Podcasts about alan ginsberg

Send us a textWe intended for this to be just one episode but felt that we had a lot more to say and ended up with enough for 2 five minute episode the next will follow in March 1st 2025.this is the introduction to a blog on the beats on our website links belowThe Beat movement was a literary movement which emerged in the United States in the post war-era. ‘Beat' was slang for ‘down and out or poor and exhausted'. Jack Kerouac also spoke of the beat, especially the Jazz beat and also beatitude in a spiritual sense.  Central elements of Beat culture were the rejection of standard moral and narrative values, the importance of spiritual quest,  rejection of materialism,  experimentation with psychedelic drugs and sexual liberation. Pivotal works include Alan Ginsberg's Howl, William Burrough's Naked Lunch and jack Kerouac's  On The Road. The core group met in 1944 in and around Columbia University in NYC, although later writers settled on the West Coast. The beat writers were attracted to jazz and especially bebop because of its, underground, counter-cultural status. The writers were also influenced by the ‘improvisational' nature of jazz which many tried to replicate in their writing. There is a good documentary called " The source" a standard definition version is on You tube here  but full fat versions are available to buy from apple  or Amazon Prime the imdb page is here This is our website This is our InstagramThis is our Facebook group

Join Paul as he sits with the very funny Matt Ruby and discuss performing on psychedelic mushrooms, being raised by a bohemian mom who ran around New York City with Alan Ginsberg and more! Links to all things Matt Ruby including his newsletter, specials and more: https://www.mattrubycomedy.com/ Get Paul Ollinger's book Here: "Reasonably Happy: Essays on Money, Work and Other Things that Piss Me Off" https://www.amazon.com/Reasonably-Hap... Read Paul's Substack: https://words.paulollinger.com/

Donna Conrad is an award-winning author, journalist, activist, and teacher. Her core values revolve around individual empowerment, a sustaining ideal running through the books she writes. Her writing interests include articles for fine-art periodicals, memoir/narrative non-fiction, as well as historical, flash, and paranormal fiction. She is a regular presenter at writers' conferences. Donna's life is as varied as her writing. She embraces change as an exciting adventure. She has studied writing with the likes of Alan Ginsberg, Lawrence Ferlinghetti, and Jack Whyte. The Last Magdalene is an exquisite story of passion and love, and the lasting power of one woman's voice which refuses to be silenced.The Last Magdalene: Book One of the Magdalene Chronicleshttp://donnaconrad.com   ayna Locke is a Minnesota writer who has had a lifelong love of fiction. She earned her MFA in writing from the University of New Hampshire. Her short stories have appeared in a range of literary journals, including Great Lakes Review, Portage Magazine, and Bright Flash Literary Review, as well as several anthologies. She is reachable through her website.   With springtime in the air, a toddler chases a ball onto a melting icecovered lake far beyond his parents' reach.  As the chill of Autumn comes to Minnesota, Max opens the door to find a grizzled drifter on the doorstep. Then Max realizes he knows the man.  When Julie returns to her mother's home on the shores of Lake Superior, she sees an odd shape tossed by the waves onto the beach. What is it? Somewhere in Minnesota is a short story collection about the frenetic     human experience and the ways in which life manifests itself and delivers defining moments. With Minnesota lakes and seasons as the backdrop, each story shares a different tale of characters experiencing life's unexpected turns — from peculiar circumstances to moments of crisis — that at least temporarily set their world off its axis.  https://jaynalocke.com, or at https://twitter.com/jaynatweets.

Tonight, we serve T-E-A together to make a difference. Donna D. ConradEvening Teatime with Miss Liz, March 28th, 7 pm EST, Brings you a T-E-A of Teaching Truth ThoughtfulnessEmpowerment Empathy, Engagement, Authenticity Actuation ArtJOIN US FOR THE LIVE SHOW WHERE YOU CAN BRING YOUR QUESTIONS, COMMENTS AND SUPPORT TO MAKE A DIFFERENCE TOGETHER. WITH A QUICK SUBSCRIPTION TO MISS LIZS YOUTUBE CHANNEL BELOW: https://youtube.com/@misslizsteatimes?si=5eu0--BgowGVVHKqwriters'Donna's "writers'Donna'swriters'Donna's"Meet My Guest: Donna D. ConradDonna Conrad is an award-winning author, journalist, activist, and teacher. Her core values revolve around individual empowerment, a sustaining ideal running through the books she writes. Her writing interests include articles for fine art periodicals, memoir/narrative non-fiction, and historical, flash, and paranormal fiction. She is a regular presenter at writers' conferences. Donna's life is as varied as her writing. She embraces change as an exciting adventure. She has studied writing with Alan Ginsberg, Lawrence Ferlinghetti, and Jack Whyte. Her first published book, House of the Moon: Surviving the Sixties, is a memoir that explores life in the tumultuous decade that changed the world. Her upcoming four-book historical fiction series, "The Magdalene Chronicles," has been acquired by Cold Creek Press. Book One, The Last Magdalene, will be released on April 9, 2024.#misslizsteatime#teatimewithmissliz#makingadifference#awardwinning#memoir#historical#nonfiction#livestreaming#podcastshow#podcasts#talkshow#LikeFollowShare#JoinUs

Nick Hennegan celebrates World Poetry Day with poems from the great American 'Beats' - Alan Ginsberg and Jack Kerouac. ⁠www.BohemianBritain.com⁠

Nick Hennegan celebrates World Poetry Day with poems from the American 'Beats' - Alan Ginsberg and Jack Kerouac. www.BohemianBritain.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/bohemianbritain/message

This week, my friend James McCrae is back on the podcast. James is an author, poet, artist, and founder of Sunflower Club, a global school and community dedicated to conscious creativity. He's the author of several books, his newest being The Art of You, which we talk about extensively here. Something I love about the book is the fascinating facts, anecdotes, and stories about James' life and the accumulated knowledge of different authors, musicians, filmmakers, spiritual teachers, and artists of all disciplines, from the Rolling Stones to Alan Ginsberg. Our conversation covers haikus, mistakes being portals, the id vs. ego, the role of criticism in pushing art forward, boundaries attracting people you love, and much more. Let us know if you listen! Show notes:- Inbox Organization course: code LETITOUT for $20 off- Our Substack- James: Web | Instagram | new book The Art of You- My Creative Clinic: book a call with me here- TALK KIT waitlist- Creative Underdogs/In Process here | waitlist- IG: @letitouttt + @katiedalebout- James' other books here & here If you liked this episode, try out from the archive:Episode 421: Sorry for the Delayed Response: Digital Organizer Jésabel DC on Overwhelm, Sensitive Time & Prioritization

Episode: 2446 Gödel, Ginsberg, and the limits of logic.  Today, the limits of logic.

Evening teatime 7 pm EST December 14th joining and coming to share a T-E-A with Miss Liz is the award-winning author Donna Conrad. She is bringing the concept of individual empowerment and sharing on her books. Join us, and let's make a difference together. LIVE STREAMING TO MULTIPLE PLATFORMS AND PODCAST STATIONS AND APPS. LIVE SHOW ON MISS LIZ'S YOUTUBE CHANNEL BELOW. Please give it a quick subscribe and be notified when teatimes are live. https://youtube.com/@misslizsteatimes?si=VhVODhNkY__evnOtDonna Conrad is an award-winning author, journalist, activist, and teacher. Her core values revolve around individual empowerment, a sustaining ideal running through the books she writes. Her writing interests are varied and include articles for fine art periodicals, memoir/narrative non-fiction, historical, flash, and paranormal fiction. She teaches all of the above at writers' conferences. Her first published book, House of the Moon: Surviving the Sixties, has received rave reviews. Donna's life is as varied as her writing. She embraces change as an exciting adventure. She has studied writing with Alan Ginsberg, Lawrence Ferlinghetti, and Jack Whyte. She has also been mentored by Donald Maass, whom she worked with privately on her upcoming four-book historical fiction series, "The Magdalene Chronicles." Cold Creek Press will release book One of The Magdalene Chronicles on April 9, 2024. She lives in the Pacific Northwest with her husband and their three cats. When she's not writing, you can find Donna cruising the back roads in her black-on-black Miata MX-5, Maya - named for one of her favourite poets, Maya Angelou.http://www.donnaconrad.com/#teatimewithmissliz #makingadifference #author #journalist #activist #teacher #empowerment #memoir #nonfiction #paranormal#writingandpublishing #conferences#livestreaming #likefollowshare #podcastshow #joinus #subscribe #youtubechannel

The Nuestra Palabra Familia is honored to get to call Dr. Cintli a friend. His work has shaped a people. His writings are testament to our greatness. On behalf of Nuestra Palabra: Latino Writers Having Their Say, Librotraficante, and The Latino Bookstore at the Guadalupe Cultural Arts Center, we extend our condolences to his familia and all the lives, the generations that he touched and will continue to touch. We are honored that he joined us when NP still took place in the party hall of Chapultepec Restaurant, in Montrose, in Houston, Tejas. The Librotraficantes smuggled his works back into Arizona when the AZ right wing legislators banned Mexican American Studies, and the Latino Bookstore in San Antonio, Tejas is honored to have hosted the launch of his most recent book Writing 50 Years (más o menos) Amongst the Gringos. We will strive to honor him by continuing to demand, as he said, that our gente be heard. #Unidos Join us as we speak with folks who were touched, influenced, or impacted by the work Dr. Cintli carried out. Matt Sedillo, Juan Tejeda, and Dr. Lupe Carrasco Cardona who join Tony in celebrating the work of Dr. Cintli. Dr. Rodríguez died from heart failure in Mexico, on 31 July 2023, at the age of 69. In the three years before his death, he lived near Teotihuacan. He was survived by Gonzales and five brothers. On the show, we have Juan Tejeda has taught Bicultural Studies at the University of Texas at San Antonio and currently is a tenured full-time faculty member at Palo Alto College. For 18 years, Juan was the Xicano Music Program Director for the Guadalupe Cultural Arts Center, where he created the internationally renowned Tejano Conjunto Festival en San Antonio. Juan has written and lectured extensively on the history and socio-cultural significance and importance of Tejano and Conjunto music. He holds a bachelor's degree in Chicano Studies from the University of Texas at Austin and a master's in Bicultural Studies from the University of Texas at San Antonio . Juan and his wife, Anisa Onofre, are co-publishers/editors of Aztlan Libre Press, an independent publishing house dedicated to Xican@ Literature and Art. Matt Sedillo has been described as the "best political poet in America" as well as "the poet laureate of the struggle". His work has drawn comparisons in print to Bertolt Brecht, Roque Dalton, Amiri Baraka, Alan Ginsberg and various other legends of the past. Sedillo was the recipient of the first ever Dante's Laurel presented in Ravenna Italy, the 2017 Joe Hill Labor Poetry award, a panelist at the 2020 Texas book festival, and a participant in the 2012 San Francisco International Poetry Festival, the 2022 Elba Poetry Festival. Sedillo has appeared on CSPAN and has been featured in the Los Angeles Times, Axios, the Associated Press among other publications. He is also cofounder of the newly established El Martilo Press. Dr. Guadalupe Carrasco Cardona has been an Ethnic Studies, English, Social Studies and Journalism educator for 23 years and has taught in three states; California, Arizona and Texas. Her current position is Ethnic Studies Teacher at Roybal Learning Center in downtown Los Angeles. She is also an adjunct lecturer in Chicanx/Latinx/Ethnic Studies at California State University at Long Beach. She is dedicated to developing critical curriculum and facilitating a student-centered classroom environment based on mutual respect, critical thinking, and collaboration. She accomplishes this by fusing her classroom instruction with community cultural knowledge and a focus on auto-biographical counter narrative. Tony Diaz is the author of The Aztec Love God. His book, The Tip of the Pyramid: Cultivating Community Cultural Capital, is the first in his series on Community Organizing. Nuestra Palabra is funded in part by the BIPOC Arts Network Fund. Instrumental Music produced / courtesy of Bayden Records Website | baydenrecords.beatstars.com

Episode one hundred and sixty-seven of A History of Rock Music in Five Hundred Songs looks at “The Weight" by the Band, the Basement Tapes, and the continuing controversy over Dylan going electric. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "S.F. Sorrow is Born" by the Pretty Things. 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/ Also, a one-time request here -- Shawn Taylor, who runs the Facebook group for the podcast and is an old and dear friend of mine, has stage-three lung cancer. I will be hugely grateful to anyone who donates to the GoFundMe for her treatment. Errata At one point I say "when Robertson and Helm travelled to the Brill Building". I meant "when Hawkins and Helm". This is fixed in the transcript but not the recording. Resources There are three Mixcloud mixes this time. As there are so many songs by Bob Dylan and the Band excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two, three. I've used these books for all the episodes involving Dylan: Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Information on Tiny Tim comes from Eternal Troubadour: The Improbable Life of Tiny Tim by Justin Martell. Information on John Cage comes from The Roaring Silence by David Revill Information on Woodstock comes from Small Town Talk by Barney Hoskyns. For material on the Basement Tapes, I've used Million Dollar Bash by Sid Griffin. And for the Band, I've used This Wheel's on Fire by Levon Helm with Stephen Davis, Testimony by Robbie Robertson, The Band by Craig Harris and Levon by Sandra B Tooze. I've also referred to the documentaries No Direction Home and Once Were Brothers. The complete Basement Tapes can be found on this multi-disc box set, while this double-CD version has the best material from the sessions. All the surviving live recordings by Dylan and the Hawks from 1966 are on this box set. There are various deluxe versions of Music From Big Pink, but still the best way to get the original album is in this twofer CD with the Band's second album. Transcript Just a brief note before I start – literally while I was in the middle of recording this episode, it was announced that Robbie Robertson had died today, aged eighty. Obviously I've not had time to alter the rest of the episode – half of which had already been edited – with that in mind, though I don't believe I say anything disrespectful to his memory. My condolences to those who loved him – he was a huge talent and will be missed. There are people in the world who question the function of criticism. Those people argue that criticism is in many ways parasitic. If critics knew what they were talking about, so the argument goes, they would create themselves, rather than talk about other people's creation. It's a variant of the "those who can't, teach" cliche. And to an extent it's true. Certainly in the world of rock music, which we're talking about in this podcast, most critics are quite staggeringly ignorant of the things they're talking about. Most criticism is ephemeral, published in newspapers, magazines, blogs and podcasts, and forgotten as soon as it has been consumed -- and consumed is the word . But sometimes, just sometimes, a critic will have an effect on the world that is at least as important as that of any of the artists they criticise. One such critic was John Ruskin. Ruskin was one of the preeminent critics of visual art in the Victorian era, particularly specialising in painting and architecture, and he passionately advocated for a form of art that would be truthful, plain, and honest. To Ruskin's mind, many artists of the past, and of his time, drew and painted, not what they saw with their own eyes, but what other people expected them to paint. They replaced true observation of nature with the regurgitation of ever-more-mannered and formalised cliches. His attacks on many great artists were, in essence, the same critiques that are currently brought against AI art apps -- they're just recycling and plagiarising what other people had already done, not seeing with their own eyes and creating from their own vision. Ruskin was an artist himself, but never received much acclaim for his own work. Rather, he advocated for the works of others, like Turner and the pre-Raphaelite school -- the latter of whom were influenced by Ruskin, even as he admired them for seeing with their own vision rather than just repeating influences from others. But those weren't the only people Ruskin influenced. Because any critical project, properly understood, becomes about more than just the art -- as if art is just anything. Ruskin, for example, studied geology, because if you're going to talk about how people should paint landscapes and what those landscapes look like, you need to understand what landscapes really do look like, which means understanding their formation. He understood that art of the kind he wanted could only be produced by certain types of people, and so society had to be organised in a way to produce such people. Some types of societal organisation lead to some kinds of thinking and creation, and to properly, honestly, understand one branch of human thought means at least to attempt to understand all of them. Opinions about art have moral consequences, and morality has political and economic consequences. The inevitable endpoint of any theory of art is, ultimately, a theory of society. And Ruskin had a theory of society, and social organisation. Ruskin's views are too complex to summarise here, but they were a kind of anarcho-primitivist collectivism. He believed that wealth was evil, and that the classical liberal economics of people like Mill was fundamentally anti-human, that the division of labour alienated people from their work. In Ruskin's ideal world, people would gather in communities no bigger than villages, and work as craftspeople, working with nature rather than trying to bend nature to their will. They would be collectives, with none richer or poorer than any other, and working the land without modern technology. in the first half of the twentieth century, in particular, Ruskin's influence was *everywhere*. His writings on art inspired the Impressionist movement, but his political and economic ideas were the most influential, right across the political spectrum. Ruskin's ideas were closest to Christian socialism, and he did indeed inspire many socialist parties -- most of the founders of Britain's Labour Party were admirers of Ruskin and influenced by his ideas, particularly his opposition to the free market. But he inspired many other people -- Gandhi talked about the profound influence that Ruskin had on him, saying in his autobiography that he got three lessons from Ruskin's Unto This Last: "That 1) the good of the individual is contained in the good of all. 2) a lawyer's work has the same value as the barber's in as much as all have the same right of earning their livelihood from their work. 3) a life of labour, i.e., the life of the tiller of the soil and the handicraftsman is the life worth living. The first of these I knew. The second I had dimly realized. The third had never occurred to me. Unto This Last made it clear as daylight for me that the second and third were contained in the first. I arose with the dawn, ready to reduce these principles to practice" Gandhi translated and paraphrased Unto this Last into Gujurati and called the resulting book Sarvodaya (meaning "uplifting all" or "the welfare of all") which he later took as the name of his own political philosophy. But Ruskin also had a more pernicious influence -- it was said in 1930s Germany that he and his friend Thomas Carlyle were "the first National Socialists" -- there's no evidence I know of that Hitler ever read Ruskin, but a *lot* of Nazi rhetoric is implicit in Ruskin's writing, particularly in his opposition to progress (he even opposed the bicycle as being too much inhuman interference with nature), just as much as more admirable philosophies, and he was so widely read in the late nineteenth and early twentieth centuries that there's barely a political movement anywhere that didn't bear his fingerprints. But of course, our focus here is on music. And Ruskin had an influence on that, too. We've talked in several episodes, most recently the one on the Velvet Underground, about John Cage's piece 4'33. What I didn't mention in any of the discussions of that piece -- because I was saving it for here -- is that that piece was premiered at a small concert hall in upstate New York. The hall, the Maverick Concert Hall, was owned and run by the Maverick arts and crafts collective -- a collective that were so called because they were the *second* Ruskinite arts colony in the area, having split off from the Byrdcliffe colony after a dispute between its three founders, all of whom were disciples of Ruskin, and all of whom disagreed violently about how to implement Ruskin's ideas of pacifist all-for-one and one-for-all community. These arts colonies, and others that grew up around them like the Arts Students League were the thriving centre of a Bohemian community -- close enough to New York that you could get there if you needed to, far enough away that you could live out your pastoral fantasies, and artists of all types flocked there -- Pete Seeger met his wife there, and his father-in-law had been one of the stonemasons who helped build the Maverick concert hall. Dozens of artists in all sorts of areas, from Aaron Copland to Edward G Robinson, spent time in these communities, as did Cage. Of course, while these arts and crafts communities had a reputation for Bohemianism and artistic extremism, even radical utopian artists have their limits, and legend has it that the premiere of 4'33 was met with horror and derision, and eventually led to one artist in the audience standing up and calling on the residents of the town around which these artistic colonies had agglomerated: “Good people of Woodstock, let's drive these people out of town.” [Excerpt: The Band, "The Weight"] Ronnie Hawkins was almost born to make music. We heard back in the episode on "Suzie Q" in 2019 about his family and their ties to music. Ronnie's uncle Del was, according to most of the sources on the family, a member of the Sons of the Pioneers -- though as I point out in that episode, his name isn't on any of the official lists of group members, but he might well have performed with them at some point in the early years of the group. And he was definitely a country music bass player, even if he *wasn't* in the most popular country and western group of the thirties and forties. And Del had had two sons, Jerry, who made some minor rockabilly records: [Excerpt: Jerry Hawkins, "Swing, Daddy, Swing"] And Del junior, who as we heard in the "Susie Q" episode became known as Dale Hawkins and made one of the most important rock records of the fifties: [Excerpt: Dale Hawkins, "Susie Q"] Ronnie Hawkins was around the same age as his cousins, and was in awe of his country-music star uncle. Hawkins later remembered that after his uncle moved to Califormia to become a star “He'd come home for a week or two, driving a brand new Cadillac and wearing brand new clothes and I knew that's what I wanted to be." Though he also remembered “He spent every penny he made on whiskey, and he was divorced because he was running around with all sorts of women. His wife left Arkansas and went to Louisiana.” Hawkins knew that he wanted to be a music star like his uncle, and he started performing at local fairs and other events from the age of eleven, including one performance where he substituted for Hank Williams -- Williams was so drunk that day he couldn't perform, and so his backing band asked volunteers from the audience to get up and sing with them, and Hawkins sang Burl Ives and minstrel-show songs with the band. He said later “Even back then I knew that every important white cat—Al Jolson, Stephen Foster—they all did it by copying blacks. Even Hank Williams learned all the stuff he had from those black cats in Alabama. Elvis Presley copied black music; that's all that Elvis did.” As well as being a performer from an early age, though, Hawkins was also an entrepreneur with an eye for how to make money. From the age of fourteen he started running liquor -- not moonshine, he would always point out, but something far safer. He lived only a few miles from the border between Missouri and Arkansas, and alcohol and tobacco were about half the price in Missouri that they were in Arkansas, so he'd drive across the border, load up on whisky and cigarettes, and drive back and sell them at a profit, which he then used to buy shares in several nightclubs, which he and his bands would perform in in later years. Like every man of his generation, Hawkins had to do six months in the Army, and it was there that he joined his first ever full-time band, the Blackhawks -- so called because his name was Hawkins, and the rest of the group were Black, though Hawkins was white. They got together when the other four members were performing at a club in the area where Hawkins was stationed, and he was so impressed with their music that he jumped on stage and started singing with them. He said later “It sounded like something between the blues and rockabilly. It sort of leaned in both directions at the same time, me being a hayseed and those guys playing a lot funkier." As he put it "I wanted to sound like Bobby ‘Blue' Bland but it came out sounding like Ernest Tubb.” Word got around about the Blackhawks, both that they were a great-sounding rock and roll band and that they were an integrated band at a time when that was extremely unpopular in the southern states, and when Hawkins was discharged from the Army he got a call from Sam Phillips at Sun Records. According to Hawkins a group of the regular Sun session musicians were planning on forming a band, and he was asked to front the band for a hundred dollars a week, but by the time he got there the band had fallen apart. This doesn't precisely line up with anything else I know about Sun, though it perhaps makes sense if Hawkins was being asked to front the band who had variously backed Billy Lee Riley and Jerry Lee Lewis after one of Riley's occasional threats to leave the label. More likely though, he told everyone he knew that he had a deal with Sun but Phillips was unimpressed with the demos he cut there, and Hawkins made up the story to stop himself losing face. One of the session players for Sun, though, Luke Paulman, who played in Conway Twitty's band among others, *was* impressed with Hawkins though, and suggested that they form a band together with Paulman's bass player brother George and piano-playing cousin Pop Jones. The Paulman brothers and Jones also came from Arkansas, but they specifically came from Helena, Arkansas, the town from which King Biscuit Time was broadcast. King Biscuit Time was the most important blues radio show in the US at that time -- a short lunchtime programme which featured live performances from a house band which varied over the years, but which in the 1940s had been led by Sonny Boy Williamson II, and featured Robert Jr. Lockwood, Robert Johnson's stepson, on guiitar: [Excerpt: Sonny Boy Williamson II "Eyesight to the Blind (King Biscuit Time)"] The band also included a drummer, "Peck" Curtis, and that drummer was the biggest inspiration for a young white man from the town named Levon Helm. Helm had first been inspired to make music after seeing Bill Monroe and his Blue Grass Boys play live when Helm was eight, and he had soon taken up first the harmonica, then the guitar, then the drums, becoming excellent at all of them. Even as a child he knew that he didn't want to be a farmer like his family, and that music was, as he put it, "the only way to get off that stinking tractor  and out of that one hundred and five degree heat.” Sonny Boy Williamson and the King Biscuit Boys would perform in the open air in Marvell, Arkansas, where Helm was growing up, on Saturdays, and Helm watched them regularly as a small child, and became particularly interested in the drumming. “As good as the band sounded,” he said later “it seemed that [Peck] was definitely having the most fun. I locked into the drums at that point. Later, I heard Jack Nance, Conway Twitty's drummer, and all the great drummers in Memphis—Jimmy Van Eaton, Al Jackson, and Willie Hall—the Chicago boys (Fred Belew and Clifton James) and the people at Sun Records and Vee-Jay, but most of my style was based on Peck and Sonny Boy—the Delta blues style with the shuffle. Through the years, I've quickened the pace to a more rock-and-roll meter and time frame, but it still bases itself back to Peck, Sonny Boy Williamson, and the King Biscuit Boys.” Helm had played with another band that George Paulman had played in, and he was invited to join the fledgling band Hawkins was putting together, called for the moment the Sun Records Quartet. The group played some of the clubs Hawkins had business connections in, but they had other plans -- Conway Twitty had recently played Toronto, and had told Luke Paulman about how desperate the Canadians were for American rock and roll music. Twitty's agent Harold Kudlets booked the group in to a Toronto club, Le Coq D'Or, and soon the group were alternating between residencies in clubs in the Deep South, where they were just another rockabilly band, albeit one of the better ones, and in Canada, where they became the most popular band in Ontario, and became the nucleus of an entire musical scene -- the same scene from which, a few years later, people like Neil Young would emerge. George Paulman didn't remain long in the group -- he was apparently getting drunk, and also he was a double-bass player, at a time when the electric bass was becoming the in thing. And this is the best place to mention this, but there are several discrepancies in the various accounts of which band members were in Hawkins' band at which times, and who played on what session. They all *broadly* follow the same lines, but none of them are fully reconcilable with each other, and nobody was paying enough attention to lineup shifts in a bar band between 1957 and 1964 to be absolutely certain who was right. I've tried to reconcile the various accounts as far as possible and make a coherent narrative, but some of the details of what follows may be wrong, though the broad strokes are correct. For much of their first period in Ontario, the group had no bass player at all, relying on Jones' piano to fill in the bass parts, and on their first recording, a version of "Bo Diddley", they actually got the club's manager to play bass with them: [Excerpt: Ronnie Hawkins, "Hey Bo Diddley"] That is claimed to be the first rock and roll record made in Canada, though as everyone who has listened to this podcast knows, there's no first anything. It wasn't released as by the Sun Records Quartet though -- the band had presumably realised that that name would make them much less attractive to other labels, and so by this point the Sun Records Quartet had become Ronnie Hawkins and the Hawks. "Hey Bo Diddley" was released on a small Canadian label and didn't have any success, but the group carried on performing live, travelling back down to Arkansas for a while and getting a new bass player, Lefty Evans, who had been playing in the same pool of musicians as them, having been another Sun session player who had been in Conway Twitty's band, and had written Twitty's "Why Can't I Get Through to You": [Excerpt: Conway Twitty, "Why Can't I Get Through to You"] The band were now popular enough in Canada that they were starting to get heard of in America, and through Kudlets they got a contract with Joe Glaser, a Mafia-connected booking agent who booked them into gigs on the Jersey Shore. As Helm said “Ronnie Hawkins had molded us into the wildest, fiercest, speed-driven bar band in America," and the group were apparently getting larger audiences in New Jersey than Sammy Davis Jr was, even though they hadn't released any records in the US. Or at least, they hadn't released any records in their own name in the US. There's a record on End Records by Rockin' Ronald and the Rebels which is very strongly rumoured to have been the Hawks under another name, though Hawkins always denied that. Have a listen for yourself and see what you think: [Excerpt: Rockin' Ronald and the Rebels, "Kansas City"] End Records, the label that was on, was one of the many record labels set up by George Goldner and distributed by Morris Levy, and when the group did release a record in their home country under their own name, it was on Levy's Roulette Records. An audition for Levy had been set up by Glaser's booking company, and Levy decided that given that Elvis was in the Army, there was a vacancy to be filled and Ronnie Hawkins might just fit the bill. Hawkins signed a contract with Levy, and it doesn't sound like he had much choice in the matter. Helm asked him “How long did you have to sign for?” and Hawkins replied "Life with an option" That said, unlike almost every other artist who interacted with Levy, Hawkins never had a bad word to say about him, at least in public, saying later “I don't care what Morris was supposed to have done, he looked after me and he believed in me. I even lived with him in his million-dollar apartment on the Upper East Side." The first single the group recorded for Roulette, a remake of Chuck Berry's "Thirty Days" retitled "Forty Days", didn't chart, but the follow-up, a version of Young Jessie's "Mary Lou", made number twenty-six on the charts: [Excerpt: Ronnie Hawkins and the Hawks, "Mary Lou"] While that was a cover of a Young Jessie record, the songwriting credits read Hawkins and Magill -- Magill was a pseudonym used by Morris Levy. Levy hoped to make Ronnie Hawkins into a really big star, but hit a snag. This was just the point where the payola scandal had hit and record companies were under criminal investigation for bribing DJs to play their records. This was the main method of promotion that Levy used, and this was so well known that Levy was, for a time, under more scrutiny than anyone. He couldn't risk paying anyone off, and so Hawkins' records didn't get the expected airplay. The group went through some lineup changes, too, bringing in guitarist Fred Carter (with Luke Paulman moving to rhythm and soon leaving altogether)  from Hawkins' cousin Dale's band, and bass player Jimmy Evans. Some sources say that Jones quit around this time, too, though others say he was in the band for  a while longer, and they had two keyboards (the other keyboard being supplied by Stan Szelest. As well as recording Ronnie Hawkins singles, the new lineup of the group also recorded one single with Carter on lead vocals, "My Heart Cries": [Excerpt: Fred Carter, "My Heart Cries"] While the group were now playing more shows in the USA, they were still playing regularly in Canada, and they had developed a huge fanbase there. One of these was a teenage guitarist called Robbie Robertson, who had become fascinated with the band after playing a support slot for them, and had started hanging round, trying to ingratiate himself with the band in the hope of being allowed to join. As he was a teenager, Hawkins thought he might have his finger on the pulse of the youth market, and when Hawkins and Helm travelled to the Brill Building to hear new songs for consideration for their next album, they brought Robertson along to listen to them and give his opinion. Robertson himself ended up contributing two songs to the album, titled Mr. Dynamo. According to Hawkins "we had a little time after the session, so I thought, Well, I'm just gonna put 'em down and see what happens. And they were released. Robbie was the songwriter for words, and Levon was good for arranging, making things fit in and all that stuff. He knew what to do, but he didn't write anything." The two songs in question were "Someone Like You" and "Hey Boba Lou": [Excerpt: Ronnie Hawkins and the Hawks, "Hey Boba Lou"] While Robertson was the sole writer of the songs, they were credited to Robertson, Hawkins, and Magill -- Morris Levy. As Robertson told the story later, “It's funny, when those songs came out and I got a copy of the album, it had another name on there besides my name for some writer like Morris Levy. So, I said to Ronnie, “There was nobody there writing these songs when I wrote these songs. Who is Morris Levy?” Ronnie just kinda tapped me on the head and said, “There are certain things about this business that you just let go and you don't question.” That was one of my early music industry lessons right there" Robertson desperately wanted to join the Hawks, but initially it was Robertson's bandmate Scott Cushnie who became the first Canadian to join the Hawks. But then when they were in Arkansas, Jimmy Evans decided he wasn't going to go back to Canada. So Hawkins called Robbie Robertson up and made him an offer. Robertson had to come down to Arkansas and get a couple of quick bass lessons from Helm (who could play pretty much every instrument to an acceptable standard, and so was by this point acting as the group's musical director, working out arrangements and leading them in rehearsals). Then Hawkins and Helm had to be elsewhere for a few weeks. If, when they got back, Robertson was good enough on bass, he had the job. If not, he didn't. Robertson accepted, but he nearly didn't get the gig after all. The place Hawkins and Helm had to be was Britain, where they were going to be promoting their latest single on Boy Meets Girls, the Jack Good TV series with Marty Wilde, which featured guitarist Joe Brown in the backing band: [Excerpt: Joe Brown, “Savage”] This was the same series that Eddie Cochran and Gene Vincent were regularly appearing on, and while they didn't appear on the episodes that Hawkins and Helm appeared on, they did appear on the episodes immediately before Hawkins and Helm's two appearances, and again a couple of weeks after, and were friendly with the musicians who did play with Hawkins and Helm, and apparently they all jammed together a few times. Hawkins was impressed enough with Joe Brown -- who at the time was considered the best guitarist on the British scene -- that he invited Brown to become a Hawk. Presumably if Brown had taken him up on the offer, he would have taken the spot that ended up being Robertson's, but Brown turned him down -- a decision he apparently later regretted. Robbie Robertson was now a Hawk, and he and Helm formed an immediate bond. As Helm much later put it, "It was me and Robbie against the world. Our mission, as we saw it, was to put together the best band in history". As rockabilly was by this point passe, Levy tried converting Hawkins into a folk artist, to see if he could get some of the Kingston Trio's audience. He recorded a protest song, "The Ballad of Caryl Chessman", protesting the then-forthcoming execution of Chessman (one of only a handful of people to be executed in the US in recent decades for non-lethal offences), and he made an album of folk tunes, The Folk Ballads of Ronnie Hawkins, which largely consisted of solo acoustic recordings, plus a handful of left-over Hawks recordings from a year or so earlier. That wasn't a success, but they also tried a follow-up, having Hawkins go country and do an album of Hank Williams songs, recorded in Nashville at Owen Bradley's Quonset hut. While many of the musicians on the album were Nashville A-Team players, Hawkins also insisted on having his own band members perform, much to the disgust of the producer, and so it's likely (not certain, because there seem to be various disagreements about what was recorded when) that that album features the first studio recordings with Levon Helm and Robbie Robertson playing together: [Excerpt: Ronnie Hawkins and the Hawks, "Your Cheatin' Heart"] Other sources claim that the only Hawk allowed to play on the album sessions was Helm, and that the rest of the musicians on the album were Harold Bradley and Hank Garland on guitar, Owen Bradley and Floyd Cramer on piano, Bob Moore on bass, and the Anita Kerr singers. I tend to trust Helm's recollection that the Hawks played at least some of the instruments though, because the source claiming that also seems to confuse the Hank Williams and Folk Ballads albums, and because I don't hear two pianos on the album. On the other hand, that *does* sound like Floyd Cramer on piano, and the tik-tok bass sound you'd get from having Harold Bradley play a baritone guitar while Bob Moore played a bass. So my best guess is that these sessions were like the Elvis sessions around the same time and with several of the same musicians, where Elvis' own backing musicians played rhythm parts but left the prominent instruments to the A-team players. Helm was singularly unimpressed with the experience of recording in Nashville. His strongest memory of the sessions was of another session going on in the same studio complex at the time -- Bobby "Blue" Bland was recording his classic single "Turn On Your Love Light", with the great drummer Jabo Starks on drums, and Helm was more interested in listening to that than he was in the music they were playing: [Excerpt: Bobby "Blue" Bland, "Turn On Your Love Light"] Incidentally, Helm talks about that recording being made "downstairs" from where the Hawks were recording, but also says that they were recording in Bradley's Quonset hut.  Now, my understanding here *could* be very wrong -- I've been unable to find a plan or schematic anywhere -- but my understanding is that the Quonset hut was a single-level structure, not a multi-level structure. BUT the original recording facilities run by the Bradley brothers were in Owen Bradley's basement, before they moved into the larger Quonset hut facility in the back, so it's possible that Bland was recording that in the old basement studio. If so, that won't be the last recording made in a basement we hear this episode... Fred Carter decided during the Nashville sessions that he was going to leave the Hawks. As his son told the story: "Dad had discovered the session musicians there. He had no idea that you could play and make a living playing in studios and sleep in your own bed every night. By that point in his life, he'd already been gone from home and constantly on the road and in the service playing music for ten years so that appealed to him greatly. And Levon asked him, he said, “If you're gonna leave, Fred, I'd like you to get young Robbie over here up to speed on guitar”…[Robbie] got kind of aggravated with him—and Dad didn't say this with any malice—but by the end of that week, or whatever it was, Robbie made some kind of comment about “One day I'm gonna cut you.” And Dad said, “Well, if that's how you think about it, the lessons are over.” " (For those who don't know, a musician "cutting" another one is playing better than them, so much better that the worse musician has to concede defeat. For the remainder of Carter's notice in the Hawks, he played with his back to Robertson, refusing to look at him. Carter leaving the group caused some more shuffling of roles. For a while, Levon Helm -- who Hawkins always said was the best lead guitar player he ever worked with as well as the best drummer -- tried playing lead guitar while Robertson played rhythm and another member, Rebel Payne, played bass, but they couldn't find a drummer to replace Helm, who moved back onto the drums. Then they brought in Roy Buchanan, another guitarist who had been playing with Dale Hawkins, having started out playing with Johnny Otis' band. But Buchanan didn't fit with Hawkins' personality, and he quit after a few months, going off to record his own first solo record: [Excerpt: Roy Buchanan, "Mule Train Stomp"] Eventually they solved the lineup problem by having Robertson -- by this point an accomplished lead player --- move to lead guitar and bringing in a new rhythm player, another Canadian teenager named Rick Danko, who had originally been a lead player (and who also played mandolin and fiddle). Danko wasn't expected to stay on rhythm long though -- Rebel Payne was drinking a lot and missing being at home when he was out on the road, so Danko was brought in on the understanding that he was to learn Payne's bass parts and switch to bass when Payne quit. Helm and Robertson were unsure about Danko, and Robertson expressed that doubt, saying "He only knows four chords," to which Hawkins replied, "That's all right son. You can teach him four more the way we had to teach you." He proved himself by sheer hard work. As Hawkins put it “He practiced so much that his arms swoll up. He was hurting.” By the time Danko switched to bass, the group also had a baritone sax player, Jerry Penfound, which allowed the group to play more of the soul and R&B material that Helm and Robertson favoured, though Hawkins wasn't keen. This new lineup of the group (which also had Stan Szelest on piano) recorded Hawkins' next album. This one was produced by Henry Glover, the great record producer, songwriter, and trumpet player who had played with Lucky Millinder, produced Wynonie Harris, Hank Ballard, and Moon Mullican, and wrote "Drowning in My Own Tears", "The Peppermint Twist", and "California Sun". Glover was massively impressed with the band, especially Helm (with whom he would remain friends for the rest of his life) and set aside some studio time for them to cut some tracks without Hawkins, to be used as album filler, including a version of the Bobby "Blue" Bland song "Farther On Up the Road" with Helm on lead vocals: [Excerpt: Levon Helm and the Hawks, "Farther On Up the Road"] There were more changes on the way though. Stan Szelest was about to leave the band, and Jones had already left, so the group had no keyboard player. Hawkins had just the replacement for Szelest -- yet another Canadian teenager. This one was Richard Manuel, who played piano and sang in a band called The Rockin' Revols. Manuel was not the greatest piano player around -- he was an adequate player for simple rockabilly and R&B stuff, but hardly a virtuoso -- but he was an incredible singer, able to do a version of "Georgia on My Mind" which rivalled Ray Charles, and Hawkins had booked the Revols into his own small circuit of clubs around Arkanasas after being impressed with them on the same bill as the Hawks a couple of times. Hawkins wanted someone with a good voice because he was increasingly taking a back seat in performances. Hawkins was the bandleader and frontman, but he'd often given Helm a song or two to sing in the show, and as they were often playing for several hours a night, the more singers the band had the better. Soon, with Helm, Danko, and Manuel all in the group and able to take lead vocals, Hawkins would start missing entire shows, though he still got more money than any of his backing group. Hawkins was also a hard taskmaster, and wanted to have the best band around. He already had great musicians, but he wanted them to be *the best*. And all the musicians in his band were now much younger than him, with tons of natural talent, but untrained. What he needed was someone with proper training, someone who knew theory and technique. He'd been trying for a long time to get someone like that, but Garth Hudson had kept turning him down. Hudson was older than any of the Hawks, though younger than Hawkins, and he was a multi-instrumentalist who was far better than any other musician on the circuit, having trained in a conservatory and learned how to play Bach and Chopin before switching to rock and roll. He thought the Hawks were too loud sounding and played too hard for him, but Helm kept on at Hawkins to meet any demands Hudson had, and Hawkins eventually agreed to give Hudson a higher wage than any of the other band members, buy him a new Lowry organ, and give him an extra ten dollars a week to give the rest of the band music lessons. Hudson agreed, and the Hawks now had a lineup of Helm on drums, Robertson on guitar, Manuel on piano, Danko on bass, Hudson on organ and alto sax, and Penfound on baritone sax. But these new young musicians were beginning to wonder why they actually needed a frontman who didn't turn up to many of the gigs, kept most of the money, and fined them whenever they broke one of his increasingly stringent set of rules. Indeed, they wondered why they needed a frontman at all. They already had three singers -- and sometimes a fourth, a singer called Bruce Bruno who would sometimes sit in with them when Penfound was unable to make a gig. They went to see Harold Kudlets, who Hawkins had recently sacked as his manager, and asked him if he could get them gigs for the same amount of money as they'd been getting with Hawkins. Kudlets was astonished to find how little Hawkins had been paying them, and told them that would be no problem at all. They had no frontman any more -- and made it a rule in all their contracts that the word "sideman" would never be used -- but Helm had been the leader for contractual purposes, as the musical director and longest-serving member (Hawkins, as a non-playing singer, had never joined the Musicians' Union so couldn't be the leader on contracts). So the band that had been Ronnie Hawkins and the Hawks became the Levon Helm Sextet briefly -- but Penfound soon quit, and they became Levon and the Hawks. The Hawks really started to find their identity as their own band in 1964. They were already far more interested in playing soul than Hawkins had been, but they were also starting to get into playing soul *jazz*, especially after seeing the Cannonball Adderley Sextet play live: [Excerpt: Cannonball Adderley, "This Here"] What the group admired about the Adderley group more than anything else was a sense of restraint. Helm was particularly impressed with their drummer, Louie Hayes, and said of him "I got to see some great musicians over the years, and you see somebody like that play and you can tell, y' know, that the thing not to do is to just get it down on the floor and stomp the hell out of it!" The other influence they had, and one which would shape their sound even more, was a negative one. The two biggest bands on the charts at the time were the Beatles and the Beach Boys, and as Helm described it in his autobiography, the Hawks thought both bands' harmonies were "a blend of pale, homogenised, voices". He said "We felt we were better than the Beatles and the Beach Boys. We considered them our rivals, even though they'd never heard of us", and they decided to make their own harmonies sound as different as possible as a result. Where those groups emphasised a vocal blend, the Hawks were going to emphasise the *difference* in their voices in their own harmonies. The group were playing prestigious venues like the Peppermint Lounge, and while playing there they met up with John Hammond Jr, who they'd met previously in Canada. As you might remember from the first episode on Bob Dylan, Hammond Jr was the son of the John Hammond who we've talked about in many episodes, and was a blues musician in his own right. He invited Helm, Robertson, and Hudson to join the musicians, including Michael Bloomfield, who were playing on his new album, So Many Roads: [Excerpt: John P. Hammond, "Who Do You Love?"] That album was one of the inspirations that led Bob Dylan to start making electric rock music and to hire Bloomfield as his guitarist, decisions that would have profound implications for the Hawks. The first single the Hawks recorded for themselves after leaving Hawkins was produced by Henry Glover, and both sides were written by Robbie Robertson. "uh Uh Uh" shows the influence of the R&B bands they were listening to. What it reminds me most of is the material Ike and Tina Turner were playing at the time, but at points I think I can also hear the influence of Curtis Mayfield and Steve Cropper, who were rapidly becoming Robertson's favourite songwriters: [Excerpt: The Canadian Squires, "Uh Uh Uh"] None of the band were happy with that record, though. They'd played in the studio the same way they played live, trying to get a strong bass presence, but it just sounded bottom-heavy to them when they heard the record on a jukebox. That record was released as by The Canadian Squires -- according to Robertson, that was a name that the label imposed on them for the record, while according to Helm it was an alternative name they used so they could get bookings in places they'd only recently played, which didn't want the same band to play too often. One wonders if there was any confusion with the band Neil Young played in a year or so before that single... Around this time, the group also met up with Helm's old musical inspiration Sonny Boy Williamson II, who was impressed enough with them that there was some talk of them being his backing band (and it was in this meeting that Williamson apparently told Robertson "those English boys want to play the blues so bad, and they play the blues *so bad*", speaking of the bands who'd backed him in the UK, like the Yardbirds and the Animals). But sadly, Williamson died in May 1965 before any of these plans had time to come to fruition. Every opportunity for the group seemed to be closing up, even as they knew they were as good as any band around them. They had an offer from Aaron Schroeder, who ran Musicor Records but was more importantly a songwriter and publisher who  had written for Elvis Presley and published Gene Pitney. Schroeder wanted to sign the Hawks as a band and Robertson as a songwriter, but Henry Glover looked over the contracts for them, and told them "If you sign this you'd better be able to pay each other, because nobody else is going to be paying you". What happened next is the subject of some controversy, because as these things tend to go, several people became aware of the Hawks at the same time, but it's generally considered that nothing would have happened the same way were it not for Mary Martin. Martin is a pivotal figure in music business history -- among other things she discovered Leonard Cohen and Gordon Lightfoot, managed Van Morrison, and signed Emmylou Harris to Warner Brothers records -- but a somewhat unknown one who doesn't even have a Wikipedia page. Martin was from Toronto, but had moved to New York, where she was working in Albert Grossman's office, but she still had many connections to Canadian musicians and kept an eye out for them. The group had sent demo tapes to Grossman's offices, and Grossman had had no interest in them, but Martin was a fan and kept pushing the group on Grossman and his associates. One of those associates, of course, was Grossman's client Bob Dylan. As we heard in the episode on "Like a Rolling Stone", Dylan had started making records with electric backing, with musicians who included Mike Bloomfield, who had played with several of the Hawks on the Hammond album, and Al Kooper, who was a friend of the band. Martin gave Richard Manuel a copy of Dylan's new electric album Highway 61 Revisited, and he enjoyed it, though the rest of the group were less impressed: [Excerpt: Bob Dylan, "Highway 61 Revisited"] Dylan had played the Newport Folk Festival with some of the same musicians as played on his records, but Bloomfield in particular was more interested in continuing to play with the Paul Butterfield Blues Band than continuing with Dylan long-term. Mary Martin kept telling Dylan about this Canadian band she knew who would be perfect for him, and various people associated with the Grossman organisation, including Hammond, have claimed to have been sent down to New Jersey where the Hawks were playing to check them out in their live setting. The group have also mentioned that someone who looked a lot like Dylan was seen at some of their shows. Eventually, Dylan phoned Helm up and made an offer. He didn't need a full band at the moment -- he had Harvey Brooks on bass and Al Kooper on keyboards -- but he did need a lead guitar player and drummer for a couple of gigs he'd already booked, one in Forest Hills, New York, and a bigger gig at the Hollywood Bowl. Helm, unfamiliar with Dylan's work, actually asked Howard Kudlets if Dylan was capable of filling the Hollywood Bowl. The musicians rehearsed together and got a set together for the shows. Robertson and Helm thought the band sounded terrible, but Dylan liked the sound they were getting a lot. The audience in Forest Hills agreed with the Hawks, rather than Dylan, or so it would appear. As we heard in the "Like a Rolling Stone" episode, Dylan's turn towards rock music was *hated* by the folk purists who saw him as some sort of traitor to the movement, a movement whose figurehead he had become without wanting to. There were fifteen thousand people in the audience, and they listened politely enough to the first set, which Dylan played acoustically, But before the second set -- his first ever full electric set, rather than the very abridged one at Newport -- he told the musicians “I don't know what it will be like out there It's going to be some kind of  carnival and I want you to all know that up front. So go out there and keep playing no matter how weird it gets!” There's a terrible-quality audience recording of that show in circulation, and you can hear the crowd's reaction to the band and to the new material: [Excerpt: Bob Dylan, "Ballad of a Thin Man" (live Forest Hills 1965, audience noise only)] The audience also threw things  at the musicians, knocking Al Kooper off his organ stool at one point. While Robertson remembered the Hollywood Bowl show as being an equally bad reaction, Helm remembered the audience there as being much more friendly, and the better-quality recording of that show seems to side with Helm: [Excerpt: Bob Dylan, "Maggie's Farm (live at the Hollywood Bowl 1965)"] After those two shows, Helm and Robertson went back to their regular gig. and in September they made another record. This one, again produced by Glover, was for Atlantic's Atco subsidiary, and was released as by Levon and the Hawks. Manuel took lead, and again both songs were written by Robertson: [Excerpt: Levon and the Hawks, "He Don't Love You (And He'll Break Your Heart)"] But again that record did nothing. Dylan was about to start his first full electric tour, and while Helm and Robertson had not thought the shows they'd played sounded particularly good, Dylan had, and he wanted the two of them to continue with him. But Robertson and, especially, Helm, were not interested in being someone's sidemen. They explained to Dylan that they already had a band -- Levon and the Hawks -- and he would take all of them or he would take none of them. Helm in particular had not been impressed with Dylan's music -- Helm was fundamentally an R&B fan, while Dylan's music was rooted in genres he had little time for -- but he was OK with doing it, so long as the entire band got to. As Mary Martin put it “I think that the wonderful and the splendid heart of the band, if you will, was Levon, and I think he really sort of said, ‘If it's just myself as drummer and Robbie…we're out. We don't want that. It's either us, the band, or nothing.' And you know what? Good for him.” Rather amazingly, Dylan agreed. When the band's residency in New Jersey finished, they headed back to Toronto to play some shows there, and Dylan flew up and rehearsed with them after each show. When the tour started, the billing was "Bob Dylan with Levon and the Hawks". That billing wasn't to last long. Dylan had been booked in for nine months of touring, and was also starting work on what would become widely considered the first double album in rock music history, Blonde on Blonde, and the original plan was that Levon and the Hawks would play with him throughout that time.  The initial recording sessions for the album produced nothing suitable for release -- the closest was "I Wanna Be Your Lover", a semi-parody of the Beatles' "I Want to be Your Man": [Excerpt: Bob Dylan with Levon and the Hawks, "I Wanna Be Your Lover"] But shortly into the tour, Helm quit. The booing had continued, and had even got worse, and Helm simply wasn't in the business to be booed at every night. Also, his whole conception of music was that you dance to it, and nobody was dancing to any of this. Helm quit the band, only telling Robertson of his plans, and first went off to LA, where he met up with some musicians from Oklahoma who had enjoyed seeing the Hawks when they'd played that state and had since moved out West -- people like Leon Russell, J.J. Cale (not John Cale of the Velvet Underground, but the one who wrote "Cocaine" which Eric Clapton later had a hit with), and John Ware (who would later go on to join the West Coast Pop Art Experimental Band). They started loosely jamming with each other, sometimes also involving a young singer named Linda Ronstadt, but Helm eventually decided to give up music and go and work on an oil rig in New Orleans. Levon and the Hawks were now just the Hawks. The rest of the group soldiered on, replacing Helm with session drummer Bobby Gregg (who had played on Dylan's previous couple of albums, and had previously played with Sun Ra), and played on the initial sessions for Blonde on Blonde. But of those sessions, Dylan said a few weeks later "Oh, I was really down. I mean, in ten recording sessions, man, we didn't get one song ... It was the band. But you see, I didn't know that. I didn't want to think that" One track from the sessions did get released -- the non-album single "Can You Please Crawl Out Your Window?" [Excerpt: Bob Dylan, "Can You Please Crawl Out Your Window?"] There's some debate as to exactly who's playing drums on that -- Helm says in his autobiography that it's him, while the credits in the official CD releases tend to say it's Gregg. Either way, the track was an unexpected flop, not making the top forty in the US, though it made the top twenty in the UK. But the rest of the recordings with the now Helmless Hawks were less successful. Dylan was trying to get his new songs across, but this was a band who were used to playing raucous music for dancing, and so the attempts at more subtle songs didn't come off the way he wanted: [Excerpt: Bob Dylan and the Hawks, "Visions of Johanna (take 5, 11-30-1965)"] Only one track from those initial New York sessions made the album -- "One Of Us Must Know (Sooner or Later)" -- but even that only featured Robertson and Danko of the Hawks, with the rest of the instruments being played by session players: [Excerpt: Bob Dylan (One of Us Must Know (Sooner or Later)"] The Hawks were a great live band, but great live bands are not necessarily the same thing as a great studio band. And that's especially the case with someone like Dylan. Dylan was someone who was used to recording entirely on his own, and to making records *quickly*. In total, for his fifteen studio albums up to 1974's Blood on the Tracks, Dylan spent a total of eighty-six days in the studio -- by comparison, the Beatles spent over a hundred days in the studio just on the Sgt Pepper album. It's not that the Hawks weren't a good band -- very far from it -- but that studio recording requires a different type of discipline, and that's doubly the case when you're playing with an idiosyncratic player like Dylan. The Hawks would remain Dylan's live backing band, but he wouldn't put out a studio recording with them backing him until 1974. Instead, Bob Johnston, the producer Dylan was working with, suggested a different plan. On his previous album, the Nashville session player Charlie McCoy had guested on "Desolation Row" and Dylan had found him easy to work with. Johnston lived in Nashville, and suggested that they could get the album completed more quickly and to Dylan's liking by using Nashville A-Team musicians. Dylan agreed to try it, and for the rest of the album he had Robertson on lead guitar and Al Kooper on keyboards, but every other musician was a Nashville session player, and they managed to get Dylan's songs recorded quickly and the way he heard them in his head: [Excerpt: Bob Dylan, "Most Likely You Go Your Way and I'll Go Mine"] Though Dylan being Dylan he did try to introduce an element of randomness to the recordings by having the Nashville musicians swap their instruments around and play each other's parts on "Rainy Day Women #12 & 35", though the Nashville players were still competent enough that they managed to get a usable, if shambolic, track recorded that way in a single take: [Excerpt: Bob Dylan, "Rainy Day Women #12 & 35"] Dylan said later of the album "The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up." The album was released in late June 1966, a week before Freak Out! by the Mothers of Invention, another double album, produced by Dylan's old producer Tom Wilson, and a few weeks after Pet Sounds by the Beach Boys. Dylan was at the forefront of a new progressive movement in rock music, a movement that was tying thoughtful, intelligent lyrics to studio experimentation and yet somehow managing to have commercial success. And a month after Blonde on Blonde came out, he stepped away from that position, and would never fully return to it. The first half of 1966 was taken up with near-constant touring, with Dylan backed by the Hawks and a succession of fill-in drummers -- first Bobby Gregg, then Sandy Konikoff, then Mickey Jones. This tour started in the US and Canada, with breaks for recording the album, and then moved on to Australia and Europe. The shows always followed the same pattern. First Dylan would perform an acoustic set, solo, with just an acoustic guitar and harmonica, which would generally go down well with the audience -- though sometimes they would get restless, prompting a certain amount of resistance from the performer: [Excerpt: Bob Dylan, "Just Like a Woman (live Paris 1966)"] But the second half of each show was electric, and that was where the problems would arise. The Hawks were playing at the top of their game -- some truly stunning performances: [Excerpt: Bob Dylan and the Hawks, "Just Like Tom Thumb's Blues (live in Liverpool 1966)"] But while the majority of the audience was happy to hear the music, there was a vocal portion that were utterly furious at the change in Dylan's musical style. Most notoriously, there was the performance at Manchester Free Trade Hall where this happened: [Excerpt: Bob Dylan, "Like a Rolling Stone (live Manchester 1966)"] That kind of aggression from the audience had the effect of pushing the band on to greater heights a lot of the time -- and a bootleg of that show, mislabelled as the Royal Albert Hall, became one of the most legendary bootlegs in rock music history. Jimmy Page would apparently buy a copy of the bootleg every time he saw one, thinking it was the best album ever made. But while Dylan and the Hawks played defiantly, that kind of audience reaction gets wearing. As Dylan later said, “Judas, the most hated name in human history, and for what—for playing an electric guitar. As if that is in some kind of way equitable to betraying our Lord, and delivering him up to be crucified; all those evil mothers can rot in hell.” And this wasn't the only stress Dylan, in particular, was under. D.A. Pennebaker was making a documentary of the tour -- a follow-up to his documentary of the 1965 tour, which had not yet come out. Dylan talked about the 1965 documentary, Don't Look Back, as being Pennebaker's film of Dylan, but this was going to be Dylan's film, with him directing the director. That footage shows Dylan as nervy and anxious, and covering for the anxiety with a veneer of flippancy. Some of Dylan's behaviour on both tours is unpleasant in ways that can't easily be justified (and which he has later publicly regretted), but there's also a seeming cruelty to some of his interactions with the press and public that actually reads more as frustration. Over and over again he's asked questions -- about being the voice of a generation or the leader of a protest movement -- which are simply based on incorrect premises. When someone asks you a question like this, there are only a few options you can take, none of them good. You can dissect the question, revealing the incorrect premises, and then answer a different question that isn't what they asked, which isn't really an option at all given the kind of rapid-fire situation Dylan was in. You can answer the question as asked, which ends up being dishonest. Or you can be flip and dismissive, which is the tactic Dylan chose. Dylan wasn't the only one -- this is basically what the Beatles did at press conferences. But where the Beatles were a gang and so came off as being fun, Dylan doing the same thing came off as arrogant and aggressive. One of the most famous artifacts of the whole tour is a long piece of footage recorded for the documentary, with Dylan and John Lennon riding in the back of a taxi, both clearly deeply uncomfortable, trying to be funny and impress the other, but neither actually wanting to be there: [Excerpt Dylan and Lennon conversation] 33) Part of the reason Dylan wanted to go home was that he had a whole new lifestyle. Up until 1964 he had been very much a city person, but as he had grown more famous, he'd found New York stifling. Peter Yarrow of Peter, Paul, and Mary had a cabin in Woodstock, where he'd grown up, and after Dylan had spent a month there in summer 1964, he'd fallen in love with the area. Albert Grossman had also bought a home there, on Yarrow's advice, and had given Dylan free run of the place, and Dylan had decided he wanted to move there permanently and bought his own home there. He had also married, to Sara Lowndes (whose name is, as far as I can tell, pronounced "Sarah" even though it's spelled "Sara"), and she had given birth to his first child (and he had adopted her child from her previous marriage). Very little is actually known about Sara, who unlike many other partners of rock stars at this point seemed positively to detest the limelight, and whose privacy Dylan has continued to respect even after the end of their marriage in the late seventies, but it's apparent that the two were very much in love, and that Dylan wanted to be back with his wife and kids, in the country, not going from one strange city to another being asked insipid questions and having abuse screamed at him. He was also tired of the pressure to produce work constantly. He'd signed a contract for a novel, called Tarantula, which he'd written a draft of but was unhappy with, and he'd put out two single albums and a double-album in a little over a year -- all of them considered among the greatest albums ever made. He could only keep up this rate of production and performance with a large intake of speed, and he was sometimes staying up for four days straight to do so. After the European leg of the tour, Dylan was meant to take some time to finish overdubs on Blonde on Blonde, edit the film of the tour for a TV special, with his friend Howard Alk, and proof the galleys for Tarantula, before going on a second world tour in the autumn. That world tour never happened. Dylan was in a motorcycle accident near his home, and had to take time out to recover. There has been a lot of discussion as to how serious the accident actually was, because Dylan's manager Albert Grossman was known to threaten to break contracts by claiming his performers were sick, and because Dylan essentially disappeared from public view for the next eighteen months. Every possible interpretation of the events has been put about by someone, from Dylan having been close to death, to the entire story being put up as a fake. As Dylan is someone who is far more protective of his privacy than most rock stars, it's doubtful we'll ever know the precise truth, but putting together the various accounts Dylan's injuries were bad but not life-threatening, but they acted as a wake-up call -- if he carried on living like he had been, how much longer could he continue? in his sort-of autobiography, Chronicles, Dylan described this period, saying "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race. Having children changed my life and segregated me from just about everybody and everything that was going on. Outside of my family, nothing held any real interest for me and I was seeing everything through different glasses." All his forthcoming studio and tour dates were cancelled, and Dylan took the time out to recover, and to work on his film, Eat the Document. But it's clear that nobody was sure at first exactly how long Dylan's hiatus from touring was going to last. As it turned out, he wouldn't do another tour until the mid-seventies, and would barely even play any one-off gigs in the intervening time. But nobody knew that at the time, and so to be on the safe side the Hawks were being kept on a retainer. They'd always intended to work on their own music anyway -- they didn't just want to be anyone's backing band -- so they took this time to kick a few ideas around, but they were hamstrung by the fact that it was difficult to find rehearsal space in New York City, and they didn't have any gigs. Their main musical work in the few months between summer 1966 and spring 1967 was some recordings for the soundtrack of a film Peter Yarrow was making. You Are What You Eat is a bizarre hippie collage of a film, documenting the counterculture between 1966 when Yarrow started making it and 1968 when it came out. Carl Franzoni, one of the leaders of the LA freak movement that we've talked about in episodes on the Byrds, Love, and the Mothers of Invention, said of the film “If you ever see this movie you'll understand what ‘freaks' are. It'll let you see the L.A. freaks, the San Francisco freaks, and the New York freaks. It was like a documentary and it was about the makings of what freaks were about. And it had a philosophy, a very definite philosophy: that you are free-spirited, artistic." It's now most known for introducing the song "My Name is Jack" by John Simon, the film's music supervisor: [Excerpt: John Simon, "My Name is Jack"] That song would go on to be a top ten hit in the UK for Manfred Mann: [Excerpt: Manfred Mann, "My Name is Jack"] The Hawks contributed backing music for several songs for the film, in which they acted as backing band for another old Greenwich Village folkie who had been friends with Yarrow and Dylan but who was not yet the star he would soon become, Tiny Tim: [Excerpt: Tiny Tim, "Sonny Boy"] This was their first time playing together properly since the end of the European tour, and Sid Griffin has noted that these Tiny Tim sessions are the first time you can really hear the sound that the group would develop over the next year, and which would characterise them for their whole career. Robertson, Danko, and Manuel also did a session, not for the film with another of Grossman's discoveries, Carly Simon, playing a version of "Baby Let Me Follow You Down", a song they'd played a lot with Dylan on the tour that spring. That recording has never been released, and I've only managed to track down a brief clip of it from a BBC documentary, with Simon and an interviewer talking over most of the clip (so this won't be in the Mixcloud I put together of songs): [Excerpt: Carly Simon, "Baby Let Me Follow You Down"] That recording is notable though because as well as Robertson, Danko, and Manuel, and Dylan's regular studio keyboard players Al Kooper and Paul Griffin, it also features Levon Helm on drums, even though Helm had still not rejoined the band and was at the time mostly working in New Orleans. But his name's on the session log, so he must have m

El Martillo Press publishes writers whose pens strike the page with clear intent; words with purpose to pry apart assumed norms and to hammer away at injustice. El Martillo Press proactively publishes writers looking to pound the pavement to promote their work and the work of their fellow pressmates. There is strength in El Martillo. Founded in Los Angeles in 2023 by Matt Sedillo and David A. Romero, and launched with a diverse group of celebrated and hardworking writers who embody our working-class intellectual spirit, El Martillo Press maintains an editorial board that makes its selections for publishing. Matt Sedillo has been described as the "best political poet in America" as well as "the poet laureate of the struggle." His work has drawn comparisons in print to Bertolt Brecht, Roque Dalton, Amiri Baraka, Alan Ginsberg, Carl Sandburg and various other legends of the past. David A. Romero is a Mexican-American spoken word artist from Diamond Bar, CA. Romero is the author of My Name Is Romero (FlowerSong Press), a book reviewed by Gustavo Arellano (¡Ask a Mexican!), Curtis Marez (University Babylon), and founding member of Ozomatli, Ulises Bella. Paul S. Flores is a San Francisco artist of Mexican and Cuban-American heritage that has built a national reputation for interview-based theater and bilingual spoken word. He integrates Latino and indigenous healing practices to tell the stories of real people impacted by immigration and systemic inequalities. Flores appeared on Season 4 of HBO's Def Poetry. His first full-length book of poetry, WE STILL BE: Poems and Performances was published by El Martillo Press in June 2023. Ceasar K. Avelar is the current Poet Laureate of Pomona. He is the writer in residence of Cafe con Libros Press, and the founder of Obsidian Tongues open mic. Avelar writes through the sociological lens of a blue-collar worker. He is the author of God of the Air Hose and Other Blue-Collar Poems (El Martillo Press, 2023). Avelar will graduate this summer from Cal Poly Pomona with a bachelor's degree in Sociology. Donato Martinez was born in the small pueblo, Garcia de la Cadena, Zacatecas, Mexico and immigrated into the USA at six years old. He teaches English composition, Literature, and Creative Writing at Santa Ana College. He has also taught classes in Chicano Studies. He has a self-published collection with three other Inland Empire poets, Tacos de Lengua. His full collection of poetry, Touch the Sky, was published by El Martillo Press in June 2023. Margaret Elysia Garcia is the author of the short story collection Graft, the chapbook Burn Scars, and the daughterland (El Martillo Press, 2023). She's the co-editor of the anthology Red Flag Warning: Northern Californians Living with Fire out on HeyDay Books in 2024. She writes about family, culture and surviving climate change disasters. Tony Diaz Writer and activist Tony Diaz, El Librotraficante, is a Cultural Accelerator. He was the first Chicano to earn a Master of Fine Arts degree from the University of Houston Creative Writing Program. In 1998, he founded Nuestra Palabra: Latino Writers Having Their Say (NP), Houston's first reading series for Latino authors. The group galvanized Houston's Community Cultural Capital to become a movement for civil rights, education, and representation. When Arizona officials banned Mexican American Studies, Diaz and four veteran members of NP organized the 2012 Librotraficante Caravan to smuggle books from the banned curriculum back into Arizona. He is the author of The Aztec Love God. His book, The Tip of the Pyramid: Cultivating Community Cultural Capital, is the first in his series on Community Organizing. www.Librotraficante.com www.NuestraPalabra.org www.TonyDiaz.net Nuestra Palabra is funded in part by the BIPOC Arts Network Fund. Instrumental Music produced / courtesy of Bayden Records Website | baydenrecords.beatstars.com

If you wanna know if he loves you so its in his…laugh. Giles listens very carefully to Esthers giggles to see if she is still madly in love with him. Will a three year cruise restore the romance or perhaps an encounter with poet Alan Ginsberg? After some monkeying around Esther and Giles come to the rescue of some ramblers. Season 9 ends here. Seasons 10 begins after Easter. Thanks for listening. Hosted on Acast. See acast.com/privacy for more information.

It has been said that “Fat Cats, Bigga Fish” by the band The Coup “is to hip hop what Alan Ginsberg's Howl is to poetry, Miles Davis' “Kind of Blue” is to Jazz, or Marx's Das Kapital is to socialist theory.” This week, Lindsay and Aviv take a deep dive into a hip hop record and a lyricist, Boots Riley, who has always weirdly been able to predict the future, maybe even 9/11. Let's just hope he's wrong about the horses... --- Support this podcast: https://anchor.fm/lyricsforlunch/support

"I may be crucified for this... but happily!" Sam Bercholz is the Founder and Editor In Chief of Shambhala Publications, was an attendant, student, close friend and constant collaborator of Chogyam Trungpa Rinpoche's for the last 17 years of his life, publishing virtually Trungpa's entire literary catalog. He co-hosted a weekly public radio show with Alan Watts (produced by an Anton Lavey devotee), and Sam personally introduced Trungpa Rinpoche to Alan Watts ("Alan was Trunpa's literary hero.") He shares the details of their first meeting, and the bombshell first impression Alan Watts made on Trungpa Rinpoche ("That was a horrible disappointment"). Sam also made the introduction between renowned Zen Master Suzuki Roshi and Trungpa Rinpoche, which became a lifelong friendship between the two most significant Buddhist teachers in North American history. Sam also grew up with Alan Ginsberg, Lawrence Ferlinghetti and Lex Hixon, was the original mover and shaker of the spiritual boom in the Bay Area in the late 1960's and 70's. He even hosted His Holiness Dilgo Khyentse Rinpoche (considered the living Buddha of the last 100 years) on his only visit to North America in 1976. Sam tells mind-blowing stories of what it was like for him to be the "designated driver" for Trungpa Rinpoche's early acid tests with his students ("best job ever") and how Trungpa never appeared to be affected by the LSD or the alcohol intake. Sam shares (for the first time publicly) his feelings about the controversial offshoot Shambhala Buddhism, which he reveals was created years after Trungpa Rinpoche's death, without his personal blessing and against many of his students support. "I tried to stop Shambhala Buddhism from happening. I thought it was a mistake to create a new religion, because Trungpa Rinpoche was not into starting new religions." Sam also shares about his relationship with legendary poet Jim Harrison, and towards the end of the podcast, fields questions from Jaymee's student Tim D'amico and his partner Lacee. "I had many meetings with Trungpa Rinpoche while he was taking a crap..." - Sam Bercholz *LOVE IS THE AUTHOR: produced, edited, and hosted by Jaymee Carpenter. *Recorded live on location: Langham Huntington Hotel in Pasadena, CA. *Opening/closing music: "Spinning Love" by Sam Cohen (30th Century Records) *Follow LITA on Instagram: @loveistheauthor LOVE IS THE AUTHOR: produced, edited, and hosted by Jaymee Carpenter. MGMT/INFO: lacee@loveistheauthor.com

Nuestra Palabra: Flower Song Press Fest: Platicas y Poesia de Califa a Tejas! In a preview of our upcoming Latino Author Series at the Latino Bookstore at the Guadalupe Cultural Arts Center, Tony Diaz welcomes our feature guests, all part of the FlowerSong Press Familia! David Romero Marisol Cortez Matt Sedillo Leticia Urieta David A. Romero is a Mexican-American spoken word artist from Diamond Bar, CA. Romero is the author of My Name Is Romero (FlowerSong Press). Romero has received honorariums from over seventy-five colleges and universities in thirty-three different states in the USA. Rooted in San Antonio, Marisol Cortez writes across genre about place and power for all the other border walking weirdos out there. She is the author of the award-winning South Texas cli-fi novel Luz at Midnight as well as I Call on the Earth, a chapbook of documentary poetry about the forced removal of Mission Trails Mobile Home Community. She writes to remember the land and resist all domination. For updates on projects and publications, visit mcortez.net. Matt Sedillo has been described as the "best political poet in America" as well as "the poet laureate of the struggle". His work has drawn comparisons in print to Bertolt Brecht, Roque Dalton, Amiri Baraka, Alan Ginsberg and various other legends of the past. Sedillo was the recipient of the first ever Dante's Laurel presented in Ravenna Italy, the 2017 Joe Hill Labor Poetry award, a panelist at the 2020 Texas book festival, and a participant in the 2012 San Francisco International Poetry Festival, the 2022 Elba Poetry Festival. Sedillo has appeared on CSPAN and has been featured in the Los Angeles Times, Axios, the Associated Press among other publications. Leticia Urieta (she/her/hers) is a Tejana writer from Austin, TX. She is a teaching artist in the greater Austin community and the Program Director of Austin Bat Cave, a literary community serving students in the Austin area, as well as the co-director of Barrio Writers Austin and Pflugerville, a free creative writing program for youth. Leticia is also a freelance writer. She is a graduate of Agnes Scott College and holds an MFA in Fiction writing from Texas State University. Her work appears or is forthcoming in Chicon Street Poets, Lumina, The Offing, Kweli Journal, Medium, Electric Lit and others. Her chapbook, The Monster was published in 2018 from LibroMobile Press. Her hybrid collection, Las Criaturas, was a finalist for the Sergio Troncoso Award for Best First Book of Fiction 2022 from the Texas Institute of Letters, and is out now from FlowerSong Press. Edward Vidaurre is an award-winning poet and author of eight collections of poetry. He is the 2018-2019 City of McAllen, Texas Poet Laureate, 2022 inductee to the Texas Institute of Letters, and publisher of FlowerSong Press. His writings have appeared in The New York Times, The Texas Observer, Los Angeles Review of Books, as well as other journals and anthologies. He has edited over 50 books and anthologies. Vidaurre resides in McAllen, Texas with his wife and daughter. Thanks to Roxana Guzman, Multiplatform Producer Rodrigo Bravo, Jr., Audio Producer Radame Ortiez, SEO Director Marc-Antony Piñón, Graphics Designer Leti Lopez, Music Director Bryan Parras, co-host and producer emeritus Liana Lopez, co-host and producer emeritus Lupe Mendez, Texas Poet Laureate, co-host, and producer emeritus Writer and activist Tony Diaz, El Librotraficante, hosts Latino Politics and News and the Nuestra Palabra Radio Show on 90.1 FM, KPFT, Houston's Community Station. He is also a political analyst on “What's Your Point?” on Fox 26 Houston. He is the author of the forthcoming book: The Tip of the Pyramid: Cultivating Community Cultural Capital. www.Librotraficante.com www.NuestraPalabra.org www.TonyDiaz.net Instrumental Music produced / courtesy of Bayden Records Website | http://baydenrecords.beatstars.com

Tony Diaz, literary curator of the Latino Bookstore, and the Guadalupe Cultural Arts Center, hold a monthly speaking engagement as part of the Texas Author Series. Flower Song Press' Edward Vidaurre presented Texas Authors Leticia Urieta & Marisol Cortez and special guests David A. Romero & Matt Cedillo for a showcase! David A. Romero is a Mexican-American spoken word artist from Diamond Bar, CA. Romero is the author of My Name Is Romero (FlowerSong Press). Romero has received honorariums from over seventy-five colleges and universities in thirty-three different states in the USA. Rooted in San Antonio, Marisol Cortez writes across genre about place and power for all the other border walking weirdos out there. She is the author of the award-winning South Texas cli-fi novel Luz at Midnight as well as I Call on the Earth, a chapbook of documentary poetry about the forced removal of Mission Trails Mobile Home Community. She writes to remember the land and resist all domination. For updates on projects and publications, visit mcortez.net. Matt Sedillo has been described as the "best political poet in America" as well as "the poet laureate of the struggle". His work has drawn comparisons in print to Bertolt Brecht, Roque Dalton, Amiri Baraka, Alan Ginsberg and various other legends of the past. Sedillo was the recipient of the first ever Dante's Laurel presented in Ravenna Italy, the 2017 Joe Hill Labor Poetry award, a panelist at the 2020 Texas book festival, and a participant in the 2012 San Francisco International Poetry Festival, the 2022 Elba Poetry Festival. Sedillo has appeared on CSPAN and has been featured in the Los Angeles Times, Axios, the Associated Press among other publications. Leticia Urieta (she/her/hers) is a Tejana writer from Austin, TX. She is a teaching artist in the greater Austin community and the Program Director of Austin Bat Cave, a literary community serving students in the Austin area, as well as the co-director of Barrio Writers Austin and Pflugerville, a free creative writing program for youth. Leticia is also a freelance writer. She is a graduate of Agnes Scott College and holds an MFA in Fiction writing from Texas State University. Her work appears or is forthcoming in Chicon Street Poets, Lumina, The Offing, Kweli Journal, Medium, Electric Lit and others. Her chapbook, The Monster was published in 2018 from LibroMobile Press. Her hybrid collection, Las Criaturas, was a finalist for the Sergio Troncoso Award for Best First Book of Fiction 2022 from the Texas Institute of Letters, and is out now from FlowerSong Press. Edward Vidaurre is an award-winning poet and author of eight collections of poetry. He is the 2018-2019 City of McAllen, Texas Poet Laureate, 2022 inductee to the Texas Institute of Letters, and publisher of FlowerSong Press. His writings have appeared in The New York Times, The Texas Observer, Los Angeles Review of Books, as well as other journals and anthologies. He has edited over 50 books and anthologies. Vidaurre resides in McAllen, Texas with his wife and daughter. Thanks to Roxana Guzman, Multiplatform Producer Rodrigo Bravo, Jr., Audio Producer Radame Ortiez, SEO Director Marc-Antony Piñón, Graphics Designer Leti Lopez, Music Director Bryan Parras, co-host and producer emeritus Liana Lopez, co-host and producer emeritus Lupe Mendez, Texas Poet Laureate, co-host, and producer emeritus Writer and activist Tony Diaz, El Librotraficante, hosts Latino Politics and News and the Nuestra Palabra Radio Show on 90.1 FM, KPFT, Houston's Community Station. He is also a political analyst on “What's Your Point?” on Fox 26 Houston. He is the author of the forthcoming book: The Tip of the Pyramid: Cultivating Community Cultural Capital. www.Librotraficante.com www.NuestraPalabra.org www.TonyDiaz.net Instrumental Music produced / courtesy of Bayden Records Website | http://baydenrecords.beatstars.com

Episode: 2446 Gödel, Ginsberg, and the limits of logic.  Today, the limits of logic.

Phoenix front man Thomas Mars joins me to talk about his Spark, It Was Twenty Years Ago Today is a 1987 British-made television documentary about the 1967 Summer of Love.We talked about the beginnings of Phoenix and how they drew inspiration from the Beatles' process and sound. We touched on the singular nature of The Beatles influence and they're lasting impact on culture at large. And most importantly, I hung out with one of my favorite musicians!Links:PhoenixIt Was Twenty Years Ago Today

Brought to you by HEY premium email service, Theragun percussive muscle therapy devices, and LinkedIn Jobs recruitment platform with 800M+ users.Aryeh B. Bourkoff (@aryehbourkoff) is the Chairman and CEO of LionTree, an independent investment and merchant bank advising and investing in transformational CEOs and the companies they lead. Aryeh founded LionTree in 2012 during a time of unprecedented disruption and since then, LionTree has supported an expanding number of industries as they capture opportunity in an evolving digital economy.Aryeh is also the founder of Kindred Media, a digital media and podcasting company powered by LionTree, and serves on the boards of Yahoo and Carnegie Hall. Before founding LionTree, Aryeh spent 13 years at UBS, closing his tenure as Vice Chairman and Head of Americas Investment Banking. Before UBS, Aryeh was a high yield research analyst and ranked as the #1 cable and satellite analyst by Institutional Investor for seven consecutive years.Aryeh is a graduate of the University of California at San Diego and resides in New York City with his family.Please enjoy!*This episode is brought to you by HEY! I was introduced to HEY by my friend Kevin Rose, who calls it “a beautiful rethinking of everything wrong with email.” HEY is a premium email service for people who are tired of having an inbox overflowing with things they don't care about, and who value their privacy and online security.They offer a 14-day free trial if you want to get a taste of HEY. A full-year's subscription to HEY is just $99. Plus, The Tim Ferriss Show listeners get an exclusive discount that has never been offered anywhere before. Get $20 off your first year's subscription when you sign up at Hey.com/Tim.*This episode is also brought to you by LinkedIn Jobs. Whether you are looking to hire now for a critical role or thinking about needs that you may have in the future, LinkedIn Jobs can help. LinkedIn screens candidates for the hard and soft skills you're looking for and puts your job in front of candidates looking for job opportunities that match what you have to offer.Using LinkedIn's active community of more than 800 million professionals worldwide, LinkedIn Jobs can help you find and hire the right person faster. When your business is ready to make that next hire, find the right person with LinkedIn Jobs. And now, you can post a job for free. Just visit LinkedIn.com/Tim.*This episode is also brought to you by Theragun! Theragun is my go-to solution for recovery and restoration. It's a famous, handheld percussive therapy device that releases your deepest muscle tension. I own two Theraguns, and my girlfriend and I use them every day after workouts and before bed. The all-new Gen 4 Theragun is easy to use and has a proprietary brushless motor that's surprisingly quiet—about as quiet as an electric toothbrush.Go to Therabody.com/Tim right now and get your Gen 4 Theragun today, starting at only $159.*[05:35] What makes a good research analyst?[12:39] Lessons learned from Alan Ginsberg.[16:02] Why did Aryeh choose to move across the country for a career in finance?[19:49] Professional job-seeking, doorknob negotiation, and toe-stepping.[24:30] Tying together the disparate and thinking outside convention.[35:38] Coping with overflow when time is short.[51:56] “What is your edge?”[58:27] A deck of cards and Joe Ianniello.[1:05:08] Resources for sharpening negotiation skills.[1:13:56] Recommended reading.[1:22:04] Thoughts on the future of audio/streaming/podcasting.[1:29:41] Building and maintaining community trust.[1:32:39] Goalkeeping.[1:35:59] Mach2.[1:39:12] Parting thoughts.*For show notes and past guests on The Tim Ferriss Show, please visit tim.blog/podcast.For deals from sponsors of The Tim Ferriss Show, please visit tim.blog/podcast-sponsorsSign up for Tim's email newsletter (5-Bullet Friday) at tim.blog/friday.For transcripts of episodes, go to tim.blog/transcripts.Discover Tim's books: tim.blog/books.Follow Tim:Twitter: twitter.com/tferriss Instagram: instagram.com/timferrissYouTube: youtube.com/timferrissFacebook: facebook.com/timferriss LinkedIn: linkedin.com/in/timferrissPast guests on The Tim Ferriss Show include Jerry Seinfeld, Hugh Jackman, Dr. Jane Goodall, LeBron James, Kevin Hart, Doris Kearns Goodwin, Jamie Foxx, Matthew McConaughey, Esther Perel, Elizabeth Gilbert, Terry Crews, Sia, Yuval Noah Harari, Malcolm Gladwell, Madeleine Albright, Cheryl Strayed, Jim Collins, Mary Karr, Maria Popova, Sam Harris, Michael Phelps, Bob Iger, Edward Norton, Arnold Schwarzenegger, Neil Strauss, Ken Burns, Maria Sharapova, Marc Andreessen, Neil Gaiman, Neil de Grasse Tyson, Jocko Willink, Daniel Ek, Kelly Slater, Dr. Peter Attia, Seth Godin, Howard Marks, Dr. Brené Brown, Eric Schmidt, Michael Lewis, Joe Gebbia, Michael Pollan, Dr. Jordan Peterson, Vince Vaughn, Brian Koppelman, Ramit Sethi, Dax Shepard, Tony Robbins, Jim Dethmer, Dan Harris, Ray Dalio, Naval Ravikant, Vitalik Buterin, Elizabeth Lesser, Amanda Palmer, Katie Haun, Sir Richard Branson, Chuck Palahniuk, Arianna Huffington, Reid Hoffman, Bill Burr, Whitney Cummings, Rick Rubin, Dr. Vivek Murthy, Darren Aronofsky, Margaret Atwood, Mark Zuckerberg, Peter Thiel, Dr. Gabor Maté, Anne Lamott, Sarah Silverman, Dr. Andrew Huberman, and many more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Ben Okurum'un yeni bölümü bu kez rock'n roll dünyasına götürüyor dinleyenleri. Beat kuşağının en önemli isimlerinden, Punk'ın vaftiz anası olarak anılan şair, şarkıcı, söz yazarı, ressam ve aktivist Patti Smith'in önce sevgilisi ömür boyu da dostu olan fotoğraf sanatçısı Robert Mapplethorpe ile anılarını anlattığı Çoluk Çocuk adlı kitabı odağına alan bölümde Deniz Yüce Başarır'ın konuğu radyocu, yazar Ayça Şen. 1967 yılında New York'ta tanışan ve birlikte üreten iki genç sanatçının aşkını merkeze alan kitapta elbette 68 ruhu da esiyor, 70lerin renkli, isyankâr havası da. Ve Bob Dylan, Janis Joplin, Alan Ginsberg, Jimi Morrison, Andy Warhol gibi isimler dolaşıyor hem satır aralarında hem de bölüm boyunca. Ve tabii Başarır, yine, her zaman olduğu gibi bu anıların en can alıcı bölümlerinden bazılarını seslendiriyor. 

In this episode, I discuss the marketing genius that is John Otway. I also discuss the sadness of Alan Ginsberg not knowing his audience, I introduce the Quest for a Million. The Quest for a Million: I'm trying to get a million people to read my poems or listen to my songs. Today's total: 752. The idea is that if enough people read my poems/listen to my songs, I can find my 1000 true fans, and they can find me. I also introduce a new feature into the podcast, the poem of the day. The poem of the day for this episode is Walter Alter's Just Bob. You can find this poem on All Poetry. Here's Walter's website: walteralter.com. If you want to listen to my stuff, go listen here: https://open.spotify.com/playlist/4lRu8u44ifJpad4vRXD7tW?si=70df64c903ef4d6a If I get 10 followers on Spotify, I will paint my fingernails.

This week's episode looks at “Tomorrow Never Knows”, the making of Revolver by the Beatles, and the influence of Timothy Leary on the burgeoning psychedelic movement. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Keep on Running" by the Spencer Davis Group. 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/ Errata A few things -- I say "Fairfield" at one point when I mean "Fairchild". While Timothy Leary was imprisoned in 1970 he wasn't actually placed in the cell next to Charles Manson until 1973. Sources differ on when Geoff Emerick started at EMI, and he *may* not have worked on "Sun Arise", though I've seen enough reliable sources saying he did that I think it's likely. And I've been told that Maureen Cleave denied having an affair with Lennon -- though note that I said it was "strongly rumoured" rather than something definite. Resources As usual, a mix of all the songs excerpted in this episode is available at Mixcloud.com. 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. For information on Timothy Leary I used a variety of sources including The Most Dangerous Man in America by Bill Minutaglio and Steven L. Davis; Timothy Leary: Outside Looking In by Robert Forte; The Starseed Signals by Robert Anton Wilson; and especially The Harvard Psychedelic Club by Don Lattin. I also referred to both The Tibetan Book of the Dead and to The Psychedelic Experience. Leary's much-abridged audiobook version of The Psychedelic Experience can be purchased from Folkways Records. Sadly the first mono mix of "Tomorrow Never Knows" has been out of print since it was first issued. The only way to get the second mono mix is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Revolver. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start this episode, I'd like to note that it deals with a number of subjects some listeners might find upsetting, most notably psychedelic drug use, mental illness, and suicide. I think I've dealt with those subjects fairly respectfully, but you still may want to check the transcript if you have worries about these subjects. Also, we're now entering a period of music history with the start of the psychedelic era where many of the songs we're looking at are influenced by non-mainstream religious traditions, mysticism, and also increasingly by political ideas which may seem strange with nearly sixty years' hindsight. I'd just like to emphasise that when I talk about these ideas, I'm trying as best I can to present the thinking of the people I'm talking about, in an accurate and unbiased way, rather than talking about my own beliefs. We're going to head into some strange places in some of these episodes, and my intention is neither to mock the people I'm talking about nor to endorse their ideas, but to present those ideas to you the listener so you can understand the music, the history, and the mindset of the people involved, Is that clear? Then lets' turn on, tune in, and drop out back to 1955... [Opening excerpt from The Psychedelic Experience] There is a phenomenon in many mystical traditions, which goes by many names, including the dark night of the soul and the abyss. It's an experience that happens to mystics of many types, in which they go through unimaginable pain near the beginning of their journey towards greater spiritual knowledge. That pain usually involves a mixture of internal and external events -- some terrible tragedy happens to them, giving them a new awareness of the world's pain, at the same time they're going through an intellectual crisis about their understanding of the world, and it can last several years. It's very similar to the more common experience of the mid-life crisis, except that rather than buying a sports car and leaving their spouse, mystics going through this are more likely to found a new religion. At least, those who survive the crushing despair intact. Those who come out of the experience the other end often find themselves on a totally new path, almost like they're a different person. In 1955, when Dr. Timothy Leary's dark night of the soul started, he was a respected academic psychologist, a serious scientist who had already made several substantial contributions to his field, and was considered a rising star. By 1970, he would be a confirmed mystic, sentenced to twenty years in prison, in a cell next to Charles Manson, and claiming to different people that he was the reincarnation of Gurdjieff, Aleister Crowley, and Jesus Christ. In the fifties, Leary and his wife had an open relationship, in which they were both allowed to sleep with other people, but weren't allowed to form emotional attachments to them. Unfortunately, Leary *had* formed an emotional attachment to another woman, and had started spending so much time with her that his wife was convinced he was going to leave her. On top of that, Leary was an alcoholic, and was prone to get into drunken rows with his wife. He woke up on the morning of his thirty-fifth birthday, hung over after one of those rows, to find that she had died by suicide while he slept, leaving a note saying that she knew he was going to leave her and that her life would be meaningless without him. This was only months after Leary had realised that the field he was working in, to which he had devoted his academic career, was seriously broken. Along with a colleague, Frank Barron, he published a paper on the results of clinical psychotherapy, "Changes in psychoneurotic patients with and without psychotherapy" which analysed the mental health of a group of people who had been through psychotherapy, and found that a third of them improved, a third stayed the same, and a third got worse. The problem was that there was a control group, of people with the same conditions who were put on a waiting list and told to wait the length of time that the therapy patients were being treated. A third of them improved, a third stayed the same, and a third got worse. In other words, psychotherapy as it was currently practised had no measurable effect at all on patients' health. This devastated Leary, as you might imagine. But more through inertia than anything else, he continued working in the field, and in 1957 he published what was regarded as a masterwork -- his book Interpersonal Diagnosis of Personality: A Functional Theory and Methodology for Personality Evaluation. Leary's book was a challenge to the then-dominant idea in psychology, behaviourism, which claimed that it made no sense to talk about anyone's internal thoughts or feelings -- all that mattered was what could be measured, stimuli and responses, and that in a very real sense the unmeasurable thoughts people had didn't exist at all. Behaviourism looked at every human being as a mechanical black box, like a series of levers. Leary, by contrast, analysed human interactions as games, in which people took on usual roles, but were able, if they realised this, to change the role or even the game itself. It was very similar to the work that Eric Berne was doing at the same time, and which would later be popularised in Berne's book Games People Play. Berne's work was so popular that it led to the late-sixties hit record "Games People Play" by Joe South: [Excerpt: Joe South: "Games People Play"] But in 1957, between Leary and Berne, Leary was considered the more important thinker among his peers -- though some thought of him as more of a showman, enthralled by his own ideas about how he was going to change psychology, than a scientist, and some thought that he was unfairly taking credit for the work of lesser-known but better researchers. But by 1958, the effects of the traumas Leary had gone through a couple of years earlier were at their worst. He was starting to become seriously ill -- from the descriptions, probably from something stress-related and psychosomatic -- and he took his kids off to Europe, where he was going to write the great American novel. But he rapidly ran through his money, and hadn't got very far with the novel. He was broke, and ill, and depressed, and desperate, but then in 1959 his old colleague Frank Barron, who was on holiday in the area, showed up, and the two had a conversation that changed Leary's life forever in multiple ways. The first of the conversational topics would have the more profound effect, though that wouldn't be apparent at first. Barron talked to Leary about his previous holiday, when he'd visited Mexico and taken psilocybin mushrooms. These had been used by Mexicans for centuries, but the first publication about them in English had only been in 1955 -- the same year when Leary had had other things on his mind -- and they were hardly known at all outside Mexico. Barron talked about the experience as being the most profound, revelatory, experience of his life. Leary thought his friend sounded like a madman, but he humoured him for the moment. But Barron also mentioned that another colleague was on holiday in the same area. David McClelland, head of the Harvard Center for Personality Research, had mentioned to Barron that he had just read Diagnosis of Personality and thought it a work of genius. McClelland hired Leary to work for him at Harvard, and that was where Leary met Ram Dass. [Excerpt from "The Psychedelic Experience"] Ram Dass was not the name that Dass was going by at the time -- he was going by his birth name, and only changed his name a few years later, after the events we're talking about -- but as always, on this podcast we don't use people's deadnames, though his is particularly easy to find as it's still the name on the cover of his most famous book, which we'll be talking about shortly. Dass was another psychologist at the Centre for Personality Research, and he would be Leary's closest collaborator for the next several years. The two men would become so close that at several points Leary would go travelling and leave his children in Dass' care for extended periods of time. The two were determined to revolutionise academic psychology. The start of that revolution didn't come until summer 1960. While Leary was on holiday in Cuernavaca in Mexico, a linguist and anthropologist he knew, Lothar Knauth, mentioned that one of the old women in the area collected those magic mushrooms that Barron had been talking about. Leary decided that that might be a fun thing to do on his holiday, and took a few psilocybin mushrooms. The effect was extraordinary. Leary called this, which had been intended only as a bit of fun, "the deepest religious experience of my life". [Excerpt from "The Psychedelic Experience"] He returned to Harvard after his summer holiday and started what became the Harvard Psilocybin Project. Leary and various other experimenters took controlled doses of psilocybin and wrote down their experiences, and Leary believed this would end up revolutionising psychology, giving them insights unattainable by other methods. The experimenters included lecturers, grad students, and people like authors Allen Ginsberg and William Burroughs, jazz trumpeter Maynard Ferguson, and Alan Watts, who popularised Zen Buddhism in the West. Dass didn't join the project until early 1961 -- he'd actually been on the holiday with Leary, but had arrived a few days after the mushroom experiment, and nobody had been able to get hold of the old woman who knew where to find the mushrooms, so he'd just had to deal with Leary telling him about how great it was rather than try it himself. He then spent a semester as a visiting scholar at Berkeley, so he didn't get to try his first trip until February 1961. Dass, on his first trip, first had a revelation about the nature of his own true soul, then decided at three in the morning that he needed to go and see his parents, who lived nearby, and tell them the good news. But there was several feet of snow, and so he decided he must save his parents from the snow, and shovel the path to their house. At three in the morning. Then he saw them looking out the window at him, he waved, and then started dancing around the shovel. He later said “Until that moment I was always trying to be the good boy, looking at myself through other people's eyes. What did the mothers, fathers, teachers, colleagues want me to be? That night, for the first time, I felt good inside. It was OK to be me.” The Harvard Psilocybin Project soon became the Harvard Psychedelic Project. The term "psychedelic", meaning "soul revealing", was coined by the British psychiatrist Humphrey Osmond, who had been experimenting with hallucinogens for years, and had guided Aldous Huxley on the mescaline trip described in The Doors of Perception. Osmond and Huxley had agreed that the term "psychotomimetic", in use at the time, which meant "mimicking psychosis", wasn't right -- it was too negative. They started writing letters to each other, suggesting alternative terms. Huxley came up with "phanerothyme", the Greek for "soul revealing", and wrote a little couplet to Osmond: To make this trivial world sublime Take half a gramme of phanerothyme. Osmond countered with the Latin equivalent: To fathom hell or soar angelic Just take a pinch of psychedelic Osmond also inspired Leary's most important experimental work of the early sixties. Osmond had got to know Bill W., the founder of Alcoholics Anonymous, and had introduced W. to LSD. W. had become sober after experiencing a profound spiritual awakening and a vision of white light while being treated for his alcoholism using the so-called "belladonna cure" -- a mixture of various hallucinogenic and toxic substances that was meant to cure alcoholism. When W. tried LSD, he found it replicated his previous spiritual experience and became very evangelistic about its use by alcoholics, thinking it could give them the same kind of awakening he'd had. Leary became convinced that if LSD could work on alcoholics, it could also be used to help reshape the personalities of habitual criminals and lead them away from reoffending. His idea for how to treat people was based, in part, on the ideas of transactional analysis. There is always a hierarchical relationship between a therapist and their patient, and that hierarchical relationship itself, in Leary's opinion, forced people into particular game roles and made it impossible for them to relate as equals, and thus impossible for the therapist to truly help the patient. So his idea was that there needed to be a shared bonding experience between patient and doctor. So in his prison experiments, he and the other people involved, including Ralph Metzner, one of his grad students, would take psilocybin *with* the patients. In short-term follow-ups the patients who went through this treatment process were less depressed, felt better, and were only half as likely to reoffend as normal prisoners. But critics pointed out that the prisoners had been getting a lot of individual attention and support, and there was no control group getting that support without the psychedelics. [Excerpt: The Psychedelic Experience] As the experiments progressed, though, things were becoming tense within Harvard. There was concern that some of the students who were being given psilocybin were psychologically vulnerable and were being put at real risk. There was also worry about the way that Leary and Dass were emphasising experience over analysis, which was felt to be against the whole of academia. Increasingly it looked like there was a clique forming as well, with those who had taken part in their experiments on the inside and looking down on those outside, and it looked to many people like this was turning into an actual cult. This was simply not what the Harvard psychology department was meant to be doing. And one Harvard student was out to shut them down for good, and his name was Andrew Weil. Weil is now best known as one of the leading lights in alternative health, and has made appearances on Oprah and Larry King Live, but for many years his research interest was in mind-altering chemicals -- his undergraduate thesis was on the use of nutmeg to induce different states of consciousness. At this point Weil was an undergraduate, and he and his friend Ronnie Winston had both tried to get involved in the Harvard Psilocybin Project, but had been turned down -- while they were enthusiastic about it, they were also undergraduates, and Leary and Dass had agreed with the university that they wouldn't be using undergraduates in their project, and that only graduate students, faculty, and outsiders would be involved. So Weil and Winston had started their own series of experiments, using mescaline after they'd been unable to get any psilocybin -- they'd contacted Aldous Huxley, the author of The Doors of Perception and an influence on Leary and Dass' experiments, and asked him where they could get mescaline, and he'd pointed them in the right direction. But then Winston and Dass had become friends, and Dass had given Winston some psilocybin -- not as part of his experiments, so Dass didn't think he was crossing a line, but just socially. Weil saw this as a betrayal by Winston, who stopped hanging round with him once he became close to Dass, and also as a rejection of him by Dass and Leary. If they'd give Winston psilocybin, why wouldn't they give it to him? Weil was a writer for the Harvard Crimson, Harvard's newspaper, and he wrote a series of exposes on Leary and Dass for the Crimson. He went to his former friend Winston's father and told him "Your son is getting drugs from a faculty member. If your son will admit to that charge, we'll cut out your son's name. We won't use it in the article."  Winston did admit to the charge, under pressure from his father, and was brought to tell the Dean, saying to the Dean “Yes, sir, I did, and it was the most educational experience I've had at Harvard.” Weil wrote about this for the Crimson, and the story was picked up by the national media. Weil eventually wrote about Leary and Dass for Look magazine, where he wrote “There were stories of students and others using hallucinogens for seductions, both heterosexual and homosexual.” And this seems actually to have been a big part of Weil's motivation. While Dass and Winston always said that their relationship was purely platonic, Dass was bisexual, and Weil seems to have assumed his friend had been led astray by an evil seducer. This was at a time when homophobia and biphobia were even more prevalent in society than they are now, and part of the reason Leary and Dass fell out in the late sixties is that Leary started to see Dass' sexuality as evil and perverted and something they should be trying to use LSD to cure. The experiments became a national scandal, and one of the reasons that LSD was criminalised a few years later. Dass was sacked for giving drugs to undergraduates; Leary had gone off to Mexico to get away from the stress, leaving his kids with Dass. He would be sacked for going off without permission and leaving his classes untaught. As Leary and Dass were out of Harvard, they had to look for other sources of funding. Luckily, Dass turned William Mellon Hitchcock, the heir to the Mellon oil fortune, on to acid, and he and his brother Tommy and sister Peggy gave them the run of a sixty-four room mansion, named Millbrook. When they started there, they were still trying to be academics, but over the five years they were at Millbrook it became steadily less about research and more of a hippie commune, with regular visitors and long-term residents including Alan Ginsberg, William Burroughs, and the jazz musician Maynard Ferguson, who would later get a small amount of fame with jazz-rock records like his version of "MacArthur Park": [Excerpt: Maynard Ferguson, "MacArthur Park"] It was at Millbrook that Leary, Dass, and Metzner would write the book that became The Psychedelic Experience. This book was inspired by the Bardo Thödol, a book allegedly written by Padmasambhava, the man who introduced Buddhism to Tibet in the eighth century, though no copies of it are known to have existed before the fourteenth century, when it was supposedly discovered by Karma Lingpa. Its title translates as Liberation Through Hearing During the Intermediate State, but it was translated into English under the name The Tibetan Book of the Dead, as Walter Evans-Wentz, who compiled and edited the first English translation was, like many Westerners who studied Buddhism in the early part of the twentieth century, doing so because he was an occultist and a member of the Theosophical Society, which believes the secret occult masters of the world live in Tibet, but which also considered the Egyptian Book of the Dead -- a book which bears little relationship to the Bardo Thödol, and which was written thousands of years earlier on a different continent -- to be a major religious document. So it was through that lens that Evans-Wentz was viewing the Bardo Thödol, and he renamed the book to emphasise what he perceived as its similarities. Part of the Bardo Thödol is a description of what happens to someone between death and rebirth -- the process by which the dead person becomes aware of true reality, and then either transcends it or is dragged back into it by their lesser impulses -- and a series of meditations that can be used to help with that transcendence. In the version published as The Tibetan Book of the Dead, this is accompanied by commentary from Evans-Wentz, who while he was interested in Buddhism didn't actually know that much about Tibetan Buddhism, and was looking at the text through a Theosophical lens, and mostly interpreting it using Hindu concepts. Later editions of Evans-Wentz's version added further commentary by Carl Jung, which looked at Evans-Wentz's version of the book through Jung's own lens, seeing it as a book about psychological states, not about anything more supernatural (although Jung's version of psychology was always a supernaturalist one, of course). His Westernised, psychologised, version of the book's message became part of the third edition. Metzner later said "At the suggestion of Aldous Huxley and Gerald Heard we began using the Bardo Thödol ( Tibetan Book of the Dead) as a guide to psychedelic sessions. The Tibetan Buddhists talked about the three phases of experience on the “intermediate planes” ( bardos) between death and rebirth. We translated this to refer to the death and the rebirth of the ego, or ordinary personality. Stripped of the elaborate Tibetan symbolism and transposed into Western concepts, the text provided a remarkable parallel to our findings." Leary, Dass, and Metzner rewrote the book into a form that could be used to guide a reader through a psychedelic trip, through the death of their ego and its rebirth. Later, Leary would record an abridged audiobook version, and it's this that we've been hearing excerpts of during this podcast so far: [Excerpt: The Psychedelic Experience "Turn off your mind, relax, float downstream" about 04:15] When we left the Beatles, they were at the absolute height of their fame, though in retrospect the cracks had already begun to show.  Their second film had been released, and the soundtrack had contained some of their best work, but the title track, "Help!", had been a worrying insight into John Lennon's current mental state. Immediately after making the film and album, of course, they went back out touring, first a European tour, then an American one, which probably counts as the first true stadium tour. There had been other stadium shows before the Beatles 1965 tour -- we talked way back in the first episodes of the series about how Sister Rosetta Tharpe had a *wedding* that was a stadium gig. But of course there are stadiums and stadiums, and the Beatles' 1965 tour had them playing the kind of venues that no other musician, and certainly no other rock band, had ever played. Most famously, of course, there was the opening concert of the tour at Shea Stadium, where they played to an audience of fifty-five thousand people -- the largest audience a rock band had ever played for, and one which would remain a record for many years. Most of those people, of course, couldn't actually hear much of anything -- the band weren't playing through a public address system designed for music, just playing through the loudspeakers that were designed for commentating on baseball games. But even if they had been playing through the kind of modern sound systems used today, it's unlikely that the audience would have heard much due to the overwhelming noise coming from the crowd. Similarly, there were no live video feeds of the show or any of the other things that nowadays make it at least possible for the audience to have some idea what is going on on stage. The difference between this and anything that anyone had experienced before was so great that the group became overwhelmed. There's video footage of the show -- a heavily-edited version, with quite a few overdubs and rerecordings of some tracks was broadcast on TV, and it's also been shown in cinemas more recently as part of promotion for an underwhelming documentary about the Beatles' tours -- and you can see Lennon in particular becoming actually hysterical during the performance of "I'm Down", where he's playing the organ with his elbows. Sadly the audio nature of this podcast doesn't allow me to show Lennon's facial expression, but you can hear something of the exuberance in the performance. This is from what is labelled as a copy of the raw audio of the show -- the version broadcast on TV had a fair bit of additional sweetening work done on it: [Excerpt: The Beatles, "I'm Down (Live at Shea Stadium)"] After their American tour they had almost six weeks off work to write new material before going back into the studio to record their second album of the year, and one which would be a major turning point for the group. The first day of the recording sessions for this new album, Rubber Soul, started with two songs of Lennon's. The first of these was "Run For Your Life", a song Lennon never later had much good to say about, and which is widely regarded as the worst song on the album. That song was written off a line from Elvis Presley's version of "Baby Let's Play House", and while Lennon never stated this, it's likely that it was brought to mind by the Beatles having met with Elvis during their US tour. But the second song was more interesting. Starting with "Help!", Lennon had been trying to write more interesting lyrics. This had been inspired by two conversations with British journalists -- Kenneth Allsop had told Lennon that while he liked Lennon's poetry, the lyrics to his songs were banal in comparison and he found them unlistenable as a result, while Maureen Cleave, a journalist who was a close friend with Lennon, had told him that she hadn't noticed a single word in any of his lyrics with more than two syllables, so he made more of an effort with "Help!", putting in words like "independence" and "insecure". As he said in one of his last interviews, "I was insecure then, and things like that happened more than once. I never considered it before. So after that I put a few words with three syllables in, but she didn't think much of them when I played it for her, anyway.” Cleave may have been an inspiration for "Norwegian Wood (This Bird Has Flown)". There are very strong rumours that Lennon had an affair with Cleave in the mid-sixties, and if that's true it would definitely fit into a pattern. Lennon had many, many, affairs during his first marriage, both brief one-night stands and deeper emotional attachments, and those emotional attachments were generally with women who were slightly older, intellectual, somewhat exotic looking by the standards of 1960s Britain, and in the arts. Lennon later claimed to have had an affair with Eleanor Bron, the Beatles' co-star in Help!, though she always denied this, and it's fairly widely established that he did have an affair with Alma Cogan, a singer who he'd mocked during her peak of popularity in the fifties, but who would later become one of his closest friends: [Excerpt: Alma Cogan, "Why Do Fools Fall in Love?"] And "Norwegian Wood", the second song recorded for Rubber Soul, started out as a confession to one of these affairs, a way of Lennon admitting it to his wife without really admitting it. The figure in the song is a slightly aloof, distant woman, and the title refers to the taste among Bohemian British people at the time for minimalist decor made of Scandinavian pine -- something that would have been a very obvious class signifier at the time. [Excerpt: The Beatles, "Norwegian Wood (This Bird Has Flown)"] Lennon and McCartney had different stories about who wrote what in the song, and Lennon's own story seems to have changed at various times. What seems to have happened is that Lennon wrote the first couple of verses while on holiday with George Martin, and finished it off later with McCartney's help. McCartney seems to have come up with the middle eight melody -- which is in Dorian mode rather than the Mixolydian mode of the verses -- and to have come up with the twist ending, where the woman refuses to sleep with the protagonist and laughs at him, he goes to sleep in the bath rather than her bed, wakes up alone, and sets fire to the house in revenge. This in some ways makes "Norwegian Wood" the thematic centrepiece of the album that was to result, combining several of the themes its two songwriters came back to throughout the album and the single recorded alongside it. Like Lennon's "Run For Your Life" it has a misogynistic edge to it, and deals with taking revenge against a woman, but like his song "Girl", it deals with a distant, unattainable, woman, who the singer sees as above him but who has a slightly cruel edge -- the kind of girl who puts you down when friends are there,  you feel a fool, is very similar to the woman who tells you to sit down but has no chairs in her minimalist flat. A big teaser who takes you half the way there is likely to laugh at you as you crawl off to sleep in the bath while she goes off to bed alone. Meanwhile, McCartney's two most popular contributions to the album, "Michelle" and "Drive My Car", also feature unattainable women, but are essentially comedy songs -- "Michelle" is a pastiche French song which McCartney used to play as a teenager while pretending to be foreign to impress girls, dug up and finished for the album, while "Drive My Car" is a comedy song with a twist in the punchline, just like "Norwegian Wood", though "Norwegian Wood"s twist is darker. But "Norwegian Wood" is even more famous for its music than for its lyric. The basis of the song is Lennon imitating Dylan's style -- something that Dylan saw, and countered with "Fourth Time Around", a song which people have interpreted multiple ways, but one of those interpretations has always been that it's a fairly vicious parody of "Norwegian Wood": [Excerpt: Bob Dylan, "Fourth Time Around"] Certainly Lennon thought that at first, saying a few years later "I was very paranoid about that. I remember he played it to me when he was in London. He said, what do you think? I said, I don't like it. I didn't like it. I was very paranoid. I just didn't like what I felt I was feeling – I thought it was an out and out skit, you know, but it wasn't. It was great. I mean he wasn't playing any tricks on me. I was just going through the bit." But the aspect of "Norwegian Wood" that has had more comment over the years has been the sitar part, played by George Harrison: [Excerpt: The Beatles, "Norwegian Wood"] This has often been called the first sitar to be used on a rock record, and that may be the case, but it's difficult to say for sure. Indian music was very much in the air among British groups in September 1965, when the Beatles recorded the track. That spring, two records had almost simultaneously introduced Indian-influenced music into the pop charts. The first had been the Yardbirds' "Heart Full of Soul", released in June and recorded in April. In fact, the Yardbirds had actually used a sitar on their first attempt at recording the song, which if it had been released would have been an earlier example than the Beatles: [Excerpt: The Yardbirds, "Heart Full of Soul (first version)"] But in the finished recording they had replaced that with Jeff Beck playing a guitar in a way that made it sound vaguely like a sitar, rather than using a real one: [Excerpt: The Yardbirds, "Heart Full of Soul (single)"] Meanwhile, after the Yardbirds had recorded that but before they'd released it, and apparently without any discussion between the two groups, the Kinks had done something similar on their "See My Friends", which came out a few weeks after the Yardbirds record: [Excerpt: The Kinks, "See My Friends"] (Incidentally, that track is sometimes titled "See My Friend" rather than "See My Friends", but that's apparently down to a misprint on initial pressings rather than that being the intended title). As part of this general flowering of interest in Indian music, George Harrison had become fascinated with the sound of the sitar while recording scenes in Help! which featured some Indian musicians. He'd then, as we discussed in the episode on "Eight Miles High" been introduced by David Crosby on the Beatles' summer US tour to the music of Ravi Shankar. "Norwegian Wood" likely reminded Harrison of Shankar's work for a couple of reasons. The first is that the melody is very modal -- as I said before, the verses are in Mixolydian mode, while the middle eights are in Dorian -- and as we saw in the "Eight Miles High" episode Indian music is very modal. The second is that for the most part, the verse is all on one chord -- a D chord as Lennon originally played it, though in the final take it's capoed on the second fret so it sounds in E. The only time the chord changes at all is on the words "once had" in the phrase “she once had me” where for one beat each Lennon plays a C9 and a G (sounding as a D9 and A). Both these chords, in the fingering Lennon is using, feel to a guitarist more like "playing a D chord and lifting some fingers up or putting some down" rather than playing new chords, and this is a fairly common way of thinking about stuff particularly when talking about folk and folk-rock music -- you'll tend to get people talking about the "Needles and Pins" riff as being "an A chord where you twiddle your finger about on the D string" rather than changing between A, Asus2, and Asus4. So while there are chord changes, they're minimal and of a kind that can be thought of as "not really" chord changes, and so that may well have reminded Harrison of the drone that's so fundamental to Indian classical music. Either way, he brought in his sitar, and they used it on the track, both the version they cut on the first day of recording and the remake a week later which became the album track: [Excerpt: The Beatles, "Norwegian Wood (This Bird Has Flown)"] At the same time as the group were recording Rubber Soul, they were also working on two tracks that would become their next single -- released as a double A-side because the group couldn't agree which of the two to promote. Both of these songs were actual Lennon/McCartney collaborations, something that was increasingly rare at this point. One, "We Can Work it Out" was initiated by McCartney, and like many of his songs of this period was inspired by tensions in his relationship with his girlfriend Jane Asher -- two of his other songs for Rubber Soul were "I'm Looking Through You" and "You Won't See Me".  The other, "Day Tripper",  was initiated by Lennon, and had other inspirations: [Excerpt: The Beatles, "Day Tripper"] John Lennon and George Harrison's first acid trip had been in spring of 1965, around the time they were recording Help! The fullest version of how they came to try it I've read was in an interview George Harrison gave to Creem magazine in 1987, which I'll quote a bit of: "I had a dentist who invited me and John and our ex-wives to dinner, and he had this acid he'd got off the guy who ran Playboy in London. And the Playboy guy had gotten it off, you know, the people who had it in America. What's his name, Tim Leary. And this guy had never had it himself, didn't know anything about it, but he thought it was an aphrodisiac and he had this girlfriend with huge breasts. He invited us down there with our blonde wives and I think he thought he was gonna have a scene. And he put it in our coffee without telling us—he didn't take any himself. We didn't know we had it, and we'd made an arrangement earlier—after we had dinner we were gonna go to this nightclub to see some friends of ours who were playing in a band. And I was saying, "OK, let's go, we've got to go," and this guy kept saying, "No, don't go, finish your coffee. Then, 20 minutes later or something, I'm saying, "C'mon John, we'd better go now. We're gonna miss the show." And he says we shouldn't go 'cause we've had LSD." They did leave anyway, and they had an experience they later remembered as being both profound and terrifying -- nobody involved had any idea what the effects of LSD actually were, and they didn't realise it was any different from cannabis or amphetamines. Harrison later described feelings of universal love, but also utter terror -- believing himself to be in hell, and that world war III was starting. As he said later "We'd heard of it, but we never knew what it was about and it was put in our coffee maliciously. So it really wasn't us turning each other or the world or anything—we were the victims of silly people." But both men decided it was an experience they needed to have again, and one they wanted to share with their friends. Their next acid trip was the one that we talked about in the episode on "Eight Miles High", with Roger McGuinn, David Crosby, and Peter Fonda. That time Neil Aspinall and Ringo took part as well, but at this point Paul was still unsure about taking it -- he would later say that he was being told by everyone that it changed your worldview so radically you'd never be the same again, and he was understandably cautious about this. Certainly it had a profound effect on Lennon and Harrison -- Starr has never really talked in detail about his own experiences. Harrison would later talk about how prior to taking acid he had been an atheist, but his experiences on the drug gave him an unshakeable conviction in the existence of God -- something he would spend the rest of his life exploring. Lennon didn't change his opinions that drastically, but he did become very evangelistic about the effects of LSD. And "Day Tripper" started out as a dig at what he later described as weekend hippies, who took acid but didn't change the rest of their lives -- which shows a certain level of ego in a man who had at that point only taken acid twice himself -- though in collaboration with McCartney it turned into another of the rather angry songs about unavailable women they were writing at this point. The line "she's a big teaser, she took me half the way there" apparently started as "she's a prick teaser": [Excerpt: The Beatles, "Day Tripper"] In the middle of the recording of Rubber Soul, the group took a break to receive their MBEs from the Queen. Officially the group were awarded these because they had contributed so much to British exports. In actual fact, they received them because the Prime Minister, Harold Wilson, had a government with a majority of only four MPs and was thinking about calling an election to boost his majority. He represented a Liverpool constituency, and wanted to associate his Government and the Labour Party with the most popular entertainers in the UK. "Day Tripper" and "We Can Work it Out" got their TV premiere on a show recorded for Granada TV,  The Music of Lennon and McCartney, and fans of British TV trivia will be pleased to note that the harmonium Lennon plays while the group mimed "We Can Work it Out" in that show is the same one that was played in Coronation Street by Ena Sharples -- the character we heard last episode being Davy Jones' grandmother. As well as the Beatles themselves, that show included other Brian Epstein artists like Cilla Black and Billy J Kramer singing songs that Lennon and McCartney had given to them, plus Peter Sellers, the Beatles' comedy idol, performing "A Hard Day's Night" in the style of Laurence Olivier as Richard III: [Excerpt: Peter Sellers, "A Hard Day's Night"] Another performance on the show was by Peter and Gordon, performing a hit that Paul had given to them, one of his earliest songs: [Excerpt: Peter and Gordon, "A World Without Love"] Peter Asher, of Peter and Gordon, was the brother of Paul McCartney's girlfriend, the actor Jane Asher. And while the other three Beatles were living married lives in mansions in suburbia, McCartney at this point was living with the Asher family in London, and being introduced by them to a far more Bohemian, artistic, hip crowd of people than he had ever before experienced. They were introducing him to types of art and culture of which he had previously been ignorant, and while McCartney was the only Beatle so far who hadn't taken LSD, this kind of mind expansion was far more appealing to him. He was being introduced to art film, to electronic composers like Stockhausen, and to ideas about philosophy and art that he had never considered. Peter Asher was a friend of John Dunbar, who at the time was Marianne Faithfull's husband, though Faithfull had left him and taken up with Mick Jagger, and of Barry Miles, a writer, and in September 1965 the three men had formed a company, Miles, Asher and Dunbar Limited, or MAD for short, which had opened up a bookshop and art gallery, the Indica Gallery, which was one of the first places in London to sell alternative or hippie books and paraphernalia, and which also hosted art events by people like members of the Fluxus art movement. McCartney was a frequent customer, as you might imagine, and he also encouraged the other Beatles to go along, and the Indica Gallery would play an immense role in the group's history, which we'll look at in a future episode. But the first impact it had on the group was when John and Paul went to the shop in late 1965, just after the recording and release of Rubber Soul and the "Day Tripper"/"We Can Work It Out" single, and John bought a copy of The Psychedelic Experience by Leary, Dass, and Metzner. He read the book on a plane journey while going on holiday -- reportedly while taking his third acid trip -- and was inspired. When he returned, he wrote a song which became the first track to be recorded for the group's next album, Revolver: [Excerpt: The Beatles, "Tomorrow Never Knows"] The lyrics were inspired by the parts of The Psychedelic Experience which were in turn inspired by the Tibetan Book of the Dead. Now, it's important to put it this way because most people who talk about this record have apparently never read the book which inspired it. I've read many, many, books on the Beatles which claim that The Psychedelic Experience simply *is* the Tibetan Book of the Dead, slightly paraphrased. In fact, while the authors use the Tibetan Book of the Dead as a structure on which to base their book, much of the book is detailed descriptions of Leary, Dass, and Metzner's hypotheses about what is actually happening during a psychedelic trip, and their notes on the book -- in particular they provide commentaries to the commentaries, giving their view of what Carl Jung meant when he talked about it, and of Evans-Wentz's opinions, and especially of a commentary by Anagarika Govinda, a Westerner who had taken up Tibetan Buddhism seriously and become a monk and one of its most well-known exponents in the West. By the time it's been filtered through so many different viewpoints and perspectives, each rewriting and reinterpreting it to suit their own preconceived ideas, they could have started with a book on the habitat of the Canada goose and ended with much the same result. Much of this is the kind of mixture between religious syncretism and pseudoscience that will be very familiar to anyone who has encountered New Age culture in any way, statements like "The Vedic sages knew the secret; the Eleusinian Initiates knew it; the Tantrics knew it. In all their esoteric writings they whisper the message: It is possible to cut beyond ego-consciousness, to tune in on neurological processes which flash by at the speed of light, and to become aware of the enormous treasury of ancient racial knowledge welded into the nucleus of every cell in your body". This kind of viewpoint is one that has been around in one form or another since the nineteenth century religious revivals in America that led to Mormonism, Christian Science, and the New Thought. It's found today in books and documentaries like The Secret and the writings of people like Deepak Chopra, and the idea is always the same one -- people thousands of years ago had a lost wisdom that has only now been rediscovered through the miracle of modern science. This always involves a complete misrepresentation of both the lost wisdom and of the modern science. In particular, Leary, Dass, and Metzner's book freely mixes between phrases that sound vaguely scientific, like "There are no longer things and persons but only the direct flow of particles", things that are elements of Tibetan Buddhism, and references to ego games and "game-existence" which come from Leary's particular ideas of psychology as game interactions. All of this is intermingled, and so the claims that some have made that Lennon based the lyrics on the Tibetan Book of the Dead itself are very wrong. Rather the song, which he initially called "The Void", is very much based on Timothy Leary. The song itself was very influenced by Indian music. The melody line consists of only four notes -- E, G, C, and B flat, over a space of an octave: [Demonstrates] This sparse use of notes is very similar to the pentatonic scales in a lot of folk music, but that B-flat makes it the Mixolydian mode, rather than the E minor pentatonic scale our ears at first make it feel like. The B-flat also implies a harmony change -- Lennon originally sang the whole song over one chord, a C, which has the notes C, E, and G in it, but a B-flat note implies instead a chord of C7 -- this is another one of those occasions where you just put one finger down to change the chord while playing, and I suspect that's what Lennon did: [Demonstrates] Lennon's song was inspired by Indian music, but what he wanted was to replicate the psychedelic experience, and this is where McCartney came in. McCartney was, as I said earlier, listening to a lot of electronic composers as part of his general drive to broaden his mind, and in particular he had been listening to quite a bit of Karlheinz Stockhausen. Stockhausen was a composer who had studied with Olivier Messiaen in the 1940s, and had then become attached to the Groupe de Recherche de Musique Concrète along with Messiaen, Pierre Boulez, Edgard Varese and others, notably Pierre Schaeffer and Pierre Henry. These composers were interested in a specific style of music called musique concrète, a style that had been pioneered by Schaeffer. Musique concrète is music that is created from, or at least using, prerecorded sounds that have been electronically altered, rather than with live instruments. Often this would involve found sound -- music made not by instruments at all, but by combining recorded sounds of objects, like with the first major work of musique concrète, Pierre Schaeffer's Cinq études de bruits: [Excerpt: Pierre Schaeffer, "Etude aux Chemins de faire" (from Cinq études de bruits)] Early on, musique concrète composers worked in much the same way that people use turntables to create dance music today -- they would have multiple record players, playing shellac discs, and a mixing desk, and they would drop the needle on the record players to various points, play the records backwards, and so forth. One technique that Schaeffer had come up with was to create records with a closed groove, so that when the record finished, the groove would go back to the start -- the record would just keep playing the same thing over and over and over. Later, when magnetic tape had come into use, Schaeffer had discovered you could get the same effect much more easily by making an actual loop of tape, and had started making loops of tape whose beginnings were stuck to their ending -- again creating something that could keep going over and over. Stockhausen had taken up the practice of using tape loops, most notably in a piece that McCartney was a big admirer of, Gesang der Jeunglinge: [Excerpt: Karlheinz Stockhausen, "Gesang der Jeunglinge"] McCartney suggested using tape loops on Lennon's new song, and everyone was in agreement. And this is the point where George Martin really starts coming into his own as a producer for the group. Martin had always been a good producer, but his being a good producer had up to this point mostly consisted of doing little bits of tidying up and being rather hands-off. He'd scored the strings on "Yesterday", played piano parts, and made suggestions like speeding up "Please Please Me" or putting the hook of "Can't Buy Me Love" at the beginning. Important contributions, contributions that turned good songs into great records, but nothing that Tony Hatch or Norrie Paramor or whoever couldn't have done. Indeed, his biggest contribution had largely been *not* being a Hatch or Paramor, and not imposing his own songs on the group, letting their own artistic voices flourish. But at this point Martin's unique skillset came into play. Martin had specialised in comedy records before his work with the Beatles, and he had worked with Peter Sellers and Spike Milligan of the Goons, making records that required a far odder range of sounds than the normal pop record: [Excerpt: The Goons, "Unchained Melody"] The Goons' radio show had used a lot of sound effects created by the BBC Radiophonic Workshop, a department of the BBC that specialised in creating musique concrète, and Martin had also had some interactions with the Radiophonic Workshop. In particular, he had worked with Maddalena Fagandini of the Workshop on an experimental single combining looped sounds and live instruments, under the pseudonym "Ray Cathode": [Excerpt: Ray Cathode, "Time Beat"] He had also worked on a record that is if anything even more relevant to "Tomorrow Never Knows". Unfortunately, that record is by someone who has been convicted of very serious sex offences. In this case, Rolf Harris, the man in question, was so well-known in Britain before his arrest, so beloved, and so much a part of many people's childhoods, that it may actually be traumatic for people to hear his voice knowing about his crimes. So while I know that showing the slightest consideration for my listeners' feelings will lead to a barrage of comments from angry old men calling me a "woke snowflake" for daring to not want to retraumatise vulnerable listeners, I'll give a little warning before I play the first of two segments of his recordings in a minute. When I do, if you skip forward approximately ninety seconds, you'll miss that section out. Harris was an Australian all-round entertainer, known in Britain for his novelty records, like the unfortunately racist "Tie Me Kangaroo Down Sport" -- which the Beatles later recorded with him in a non-racist version for a BBC session. But he had also, in 1960, recorded and released in Australia a song he'd written based on his understanding of Aboriginal Australian religious beliefs, and backed by Aboriginal musicians on didgeridoo. And we're going to hear that clip now: [Excerpt. Rolf Harris, "Sun Arise" original] EMI, his British label, had not wanted to release that as it was, so he'd got together with George Martin and they'd put together a new version, for British release. That had included a new middle-eight, giving the song a tiny bit of harmonic movement, and Martin had replaced the didgeridoos with eight cellos, playing a drone: [Excerpt: Rolf Harris, "Sun Arise", 1962 version ] OK, we'll just wait a few seconds for anyone who skipped that to catch up... Now, there are some interesting things about that track. That is a track based on a non-Western religious belief, based around a single drone -- the version that Martin produced had a chord change for the middle eight, but the verses were still on the drone -- using the recording studio to make the singer's voice sound different, with a deep, pulsating, drum sound, and using a melody with only a handful of notes, which doesn't start on the tonic but descends to it. Sound familiar? Oh, and a young assistant engineer had worked with George Martin on that session in 1962, in what several sources say was their first session together, and all sources say was one of their first. That young assistant engineer was Geoff Emerick, who had now been promoted to the main engineer role, and was working his first Beatles session in that role on “Tomorrow Never Knows”. Emerick was young and eager to experiment, and he would become a major part of the Beatles' team for the next few years, acting as engineer on all their recordings in 1966 and 67, and returning in 1969 for their last album. To start with, the group recorded a loop of guitar and drums, heavily treated: [Excerpt: "Tomorrow Never Knows", loop] That loop was slowed down to half its speed, and played throughout: [Excerpt: "Tomorrow Never Knows", loop] Onto that the group overdubbed a second set of live drums and Lennon's vocal. Lennon wanted his voice to sound like the Dalai Lama singing from a mountaintop, or like thousands of Tibetan monks. Obviously the group weren't going to fly to Tibet and persuade monks to sing for them, so they wanted some unusual vocal effect. This was quite normal for Lennon, actually. One of the odd things about Lennon is that while he's often regarded as one of the greatest rock vocalists of all time, he always hated his own voice and wanted to change it in the studio. After the Beatles' first album there's barely a dry Lennon solo vocal anywhere on any record he ever made. Either he would be harmonising with someone else, or he'd double-track his vocal, or he'd have it drenched in reverb, or some other effect -- anything to stop it sounding quite so much like him. And Geoff Emerick had the perfect idea. There's a type of speaker called a Leslie speaker, which was originally used to give Hammond organs their swirling sound, but which can be used with other instruments as well. It has two rotating speakers inside it, a bass one and a treble one, and it's the rotation that gives the swirling sound. Ken Townsend, the electrical engineer working on the record, hooked up the speaker from Abbey Road's Hammond organ to Lennon's mic, and Lennon was ecstatic with the sound: [Excerpt: The Beatles, "Tomorrow Never Knows", take one] At least, he was ecstatic with the sound of his vocal, though he did wonder if it might be more interesting to get the same swirling effect by tying himself to a rope and being swung round the microphone The rest of the track wasn't quite working, though, and they decided to have a second attempt. But Lennon had been impressed enough by Emerick that he decided to have a chat with him about music -- his way of showing that Emerick had been accepted. He asked if Emerick had heard the new Tiny Tim record -- which shows how much attention Lennon was actually paying to music at this point. This was two years before Tim's breakthrough with "Tiptoe Through the Tulips", and his first single (unless you count a release from 1963 that was only released as a 78, in the sixties equivalent of a hipster cassette-only release), a version of "April Showers" backed with "Little Girl" -- the old folk song also known as "In the Pines" or "Where Did You Sleep Last Night?": [Excerpt: Tiny Tim, "Little Girl"] Unfortunately for Emerick, he hadn't heard the record, and rather than just say so he tried bluffing, saying "Yes, they're great". Lennon laughed at his attempt to sound like he knew what he was talking about, before explaining that Tiny Tim was a solo artist, though he did say "Nobody's really sure if it's actually a guy or some drag queen". For the second attempt, they decided to cut the whole backing track live rather than play to a loop. Lennon had had trouble staying in sync with the loop, but they had liked the thunderous sound that had been got from slowing the tape down. As Paul talked with Ringo about his drum part, suggesting a new pattern for him to play, Emerick went down into the studio from the control room and made some adjustments. He first deadened the sound of the bass drum by sticking a sweater in it -- it was actually a promotional sweater with eight arms, made when the film Help! had been provisionally titled Eight Arms to Hold You, which Mal Evans had been using as packing material. He then moved the mics much, much closer to the drums that EMI studio rules allowed -- mics can be damaged by loud noises, and EMI had very strict rules about distance, not allowing them within two feet of the drum kit. Emerick decided to risk his job by moving the mics mere inches from the drums, reasoning that he would probably have Lennon's support if he did this. He then put the drum signal through an overloaded Fairfield limiter, giving it a punchier sound than anything that had been recorded in a British studio up to that point: [Excerpt: The Beatles, "Tomorrow Never Knows", isolated drums] That wasn't the only thing they did to make the record sound different though.  As well as Emerick's idea for the Leslie speaker, Ken Townsend had his own idea of how to make Lennon's voice sound different. Lennon had often complained about the difficulty of double-tracking his voice, and so Townsend had had an idea -- if you took a normal recording, fed it to another tape machine a few milliseconds out of sync with the first, and then fed it back into the first, you could create a double-tracked effect without having to actually double-track the vocal. Townsend suggested this, and it was used for the first time on the first half of "Tomorrow Never Knows", before the Leslie speaker takes over. The technique is now known as "artificial double-tracking" or ADT, but the session actually gave rise to another term, commonly used for a similar but slightly different tape-manipulation effect that had already been used by Les Paul among others. Lennon asked how they'd got the effect and George Martin started to explain, but then realised Lennon wasn't really interested in the technical details, and said "we take the original image and we split it through a double-bifurcated sploshing flange". From that point on, Lennon referred to ADT as "flanging", and the term spread, though being applied to the other technique. (Just as a quick aside, some people have claimed other origins for the term "flanging", and they may be right, but I think this is the correct story). Over the backing track they added tambourine and organ overdubs -- with the organ changing to a B flat chord when the vocal hits the B-flat note, even though the rest of the band stays on C -- and then a series of tape loops, mostly recorded by McCartney. There's a recording that circulates which has each of these loops isolated, played first forwards and then backwards at the speed they were recorded, and then going through at the speed they were used on the record, so let's go through these. There's what people call the "seagull" sound, which is apparently McCartney laughing, very distorted: [Excerpt: Tomorrow Never Knows loop] Then there's an orchestral chord: [Excerpt: Tomorrow Never Knows loop] A mellotron on its flute setting: [Excerpt: Tomorrow Never Knows loop] And on its string setting: [Excerpt: Tomorrow Never Knows loop] And a much longer loop of sitar music supplied by George: [Excerpt: Tomorrow Never Knows loop] Each of these loops were played on a different tape machine in a different part of Abbey Road -- they commandeered the entire studio complex, and got engineers to sit with the tapes looped round pencils and wine-glasses, while the Beatles supervised Emerick and Martin in mixing the loops into a single track. They then added a loop of a tamboura drone played by George, and the result was one of the strangest records ever released by a major pop group: [Excerpt: The Beatles, "Tomorrow Never Knows"] While Paul did add some backwards guitar -- some sources say that this is a cut-up version of his solo from George's song "Taxman", but it's actually a different recording, though very much in the same style -- they decided that they were going to have a tape-loop solo rather than a guitar solo: [Excerpt: The Beatles, "Tomorrow Never Knows"] And finally, at the end, there's some tack piano playing from McCartney, inspired by the kind of joke piano parts that used to turn up on the Goon Show. This was just McCartney messing about in the studio, but it was caught on tape, and they asked for it to be included at the end of the track. It's only faintly audible on the standard mixes of the track, but there was actually an alternative mono mix which was only released on British pressings of the album pressed on the first day of its release, before George Martin changed his mind about which mix should have been used, and that has a much longer excerpt of the piano on it. I have to say that I personally like that mix more, and the extra piano at the end does a wonderful job of undercutting what could otherwise be an overly-serious track, in much the same way as the laughter at the end of "Within You, Without You", which they recorded the next year. The same goes for the title -- the track was originally called "The Void", and the tape boxes were labelled "Mark One", but Lennon decided to name the track after one of Starr's malapropisms, the same way they had with "A Hard Day's Night", to avoid the track being too pompous. [Excerpt: Beatles interview] A track like that, of course, had to end the album. Now all they needed to do was to record another thirteen tracks to go before it. But that -- and what they did afterwards, is a story for another time. [Excerpt, "Tomorrow Never Knows (alternate mono mix)" piano tag into theme music]

In this episode, we welcome back Professor Steve McCarty to reflect on his forty-plus years of teaching and living in Japan. Over the course of the interview, McCarty shows his personality, values, and his personal philosophy on life. He describes encounters with Edwin O. Reischauer, Alan Watts, Ram Dass, Allen Ginsberg, and Donald Keene. Discussing his career as a professor, he advises navigating between assimilation and going native, consulting and negotiating to gain leeway, and remaining a professional foreigner. He applies the intercultural communication concept of public self and private self to reconcile cultural differences in an international family. He presents anecdotes at the local level of living in Japan such as community organizations and playing on baseball teams. He discusses Buddhism and avoiding inner conflict, balancing spontaneity with ethics so as not to harm others. Finally, he illustrates what makes real haiku possible in any language. If you would like to learn more about McCarty and his work, you can access his highly cited publications on e-learning, bilingualism, language teaching, Japan, Asia, and academic life at Japanned. The Deep in Japan Podcast is completely independent and crowd-funded. Please consider supporting the show at Patreon.comWant to join in the latest Deep in Japan chatter? You can find us at the Facebook Discussion group or email me at deep.in.japan.podcast@gmail.comThe musical outro was "INKYARA NU UTA" Remixed by Makoto Kubota. The intro was “Dubstep” by Ben Sound with my own Fist of the North Star mashup. Audio footage related to the Narita Airport demonstrations and Alan Ginsberg can be found at the following: 証言で紡ぐ成田空港反対闘争～「三里塚のイカロス」代島監督インタビュー   Ginsberg's KarmaAs always, thanks for listening!Jeff KruegerDeep in Japan Podcast ProducerBecome a Patreon subscriberSupport the show (https://www.patreon.com/deepinjapan)

"Did Harry Potter just bottom?" This week Simon and Keevez are joined by Conor Cupples and we discuss the 2013 film Kill Your Darlings, starring Daniel Radcliffe as Alan Ginsberg, about some of the young pioneers of the Beat Generation during their college days and the true story of their entanglement in a murder case. We also talk about streaming platform Twitch's recent controversy with ongoing harassment on the site and Scotland becoming the first country to introduce compulsory lessons on LGBTQ+ history on its school curriculums. Thanks for listening, folks. Enjoy! xo Instagram: @gaytozpod Twitter: @gaytozpod Email: gaytozpod@gmail.com

Paul talks about Madden video games, and Sean works hard to be interested. It sounds complicated and a bit like nonsense. Also, sports is pretty nerdy, it turns out.We talk about unique records, because Sean is interested in those. The Music Tapes "1st Imaginary Symphony for Nomad". Tom Waits, "Beautiful Maladies". Philip Glass and Alan Ginsberg, "Hydrogen Jukebox".Somehow this bends around to Buffy the Vampire Slayer and the musical episode. Which is really good, actually. Also, the Simpsons is good too. Why don't kids these days like Ninja Turtles? Last of all, we plan for the future of 99th Episode.For better or worse...

In this episode, the ghosts of William Burroughs, Jack Kerouac, Alan Ginsberg, John Giorno and Bob Cobbing make an appearance at the Bureau - as curator Steve Cleary plays us a selection of super rare recordings from the British Library Sound Archive. The Archive is one of the biggest curated resources of audio in the world and includes over 1 million discs, 185,000 tapes, and many other sound and video recordings from around the globe. Steve takes us on a wander through its unparalleled counterculture collection.We also hear from the capital's foremost chronicler of the counterculture, Barry Miles, on Burroughs' life in London - along with a live recording of the beat writer at Manchester's Hacienda, a sampling of his cutups, some deeply strange sound poems and a wonderful recording of Kerouac jazz scatting at Neal Cassidy's house.This is the Soho Radio podcast, showcasing the best broadcasts from our online radio station in the heart of London.Across our Soho and NYC + Culture channels, we have a wide range of shows covering every genre alongside chat, discussions and special productions.To catch up on all things Soho Radio head on over to mixcloud.com/sohoradio or tune in live anytime at sohoradiolondon.com.Support this show http://supporter.acast.com/soho-radio. See acast.com/privacy for privacy and opt-out information.

The ghosts of William Burroughs, Jack Kerouac, Alan Ginsberg, John Giorno and Bob Cobbing make an appearance at the Bureau - as curator Steve Cleary plays us a  selection of super rare  recordings from the British Library Sound Archive.   The Archive is one of the biggest curated resources of audio in the world and includes over 1 million discs, 185,000 tapes, and many other sound and video recordings from around the globe  Steve takes us on a wander through its unparalleled counterculture collection.   We also hear from the capital's foremost chronicler of the counterculture, Barry Miles, on Burroughs' life in London  - along with a live recording of the beat writer at Manchester's Hacienda, a sampling of his cutups, some deeply strange sound poems and a wonderful recording of Kerouac jazz scatting at Neal Cassidy's house.   For more on the British Library Sound Archive https://sounds.bl.uk   ---------- Get the Bureau's Newsletter   Support our wild endeavours   The Bureau of Lost Culture Home   Go on - follow, rate and review us - or be in touch directly bureauoflostculture@gmail.com We'd love to hear from you. -------------    

In the beloved Italian North Beach neighborhood, three San Francisco natives Nina Clima, Charles Farruggia, and Don Di Basilio join Susan and Jae to reminisce on the rich cultural history North Beach offers the city. Nina, Charles, and Don grew up together in North Beach and are all 2nd or 3rd generation Californians. Now 80 years young, the three friends boast healthy, independent, and active lifestyles. They remain dedicated residents of this incredible neighborhood. North Beach is located in the hills of North East San Francisco, just above Fisherman's Wharf and just below Telegraph Hill. This picturesque neighborhood is filled with smaller Victorian homes and family-owned cafes, as well as Italian grocery stores, shops and restaurants that sell food imported directly from Italy. Its deep Italian history is maintained by families who've kept their cultural traditions alive. To add to its cultural richness, North Beach also became the stomping ground for Alan Ginsberg, Jack Kerouac, and other famous Jazz musicians, poets and artists of the 1950's Beat Generation. Because of their influence, bars like The Saloon and bookstores like City Lights are now quintessential to North Beach's identity. Even Francis Ford Coppola's film production company American Zoetrope is located in the acclaimed Sentinel Building at the edge of North Beach. Just like their dynamic neighborhood, Nina Clima and The Gang are vibrant, charming, vivacious, and simply lovely people. Meet Nina Clima and The Gang!

What do Morrissey, Dorothy Parker, Le Corbusier, Harold Lloyd, Janis Joplin, Andy Warhol, Alan Ginsberg, Michael Caine, Gloria Steinem, Buddy Holly, John Lennon, Jarvis Cocker have in common?   Like around 65% of the British population they needed some sort of vision correction - aka glasses.   Writer and cultural commentator  Travis Elborough returns to the Bureau to talk about his forthcoming book: 'Through the Looking Glasses: The Spectacular Life of Spectacles' (Little Brown).   We take a long look at the wonderful and wonky world of glasses from the Middle Ages to the present - along with a cast of spec. wearing monks, artisans, foppish dandies, wonks, nerds, bohemians, bands, spies and film stars as we examine the story of eyewear through the lens of the counterculture.    For more on Travis and his work https://traviselborough.co.uk   For more on Bureau of Lost Culture www.bureauoflostculture.com 

Mr. Plow is one of America's greatest episodes of television. join us on this journey, as we break down one of America's greatest episodes of Television. You would be hard pressed to discover a greater episode of American Television than Mr. Plow, which is widely considered to be one of the greatest episodes of Television ever produced on American soil. While there have been innumerable episodes of Television written, filmed and aired in America since the invention of Television, Mr. Plow stands the test of time as one of the greatest episodes of Television ever made within the confines of the American Television industry. Have there been better episodes of American television than Mr. Plow? Sure. The episode of MASH where Alan Alda strangles a Chicken comes to mind. As does that episode of The Nightly News where a man walks on the moon. As does that episode of The Reading Rainbow where Alan Ginsberg stages a Love Inn at the local Red Roof Inn. As does the episode of Football where Joe Montana passes to William Iowa for the game-winning Episode of Who Wants To Be A Millionaire. Long story short, Mr. Plow is to be considered on of the greatest Episodes of American Television in history, but not the singularly GREATEST. It dos not, for example, beat the episode of Good Times where they finally discover the existence of good times. Or the episode of Gilligan's Island where Gilligan finally gets punished for his crimes against humanity. But, surely, Mr. Plow is among America's greatest episodes of American television in the history of television in America. Buy a HOMERPHILIA SHIRT HERE DONATE TO PLANET ANT --Powered by Planet Ant Podcasts-- Send us your feedback online: https://pinecast.com/feedback/homerphilia-a-simpsons-saga/059ce078-569a-4a7e-9545-b6f53119b5a1

This week Tim and Lisa share their thoughts on Jack Kerouac's On the Road, and the generation of literature it helped to define.

The Blue Angel by Alan Ginsberg

Bill welcomes memoirist and fiction writer Donna Conrad to the show. Donna  is an award-winning author, journalist, activist, and teacher. Her core values revolve around the concept of individual empowerment, a sustaining ideal running through the books she writes. She has studied writing with the likes of Alan Ginsberg, Lawrence Ferlinghetti, and Erica Jong. Her writing interests are varied and include articles for fine-art periodicals, memoir/narrative non-fiction, as well as historical, flash, and paranormal fiction. She teaches all of the above at writers’ conferences, including PNWA. Her first published book, "House of the Moon: Surviving the Sixties," has received rave reviews. Don't miss it!

On the Season Finale of Mind Theater I explore the character of Michael Ginsberg from Mad Men, revealing what makes him such a fascinating dynamic screen presence, but also diving into the machinations of his mind and the experiences that make him a paragon for the displaced generation.Links:MindTheaterPod on TwitterTheNegusAyo on Twitter and InstagramMusic: Blue Dot Sessions- Evidence Room- Triana- Vela Vela- At Our Best AloneSwing TimeLicensed under Creative Commons

Burroughs leaves the wake of destruction and murder that was his 30s and starts anew as a writer. All this means is that he does more drugs, bangs more boys and dives deeper into the new age, occult mumbo gumbo. In between deep throating, human pucked turkey, Alan Ginsberg, his heroin usages skyrockets as does his literary notoriety.

Welcome to Blackbird9's Breakfast Club's Wednesday Podcast, The Shaming Of Bill And Ted. Tonight we will examine the history of Slacker Culture.https://www.blackbird9tradingposts.org/2020/02/19/the-shaming-of-bill-and-ted-blackbird9/In the First Hour we cover the chaotic events brought on by the teachings of the Frankfurt School Marxists. Their mission has always been to establish a Greater Israel ruled by globalism under the direction of Talmudic Noahide Law and at the same time force all other nations to surrender their independent sovereignty.In the second hour of The Shaming Of Bill And Ted, Blackbird examines the history of Slacker Culture. From our long history of child parent dynamics, the Eternal WAR on the children of Amalek by the jews, the Counter Culture philosophies of Sabbatai Zevi, Jacob Frank, Mayer Rothschild, Karl Marx, and Sigmund Freud, the Induced Neuroses in Dogs Experiments of Ivan Pavlov in the 1930s, Alan Ginsberg's poem "Howl", the rise of Munchausen and Munchausen by Proxy Syndrome in the High Divorce Rate broken homes after World War II, the rise of the "Sex, Drugs, and Rock & Roll" (((Counter Culture))) to the release of Bill and Ted's Excellent Adventure in 1989. Blackbird examines the origins of the Slacker Culture as the result of deliberate psychological and chemical warfare that has resulted in the Demoralization and Emasculation of the White Male.

Welcome to Blackbird9's Breakfast Club's Wednesday Podcast, The Shaming Of Bill And Ted. Tonight we will examine the history of Slacker Culture.https://www.blackbird9tradingposts.org/2020/02/19/the-shaming-of-bill-and-ted-blackbird9/In the First Hour we cover the chaotic events brought on by the teachings of the Frankfurt School Marxists. Their mission has always been to establish a Greater Israel ruled by globalism under the direction of Talmudic Noahide Law and at the same time force all other nations to surrender their independent sovereignty.In the second hour of The Shaming Of Bill And Ted, Blackbird examines the history of Slacker Culture. From our long history of child parent dynamics, the Eternal WAR on the children of Amalek by the jews, the Counter Culture philosophies of Sabbatai Zevi, Jacob Frank, Mayer Rothschild, Karl Marx, and Sigmund Freud, the Induced Neuroses in Dogs Experiments of Ivan Pavlov in the 1930s, Alan Ginsberg's poem "Howl", the rise of Munchausen and Munchausen by Proxy Syndrome in the High Divorce Rate broken homes after World War II, the rise of the "Sex, Drugs, and Rock & Roll" (((Counter Culture))) to the release of Bill and Ted's Excellent Adventure in 1989. Blackbird examines the origins of the Slacker Culture as the result of deliberate psychological and chemical warfare that has resulted in the Demoralization and Emasculation of the White Male.

Fellow poet Naomi Shihab Nye says that Bob Holman's "life gusto and poetry voice keep the world turning." In this episode of The History of Literature, we tap into that voice, as Bob Holman joins us for a rollicking conversation about the poetic life he's led, from his birth in a small town in Kentucky to his decades living in New York City, where - in the words of Henry Louis Gates Jr. - he's "done more to bring poetry to cafes and bars than anyone since Ferlinghetti." Holman's latest works (Life Poem and The Unspoken, published recently by Bowery Books, were written fifty years apart. We'll ask Bob how he's changed as a poet and person in those years, and to give us his sense of where poetry has been, where it is now, and where it's headed. Poets and writers discussed or mentioned include ee cummings, William Blake, Gregory Corso, Lawrence Ferlinghetti, Mayakovsky, the Russian futurists, Kenneth Koch, Ezra Pound, William Carlos Williams, Philip Roth, Donald Lev, Jackie Sheeler, Alan Ginsberg, Amiri Baraka, Jayne Cortez, Papa Susso, Pablo Neruda, Homer, Sappho, and Sekou Sundiata. Help support the show at patreon.com/literature or historyofliterature.com/shop. (We appreciate it!) Find out more at historyofliterature.com, jackewilson.com, or by following Jacke and Mike on Twitter at @thejackewilson and @literatureSC. Or send an email to jackewilsonauthor@gmail.com. Music Credits: “Bass Walker” and "Bluesy Vibes Sting" by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Learn more about your ad choices. Visit megaphone.fm/adchoices

The client is always right.....right? As a creative, working with the corporate world can be a challenge albeit a lucrative one. They may not fully understand or appreciate what you bring to the table in making that industrial/promo/commercial that they hired you for. Returning from season one is Alan Ginsberg of LIXI Studios to chat about corporate gigs and his most recent commercial shoot in Iceland. .

Una revisión de la década de 1960. La Guerra Fría continúa pero pera una nueva generación con el slogan de es hora de hacer el amor, no la guerra surge con fuerza. Los entrevistados incluyen poeta Alan Ginsberg, el ayudante de Nixon John Ehrlichman, activista negro Bobby Seale y Hugh Hefner.

Una revisión de la década de 1960. La Guerra Fría continúa pero pera una nueva generación con el slogan de es hora de hacer el amor, no la guerra surge con fuerza. Los entrevistados incluyen poeta Alan Ginsberg, el ayudante de Nixon John Ehrlichman, activista negro Bobby Seale y Hugh Hefner.

Andy Ross of the Andy Ross Agency discusses how agents evaluate manuscripts and how agents operate in today’s book publishing climate. Andy Ross has been active in the publishing world for 40 years, first as a bookseller and now as an agent. In this podcast conversation, he shares his thoughts on agenting and when and how an agent can work with a small independent publisher. Highlights include: Is there life after bookselling? What does an agent do? What are the real advantages of working with an agent, besides contract negotiation? Why agents need to be more than just dealmakers. How do you find a good agent, or how do you know if a particular agent is good for you? Why is it so hard to get published these days? Will agents work with small indie presses? Why the agent’s first obligation is always to the author. Is it true that agents can turn small indie books into big commercial hits? The age-old question: is Amazon good or bad for publishing and publishers? How does an agent decide if he/she likes a book and wants to take it on (hint, you have 45 seconds, maybe less!). Thrilling moments in the life of an agent. What kinds of books are selling these days? Participants Andy Ross is principal at the Andy Ross Agency, based in Oakland, California. Andy started his agency in 2008, and before that was the owner of Cody's Books in Berkeley for 30 years. Cody’s was one of the best-known and best-loved bookstores in its day. It was at the epicenter of the antiwar movement in the sixties, and over the years hosted thousands of writers including: Norman Mailer, Gary Snyder, Alan Ginsberg, Kurt Vonnegut, Salman Rushdie, Joseph Heller, and Alice Walker. It also hosted events for major public and cultural figures such as: Bill Clinton, Jimmy Carter, Mohammed Ali, Mickey Mantle, Gloria Steinem, and Buckminster Fuller. A changing economy and buying habits forced Cody’s to close its doors in 2008, and since then Andy has transitioned into matchmaker, helping authors and publishers find each other. He focuses on authors who write books in a wide range of subjects including narrative non-fiction, science, journalism, history, current affairs, contemporary culture, religion, children's books and commercial and literary fiction. But like many agents these days, he wears multiple hats, and sometimes needs to function as editor and diplomat, too. You can reach Andy Ross at http://www.andyrossagency.com/. Andy's blog is Ask the Agent: Night Thoughts about Books and Publishing. And here you can order Andy’s book, The Literary Agent’s Guide to Writing a Non-Fiction Book Proposal. Peter Goodman (host) is publisher of Stone Bridge Press in Berkeley, California. He began his publishing career in Tokyo, Japan, in 1976. A longtime member of IBPA, he has served on the IBPA board and as IBPA board chair.

Episode 7 of the Haiku Pea podcast, all about Haiku, from www.poetrypea.com. I’m Patricia and I hope over time to share my daily haiku, submissions from you my wonderful listener and tips for writing that I glean along my journey. RECOMMENDED READING: Haiku in English- the first hundred years and it’s edited by Jim Kacian, Philip Rowland and Allan Burns and it really was a great find. It has haiku by Ezra Pound, e.e. cummings, Alan Ginsberg and my particular favourite Seamus Heaney to name but a few. It’s a really great read. I’ll put the details in the show notes so you can check it out.

Dana Gioia is a poet, a librettist, the Judge Widney Professor at the University of Southern California. As the Chairman of the National Endowment for the Arts, Dana was unanimously confirmed twice by the Senate to lead the NEA from 2003 through 2009. He has been given ten honorary degrees and won numerous awards, including the 2010 Laetare Medal from Notre Dame University. In 2015, Gioia was named the Poet Laureate of California by Gov. Jerry Brown. This is one of those conversations deserving close attention, even if your only exposure to poetry was in high school with e.e. cummings and Alan Ginsberg. Dana is a master at communicating subtlety and mystery, and bears interesting insights galore. Catholics and other Christians need to get into the game of creative writing, music, poetry, and other sources of beauty for which this sad world is…starving. Here is a great intro to his work, 99 Poems: New and Selected    You’re welcome!

Photography is by nature bittersweet: a warm moment with a loved one is captured forever, a reminder of an instant in time that can never be repeated. These conflicting feelings are deftly explored in Errol Morris's latest documentary, The B-Side, which traces the career of Elsa Dorfman. Never seeking fame, Dorman forged lifelong friendships with counter-culture giants like Alan Ginsberg, and shot everyone from Bob Dylan to Jonathan Richman. A perfect expression of the challenges female artists have faced without overstating them, the film is a significant departure from Morris's other work. However, when Film Comment Digital Editor Violet Lucca spoke with him the day after the second presidential debate, many of the themes that have run throughout his work—namely, the nature of truth—naturally arose. The director also talks about his upcoming Netflix series, documentary technique, and a few of his dream collaborations with heads of state.

Jonah Raskin is a writer - a poet and journalist - with a love for food and the people who make it. Jonah is the author of fourteen books on subjects ranging from women in rock n roll, marijuana culture and politics, Jack London, Alan Ginsberg, and a personal exploration of the food and farming culture of Sonoma County called Field Days. One thread that connects these works is a loving, exuberant sense of place. His countless articles in the local press in Sonoma County, where we both live, very often profile the eccentric characters here, and quite often, these people are immersed in lifetime projects of growing and making food. Jonah was raised on Long Island, got a PhD in England, and adopted Sonoma County in the late 1970s, where he taught literature and journalism at Sonoma State University. I met Jonah at a community meeting on oysters in West Marin County, California, and some of my favorite writing of his explores the bitter controversy over the closing of Drakes Bay Oyster Company. He is currently working on a book about the drought. In this episode, Devon and Jonah talk about the oyster wars, what nature is for, and the need for many kinds of creativity in response to the California drought. See acast.com/privacy for privacy and opt-out information.

Raghu speaks with Koshin Paley Ellison, the founder and partner of the New York Zen Center for Contemplative Care, an organization that works closely with people who are passing or ill. Koshin Paley describes his origins and how he was introduced to Zen Buddhism. He talks about the teachers, influences and triggers which geared the direction of his life and practice.  Including; the Aids Epidemic of the 1980’s, Alan Ginsberg, and his first Zen teacher John Daido Loori as well as being exposed to Ram Dass as a very young person. Koshin Paley tells the moving story of the passing away of his grandmother and the tremendous impact that experience had on his life. (hint: The New York Center for Contemplative Care wouldn’t be here otherwise!) Raghu and Koshin discuss the blending of Jungian depth techniques with Buddhist psychology and what exactly a Spiritual Bypass is. Other topics covered are relationships, bearing witness, loving action and what is being brought to light by working with dying people.  

Tom Hopkins carries the standard as a master sales trainer and is recognized as the world's leading authority on selling techniques and salesmanship. Over 5 million people on five continents have attended Tom's high-energy live seminars. Tom personally conducts 30+ seminars each year traveling throughout the world. He is the author of 18 books, including “How to Master the Art of Selling™,” which has sold over 1.6 million copies worldwide. His latest book is titled, “When Buyers Say No” and is receiving phenomenal reviews from sales professionals Alex Carleton managing partner and co-founder of Shift Coaching & Consulting as well as a Partner of the  Inc. CEO Project. She was formerly the Chief Operating Officer of a leading Business Analytics Software company. Shift and the Inc. CEO Project, Alex works with ambitious CEOs and executives to help them achieve their personal best and to build effective teams and organizations  Alan Ginsberg alternative career coach and business owner with The Entrepreneur's Source stated his business during The Great Recession. After spending many years in the corporate world it was time for a change, his own business! He is hoping his clients rebuild the economy one business at a time Mark Mateski analyst and a manager at a number of defense and security organizations, Mark has directed wargames, conferences, studies, and assessments covering a range of topics. He founded Red Team Journal, where he has pioneered the application of systems engineering principles, techniques, and tools to the practice of red teaming. He has earned degrees in political science, national security studies, and systems engineering. He is currently an executive security and strategy consultant and teaches engineering and analysis courses at The George Washington University

Leslea Newman has written more than sixty children's books. She says she can't remember a time when she didn't want to be a writer. As a teenager Leslea got her work published in magazines and she also worked as Alan Ginsberg's apprentice. When a friend told her she couldn't find any books for her daughter that portrayed a family like hers, with two lesbian parents, Leslea decided she needed to do something and wrote the children's picture book Heather has two Mommies. When it was published in 1989 it caused outrage "It started getting challenged and banned and I got called all kinds of terrible names". Twenty-five years later the book has been re-released, to a much kinder reception. Candy Gourlay grew up in the Philippines and fell in love with books as a child, but says "all the stories were of these pink-skinned children with fluffy pets", and she came to the conclusion that Filipinos were not "allowed to be in books". So her first novel was set in London with English characters and an agent said "why does your book look like that?", because it had no connection to Candy's experience. Candy took this advice on board and since then has created imaginary worlds with Filipino characters for her young readers. New technology has a role in Candy's work, she says that children have so many things "clamouring for their attention", so you've got to compete and embrace "their world". She does this with her novel Shine, which combines ghosts and the internet. Picture: Leslea Newman (Left) Credit: Mary Vazquez; Candy Gourlay (Right) Credit: Cindy Bajema/Sambat Trust

On we go, will psychedelics ever get here? This early to mid 60's edition includes more of Ken Nordine demonstrating stereo, a continuing array of pop songs (obscure and otherwise), top 40 DJs from the era, Stanley Kubrick in a '66 interview talks about his filming history (working on 2001 at the time), the Russian/American space race, Alan Ginsberg, and The New Seekers become a Pepsi ad. 3 Hours.   The post Over the Edge – “Universe” Part 18 What About The 60's? H” appeared first on KPFA.

  Click here to download this episode, or use the download link at the bottom of the notes for this episode.Notes, References, and Links for further study:Tragedy and Hope dot comInvitation to the Tragedy and Hope online community (link expires monthly)Log in page for the Tragedy and Hope online communityPeace Revolution primary site (2009-2012)*Peace Revolution backup stream (2006-2012)*Includes the 9/11 Synchronicity Podcast (predecessor to Peace Revolution)*These 2 podcasts and lectures amount to 400+ hours of commercial-free educational content, which formulate a comprehensive and conscious curriculum.The Ultimate History Lesson dot com (the film, notes, references, transcript, etc.)IMDB Page for The Ultimate History LessonFacebook Page for The Ultimate History LessonTwitter feed for Tragedy and HopeThe Ultimate History Lesson Official Playlist (on YouTube)UHL Research Bonus Pack and Gatto Fundraiser Pack(fundraiser for media partners and JTG)Partner Coupon Codes (MUST BE IN ALL CAPS):GNOSTICMEDIACORBETTREPORTMEDIAMONARCHYREDICERADIOSCHOOLSUCKSMERIAHELLERFREEDOMSPHOENIXFTL (for FreeTalkLive)Reference Map to Episode 067:(01m-04m) What if Money Didn't Matter by Alan Watts (500,000+ views)(03m-4m) sample from Manly Palmer Hall “Integrity the Endangered Virtue”(4m-34m) 30-min sampling of Congressman Ron Paul's farewell address accompanied by the music of Stanley Kubrick's films(34m-41m) How to be played on a Juke Box by Rage Against the Machine and Alan Ginsberg(41m-1h) Richard's introductory monologue(1h-2h12m) Dr. Chengiah Ragaven interview “Psychology and Control”(2h12m-3h30m) Manly Palmer Hall “Integrity the Endangered Virtue”(3h30m-4h37m) “What we can all learn from John Taylor Gatto” Richard Grove interviewed by Greg Moffitt(4h37m-5h38m) Manly Palmer Hall “Those who attain integrity must pass on the Lamp”(5h38m-5h44m) The Ghost of Tom Joad (see also: The Grapes of Wrath by John Steinbeck)See Also: Peace Revolution episodes: 009, 022, 027, 037, 041, 042, 043, 044, 046, 048, 049, 051, 059, 061, 063, 064, 065___________________________________________________________________________________________________ Would You Like To Know More? Dig in to Peace Revolution's partner podcasts:   Corbett Report dot comMedia Monarchy dot comGnostic Media PodcastRed Ice CreationsSchool Sucks Project PodcastMeria dot netOther productions by members of the T&H network:The Ultimate History Lesson: A Weekend with John Taylor Gatto (2012) a journey into the dark heart of public schooling, revealing how America became incoherent, one student at a time.Navigating Netflix (2011) our video series wherein we conduct a critical analysis of films you might have missed; Navigating Netflix is available for free on YouTube."Memories of a Political Prisoner", an interview with Professor Chengiah Ragaven, graduate of Oxford, Cambridge, and Sussex; AFTER he was a political prisoner, who was exiled from South Africa, during Apartheid. (2011)What You've Been Missing! (2011) is our video series focusing in on the history of corruption in our public education system.Top Documentary Films dot com: Hijacking Humanity by Paul Verge (2006)Top Documentary Films dot com: Exposing the Noble Lie (2010)Top Documentary Films dot com: The Pharmacratic Inquisition by Jan Irvin (2007)THANK YOU FOR YOUR SUPPORT! If you would like to donate so that we can continue producing independent media without commercial advertising, simply click the button below for a one-time donation: Alternatively, You can become a Member and Support our ability to create media for the public (while You make new friends and enjoy educating yourself along the way) by subscribing to the Tragedy and Hope Community: Monthly @ $14.95 / month Yearly @ $120.00 / year *Subscription details on TragedyandHope.com

Right-Click the "pod" icon (top left) to download this episode (click to listen, or right-click to "save as" an mp3 file on your computer). Notes, References, and Links for further study: Tragedy and Hope dot com Invitation to the Tragedy and Hope online community (link expires monthly) Log in page for the Tragedy and Hope online community Peace Revolution primary site (2009-2012)* Peace Revolution backup stream (2006-2012)* Includes the 9/11 Synchronicity Podcast (predecessor to Peace Revolution) *These 2 podcasts and lectures amount to 400+ hours of commercial-free educational content, which formulate a comprehensive and conscious curriculum. The Ultimate History Lesson dot com (the film, notes, references, transcript, etc.) IMDB Page for The Ultimate History Lesson Facebook Page for The Ultimate History Lesson Twitter feed for Tragedy and Hope The Ultimate History Lesson Official Playlist (on YouTube) UHL Research Bonus Pack and Gatto Fundraiser Pack(fundraiser for media partners and JTG) Partner Coupon Codes (MUST BE IN ALL CAPS): GNOSTICMEDIA CORBETTREPORT MEDIAMONARCHY REDICERADIO SCHOOLSUCKS MERIAHELLER FREEDOMSPHOENIX FTL (for FreeTalkLive) Reference Map to Episode 067: (01m-04m) What if Money Didn't Matter by Alan Watts (500,000+ views) (03m-4m) sample from Manly Palmer Hall “Integrity the Endangered Virtue” (4m-34m) 30-min sampling of Congressman Ron Paul's farewell address accompanied by the music of Stanley Kubrick's films (34m-41m) How to be played on a Juke Box by Rage Against the Machine and Alan Ginsberg (41m-1h) Richard's introductory monologue (1h-2h12m) Dr. Chengiah Ragaven interview “Psychology and Control” (2h12m-3h30m) Manly Palmer Hall “Integrity the Endangered Virtue” (3h30m-4h37m) “What we can all learn from John Taylor Gatto” Richard Grove interviewed by Greg Moffitt (4h37m-5h38m) Manly Palmer Hall “Those who attain integrity must pass on the Lamp” (5h38m-5h44m) The Ghost of Tom Joad (see also: The Grapes of Wrath by John Steinbeck) See Also: Peace Revolution episodes: 009, 022, 027, 037, 041, 042, 043, 044, 046, 048, 049, 051, 059, 061, 063, 064, 065 ___________________________________________________________________________________________________ Would You Like To Know More? Dig in to Peace Revolution's partner podcasts:  Corbett Report dot com Media Monarchy dot com Gnostic Media Podcast Red Ice Creations School Sucks Project Podcast Meria dot net Other productions by members of the T&H network: The Ultimate History Lesson: A Weekend with John Taylor Gatto (2012) a journey into the dark heart of public schooling, revealing how America became incoherent, one student at a time. Navigating Netflix (2011) our video series wherein we conduct a critical analysis of films you might have missed; Navigating Netflix is available for free on YouTube. "Memories of a Political Prisoner", an interview with Professor Chengiah Ragaven, graduate of Oxford, Cambridge, and Sussex; AFTER he was a political prisoner, who was exiled from South Africa, during Apartheid. (2011) What You've Been Missing! (2011) is our video series focusing in on the history of corruption in our public education system. Top Documentary Films dot com: Hijacking Humanity by Paul Verge (2006) Top Documentary Films dot com: Exposing the Noble Lie (2010) Top Documentary Films dot com: The Pharmacratic Inquisition by Jan Irvin (2007) THANK YOU FOR YOUR SUPPORT! If you would like to donate so that we can continue producing independent media without commercial advertising, simply click the button below for a one-time donation: Alternatively, You can become a Member and Support our ability to create media for the public (while You make new friends and enjoy educating yourself along the way) by subscribing to the Tragedy and Hope Community: Monthly @ $14.95 / month Yearly @ $120.00 / year *Subscription details on TragedyandHope.com

In this episode: Mark Cosgrove predicts 2011 as the year of the Beat Generation and discusses Howl which explores the life and work of beat poet Alan Ginsberg.

Celebrations for voice and meditations for piano. With Talitha Mackenzie, Philip Glass, Alan Ginsberg, Galeshka Moravioff, and featuring Arvo Part's "Alina".

Celebrations for voice and meditations for piano. With Talitha Mackenzie, Philip Glass, Alan Ginsberg, Galeshka Moravioff, and featuring Arvo Part's "Alina".

Two timely guests: Nebraska State Senator Ernie Chambers talks about his slightly tongue-in-cheek lawsuit, Chambers v. God, commanding headlines this week! And schoolteacher Alan Ginsberg, who teaches third grade in Madison, Wis., talks about the complaint he and the Freedom From Religion Foundation have launched over the distribution of "Jesus Flyers" in Madison public schools. (MP3, 44 min, 40.8 MB)

Guest speaker: Terence McKenna PROGRAM NOTES: (Minutes : Seconds into program) 05:33 Terence begins with a discussion of "the felt presence of immediate experience." 08:10 Terence McKenna: "The thing I like about the Zippy culture and the house, trance-dance, techno culture is that it's about feeling. The combination of young people, drugs, a fairly sexually charged social environment, and syncopated music is just all designed to draw you into you and your friends and your scene, and your hood, and your place in the cosmos and not sell you out as a consumer to Hollywood, or Manhattan-manufactured forms of entertainment." 10:01 Terence McKenna: "The culture is so capable of assimilating and disarming its critics through hype and fashion. I mean, I was horrified to see that ad, ‘Alan Ginsberg work kakis'. Did you see that!" 12:28 Terence McKenna: "What Rupert's [Sheldrake] theory carries as an implication is what Prigogine now proclaims, which is, what we thought were eternal natural laws are simply something more like habits. Habits of Nature." 26:49 Terence begins his discussion of paradigm shift. 28:57 Terence McKenna: "So, human freedom is the precondition for the assumption of man's flaw, man's fall. You know, what Thomas Aquinas called the felix culpa, the happy flaw." 30:12 Terence McKenna: "A paradigm is a lens through which you see the world, and everything is transformed when you look through this lens." 32:42 Terence McKenna: "If habit is to replace law, then the universe is more like an organism. It's more like a creature. It learns, It gains experience. As it matures it changes its strategy. As it expands its experience it gains new domains of emergent subtlety." 36:36 Terence McKenna: "The dimension of human freedom is a precondition for guilt. Only the free can be guilty because only the free can be responsible for what they do." 48:37 Terence McKenna: "What we call nature is a novelty-conserving engine, that what nature glories in is novelty." 49:48 Terence McKenna: "Sometimes for ‘novelty' I've used the phrase ‘density of connection.' " 1:01:13 Terence McKenna:"And when you think about it, if you really believe in eternal laws of nature then you have a philosophical mess on your hands." 1:05:35 Terence McKenna: "Mind is a phenomenon of metabolic activity. So far as we know, where there is not metabolism there is not consciousness." 1:12:35 Terence begins a discussion about memes. 1:27:49 Terence McKenna: "We are very fortunate to live through an age of enormous reappraisal." 1:30:17 Terence McKenna: "Humor is an admission of ignorance. Ignorance is the precondition for knowledge. And in a sense, to take it to a deeper level, magic is a deeper perception than science. Because science believes that the world is truly there it is naive in its emphericism. Magic knows that the world is made of language. That the world is the construct of forceful imagination. And the people who don't know this are walking around in the world of the people who do." 1:31:27 Terence McKenna: "Do not lease other people's linguistic structures and live in them. Build your own virtual worlds. Build your own values and your own house of mirrors." Download MP3 PCs – Right click, select option Macs – Ctrl-Click, select option

Tue, Dec 06 2005 Mister Ron's Basement #211 The insanely wacky stories of Max Adeler (Charles Heber Clark) are spotlighted this week. Some gentlemen discuss astounding marksmanship in Adeler's tale of incredulity, 'Wonderful Shooting,' once again from around 1880. Time: approx four and a half minutes A listener who wishes to remain anonymous has sent this missive -- Mr. Ron is kind of like a cross between Mr. Rogers and Alan Ginsberg, with a dash of Dr. Demento and a tiny pinch of Wavy Gravy. I'm leaving out the very slightly sinister shadow behind it all that makes it have just a small smudge of exciting madness, because I don't know who to compare it to. Alfred Hitchcock? The Mister Ron's Basement Full Catalog can be found at: http://ronevry.com/Mister_Rons_Full_Catalog.html The Max Adeler Catalog of Stories is at: http://ronevry.com/maxadeler.html