.com/harrymack
Tom and Julie celebrate Producer Brett's 40th birthday with matching tattoos and a surprise appearance from famed Italian pastry chef Sal de Riso (Anthony Atamanuik). Plus a mustache heavy action clip from the Pat Morito/Jay Leno vehicle Collision Course (1987) in honor of Movember. Also royalty free birthday songs, Memento, that documentary they're shooting in Modern Family, Popeye's gay friend Sailor Jerry, Carrie, Ryan Goosling in Jazz, La La Land, Emma Stonestreet, Ellen Degeneres' next act, George Orwell's Animal House, Brett's Golden Axe jacket, ol' Donut Mouth, Hollywood Toy & Costume, the lyrics to Steve Miller Band's Abracadabra, Tootie Dog on IG, and much more! JOIN FOREVER DOG PLUS FOR VIDEO EPISODES, AD-FREE EPISODES, & BONUS CONTENT: http://foreverdog.plus CLIPS FROM THIS EPISODE: *Collision Course https://twitter.com/RussellHFilm/status/1541790135145996289 *Tootie_Dog on IG https://www.instagram.com/tootie_dog *Jerry Lewis in Hardly Working https://www.youtube.com/watch?v=Yd1DAmvhI_Q *Walter Matthau in The Couch Trip https://www.youtube.com/watch?v=-rebHHoZJSM JOIN THE DOUBLE THREAT FAN GROUPS: *Discord https://discord.com/invite/PrcwsbuaJx *Reddit https://www.reddit.com/r/doublethreatfriends *Facebook https://www.facebook.com/groups/doublethreatfriends DOUBLE THREAT MERCH: https://www.teepublic.com/stores/double-threat SEND SUBMISSIONS TO: DoubleThreatPod@gmail.com FOLLOW DOUBLE THREAT: https://twitter.com/doublethreatpod https://www.instagram.com/doublethreatpod DOUBLE THREAT IS A FOREVER DOG PODCAST: https://foreverdogpodcasts.com/podcasts/double-threat Theme song by Mike Krol Artwork by Michael Kupperman Learn more about your ad choices. Visit megaphone.fm/adchoices
Kviečiu Tave prenumeruoti mano Elektroninį Naujienlaiškį ir gauti mano nemokamą E-Knygą “Tinklinio Marketingo Juodasis Diržas” čia http://gediminonaujienlaiskis.lt/ kad nepraleistum naujausių mokymų :)Ar naudojiesi TikTok? Sek mane čia: https://www.tiktok.com/@verslotrenerisTaip pat prisijunk prie mano Telegram kanalo kur dalinsiuos mokymais, naujienomis ir kitais įdomiais dalykėliais https://t.me/tinklinismarketingas
Maria Loretta Giraldo, Nicoletta Bertelle"Volta la pagina"Camelozampahttps://www.camelozampa.com/Dal bebè che nasce in un giardino al volo appesi al collo di un uccellino, dall'aeroplano che sorvola il mare alla tasca di un mago… Un gioco incalzante e sorprendente, una giravolta di scoperte a ogni giro di pagina.Ma Volta la pagina non è solo un gioco: è un invito a riconoscere la meraviglia che la vita ci riserva, con la sua continua capacità di sorprenderci.È questo il giocodel Volta la paginacosa c'è doponessuno lo immagina.Nessuno si immaginaquello che appare.Volta la pagina,e inizia a giocare.Maria Loretta GiraldoHa pubblicato oltre un centinaio di libri per bambini con le maggiori case editrici italiane, tra cui Giunti, Fabbri, De Agostini, San Paolo, Rizzoli, Fatatrac, Bohem Press.È tradotta in tutto il mondo.Vive a Verona. Da tempo lavora in coppia con Nicoletta Bertelle, con la quale ha anche pubblicato per Camelozampa “Mamma Mammut” (2014), uscito anche in Corea, e “Prova a dire Abracadabra!” (2017).Nicoletta BertelleSi è formata con maestri del calibro di Stepan Zavrel ed Emanuele Luzzati.Ha illustrato oltre 110 libri per editori italiani e stranieri, tra cui Bohem Press, Fatatrac, Giunti, Cedam, San Paolo, Arka, Fabbri, Messaggero. Da una delle sue storie la Rai ha tratto un cartone animato.Vive a Padova.Per Camelozampa ha illustrato Mamma mammut, pubblicato anche in Corea e a Hong Kong, e Prova a dire Abracadabra!, tradotto in Cina, Corea, Hong Kong, Regno Unito e USA.IL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.it/
No programa de hoje para vamos finalmente comemorar bem no dia de Halloween ou dia do Saci, vamos falar de Abracadabra 2, mais um clássico da Disney ganhando continuação, com a gente recebemos Fernanda e o Bento Junior. Especialmente hoje o programa é apresentado por Marcos Antonio Facebook: https://www.facebook.com/PopCornMoviesBR https://www.instagram.com/popcornmoviesbr/ https://twitter.com/PopCornMoviesbr Darkflix - https://www.darkflix.com.br Convidados: Fernanda - https://www.instagram.com/nanny_artes/ Bento Junior - https://www.instagram.com/obentojunior/ https://twitter.com/obentojunior https://www.instagram.com/aradioparadiso/ Nossas Redes Sociais: Marcos - https://www.instagram.com/maikinhoevarist/ https://twitter.com/Marcosevarist
Hey Folks! We were treated to a surprise yesterday as Cartoonito dropped a brand new Halloween short just before the end of spooky season and it's filled with Easter Eggs to the larger Looniverse! The bite-sized short is only 3 minutes long and unlike the usual fair from this series, non of the character create any conflict that prevents them getting the job done so this is just for fun! It starts with a Transylvania 6-5000 reference with the backdrop design appearing visually similar to that of Count Bloodcount! Then we get those magic words by Lola, "AbraCadabra" and BAM, a bat with a top hat drops down! This is a direct visual homage to what Count Bloodcount looks like in Bat form. When Tweety flies in dressed as a ghost, he spooks Sylvester and I took this to be a reference to Boo Appetweet! The Looney Tunes Cartoons short released in the first batch of shorts way back in 2020. Then the jobs are dished out and the rest of the costumes are revealed. Porky is dressed as a pumpkin; this is for a gag later on that made me laugh out loud. Wile E. is dressed as the scarecrow, "If I only had a brain." Lola is a magician, making the Halloween magic happen. Bugs Bunny is dressed as Witch Hazel and later in the episode appears with the mask he wore in Broomstick Bunny; the "Ugliest" Witch of all! Petunia is dressed as a Astronaut and that's just silly. AND DAFFY IS BATMAN! During his candy check, he has the line, "Taste Tested and Bat-Duck Approved!" The utterance of BatDuck is a verbal reference to when Plucky Duck dressed as Batman in Tiny Toon Adventures! What a callback! The citizens of Looniburg show up as their costumes are equally as adorable. Pussyfoot is dressed as dracula, Hippity is dressed as a pirate AND EGGHEAD IS DRESSED AS A GREMLIN FROM FALLING HARE!!! SO COOL! Unlike the other entries, the Looney Builders have no problem getting these trick or treaters their tasty candy making it just a sugar filled outing and a ultra cute one at that. Bugs wearing this mask from Broomstick Bunny is just an excellent homage and truly inspired me to make this blog for those that might miss it this holiday season! You can watch this one right now on Youtube at the link here: https://www.youtube.com/watch?v=RuhjE982oLE Be sure to watch the shorts mentioned as well or introduce them to the kids for additional cartoon treats this Halloween! Comment with your favorite homage in this and what's your favorite Looney Tunes Halloween short?!
Olá divos e divas! Depois de uma pausa de duas semaninhas, o Divã da Diva tá de volta em clima de nostalgia! Quem aí também já assistiu ABRACADABRA 2 nesse climinha de Halloween?! O filme clássico ganhou sequência com o comeback das irmãs Sanderson depois de quase 30 anos e, como fãs do filme, Edu e Fih vão comentar TUDO sobre! O Divã da Diva é o podcast oficial do Diva Depressão, com episódios inéditos toda quinta-feira! Quer ficar sabendo em primeira mão os assuntos dos próximos episódios e ainda participar do nosso podcast? Então segue a gente no Instagram do Podcast DivaDepressão.
Abracadabra... is this the podcast you where thinking of? Yes, it's a MAGIC PARTY. We're joined by the magic circle bothering card slinger himself, Sam Fletcher! Who will be his new magician's assistant and who will help Beattie onto the train? Be a legend, get on our Patreon - https://www.patreon.com/birthdaygirlshouseparty Please subscribe, rate and review. XXX Edited by Emma Corsham: https://www.emmacorsham.co.uk Music by Anne Chmelewsky: https://www.annechmelewsky.com Art work by Lucy Moore: https://www.lucymooreedinburgh.com
This episode talks about Melody and how life in the new carnival is going. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/callan-harrington/support
Foram 29 anos de espera, mas os fãs de Abracadabra viram suas orações serem atendidas com uma sequência. Com Bette Midler, Sarah Jessica Parker e Kathy Najimy de volta como o trio de irmãs Sanderson, o filme dirigido agora por Anne Fletcher retorna a Salem em um novo momento da humanidade não só nas relações humanas, mas também na compreensão e significado da mitologia da bruxa. Questões de empoderamento e sororidade permeiam a aventura, que traz as bruxas em busca de maior poder para finalmente obter sua tão desejada vingança. No Cinemático 329, Carlos Merigo conversa com Caio Sandin, Júlia Gavillan e Pedro Strazza sobre a sequência e como ela fica em relação ao original, incluindo na passagem de tempo de quase três décadas, bem para saber qual foi o real orçamento da produção que traz de volta as temidas irmãs Sanderson. Spoilers: 26m48sNotas: 34m9s
Definition of Spell: a word or combination of words of great influence.We talk a lot on this show about how to break past spells that leave us constricted, blocked, and stuck. Today we're talking the exact opposite- how to cast future spells to create your own life full of freedom and magic. ABRACADABRA.Get Enlifted Level 1 Certified - Enrollment NOW OPEN.Secure your spot for class starting in November!Group 30: Starts Monday, November 14 at 3-5pm EST for 9 weeksGroup 31: Starts Tuesday, November 22 at 12-2pm EST for 9 weeksGroup 32: Starts Wednesday, November 30 at 6-8pm EST for 9 weeksQuestions about becoming Enlifted Certified? Book a Discovery CallGet more from Enlifted Coaches:http://enlifted.me / @enliftedcoachesFREE Coaches Workshop replay with Mark EnglandGet more from your hosts:Kimberly: @kimberly.kestingChase: @coach_chase_tolleson // www.chasetolleson.comDave: @daverobinson.coach // www.chopclubformen.com
Sisteeers! Chegou a hora de falarmos sobre esse clássico do Halloween, Abracadabra (Hocus Pocus). E tivemos participação das queridas Fernanda Schmolz e Gabi Xavier para falar sobre a história do filme, suas cenas favoritas, curiosidades e também um pouco sobre o filme 2, lançado recentemente no Disney Plus. Nos siga no instagram em @ExpressoOrlandoPod.
MUSICINTHEAIR @Villahangar #PodcastShow THIS WEEK presents >> @sinai_it [EPISODE 200-85] #TRACKLIST 01. Alex Twin - Circus / Bar 25 02. Dibidabo - I go fair / Bar 25 03. Bohem - The sun is dark / Sirin Music 04. Nehli, Souto - Lost inside (Haft remix) / Bar 25 05. Klaudius - White tiger (Simone Vitello remix) / Deep in you soul 06. Black circle - Double dip / Moon Harbour 07. Kid Bamboo - Carousel (Enoo Napa remix) / My other side of the moon 08. Ahmed Spins ft. Stevo Atambire - Anchor point / Moblack 09. Cato Anaya, ARodes - Sale el sol / Abracadabra music 10. Dum K - Immaculate / Abracadabra music 11. Robin M - Ouana (Gianni Romano & Aura remix) / SwitchLab 12. Khen - Pecas / Lost & Found 13. Tektonauts, Armandd G - La luna / Nervous records Site -> www.villahangar.com FB -> www.facebook.com/villahangar TT -> www.twitter.com/Villahangar
God, I need a miracle, but perhaps I need something more, and that is what God offers me and you. Something of depth and hope. There are times in life when there is a cry from the heart for a miracle. It's that diagnosis, the loss of a job, a relationship breakdown, a financial loss. Search your heart, and you will know the times when you have cried out, ‘God, I need a miracle.' What's a miracle? One definition describes a miracle as ‘an extraordinary event manifesting divine intervention in human affairs—eg the healing miracles described in the Gospels. The word miracle comes from words such as mīror (“to wonder at”), from mīrus (“wonderful”), from Proto-Indo-European *(s)meyh₂- (“to smile, to be astonished”). A miracle should cause you to be astonished, smile and wonder. It should cause you to think about something beyond yourself. Take note that in these definitions, there is no sense of a time frame. We add the time frame, which is usually in the impatient NOW! We, like impatient demanding toddlers, want it all, and we want it now. But we look at the stories of Jesus and see the immediacy of people being healed, bread and fishes being multiplied, people being raised from the dead, etc. We see the outcome, the cessation of struggle, and we want it now, now, now. Yet in God's poetic economy of time, ‘a day is like a thousand years, and a thousand years are like a day.' 2 Peter 3:8 Still, we pray and beg and plead for miracles. We sing, fast, give, and stand on our heads. We are much like those prophets of Baal dancing around the sacrifice, thinking that if they dance more, their God will do the miracle. 1 Kings 18:26-29 Perhaps that version of God has to die or at least be told to leave the building. Something sad within me gets touched when I sense people are waiting for the miracle to happen. They use language that speaks to some sort of magic God. They are waiting for God's magic wand to be swept over their problem so that with an ‘Abracadabra,' the problem disappears. I want a miracle, but actually, I want to know God more than the relief of earthly struggle, and that is where the tension is. Better life or deeper knowing. The miracle may not happen according to my terms of reference. The cancer may not go away, the marriage may continue to crumble, and a hard heart refuses to soften to grace. Read this further here FOLLOW ME! Website: https://turningthepage.co.nz/ Facebook: https://www.facebook.com/turningthepage1atatime Twitter: https://twitter.com/barrypearman Instagram: https://www.instagram.com/barry_pearman/ Podcast https://turningthepage.co.nz/podcast-listen-mental-health/
01. Alex Twin - Circus / Bar 25 02. Dibidabo - I go fair / Bar 25 03. Bohem - The sun is dark / Sirin Music 04. Nehli, Souto - Lost inside (Haft remix) / Bar 25 05. Klaudius - White tiger (Simone Vitello remix) / Deep in you soul 06. Black circle - Double dip / Moon Harbour 07. Kid Bamboo - Carousel (Enoo Napa remix) / My other side of the moon 08. Ahmed Spins ft. Stevo Atambire - Anchor point / Moblack 09. Cato Anaya, ARodes - Sale el sol / Abracadabra music 10. Dum K - Immaculate / Abracadabra music 11. Robin M - Ouana (Gianni Romano & Aura remix) / SwitchLab 12. Khen - Pecas / Lost & Found 13. Tektonauts, Armandd G - La luna / Nervous recordsMusic in the Air is an incredible travel into house, deep house and nu-disco sound selected by Villahangar' s Djs, Download
Timestamps: [1:42] Danielle's offerings. [4:04] Oracle reading. [10:20] Converting to an S-Corp/LLC is a mindset shift. [13:02] The origin of "abracadabra" - I create as I speak. [16:16] Your words and thoughts can have a dramatic effect on your energy. [18:37] Danielle's car accident. [23:30] Acknowledge your thoughts. The Expansion Bundle - For the first time ever, I am offering THREE masterclasses, in ONE bundle. For $333.You will get access to: Overcoming Limiting Beliefs Money Vibe Your Social Branding You're getting over 6 hours of deep, juicy, and transformative content. This Bundle is the tool you need to get out of patterns that might be keeping you stuck, anchor in to higher levels of money and success, and successfully build a brand using social media. It's all in here, and this bundle wont be available for long.Connect with Danielle and learn how to work with her!on IG @danielle_onthedailyPodcast: @onthedailypodPlease subscribe, rate, and review our podcast. As always, thank you for supporting us!On The Daily Podcast
This episode is from an interview I did on the Abracadabra podcast with Jaz Borri. We talk about van life, creating a life of freedom, and the ups and downs of being an entrepreneur. I dive into: — finding your path in your business — letting go in your life and your business — navigating financial hardship in business — what happens when you pair passion with focus — trusting your gut in business & life Join Conscious Creators: www.balancewithsam.com/community Join me for 1:1 Mentorship: https://forms.gle/HV84bst7rmGsWXcE9 Join the Waitlist for Unstoppable University: www.balancewithsam.com/uuwaitlist
Kristin Davis is here to discuss her book, Abracadabra! We talk about the power or our words, building confidence through a wins journal, and so much more. Kristin is an Educator, a children's book author, and is trained in the Enlifted Method and Ancestral Healing. She is also the co-host of the Purposeful Parent Podcast and Pirate Living Podcast. While she was teaching, she learned how much power the words she said and the words she thought had. Once she discovered the magic she could create by using her words differently, she knew she needed to share the magic with others. Kristin founded Language Ninjas to empower parents and children by empowering their language. She now guides parents in upgrading their communication with their kids. https://www.languageninjas.me/ https://www.kristinjoycoaching.com/ Language Ninjas Instagram Amazon -Abracadabra My Wins Journal What is the Weather -Mindfulness Meditation for Kids Body Scan - A Mindfulness Meditation for Kids Follow Raising Vibrant Kids at Instagram - @raisingvibrantkids Facebook - Raising Vibrant Kids Facebook Group Email - Raisingvibrantkids@gmail.com Please subscribe to the show, rate and review, or share your favorite episode with a friend. Thanks for tuning in!!
Tom Service waves his magic wand to explore the connections between music and magic, discovering how an 18th century German poet, 19th century French composer, and 20th century cartoon mouse, cast a spell over audiences everywhere in The Sorcerer's Apprentice. With magician, performer, and academic Naomi Paxton on what happens when a trick goes wrong... Producer: Ruth Thomson
30 day heart opening game to raise your vibration This game was inspired by book - 4 Agreements written by Don Miguel Ruiz. Be Impeccable with your words. Words create. Abracadabra means I create as I speak. Tony Robbins has a 30 day mental challenge. Negative conversations only 2 minute, then you must flip to solutions, problem solving. Any time during the day you bitch, complain, gossip for more than 2 minutes you have to start over. 30 Consecutive Days Brene Brown teaches us people bond over victim mindset. Humans like to out do or one up in who life is the worse? The negative conversations can give people a false sense of belonging. Log into your heart. My facebook post from day 6 Day 6 - Heart Opening Game My vibe is raising. When contrast shows up - I notice with intentional focus I am able to sustain the vibe, Developing my trust and faith - I am fully supported and life is happening for me. Game I log into my heart. I intend to have an open heart today. I focus on what is working. I think about who I love and why. I look for things to appreciate. I mind my own business. I am impeccable with my words. I use my imagination to raise my vibe. I know I am WORTHY of an easy, joy filled day. #selflovematters #heartopeninggame #5thdimension #5D #beimpeccablewithyourword #4agreements #openheart #intentions #iamworthy
In my third and final (for now) episode on Victorian-Era stage magic, I look at the influence of imperialism on this art form, and ways in which Western magicians “Othered” non-Western cultures. ***** References Goto-Jones, Christopher. “Magic, Modernity, and Orientalism: Conjuring Representations of Asia.” Modern Asian Studies, vol. 48, no. 6, 2014, pp. 1451–76. JSTOR, http://www.jstor.org/stable/24494638 Hopkins, Albert A. (ed.) Magic: stage illusions and scientific diversions, including trick photography. https://archive.org/details/magicstageillusi00hopk/page/16/mode/2up Kellar, Harry. “High Caste Indian Magic.” The North American Review, vol. 156, no. 434, 1893, pp. 75–86. JSTOR, http://www.jstor.org/stable/25102513 Said, Edward. “Orientalism: a Brief Definition.” http://www.postcolonialweb.org/poldiscourse/pol11.html Saki (H.H. Munro). “Reginald's Christmas Revel.” The Complete Saki. New York: Penguin Books, 1982. Stibbe, Arran. “ABRACADABRA, ALAKAZAM: Colonialism and the Discourse of Entertainment Magic.” Soundings: An Interdisciplinary Journal, vol. 88, no. 3/4, 2005, pp. 413–25. JSTOR, http://www.jstor.org/stable/41179134 Wikipedia. “John Nevil Maskelyne.” https://en.wikipedia.org/wiki/John_Nevil_Maskelyne ***** Email: email@example.com Twitter: https://twitter.com/victorianvarie1 Buy Me a Coffee: https://www.buymeacoffee.com/marisadf13 Linktree: https://linktr.ee/thevictorianvarietyshow I'd greatly appreciate it if you could take a moment to rate & review this podcast on Apple Podcasts, Goodpods, Spotify, Podchaser, Audible, or wherever you listen, as that will help this podcast reach more listeners! Also, thanks again to Lindsay & the Ye Olde Crime podcast for having me on their awesome show! Listen here to see if I Cracked the Cramp Word! https://goodpods.app.link/AJSIJEYrYsb --- Send in a voice message: https://anchor.fm/marisa-d96/message
This episode the boys hang out with fellow New Yorker and lead singer of the band Jeremy and The Harlequins, Jeremy Fury! They talk all about him watching the same thing happening in music over and over, taking from the past and putting his own spin on it, the production of J&TH's new record "ABRA CaDaBRA," being a New York foodie and so much more! Listen to Jeremy and the Harlequins on all streaming platforms, pick up their PHYSICAL record at a store near you and learn more about their upcoming tour dates and announcements on his website http://www.jeremyandtheharlequins and social medias @jeremyandtheharlequins Get some more helpings of BIMP at http://www.patreon.com/baconismypodcast Find everything else BIMP: Twitter: @BaconisMyPod Instagram: @BaconisMyPod Facebook: www.facebook.com/baconismypod And of course our website: www.baconismypodcast.com Want some visual Bacon is My Podcast? Check out this episode and all others on Strangerhood TV on YouTube. www.strangerhoodtv.com and make sure to check out all the other great content on the channel! Get additional BIMP content at www.patreon.com/baconismypodcast We're proudly sponsored by Manscaped and when you use the promo code BACONPOD at manscaped.com you'll get 20% your entire order! Don't forget to use the promo code BACON at our sponsors DrinkWildBills.com, PodDecks.com and GrillYourAssOff.com for 10% off your order! #podcast #baconismypassion #strangerhoodtv #youtubechannel #youtubepodcast #cravingstrange #somethingheavy #betterthanradio #baconismypodcast #poweredbypoddecks
The Sound Chaser Progressive Rock Podcast is on the air. The show this time takes a look at CD labels that primarily released new progressive rock since the prog rock revival of the mid 1990s. We will hear music from labels that sadly no longer exist and labels that are currently running. The prog rock revival probably never would have happened, or never would have created the diversity and number of music acts that we have today, if it had not been for independent labels taking financial risk to release music that major labels just would not touch. This show is dedicated to them, with the addition of what has become the one “major” label of prog. It's all here on Sound Chaser. PlaylistInside Out Music1. Yes - Sister Sleeping Soul, from The QuestMagna Carta2. Steve Morse - Prognosis, from Major Impacts3. Shadow Gallery - I Believe, from Tyranny4. Magellan - Family Jewels, from Hundred Year FloodCuneiform Records5. Dave Kerman / 5uu's - Hill of Spring, from Abandonship6. Doctor Nerve - Spy Boy, from Did Sprinting Die?7. Djam Karet - The Red Thread, from A Night for BakuUnicorn Digital8. Xinema - Dust in Your Eyes, from Basic Communication9. Sympozion - Bird, from Kundabuffer10. Retroheads - Karma, from IntrospectiveTHE SYMPHONIC ZONECyclops11. Grey Lady Down - Thrill of It All, from The Crime12. Grace - Mullions, from Pulling Strings & Shiny Things13. Product - It Ends, from The Fire14. Product - The Fire, from The FireInside Out Music15. The Gentle Storm - The Moment (Gentle Version), from The Diary16. The Flower Kings - The Crowning of Greed, from Waiting for Miracles17. Steve Hackett - Inside and Out, from Wuthering Nights: Live in BirminghamBad Elephant Music18. Fractal Mirror - Close to Vapour, from Close to Vapour19. Fractal Mirror - Snow, from Close to Vapour20. The Gift - Closer, from Antenna21. The Far Meadow - Foreign Land, from Foreign LandLEAVING THE SYMPHONIC ZONEK-scope22. The Pineapple Thief - Last Man Standing, from All the Wars23. Steven Wilson - The Pin Drop, from The Raven That Refused to Sing and Other Stories24. Ozric Tentacles - Climbing Plants, from Space for the Earth10t Records25. Frogg Café - Cut and Run, from The Safenzee Diaries26. Mars Hollow - Midnight, from Mars Hollow27. From.uz - Familiarization Results, from Quartus ArtifactusMoonJune Records28. Soft Works - Elsewhere, from Abracadabra in Osaka29. Tohpati Ethnomission - Rain Forest, from Save the Planet30. Vasil Hadžimanov Band - Rege Hadži, from Lines in the Sand31. Dewa Budjana - Malacca Bay, from Dawai in Paradise
I am thrilled to have a mentor of mine, Mark England, come onto the show to talk about the Power of Language and to help demonstrate how much our words really do matter.Mark's presentation skills are immaculate: he is a dynamic and informative speaker - this episode will most certainly supercharge your sobriety!Enjoy!(as Mark says - ABRACADABRA ✨)"Mark England is the co-founder and head coach of Enlifted. He has been researching, coaching and presenting on the power of words and stories for the past 15 years. Mark holds a master's degree in education and was an elementary school sports teacher before getting into personal development."✅ www.enlifted.me✅ @enliftedcoaches
Grab your Scooby Snacks and hop into the Mystery Machine with Felipe as we solve some capers all throughout the Scooby-Doo Universe on this exciting new rewatch series, each week with a different guest.In this episode, Felipe invites Lisa to Merlin Whirlen's Magic Academy to discuss Scooby-Doo! Abracadabra-Doo. We discuss magic tricks, novels, and ice cream. Plus, all of our regular segments!This episode is part of the Brazilian Dragon Podcast Network. Follow the Brazilian Dragon on Twitter and Instagram! And feel free to support The Brazilian Dragon Podcast via PayPal. Plus, check out our new website!
Our last song with Troy on The Summer of '82 at 40 is another one that took a while to be a big hit. Steve Miller Band is a well known commodity, though I'm not sure much in the way of music videos. Troy and I talk this weird one that is a total relic […]
This week on The Plant Power Podcast, Ian Beckles is joined by Dignitary’s Tom Ponzo & Frank “Kava OG”, plus Devin Muller from Abracadabra Films. If you have a question for a future episode, leave your question below or send an email to Ian (IanBeckles@RadioInfluence.com). Subscribe to the podcast on Apple Podcasts, Stitcher, iHeartRadio, TuneIn Radio, […] The post Plant Power Podcast: Devin Muller Of Abracadabra Films appeared first on Radio Influence.
Eleven is an otherworldly, two-spirited (non-binary) mystic, shapeshifter, and wayshower here on a mission to initiate souls back home to that which they already are: pure love and perfect cosmic duality. With an ancestral background that spans across the globe (Native American, Hispanic, Chinese, French), they intuitively blend sacred ritual practices from indigenous tribes and ancient rites of passage from the mysterious Magi into the services they offer. For more than a decade, Eleven has been a sought-out dreamseer, clairvoyant, spiritual teacher, and on-camera talent in Los Angeles for top celebrities, world-class entrepreneurs, and some of today's leading thought leaders Eleven is offering a special discount to Thought Room listeners for any House of Magi experiences. Just enter the code THOUGHTROOM on your application or send Eleven (@iamelevenxx) or Nick Onken (@nickonken) a DM. Tell them Hallie that Hallie Rose at the Thought Room sent you to take advantage of this offer. You can find their next experience in Tulum, Mexico here. Thought Roomies- I started a Telegram channel!!! More than 190+ you have already joined this free community where you'll receive my daily musings, poetry, playlists, meditations, insights, live streams, and more! Want to get into my inner circle? Click here → https://t.me/hallie_rose ← If You Enjoy The Thought Room Please Subscribe and Give Us a 5-Star Rating ★★★★★ and Review on Apple Podcasts or give us a shoutout on Instagram with your favorite moment from this episode for a chance to be re-shared. Find me on Instagram @hallie_rosebud and @thoughtroompodcast. If the Thought Room means something to you, I want to know. Your voice means the world, and YOU matter to me. Please consider writing me a line or two, or share your excitement by tapping the link below. ↓Quick link to leave some ♥ LOVE ♥ for The Thought Room: ↓ → https://kite.link/Review ← As a thank you, download my free gift to you: 5 Minutes to Freedom Meditation https://www.hallierose.com/meditation This episode is sponsored by: Alive Water Click here —> alivewaters.com Use the coupon code “THOUGHTROOM” for 33% off! Goddess Code Facial Oil Click here —> goddesscodeskincare.com Use the coupon code “THOUGHTROOM” for 10% off! Botanic Tonics Feel Free Click here —> Botanic Tonics Feel Free Wellness Tonic Use the coupon code “ThoughtRoom-20” for 20% off! 3rd Eye Cacao: Click here —> https://thirdeyecacao.com/thoughtroom Use the coupon code “THOUGHTROOM” for 15% off! Why cacao? As an excellent alternative to coffee, cacao is rich in theobromine, a native relative to caffeine. Theobromine's heart-opening effects energize the body and elevate the mood. Third Eye Cacao is organically grown, hand picked and sun-dried. Just boil water— Third Eye Cacao is easy enough for your morning ritual, and pure enough to be used for cacao ceremonies! (Check out Ep. 40 with Third Eye Founder, Neil Ryan Dumra). Somatic Release Breathwork: Click here —> Somatic Release Breathwork Training with Steven Jaggers Use the coupon code “THOUGHTROOM” for $200 off in-person or online training! Upgraded Formulas Click here —> upgradedformulas.com Use the coupon code “THOUGHTROOM” for 15% off your first purchase! Ra Optics Click here —> RaOptics.com Use the coupon code “THOUGHTROOM” for 15% off your online purchase! Topics Explored: 6:16: “If you build it, they will come” - Eleven's work with Nick Onken to co-create House of Magic 10:03: Eleven's journey of anchoring into their essence and stepping into their name Glamor magic and adornment The power of mirror work and reflecting ourselves back to ourselves Plant medicine as a catalyst for downloading new codes 20:35: Finding empowerment through the shedding of long maiden hair How Eleven's dream-seeing led to their head shave ceremony Learning to embrace their eleventh toe and anchoring into their new identity 33:17: Eleven's Non-Gender Reveal party and journey to non-binary discovery Two Spirit and connecting to the ancients The challenges of walking through this world with conventional beauty and fielding the projections and desires of others 44:28: The role of non-binary in tribal culture and accessing both masculine and feminine energies The technology of the womb How to balance being wayshowers with resourcing and protecting your own energy to keep your cup full 56:04: Blossoming into LGBTQ dating spaces and polyamory Hallie's journey into the AcroYoga community in New York and learning about touch with consent How to shine your light without inviting in unwelcome energy or desire The queerness of nature 1:31:48: Eleven's magical background as the child of traveling magicians Embracing the art of magic and spellcasting Resources: Eleven on IG | @iamelevenxx Move, Connect, Play: The Art and Science of Acroyoga by Jason Nemer Connect with Hallie Rose: Thought Room IG | https://www.instagram.com/thoughtroompodcast/ Hallie Rose IG | https://www.instagram.com/hallie_rosebud/ YouTube |http://bit.ly/ThoughtRoomYouTube Website | www.thoughtroompodcast.com WAYS TO SUPPORT THIS SHOW! → SUBSCRIBE: Apple, Spotify, YouTube → LEAVE A SHORT APPLE PODCASTS REVIEW: https://kite.link/Review Would you please consider leaving a typed review on Apple Podcasts? 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Abracadabra is said to be a magical series of numbers and if you write it out in a certain way, it is said to bring miracles into your life. the literal translation is "I will create as I speak." Enter the giveaway to win a chance at a FREE oracle deck and a reading with me If you want to have a card read for you in an upcoming episode - go to Twitter and IG - find the post that says Retweet & Reshare to be selected next. Start with the link in my social media bio to connect with book reccomendations, book the remainder of the 1 on 1 consults available for the year, and sign up for an online course! The cards have no mercy leaving you to ask yourself the question: When did you forget that you were divine? Starting today, get the daily dedication of a tarot reading and the infinite vortex of the metaphysical, all in the familiar space of your favorite Spotify podcast. Click the link in my bio on any social media platform @metaphysicalaf to be taken to all of the following. Get a 7 Card Reading Today on Facetime - Book Now To Reserve The Last Spot Of The Day! Download FREE Metaphysical worksheets Take the FREE Quiz to find out your Cannabis Oracle Get 1 of 1 intuitive consulting time on my yearly calendar for personal mentoring (only 1 left!) Get Healthy + Vegan CBD Edibles without any added sugar FRUIT SLABS CBD --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Episode 269 is all about not being a victim. Abracadabra. We all know this word as 'magic' but in Aramaic, it means 'with my word I create or with my word I influence'. By Webster's definition of a spell is a word or a combination of words of great influence. Basically, we're talking magic. Mark England, who is a beast of a coach, entrepreneur, TEDx speaker, you name it, the whole 9 yards shares his experiences on how we can tweak our words and stories to change the narrative in our minds thus changing our actions, perspective and self-talk. According to the Bible in the beginning was the word. What we say or speak to others and ourselves affects us mentally and emotionally. The story you tell yourself is how your life goes. The formula is simple, you tweak the words, you tweak your attitude, you tweak your attitude, and your whole life changes. BOOM! So pack your shit up, cause we're going in for a ride. Don't miss this badass episode and learn the importance and power of words. Self Talk = Self Care. Our Men on Purpose community can help you with positive affirmations that will help you with your overall well-being. Follow us on this journey at https://ianlobas.com/podcast/ Quick Timestamps 00:06:33 Mark's Story 00:07:22 Meaning of Abracadabra 00:12:55 Continuing Mark's Story 00:14:37 Falling in love 2x 00:15:25 Victim Mentality 00:17:24 Moved to Thailand 00:19:04 Atellaphobia: The Fear of not being good enough 00:21:28 Its the meaning we give 00:23:56 The victim mentality definition 00:24:25 Shifting self talk 00:24:54 Becoming the loser you were afraid of being 00:25:20 A great poop changed my life 00:31:01 Emotional detox 00:37:59 Power statements we run our life by 00:39:54 Mark's power statement and fear 00:42:25 The importance of words 00:44:04 Your life is the result of the stories you tell yourself 00:45:22 You won't find opinions in science 00:45:48 Definition of a spell 00:47:34 Reticular Activation System 00:51:34 What words to you more and less of 00:56:37 Language games 01:05:57 Your life is a formula 01:12:53 The story you tell is how your life goes Connect with Guest: ❤️Instagram: https://www.instagram.com/enliftedcoaches/ ✉ Website: https://enlifted.me/
This week's episode looks at “All You Need is Love”, the Our World TV special, and the career of the Beatles from April 1966 through August 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Rain" by the Beatles. 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/ NB for the first few hours this was up, there was a slight editing glitch. If you downloaded the old version and don't want to redownload the whole thing, just look in the transcript for "Other than fixing John's two flubbed" for the text of the two missing paragraphs. Errata I say "Come Together" was a B-side, but the single was actually a double A-side. Also, I say the Lennon interview by Maureen Cleave appeared in Detroit magazine. That's what my source (Steve Turner's book) says, but someone on Twitter says that rather than Detroit magazine it was the Detroit Free Press. Also at one point I say "the videos for 'Paperback Writer' and 'Penny Lane'". I meant to say "Rain" rather than "Penny Lane" there. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. Particularly useful this time was Steve Turner's book Beatles '66. I also used Turner's The Beatles: The Stories Behind the Songs 1967-1970. Johnny Rogan's Starmakers and Svengalis had some information on Epstein I hadn't seen anywhere else. Some information about the "Bigger than Jesus" scandal comes from Ward, B. (2012). “The ‘C' is for Christ”: Arthur Unger, Datebook Magazine and the Beatles. Popular Music and Society, 35(4), 541-560. https://doi.org/10.1080/03007766.2011.608978 Information on Robert Stigwood comes from Mr Showbiz by Stephen Dando-Collins. And the quote at the end from Simon Napier-Bell is from You Don't Have to Say You Love Me, which is more entertaining than it is accurate, but is very entertaining. Sadly the only way to get the single mix of "All You Need is Love" is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Magical Mystery Tour. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I start the episode -- this episode deals, in part, with the deaths of three gay men -- one by murder, one by suicide, and one by an accidental overdose, all linked at least in part to societal homophobia. I will try to deal with this as tactfully as I can, but anyone who's upset by those things might want to read the transcript instead of listening to the episode. This is also a very, very, *very* long episode -- this is likely to be the longest episode I *ever* do of this podcast, so settle in. We're going to be here a while. I obviously don't know how long it's going to be while I'm still recording, but based on the word count of my script, probably in the region of three hours. You have been warned. In 1967 the actor Patrick McGoohan was tired. He had been working on the hit series Danger Man for many years -- Danger Man had originally run from 1960 through 1962, then had taken a break, and had come back, retooled, with longer episodes in 1964. That longer series was a big hit, both in the UK and in the US, where it was retitled Secret Agent and had a new theme tune written by PF Sloan and Steve Barri and recorded by Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But McGoohan was tired of playing John Drake, the agent, and announced he was going to quit the series. Instead, with the help of George Markstein, Danger Man's script editor, he created a totally new series, in which McGoohan would star, and which McGoohan would also write and direct key episodes of. This new series, The Prisoner, featured a spy who is only ever given the name Number Six, and who many fans -- though not McGoohan himself -- took to be the same character as John Drake. Number Six resigns from his job as a secret agent, and is kidnapped and taken to a place known only as The Village -- the series was filmed in Portmeirion, an unusual-looking town in Gwynnedd, in North Wales -- which is full of other ex-agents. There he is interrogated to try to find out why he has quit his job. It's never made clear whether the interrogators are his old employers or their enemies, and there's a certain suggestion that maybe there is no real distinction between the two sides, that they're both running the Village together. He spends the entire series trying to escape, but refuses to explain himself -- and there's some debate among viewers as to whether it's implied or not that part of the reason he doesn't explain himself is that he knows his interrogators wouldn't understand why he quit: [Excerpt: The Prisoner intro, from episode Once Upon a Time, ] Certainly that explanation would fit in with McGoohan's own personality. According to McGoohan, the final episode of The Prisoner was, at the time, the most watched TV show ever broadcast in the UK, as people tuned in to find out the identity of Number One, the person behind the Village, and to see if Number Six would break free. I don't think that's actually the case, but it's what McGoohan always claimed, and it was certainly a very popular series. I won't spoil the ending for those of you who haven't watched it -- it's a remarkable series -- but ultimately the series seems to decide that such questions don't matter and that even asking them is missing the point. It's a work that's open to multiple interpretations, and is left deliberately ambiguous, but one of the messages many people have taken away from it is that not only are we trapped by a society that oppresses us, we're also trapped by our own identities. You can run from the trap that society has placed you in, from other people's interpretations of your life, your work, and your motives, but you ultimately can't run from yourself, and any time you try to break out of a prison, you'll find yourself trapped in another prison of your own making. The most horrifying implication of the episode is that possibly even death itself won't be a release, and you will spend all eternity trying to escape from an identity you're trapped in. Viewers became so outraged, according to McGoohan, that he had to go into hiding for an extended period, and while his later claims that he never worked in Britain again are an exaggeration, it is true that for the remainder of his life he concentrated on doing work in the US instead, where he hadn't created such anger. That final episode of The Prisoner was also the only one to use a piece of contemporary pop music, in two crucial scenes: [Excerpt: The Prisoner, "Fall Out", "All You Need is Love"] Back in October 2020, we started what I thought would be a year-long look at the period from late 1962 through early 1967, but which has turned out for reasons beyond my control to take more like twenty months, with a song which was one of the last of the big pre-Beatles pop hits, though we looked at it after their first single, "Telstar" by the Tornadoes: [Excerpt: The Tornadoes, "Telstar"] There were many reasons for choosing that as one of the bookends for this fifty-episode chunk of the podcast -- you'll see many connections between that episode and this one if you listen to them back-to-back -- but among them was that it's a song inspired by the launch of the first ever communications satellite, and a sign of how the world was going to become smaller as the sixties went on. Of course, to start with communications satellites didn't do much in that regard -- they were expensive to use, and had limited bandwidth, and were only available during limited time windows, but symbolically they meant that for the first time ever, people could see and hear events thousands of miles away as they were happening. It's not a coincidence that Britain and France signed the agreement to develop Concorde, the first supersonic airliner, a month after the first Beatles single and four months after the Telstar satellite was launched. The world was becoming ever more interconnected -- people were travelling faster and further, getting news from other countries quicker, and there was more cultural conversation – and misunderstanding – between countries thousands of miles apart. The Canadian media theorist Marshall McLuhan, the man who also coined the phrase “the medium is the message”, thought that this ever-faster connection would fundamentally change basic modes of thought in the Western world. McLuhan thought that technology made possible whole new modes of thought, and that just as the printing press had, in his view, caused Western liberalism and individualism, so these new electronic media would cause the rise of a new collective mode of thought. In 1962, the year of Concorde, Telstar, and “Love Me Do”, McLuhan wrote a book called The Gutenberg Galaxy, in which he said: “Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and superimposed co-existence.… Terror is the normal state of any oral society, for in it everything affects everything all the time.…” He coined the term “the Global Village” to describe this new collectivism. The story we've seen over the last fifty episodes is one of a sort of cultural ping-pong between the USA and the UK, with innovations in American music inspiring British musicians, who in turn inspired American ones, whether that being the Beatles covering the Isley Brothers or the Rolling Stones doing a Bobby Womack song, or Paul Simon and Bob Dylan coming over to the UK and learning folk songs and guitar techniques from Martin Carthy. And increasingly we're going to see those influences spread to other countries, and influences coming *from* other countries. We've already seen one Jamaican artist, and the influence of Indian music has become very apparent. While the focus of this series is going to remain principally in the British Isles and North America, rock music was and is a worldwide phenomenon, and that's going to become increasingly a part of the story. And so in this episode we're going to look at a live performance -- well, mostly live -- that was seen by hundreds of millions of people all over the world as it happened, thanks to the magic of satellites: [Excerpt: The Beatles, "All You Need is Love"] When we left the Beatles, they had just finished recording "Tomorrow Never Knows", the most experimental track they had recorded up to that date, and if not the most experimental thing they *ever* recorded certainly in the top handful. But "Tomorrow Never Knows" was only the first track they recorded in the sessions for what would become arguably their greatest album, and certainly the one that currently has the most respect from critics. It's interesting to note that that album could have been very, very, different. When we think of Revolver now, we think of the innovative production of George Martin, and of Geoff Emerick and Ken Townshend's inventive ideas for pushing the sound of the equipment in Abbey Road studios, but until very late in the day the album was going to be recorded in the Stax studios in Memphis, with Steve Cropper producing -- whether George Martin would have been involved or not is something we don't even know. In 1965, the Rolling Stones had, as we've seen, started making records in the US, recording in LA and at the Chess studios in Chicago, and the Yardbirds had also been doing the same thing. Mick Jagger had become a convert to the idea of using American studios and working with American musicians, and he had constantly been telling Paul McCartney that the Beatles should do the same. Indeed, they'd put some feelers out in 1965 about the possibility of the group making an album with Holland, Dozier, and Holland in Detroit. Quite how this would have worked is hard to figure out -- Holland, Dozier, and Holland's skills were as songwriters, and in their work with a particular set of musicians -- so it's unsurprising that came to nothing. But recording at Stax was a different matter. While Steve Cropper was a great songwriter in his own right, he was also adept at getting great sounds on covers of other people's material -- like on Otis Blue, the album he produced for Otis Redding in late 1965, which doesn't include a single Cropper original: [Excerpt: Otis Redding, "Satisfaction"] And the Beatles were very influenced by the records Stax were putting out, often namechecking Wilson Pickett in particular, and during the Rubber Soul sessions they had recorded a "Green Onions" soundalike track, imaginatively titled "12-Bar Original": [Excerpt: The Beatles, "12-Bar Original"] The idea of the group recording at Stax got far enough that they were actually booked in for two weeks starting the ninth of April, and there was even an offer from Elvis to let them stay at Graceland while they recorded, but then a couple of weeks earlier, the news leaked to the press, and Brian Epstein cancelled the booking. According to Cropper, Epstein talked about recording at the Atlantic studios in New York with him instead, but nothing went any further. It's hard to imagine what a Stax-based Beatles album would have been like, but even though it might have been a great album, it certainly wouldn't have been the Revolver we've come to know. Revolver is an unusual album in many ways, and one of the ways it's most distinct from the earlier Beatles albums is the dominance of keyboards. Both Lennon and McCartney had often written at the piano as well as the guitar -- McCartney more so than Lennon, but both had done so regularly -- but up to this point it had been normal for them to arrange the songs for guitars rather than keyboards, no matter how they'd started out. There had been the odd track where one of them, usually Lennon, would play a simple keyboard part, songs like "I'm Down" or "We Can Work it Out", but even those had been guitar records first and foremost. But on Revolver, that changed dramatically. There seems to have been a complex web of cause and effect here. Paul was becoming increasingly interested in moving his basslines away from simple walking basslines and root notes and the other staples of rock and roll basslines up to this point. As the sixties progressed, rock basslines were becoming ever more complex, and Tyler Mahan Coe has made a good case that this is largely down to innovations in production pioneered by Owen Bradley, and McCartney was certainly aware of Bradley's work -- he was a fan of Brenda Lee, who Bradley produced, for example. But the two influences that McCartney has mentioned most often in this regard are the busy, jazz-influenced, basslines that James Jamerson was playing at Motown: [Excerpt: The Four Tops, "It's the Same Old Song"] And the basslines that Brian Wilson was writing for various Wrecking Crew bassists to play for the Beach Boys: [Excerpt: The Beach Boys, "Don't Talk (Put Your Head on My Shoulder)"] Just to be clear, McCartney didn't hear that particular track until partway through the recording of Revolver, when Bruce Johnston visited the UK and brought with him an advance copy of Pet Sounds, but Pet Sounds influenced the later part of Revolver's recording, and Wilson had already started his experiments in that direction with the group's 1965 work. It's much easier to write a song with this kind of bassline, one that's integral to the composition, on the piano than it is to write it on a guitar, as you can work out the bassline with your left hand while working out the chords and melody with your right, so the habit that McCartney had already developed of writing on the piano made this easier. But also, starting with the recording of "Paperback Writer", McCartney switched his style of working in the studio. Where up to this point it had been normal for him to play bass as part of the recording of the basic track, playing with the other Beatles, he now started to take advantage of multitracking to overdub his bass later, so he could spend extra time getting the bassline exactly right. McCartney lived closer to Abbey Road than the other three Beatles, and so could more easily get there early or stay late and tweak his parts. But if McCartney wasn't playing bass while the guitars and drums were being recorded, that meant he could play something else, and so increasingly he would play piano during the recording of the basic track. And that in turn would mean that there wouldn't always *be* a need for guitars on the track, because the harmonic support they would provide would be provided by the piano instead. This, as much as anything else, is the reason that Revolver sounds so radically different to any other Beatles album. Up to this point, with *very* rare exceptions like "Yesterday", every Beatles record, more or less, featured all four of the Beatles playing instruments. Now John and George weren't playing on "Good Day Sunshine" or "For No One", John wasn't playing on "Here, There, and Everywhere", "Eleanor Rigby" features no guitars or drums at all, and George's "Love You To" only features himself, plus a little tambourine from Ringo (Paul recorded a part for that one, but it doesn't seem to appear on the finished track). Of the three songwriting Beatles, the only one who at this point was consistently requiring the instrumental contributions of all the other band members was John, and even he did without Paul on "She Said, She Said", which by all accounts features either John or George on bass, after Paul had a rare bout of unprofessionalism and left the studio. Revolver is still an album made by a group -- and most of those tracks that don't feature John or George instrumentally still feature them vocally -- it's still a collaborative work in all the best ways. But it's no longer an album made by four people playing together in the same room at the same time. After starting work on "Tomorrow Never Knows", the next track they started work on was Paul's "Got to Get You Into My Life", but as it would turn out they would work on that song throughout most of the sessions for the album -- in a sign of how the group would increasingly work from this point on, Paul's song was subject to multiple re-recordings and tweakings in the studio, as he tinkered to try to make it perfect. The first recording to be completed for the album, though, was almost as much of a departure in its own way as "Tomorrow Never Knows" had been. George's song "Love You To" shows just how inspired he was by the music of Ravi Shankar, and how devoted he was to Indian music. While a few months earlier he had just about managed to pick out a simple melody on the sitar for "Norwegian Wood", by this point he was comfortable enough with Indian classical music that I've seen many, many sources claim that an outside session player is playing sitar on the track, though Anil Bhagwat, the tabla player on the track, always insisted that it was entirely Harrison's playing: [Excerpt: The Beatles, "Love You To"] There is a *lot* of debate as to whether it's George playing on the track, and I feel a little uncomfortable making a definitive statement in either direction. On the one hand I find it hard to believe that Harrison got that good that quickly on an unfamiliar instrument, when we know he wasn't a naturally facile musician. All the stories we have about his work in the studio suggest that he had to work very hard on his guitar solos, and that he would frequently fluff them. As a technical guitarist, Harrison was only mediocre -- his value lay in his inventiveness, not in technical ability -- and he had been playing guitar for over a decade, but sitar only a few months. There's also some session documentation suggesting that an unknown sitar player was hired. On the other hand there's the testimony of Anil Bhagwat that Harrison played the part himself, and he has been very firm on the subject, saying "If you go on the Internet there are a lot of questions asked about "Love You To". They say 'It's not George playing the sitar'. I can tell you here and now -- 100 percent it was George on sitar throughout. There were no other musicians involved. It was just me and him." And several people who are more knowledgeable than myself about the instrument have suggested that the sitar part on the track is played the way that a rock guitarist would play rather than the way someone with more knowledge of Indian classical music would play -- there's a blues feeling to some of the bends that apparently no genuine Indian classical musician would naturally do. I would suggest that the best explanation is that there's a professional sitar player trying to replicate a part that Harrison had previously demonstrated, while Harrison was in turn trying his best to replicate the sound of Ravi Shankar's work. Certainly the instrumental section sounds far more fluent, and far more stylistically correct, than one would expect: [Excerpt: The Beatles, "Love You To"] Where previous attempts at what got called "raga-rock" had taken a couple of surface features of Indian music -- some form of a drone, perhaps a modal scale -- and had generally used a guitar made to sound a little bit like a sitar, or had a sitar playing normal rock riffs, Harrison's song seems to be a genuine attempt to hybridise Indian ragas and rock music, combining the instrumentation, modes, and rhythmic complexity of someone like Ravi Shankar with lyrics that are seemingly inspired by Bob Dylan and a fairly conventional pop song structure (and a tiny bit of fuzz guitar). It's a record that could only be made by someone who properly understood both the Indian music he's emulating and the conventions of the Western pop song, and understood how those conventions could work together. Indeed, one thing I've rarely seen pointed out is how cleverly the album is sequenced, so that "Love You To" is followed by possibly the most conventional song on Revolver, "Here, There, and Everywhere", which was recorded towards the end of the sessions. Both songs share a distinctive feature not shared by the rest of the album, so the two songs can sound more of a pair than they otherwise would, retrospectively making "Love You To" seem more conventional than it is and "Here, There, and Everywhere" more unconventional -- both have as an introduction a separate piece of music that states some of the melodic themes of the rest of the song but isn't repeated later. In the case of "Love You To" it's the free-tempo bit at the beginning, characteristic of a lot of Indian music: [Excerpt: The Beatles, "Love You To"] While in the case of "Here, There, and Everywhere" it's the part that mimics an older style of songwriting, a separate intro of the type that would have been called a verse when written by the Gershwins or Cole Porter, but of course in the intervening decades "verse" had come to mean something else, so we now no longer have a specific term for this kind of intro -- but as you can hear, it's doing very much the same thing as that "Love You To" intro: [Excerpt: The Beatles, "Here, There, and Everywhere"] In the same day as the group completed "Love You To", overdubbing George's vocal and Ringo's tambourine, they also started work on a song that would show off a lot of the new techniques they had been working on in very different ways. Paul's "Paperback Writer" could indeed be seen as part of a loose trilogy with "Love You To" and "Tomorrow Never Knows", one song by each of the group's three songwriters exploring the idea of a song that's almost all on one chord. Both "Tomorrow Never Knows" and "Love You To" are based on a drone with occasional hints towards moving to one other chord. In the case of "Paperback Writer", the entire song stays on a single chord until the title -- it's on a G7 throughout until the first use of the word "writer", when it quickly goes to a C for two bars. I'm afraid I'm going to have to sing to show you how little the chords actually change, because the riff disguises this lack of movement somewhat, but the melody is also far more horizontal than most of McCartney's, so this shouldn't sound too painful, I hope: [demonstrates] This is essentially the exact same thing that both "Love You To" and "Tomorrow Never Knows" do, and all three have very similarly structured rising and falling modal melodies. There's also a bit of "Paperback Writer" that seems to tie directly into "Love You To", but also points to a possible very non-Indian inspiration for part of "Love You To". The Beach Boys' single "Sloop John B" was released in the UK a couple of days after the sessions for "Paperback Writer" and "Love You To", but it had been released in the US a month before, and the Beatles all got copies of every record in the American top thirty shipped to them. McCartney and Harrison have specifically pointed to it as an influence on "Paperback Writer". "Sloop John B" has a section where all the instruments drop out and we're left with just the group's vocal harmonies: [Excerpt: The Beach Boys, "Sloop John B"] And that seems to have been the inspiration behind the similar moment at a similar point in "Paperback Writer", which is used in place of a middle eight and also used for the song's intro: [Excerpt: The Beatles, "Paperback Writer"] Which is very close to what Harrison does at the end of each verse of "Love You To", where the instruments drop out for him to sing a long melismatic syllable before coming back in: [Excerpt: The Beatles, "Love You To"] Essentially, other than "Got to Get You Into My Life", which is an outlier and should not be counted, the first three songs attempted during the Revolver sessions are variations on a common theme, and it's a sign that no matter how different the results might sound, the Beatles really were very much a group at this point, and were sharing ideas among themselves and developing those ideas in similar ways. "Paperback Writer" disguises what it's doing somewhat by having such a strong riff. Lennon referred to "Paperback Writer" as "son of 'Day Tripper'", and in terms of the Beatles' singles it's actually their third iteration of this riff idea, which they originally got from Bobby Parker's "Watch Your Step": [Excerpt: Bobby Parker, "Watch Your Step"] Which became the inspiration for "I Feel Fine": [Excerpt: The Beatles, "I Feel Fine"] Which they varied for "Day Tripper": [Excerpt: The Beatles, "Day Tripper"] And which then in turn got varied for "Paperback Writer": [Excerpt: The Beatles, "Paperback Writer"] As well as compositional ideas, there are sonic ideas shared between "Paperback Writer", "Tomorrow Never Knows", and "Love You To", and which would be shared by the rest of the tracks the Beatles recorded in the first half of 1966. Since Geoff Emerick had become the group's principal engineer, they'd started paying more attention to how to get a fuller sound, and so Emerick had miced the tabla on "Love You To" much more closely than anyone would normally mic an instrument from classical music, creating a deep, thudding sound, and similarly he had changed the way they recorded the drums on "Tomorrow Never Knows", again giving a much fuller sound. But the group also wanted the kind of big bass sounds they'd loved on records coming out of America -- sounds that no British studio was getting, largely because it was believed that if you cut too loud a bass sound into a record it would make the needle jump out of the groove. The new engineering team of Geoff Emerick and Ken Scott, though, thought that it was likely you could keep the needle in the groove if you had a smoother frequency response. You could do that if you used a microphone with a larger diaphragm to record the bass, but how could you do that? Inspiration finally struck -- loudspeakers are actually the same thing as microphones wired the other way round, so if you wired up a loudspeaker as if it were a microphone you could get a *really big* speaker, place it in front of the bass amp, and get a much stronger bass sound. The experiment wasn't a total success -- the sound they got had to be processed quite extensively to get rid of room noise, and then compressed in order to further prevent the needle-jumping issue, and so it's a muddier, less defined, tone than they would have liked, but one thing that can't be denied is that "Paperback Writer"'s bass sound is much, much, louder than on any previous Beatles record: [Excerpt: The Beatles, "Paperback Writer"] Almost every track the group recorded during the Revolver sessions involved all sorts of studio innovations, though rarely anything as truly revolutionary as the artificial double-tracking they'd used on "Tomorrow Never Knows", and which also appeared on "Paperback Writer" -- indeed, as "Paperback Writer" was released several months before Revolver, it became the first record released to use the technique. I could easily devote a good ten minutes to every track on Revolver, and to "Paperback Writer"s B-side, "Rain", but this is already shaping up to be an extraordinarily long episode and there's a lot of material to get through, so I'll break my usual pattern of devoting a Patreon bonus episode to something relatively obscure, and this week's bonus will be on "Rain" itself. "Paperback Writer", though, deserved the attention here even though it was not one of the group's more successful singles -- it did go to number one, but it didn't hit number one in the UK charts straight away, being kept off the top by "Strangers in the Night" by Frank Sinatra for the first week: [Excerpt: Frank Sinatra, "Strangers in the Night"] Coincidentally, "Strangers in the Night" was co-written by Bert Kaempfert, the German musician who had produced the group's very first recording sessions with Tony Sheridan back in 1961. On the group's German tour in 1966 they met up with Kaempfert again, and John greeted him by singing the first couple of lines of the Sinatra record. The single was the lowest-selling Beatles single in the UK since "Love Me Do". In the US it only made number one for two non-consecutive weeks, with "Strangers in the Night" knocking it off for a week in between. Now, by literally any other band's standards, that's still a massive hit, and it was the Beatles' tenth UK number one in a row (or ninth, depending on which chart you use for "Please Please Me"), but it's a sign that the group were moving out of the first phase of total unequivocal dominance of the charts. It was a turning point in a lot of other ways as well. Up to this point, while the group had been experimenting with different lyrical subjects on album tracks, every single had lyrics about romantic relationships -- with the possible exception of "Help!", which was about Lennon's emotional state but written in such a way that it could be heard as a plea to a lover. But in the case of "Paperback Writer", McCartney was inspired by his Aunt Mill asking him "Why do you write songs about love all the time? Can you ever write about a horse or the summit conference or something interesting?" His response was to think "All right, Aunt Mill, I'll show you", and to come up with a lyric that was very much in the style of the social satires that bands like the Kinks were releasing at the time. People often miss the humour in the lyric for "Paperback Writer", but there's a huge amount of comedy in lyrics about someone writing to a publisher saying they'd written a book based on someone else's book, and one can only imagine the feeling of weary recognition in slush-pile readers throughout the world as they heard the enthusiastic "It's a thousand pages, give or take a few, I'll be writing more in a week or two. I can make it longer..." From this point on, the group wouldn't release a single that was unambiguously about a romantic relationship until "The Ballad of John and Yoko", the last single released while the band were still together. "Paperback Writer" also saw the Beatles for the first time making a promotional film -- what we would now call a rock video -- rather than make personal appearances on TV shows. The film was directed by Michael Lindsay-Hogg, who the group would work with again in 1969, and shows Paul with a chipped front tooth -- he'd been in an accident while riding mopeds with his friend Tara Browne a few months earlier, and hadn't yet got round to having the tooth capped. When he did, the change in his teeth was one of the many bits of evidence used by conspiracy theorists to prove that the real Paul McCartney was dead and replaced by a lookalike. It also marks a change in who the most prominent Beatle on the group's A-sides was. Up to this point, Paul had had one solo lead on an A-side -- "Can't Buy Me Love" -- and everything else had been either a song with multiple vocalists like "Day Tripper" or "Love Me Do", or a song with a clear John lead like "Ticket to Ride" or "I Feel Fine". In the rest of their career, counting "Paperback Writer", the group would release nine new singles that hadn't already been included on an album. Of those nine singles, one was a double A-side with one John song and one Paul song, two had John songs on the A-side, and the other six were Paul. Where up to this point John had been "lead Beatle", for the rest of the sixties, Paul would be the group's driving force. Oddly, Paul got rather defensive about the record when asked about it in interviews after it failed to go straight to the top, saying "It's not our best single by any means, but we're very satisfied with it". But especially in its original mono mix it actually packs a powerful punch: [Excerpt: The Beatles, "Paperback Writer"] When the "Paperback Writer" single was released, an unusual image was used in the advertising -- a photo of the Beatles dressed in butchers' smocks, covered in blood, with chunks of meat and the dismembered body parts of baby dolls lying around on them. The image was meant as part of a triptych parodying religious art -- the photo on the left was to be an image showing the four Beatles connected to a woman by an umbilical cord made of sausages, the middle panel was meant to be this image, but with halos added over the Beatles' heads, and the panel on the right was George hammering a nail into John's head, symbolising both crucifixion and that the group were real, physical, people, not just images to be worshipped -- these weren't imaginary nails, and they weren't imaginary people. The photographer Robert Whittaker later said: “I did a photograph of the Beatles covered in raw meat, dolls and false teeth. Putting meat, dolls and false teeth with The Beatles is essentially part of the same thing, the breakdown of what is regarded as normal. The actual conception for what I still call “Somnambulant Adventure” was Moses coming down from Mount Sinai with the Ten Commandments. He comes across people worshipping a golden calf. All over the world I'd watched people worshiping like idols, like gods, four Beatles. To me they were just stock standard normal people. But this emotion that fans poured on them made me wonder where Christianity was heading.” The image wasn't that controversial in the UK, when it was used to advertise "Paperback Writer", but in the US it was initially used for the cover of an album, Yesterday... And Today, which was made up of a few tracks that had been left off the US versions of the Rubber Soul and Help! albums, plus both sides of the "We Can Work It Out"/"Day Tripper" single, and three rough mixes of songs that had been recorded for Revolver -- "Doctor Robert", "And Your Bird Can Sing", and "I'm Only Sleeping", which was the song that sounded most different from the mixes that were finally released: [Excerpt: The Beatles, "I'm Only Sleeping (Yesterday... and Today mix)"] Those three songs were all Lennon songs, which had the unfortunate effect that when the US version of Revolver was brought out later in the year, only two of the songs on the album were by Lennon, with six by McCartney and three by Harrison. Some have suggested that this was the motivation for the use of the butcher image on the cover of Yesterday... And Today -- saying it was the Beatles' protest against Capitol "butchering" their albums -- but in truth it was just that Capitol's art director chose the cover because he liked the image. Alan Livingston, the president of Capitol was not so sure, and called Brian Epstein to ask if the group would be OK with them using a different image. Epstein checked with John Lennon, but Lennon liked the image and so Epstein told Livingston the group insisted on them using that cover. Even though for the album cover the bloodstains on the butchers' smocks were airbrushed out, after Capitol had pressed up a million copies of the mono version of the album and two hundred thousand copies of the stereo version, and they'd sent out sixty thousand promo copies, they discovered that no record shops would stock the album with that cover. It cost Capitol more than two hundred thousand dollars to recall the album and replace the cover with a new one -- though while many of the covers were destroyed, others had the new cover, with a more acceptable photo of the group, pasted over them, and people have later carefully steamed off the sticker to reveal the original. This would not be the last time in 1966 that something that was intended as a statement on religion and the way people viewed the Beatles would cause the group trouble in America. In the middle of the recording sessions for Revolver, the group also made what turned out to be their last ever UK live performance in front of a paying audience. The group had played the NME Poll-Winners' Party every year since 1963, and they were always shows that featured all the biggest acts in the country at the time -- the 1966 show featured, as well as the Beatles and a bunch of smaller acts, the Rolling Stones, the Who, the Yardbirds, Roy Orbison, Cliff Richard and the Shadows, the Seekers, the Small Faces, the Walker Brothers, and Dusty Springfield. Unfortunately, while these events were always filmed for TV broadcast, the Beatles' performance on the first of May wasn't filmed. There are various stories about what happened, but the crux appears to be a disagreement between Andrew Oldham and Brian Epstein, sparked by John Lennon. When the Beatles got to the show, they were upset to discover that they had to wait around before going on stage -- normally, the awards would all be presented at the end, after all the performances, but the Rolling Stones had asked that the Beatles not follow them directly, so after the Stones finished their set, there would be a break for the awards to be given out, and then the Beatles would play their set, in front of an audience that had been bored by twenty-five minutes of awards ceremony, rather than one that had been excited by all the bands that came before them. John Lennon was annoyed, and insisted that the Beatles were going to go on straight after the Rolling Stones -- he seems to have taken this as some sort of power play by the Stones and to have got his hackles up about it. He told Epstein to deal with the people from the NME. But the NME people said that they had a contract with Andrew Oldham, and they weren't going to break it. Oldham refused to change the terms of the contract. Lennon said that he wasn't going to go on stage if they didn't directly follow the Stones. Maurice Kinn, the publisher of the NME, told Epstein that he wasn't going to break the contract with Oldham, and that if the Beatles didn't appear on stage, he would get Jimmy Savile, who was compering the show, to go out on stage and tell the ten thousand fans in the audience that the Beatles were backstage refusing to appear. He would then sue NEMS for breach of contract *and* NEMS would be liable for any damage caused by the rioting that was sure to happen. Lennon screamed a lot of abuse at Kinn, and told him the group would never play one of their events again, but the group did go on stage -- but because they hadn't yet signed the agreement to allow their performance to be filmed, they refused to allow it to be recorded. Apparently Andrew Oldham took all this as a sign that Epstein was starting to lose control of the group. Also during May 1966 there were visits from musicians from other countries, continuing the cultural exchange that was increasingly influencing the Beatles' art. Bruce Johnston of the Beach Boys came over to promote the group's new LP, Pet Sounds, which had been largely the work of Brian Wilson, who had retired from touring to concentrate on working in the studio. Johnston played the record for John and Paul, who listened to it twice, all the way through, in silence, in Johnston's hotel room: [Excerpt: The Beach Boys, "God Only Knows"] According to Johnston, after they'd listened through the album twice, they went over to a piano and started whispering to each other, picking out chords. Certainly the influence of Pet Sounds is very noticeable on songs like "Here, There, and Everywhere", written and recorded a few weeks after this meeting: [Excerpt: The Beatles, "Here, There, and Everywhere"] That track, and the last track recorded for the album, "She Said She Said" were unusual in one very important respect -- they were recorded while the Beatles were no longer under contract to EMI Records. Their contract expired on the fifth of June, 1966, and they finished Revolver without it having been renewed -- it would be several months before their new contract was signed, and it's rather lucky for music lovers that Brian Epstein was the kind of manager who considered personal relationships and basic honour and decency more important than the legal niceties, unlike any other managers of the era, otherwise we would not have Revolver in the form we know it today. After the meeting with Johnston, but before the recording of those last couple of Revolver tracks, the Beatles also met up again with Bob Dylan, who was on a UK tour with a new, loud, band he was working with called The Hawks. While the Beatles and Dylan all admired each other, there was by this point a lot of wariness on both sides, especially between Lennon and Dylan, both of them very similar personality types and neither wanting to let their guard down around the other or appear unhip. There's a famous half-hour-long film sequence of Lennon and Dylan sharing a taxi, which is a fascinating, excruciating, example of two insecure but arrogant men both trying desperately to impress the other but also equally desperate not to let the other know that they want to impress them: [Excerpt: Dylan and Lennon taxi ride] The day that was filmed, Lennon and Harrison also went to see Dylan play at the Royal Albert Hall. This tour had been controversial, because Dylan's band were loud and raucous, and Dylan's fans in the UK still thought of him as a folk musician. At one gig, earlier on the tour, an audience member had famously yelled out "Judas!" -- (just on the tiny chance that any of my listeners don't know that, Judas was the disciple who betrayed Jesus to the authorities, leading to his crucifixion) -- and that show was for many years bootlegged as the "Royal Albert Hall" show, though in fact it was recorded at the Free Trade Hall in Manchester. One of the *actual* Royal Albert Hall shows was released a few years ago -- the one the night before Lennon and Harrison saw Dylan: [Excerpt: Bob Dylan, "Like a Rolling Stone", Royal Albert Hall 1966] The show Lennon and Harrison saw would be Dylan's last for many years. Shortly after returning to the US, Dylan was in a motorbike accident, the details of which are still mysterious, and which some fans claim was faked altogether. The accident caused him to cancel all the concert dates he had booked, and devote himself to working in the studio for several years just like Brian Wilson. And from even further afield than America, Ravi Shankar came over to Britain, to work with his friend the violinist Yehudi Menuhin, on a duet album, West Meets East, that was an example in the classical world of the same kind of international cross-fertilisation that was happening in the pop world: [Excerpt: Yehudi Menuhin and Ravi Shankar, "Prabhati (based on Raga Gunkali)"] While he was in the UK, Shankar also performed at the Royal Festival Hall, and George Harrison went to the show. He'd seen Shankar live the year before, but this time he met up with him afterwards, and later said "He was the first person that impressed me in a way that was beyond just being a famous celebrity. Ravi was my link to the Vedic world. Ravi plugged me into the whole of reality. Elvis impressed me when I was a kid, and impressed me when I met him, but you couldn't later on go round to him and say 'Elvis, what's happening with the universe?'" After completing recording and mixing the as-yet-unnamed album, which had been by far the longest recording process of their career, and which still nearly sixty years later regularly tops polls of the best album of all time, the Beatles took a well-earned break. For a whole two days, at which point they flew off to Germany to do a three-day tour, on their way to Japan, where they were booked to play five shows at the Budokan. Unfortunately for the group, while they had no idea of this when they were booked to do the shows, many in Japan saw the Budokan as sacred ground, and they were the first ever Western group to play there. This led to numerous death threats and loud protests from far-right activists offended at the Beatles defiling their religious and nationalistic sensibilities. As a result, the police were on high alert -- so high that there were three thousand police in the audience for the shows, in a venue which only held ten thousand audience members. That's according to Mark Lewisohn's Complete Beatles Chronicle, though I have to say that the rather blurry footage of the audience in the video of those shows doesn't seem to show anything like those numbers. But frankly I'll take Lewisohn's word over that footage, as he's not someone to put out incorrect information. The threats to the group also meant that they had to be kept in their hotel rooms at all times except when actually performing, though they did make attempts to get out. At the press conference for the Tokyo shows, the group were also asked publicly for the first time their views on the war in Vietnam, and John replied "Well, we think about it every day, and we don't agree with it and we think that it's wrong. That's how much interest we take. That's all we can do about it... and say that we don't like it". I say they were asked publicly for the first time, because George had been asked about it for a series of interviews Maureen Cleave had done with the group a couple of months earlier, as we'll see in a bit, but nobody was paying attention to those interviews. Brian Epstein was upset that the question had gone to John. He had hoped that the inevitable Vietnam question would go to Paul, who he thought might be a bit more tactful. The last thing he needed was John Lennon saying something that would upset the Americans before their tour there a few weeks later. Luckily, people in America seemed to have better things to do than pay attention to John Lennon's opinions. The support acts for the Japanese shows included several of the biggest names in Japanese rock music -- or "group sounds" as the genre was called there, Japanese people having realised that trying to say the phrase "rock and roll" would open them up to ridicule given that it had both "r" and "l" sounds in the phrase. The man who had coined the term "group sounds", Jackey Yoshikawa, was there with his group the Blue Comets, as was Isao Bito, who did a rather good cover version of Cliff Richard's "Dynamite": [Excerpt: Isao Bito, "Dynamite"] Bito, the Blue Comets, and the other two support acts, Yuya Uchida and the Blue Jeans, all got together to perform a specially written song, "Welcome Beatles": [Excerpt: "Welcome Beatles" ] But while the Japanese audience were enthusiastic, they were much less vocal about their enthusiasm than the audiences the Beatles were used to playing for. The group were used, of course, to playing in front of hordes of screaming teenagers who could not hear a single note, but because of the fear that a far-right terrorist would assassinate one of the group members, the police had imposed very, very, strict rules on the audience. Nobody in the audience was allowed to get out of their seat for any reason, and the police would clamp down very firmly on anyone who was too demonstrative. Because of that, the group could actually hear themselves, and they sounded sloppy as hell, especially on the newer material. Not that there was much of that. The only song they did from the Revolver sessions was "Paperback Writer", the new single, and while they did do a couple of tracks from Rubber Soul, those were under-rehearsed. As John said at the start of this tour, "I can't play any of Rubber Soul, it's so unrehearsed. The only time I played any of the numbers on it was when I recorded it. I forget about songs. They're only valid for a certain time." That's certainly borne out by the sound of their performances of Rubber Soul material at the Budokan: [Excerpt: The Beatles, "If I Needed Someone (live at the Budokan)"] It was while they were in Japan as well that they finally came up with the title for their new album. They'd been thinking of all sorts of ideas, like Abracadabra and Magic Circle, and tossing names around with increasing desperation for several days -- at one point they seem to have just started riffing on other groups' albums, and seem to have apparently seriously thought about naming the record in parodic tribute to their favourite artists -- suggestions included The Beatles On Safari, after the Beach Boys' Surfin' Safari (and possibly with a nod to their recent Pet Sounds album cover with animals, too), The Freewheelin' Beatles, after Dylan's second album, and my favourite, Ringo's suggestion After Geography, for the Rolling Stones' Aftermath. But eventually Paul came up with Revolver -- like Rubber Soul, a pun, in this case because the record itself revolves when on a turntable. Then it was off to the Philippines, and if the group thought Japan had been stressful, they had no idea what was coming. The trouble started in the Philippines from the moment they stepped off the plane, when they were bundled into a car without Neil Aspinall or Brian Epstein, and without their luggage, which was sent to customs. This was a problem in itself -- the group had got used to essentially being treated like diplomats, and to having their baggage let through customs without being searched, and so they'd started freely carrying various illicit substances with them. This would obviously be a problem -- but as it turned out, this was just to get a "customs charge" paid by Brian Epstein. But during their initial press conference the group were worried, given the hostility they'd faced from officialdom, that they were going to be arrested during the conference itself. They were asked what they would tell the Rolling Stones, who were going to be visiting the Philippines shortly after, and Lennon just said "We'll warn them". They also asked "is there a war on in the Philippines? Why is everybody armed?" At this time, the Philippines had a new leader, Ferdinand Marcos -- who is not to be confused with his son, Ferdinand Marcos Jr, also known as Bongbong Marcos, who just became President-Elect there last month. Marcos Sr was a dictatorial kleptocrat, one of the worst leaders of the latter half of the twentieth century, but that wasn't evident yet. He'd been elected only a few months earlier, and had presented himself as a Kennedy-like figure -- a young man who was also a war hero. He'd recently switched parties from the Liberal party to the right-wing Nacionalista Party, but wasn't yet being thought of as the monstrous dictator he later became. The person organising the Philippines shows had been ordered to get the Beatles to visit Ferdinand and Imelda Marcos at 11AM on the day of the show, but for some reason had instead put on their itinerary just the *suggestion* that the group should meet the Marcoses, and had put the time down as 3PM, and the Beatles chose to ignore that suggestion -- they'd refused to do that kind of government-official meet-and-greet ever since an incident in 1964 at the British Embassy in Washington where someone had cut off a bit of Ringo's hair. A military escort turned up at the group's hotel in the morning, to take them for their meeting. The group were all still in their rooms, and Brian Epstein was still eating breakfast and refused to disturb them, saying "Go back and tell the generals we're not coming." The group gave their performances as scheduled, but meanwhile there was outrage at the way the Beatles had refused to meet the Marcos family, who had brought hundreds of children -- friends of their own children, and relatives of top officials -- to a party to meet the group. Brian Epstein went on TV and tried to smooth things over, but the broadcast was interrupted by static and his message didn't get through to anyone. The next day, the group's security was taken away, as were the cars to take them to the airport. When they got to the airport, the escalators were turned off and the group were beaten up at the arrangement of the airport manager, who said in 1984 "I beat up the Beatles. I really thumped them. First I socked Epstein and he went down... then I socked Lennon and Ringo in the face. I was kicking them. They were pleading like frightened chickens. That's what happens when you insult the First Lady." Even on the plane there were further problems -- Brian Epstein and the group's road manager Mal Evans were both made to get off the plane to sort out supposed financial discrepancies, which led to them worrying that they were going to be arrested or worse -- Evans told the group to tell his wife he loved her as he left the plane. But eventually, they were able to leave, and after a brief layover in India -- which Ringo later said was the first time he felt he'd been somewhere truly foreign, as opposed to places like Germany or the USA which felt basically like home -- they got back to England: [Excerpt: "Ordinary passenger!"] When asked what they were going to do next, George replied “We're going to have a couple of weeks to recuperate before we go and get beaten up by the Americans,” The story of the "we're bigger than Jesus" controversy is one of the most widely misreported events in the lives of the Beatles, which is saying a great deal. One book that I've encountered, and one book only, Steve Turner's Beatles '66, tells the story of what actually happened, and even that book seems to miss some emphases. I've pieced what follows together from Turner's book and from an academic journal article I found which has some more detail. As far as I can tell, every single other book on the Beatles released up to this point bases their account of the story on an inaccurate press statement put out by Brian Epstein, not on the truth. Here's the story as it's generally told. John Lennon gave an interview to his friend, Maureen Cleave of the Evening Standard, during which he made some comments about how it was depressing that Christianity was losing relevance in the eyes of the public, and that the Beatles are more popular than Jesus, speaking casually because he was talking to a friend. That story was run in the Evening Standard more-or-less unnoticed, but then an American teen magazine picked up on the line about the Beatles being bigger than Jesus, reprinted chunks of the interview out of context and without the Beatles' knowledge or permission, as a way to stir up controversy, and there was an outcry, with people burning Beatles records and death threats from the Ku Klux Klan. That's... not exactly what happened. The first thing that you need to understand to know what happened is that Datebook wasn't a typical teen magazine. It *looked* just like a typical teen magazine, certainly, and much of its content was the kind of thing that you would get in Tiger Beat or any of the other magazines aimed at teenage girls -- the September 1966 issue was full of articles like "Life with the Walker Brothers... by their Road Manager", and interviews with the Dave Clark Five -- but it also had a long history of publishing material that was intended to make its readers think about social issues of the time, particularly Civil Rights. Arthur Unger, the magazine's editor and publisher, was a gay man in an interracial relationship, and while the subject of homosexuality was too taboo in the late fifties and sixties for him to have his magazine cover that, he did regularly include articles decrying segregation and calling for the girls reading the magazine to do their part on a personal level to stamp out racism. Datebook had regularly contained articles like one from 1963 talking about how segregation wasn't just a problem in the South, saying "If we are so ‘integrated' why must men in my own city of Philadelphia, the city of Brotherly Love, picket city hall because they are discriminated against when it comes to getting a job? And how come I am still unable to take my dark- complexioned friends to the same roller skating rink or swimming pool that I attend?” One of the writers for the magazine later said “We were much more than an entertainment magazine . . . . We tried to get kids involved in social issues . . . . It was a well-received magazine, recommended by libraries and schools, but during the Civil Rights period we did get pulled off a lot of stands in the South because of our views on integration” Art Unger, the editor and publisher, wasn't the only one pushing this liberal, integrationist, agenda. The managing editor at the time, Danny Fields, was another gay man who wanted to push the magazine even further than Unger, and who would later go on to manage the Stooges and the Ramones, being credited by some as being the single most important figure in punk rock's development, and being immortalised by the Ramones in their song "Danny Says": [Excerpt: The Ramones, "Danny Says"] So this was not a normal teen magazine, and that's certainly shown by the cover of the September 1966 issue, which as well as talking about the interviews with John Lennon and Paul McCartney inside, also advertised articles on Timothy Leary advising people to turn on, tune in, and drop out; an editorial about how interracial dating must be the next step after desegregation of schools, and a piece on "the ten adults you dig/hate the most" -- apparently the adult most teens dug in 1966 was Jackie Kennedy, the most hated was Barry Goldwater, and President Johnson, Billy Graham, and Martin Luther King appeared in the top ten on both lists. Now, in the early part of the year Maureen Cleave had done a whole series of articles on the Beatles -- double-page spreads on each band member, plus Brian Epstein, visiting them in their own homes (apart from Paul, who she met at a restaurant) and discussing their daily lives, their thoughts, and portraying them as rounded individuals. These articles are actually fascinating, because of something that everyone who met the Beatles in this period pointed out. When interviewed separately, all of them came across as thoughtful individuals, with their own opinions about all sorts of subjects, and their own tastes and senses of humour. But when two or more of them were together -- especially when John and Paul were interviewed together, but even in social situations, they would immediately revert to flip in-jokes and riffing on each other's statements, never revealing anything about themselves as individuals, but just going into Beatle mode -- simultaneously preserving the band's image, closing off outsiders, *and* making sure they didn't do or say anything that would get them mocked by the others. Cleave, as someone who actually took them all seriously, managed to get some very revealing information about all of them. In the article on Ringo, which is the most superficial -- one gets the impression that Cleave found him rather difficult to talk to when compared to the other, more verbally facile, band members -- she talked about how he had a lot of Wild West and military memorabilia, how he was a devoted family man and also devoted to his friends -- he had moved to the suburbs to be close to John and George, who already lived there. The most revealing quote about Ringo's personality was him saying "Of course that's the great thing about being married -- you have a house to sit in and company all the time. And you can still go to clubs, a bonus for being married. I love being a family man." While she looked at the other Beatles' tastes in literature in detail, she'd noted that the only books Ringo owned that weren't just for show were a few science fiction paperbacks, but that as he said "I'm not thick, it's just that I'm not educated. People can use words and I won't know what they mean. I say 'me' instead of 'my'." Ringo also didn't have a drum kit at home, saying he only played when he was on stage or in the studio, and that you couldn't practice on your own, you needed to play with other people. In the article on George, she talked about how he was learning the sitar, and how he was thinking that it might be a good idea to go to India to study the sitar with Ravi Shankar for six months. She also talks about how during the interview, he played the guitar pretty much constantly, playing everything from songs from "Hello Dolly" to pieces by Bach to "the Trumpet Voluntary", by which she presumably means Clarke's "Prince of Denmark's March": [Excerpt: Jeremiah Clarke, "Prince of Denmark's March"] George was also the most outspoken on the subjects of politics, religion, and society, linking the ongoing war in Vietnam with the UK's reverence for the Second World War, saying "I think about it every day and it's wrong. Anything to do with war is wrong. They're all wrapped up in their Nelsons and their Churchills and their Montys -- always talking about war heroes. Look at All Our Yesterdays [a show on ITV that showed twenty-five-year-old newsreels] -- how we killed a few more Huns here and there. Makes me sick. They're the sort who are leaning on their walking sticks and telling us a few years in the army would do us good." He also had very strong words to say about religion, saying "I think religion falls flat on its face. All this 'love thy neighbour' but none of them are doing it. How can anybody get into the position of being Pope and accept all the glory and the money and the Mercedes-Benz and that? I could never be Pope until I'd sold my rich gates and my posh hat. I couldn't sit there with all that money on me and believe I was religious. Why can't we bring all this out in the open? Why is there all this stuff about blasphemy? If Christianity's as good as they say it is, it should stand up to a bit of discussion." Harrison also comes across as a very private person, saying "People keep saying, ‘We made you what you are,' well, I made Mr. Hovis what he is and I don't go round crawling over his gates and smashing up the wall round his house." (Hovis is a British company that makes bread and wholegrain flour). But more than anything else he comes across as an instinctive anti-authoritarian, being angry at bullying teachers, Popes, and Prime Ministers. McCartney's profile has him as the most self-consciously arty -- he talks about the plays of Alfred Jarry and the music of Karlheinz Stockhausen and Luciano Berio: [Excerpt: Luciano Berio, "Momenti (for magnetic tape)"] Though he was very worried that he might be sounding a little too pretentious, saying “I don't want to sound like Jonathan Miller going on" --