Podcasts about All Our Yesterdays

Anne-Marie and Peter cover TOS S3's All Our Yesterdays. The next TOS episode to be covered will be on Tuesday the 27th and is Turnabout Intruder. Next week, on the 22nd, they look at the final episode of Lower Decks S5, The New Next Generation. Feel free to send your thoughts in (just keep the feedback to less than 5 minutes please). Borgcast@gmail.com The Star Trek theme used was written by Alexander Courage, and arranged and performed by Mr Drew Barker esquire.

Anne-Marie and Peter cover Lower Decks S5's Fissure Quest. The next Lower Decks episode to be covered will be on 22nd and is The New Next Generation. Next week, on 15th, they look at TOS S3's All Our Yesterdays. Feel free to send your thoughts in (just keep the feedback to less than 5 minutes please). Borgcast@gmail.com All music used is for illustrative purposes only, and no copyright infringement is intended.

Anne-Marie and Peter cover TOS S3's The Savage Curtain. The next TOS episode to be covered will be on the 15th and is All Our Yesterdays. Next week, on 8th, they look at Lower Decks S5's Fissure Quest. Feel free to send your thoughts in (just keep the feedback to less than 5 minutes please). Borgcast@gmail.com The Star Trek theme used was written by Alexander Courage, and arranged and performed by Mr Drew Barker esquire.

ZARABETH, GIRL OF THE ICE AGE!Anyways, we start S2 of The Clone Wars. And Spock gets horny.Aspen talks about the chronology of Star Wars: The Clone Wars. Kenny gets sad he knows about Ahsoka's arc. We also get into the weeds about the "sweaty" worldbuilding of All Our Yesterdays. I mean, it is sweaty.__________________________________Get early, extended episodes on our Patreon at https://www.patreon.com/trekwarspodWatch us! https://www.youtube.com/@trekwarspodTheme by Tosin AwofesoSocial Media:https://www.instagram.com/trekwarspodhttps://bsky.app/profile/trekwarspod.bsky.socialWant to ask us questions? Email us at trekwarspod@gmail.com.And leave us a review! https://bit.ly/leave-a-review-trek-wars

We remember 9/11 for a second, along with a brand new single by Toronto's The Slime and our house band, Portland's Carny Cumm! More Outlandishness from Inland Empire's Saddam Bin Laden, and a bunch of new ones we've been waiting to play. Thanks for your support! Hit us up at brothersgrimpunk@gmail.com and download our music on our Bandcamp page... including the new Crickets EP.474 Playlist:Punk walk...Toronto Crab Walk 1:43 The Slime 2024 Bandcamp Single Indonesia Raw Noise Ungovernable 0:50 Svälter Arsenal of Mindfuck Portland CRYPT CREEP 0:43 SOCIETY'S SICKOS 4 TRACK DEMO Portland Sent Bone 0:52 Carny Cumm 2024 Bandcamp Single Land of the Nobodies (bkgrd) 3:13 Rocketsled Absolute Zero USA BOMBS 1:29  Saddam Bin Laden  2024 Single Gouden Regel 0:49 Seein'Red Seein'Red-No Way split UK Neurotic Hate Fiends 1:51 War Corpse Life After Work? Newfoundland SNITFIT 1:32 snitfit Snitfit - Demo  Painters Tapes MI Low Art 1:27 H8 Mile Spread the Love Falsos Positivos - Kill, fascist, kill! 1:39 Nothing to Harvest Records ΝΤΗ052. Falsos Positivos/false(-)negative -  Split UK Fairtrade Death 1:47 PARLIAMENT RUINS Piss Take  FRUSTRACIÓN 1:18 FERVOR MORTAL E.C. #032 - DEMO  AU Jackhammer 1:32 Exit Mould EP Krak Down (bkgrd) 3:22 Gwar This Toilet Earth HARDHEAD 1:28 CONFUSION'S PRINCE DMU-019: CONFUSION'S PRINCE - S/T AGNOSTIC FRONT 0:37 Who's To Blame DMU-017: WHO'S TO BLAME - DEMO Ghostspace Recs TX Time To Spare 2:23 Temporary Curse BEEP THRASH Knuckles On Stun TN Big Bopper - My Movie 2:08 Various Artists Delinquents & Shitbags Shit Bots - Wild Man 1:35 Various Artists Delinquents & Shitbags Let's Get Ripped 1:22 Meatwagon Arrival Mucky Pup 1:42 The Exploited Punks not dead I Drew This Skinhead for You 1:10 Close Combat 2019 Earth Brains 1:07 Ancient Filth Earth Brains Flexi Don't Need You 0:53 BGP One Small Step For Punk... Talk is Poison (bkgrd) 3:04 POR097 Sonic Warhead - Bleed Runner EP Fear Power Control 1:03 Payload of Atomic Warhead Nightmares Summer 2014 Tape Satan Is Good But You're Asshole 1:40 童子 (Dohji) Forced Climax EP Put Me Down 1:14 Tokyo Lungs ST EP I Hate People 0:33 Distemper Distempter Berlin Hunter Of The Universe 1:05 Overthrow Overthrow EP Tape  Pitts Stop the Lies 0:43 Real Enemy Life With The Enemy SLO Under the Knife (EP) 1:39 Half Life All Our Yesterdays Get Bent 0:44 Cross-Contamination Epistaxis - DEMO No Good 1:51 The Afterdarks Rock N' Roll is Dead TN Nobody Told Me It Was Bandcamp Friday 0:52 Vista Blue Vista Blue Are The Pop Punk Preservation Society Cerveza y ruido (bkgrd) 3:37 Brigada Bastarda demo 2023 Popular Affliction L.A. Dirt Nap 1:29 Gylt I Will Commit a Holy Crime Other ways to hear BGP:Archive.org#474 on ArchiveApple PodcastsYouTube PodcastsPunk Rock Demonstration - Wednesdays 7 p.m. PSTRipper Radio - Fridays & Saturdays 7 p.m. PSTContact BGP:brothersgrimpunk@gmail.com@Punkbot138 on Instagram@BrosGrimPunk on XMore Music:Bandcamp - Follow us and download our albums: Brothers Grim Punk, Fight Music, and more!YouTube - tons of our punk playlists, from Anarchy to Zombies!

This week Dan and Dana discuss what might be one of the best episodes of season 3, "All Our Yesterdays." The guys discuss the concept of a library that can send people into the past, the pick-pocket who (or is it "whom") Dan can't understand a word she says, and Spock getting angry at McCoy.   Make sure to visit our sponsor, NorthShore Adult Diapers. Get $10 off your first order of over $50 by entering the code "Kirk" at checkout. Stay confident and dry with NorthShore. Go to NorthShore.com today. Please send your comments, questions, and suggestions to damnitjimpodcast@gmail.com and find us on YouTube, Facebook, and Instagram.   Music: Climb by Shane Ivers - https://www.silvermansound.com

“All Our Yesterdays” é o episódio que recebe a trilha de comentários em áudio do podcast. O post Cérebro de Spock #78 – “All Our Yesterdays” apareceu primeiro em Trek Brasilis - A fonte definitiva de Star Trek (Jornada nas Estrelas) em português.

Joel H. Morris discusses his debut novel All Our Yesterdays – no, not the penultimate episode of Star Trek: The Original Series – which tells the compellingly plausible story of the events that lead up to William Shakespeare's Macbeth. Morris reveals his multiple inspirations, both literary and personal; how investigations into the actual historical couple Shakespeare based his play on informed his novel; the ways in which writing is a process of discovery; how he balanced the political and the personal, the natural and supernatural; how he summoned the courage to explore one of literature's most famous characters; and the wonderful inability to let go of characters that won't let you go. (Length 22:56)

This week's episode brings you a conversation with Joel H. Morris. His debut novel, All Our Yesterdays, releases next week, and it's the origin story of the famous lady featured in Shakespeare's play Macbeth. Joel and I discussed his love of Shakespeare and how he became fascinated with one of the most studied female literary figures. Here's a description of Joel's novel: A propulsive and piercing debut, set ten years before the events of Shakespeare's historic play, about the ambition, power, and fate that define one of literature's most notorious figures: Lady Macbeth. Scotland, the 11th Century. Born in a noble household and granddaughter of a forgotten Scottish king, a young girl carries the guilt of her mother's death and the weight of an unknowable prophecy. When she is married, at fifteen, to the Mormaer of Moray, she experiences firsthand the violence of a sadistic husband and a kingdom constantly at war. To survive with her young son in a superstitious realm, she must rely on her own cunning and wit, especially when her husband's downfall inadvertently sets them free. Suspicious of the dark devices that may have led to his father's death, her son watches as his mother falls in love with the enigmatic thane Macbeth. Now a woman of stature, Lady Macbeth confronts a world of masculine power and secures the protection of her family. But the coronation of King Duncan and the political maneuvering of her cousin Macduff set her on a tragic course, one where her own success might mean embracing the very curse that haunts her and risking the child she loves. Purchase All Our Yesterdays on Amazon (affiliate). Check out Joel's website, and follow him on Instagram. Ways you can help the show: Join the Historical Fiction: Unpacked Podcast Group on Facebook! Be sure to visit my Instagram, Facebook, and website. Subscribe to my mailing list here. Follow the show on Instagram! Purchase Alison's historical novel, One Traveler (affiliate). Disclosure: As an Amazon Associate, I earn from qualifying purchases. If you click an affiliate link and make a purchase, you help support my work without paying any more for the product. Thank you for your support!

Dark Side of the Library Podcast Episode #178: Dark Adult Fiction Books Coming Out March 2024  (Disclosure: Some of the links in this post are affiliate links. This means if you click on the link and purchase the item, we will receive an affiliate commission at no extra cost to you)     The Angel of Indian Lake (3) (The Indian Lake Trilogy), by Stephen Graham Jones (March 26) https://amzn.to/49ph0a3   All Our Yesterdays, by Joel H. Morris (Mar 12) https://amzn.to/49hInTx   Big Time, by Ben H. Winters (Mar 5) https://amzn.to/481bPMi   A Botanical Daughter, by Noah Medlock (Mar 19) https://amzn.to/3SuBt6y   The Canopy Keepers, by Veronica G. Henry (Mar 1) https://amzn.to/42shpGp A Deadly Endeavor, by Jenny Adams (Mar 5) https://amzn.to/3vVdGVR   Diablo: Book of Cain, by Blizzard Entertainment (March 12) https://amzn.to/4bz6r5Y   Diavola, by Jennifer Thorne (March 26) https://amzn.to/3Huwei0   Fervor, by Toby Lloyd (Mar 19) https://amzn.to/3Sm0lgx   Fruit of the Dead, by Rachel Lyon (Mar 5) https://amzn.to/3HG2or2   The Haunting of Velkwood, by Gwendolyn Kiste (March 5) https://amzn.to/428Q4J8   Lost Man's Lane, by Scott Carson (March 26) https://amzn.to/3u2967s   Mother Doll, by Katya Apekina (March 12) https://amzn.to/3SoHSkN   The Nameless, by Ramsey Campbell (March 12) https://amzn.to/49fyjec   The New Couple in 5B, by Lisa Unger (March 5) https://amzn.to/49aWtGq   Penny Bloods: Gothic Tales of Dangerous Women (British Library Hardback Classics), by Nicole C. Dittmer (March 5) https://amzn.to/3HSJCN5   Song of the Huntress, by Lucy Holland (Mar 19) https://amzn.to/49eOE23   Thirst, by Marina Yuszczuk (Author), Heather Cleary (March 5) https://amzn.to/427fuH0   Under Ground, by E.S. Thomson (Mar 12) https://amzn.to/3OnVjiy   The Woods All Black, by Lee Mandelo (Mar 19) https://amzn.to/483hi5y   Dark Side of the Library Amazon Live Channel:  https://www.amazon.com/live/darksideofthelibrary/ Dark Side of the Library Podcast: https://www.darksideofthelibrary.com/ Dark Side of the Library on Facebook: https://www.facebook.com/darksideofthelibrary Dark Side of the Library on Instagram: https://www.instagram.com/darksideofthelibrary

Playlist for this show :- 1 Alchemy .. Storm Deva ( Storm Deva 2023 ) 2 Hypogeum .. Myth Of Logic ( Pictures From A Previous Dream 2023 )( Album Of The Week ) 3 The Downfall Of The Birdwatcher .. Tribe3 ( Tribe3 2023 ) 4 All Our Yesterdays .. Myth Of Logic ( […]

Join Lieutenant Commander Rebecca Frost, noted Space Show fan Admiral Kerry Jackson, and guest Leigh George Kade as they continue their voyage through Star Trek: The Original Series! This week, we talk about these final season 3 episodes: The Cloud Minders, The Savage Curtain, All Our Yesterdays, and Turnabout Intruder.

This week, TR3 beams down to a “wilderness of arctic characteristics” with our review of the Star Trek: The Original Series episode “All Our Yesterdays.” Kirk, Spock and McCoy time-travel into an alien world's past in the penultimate episode of TOS, and we time-travel to the original story outline for the show and revisit some scenes that didn't make the final cut. And of course, there's a Red Shirt and a Replimat trip. So pay a visit to Mr. Atoz's library and listen now!

In this episode resident starfleet expert Richard schools newbie trekkie ensign Christel on the abrupt end of TOS, covering episodes The Way to Eden, Requiem for Methuselah, The Savage Curtain, All Our Yesterdays, and Turnabout Intruder. With special returning guest Coty we get personal, we get musical, we get hysterical. We wrap up our first mission among the stars and hope you've enjoyed the trip. Drop a review and send us an email or DM on all the socials if you want to join in on the fun! Instagram: @turningtrekkiepodcast Facebook: Turning Trekkie Podcast Email: turningtrekkiepodcast@gmail.com  --- Support this podcast: https://podcasters.spotify.com/pod/show/richard-and-christel/support

It's awards time again! A full transcript of the show is included below.     Hello, and welcome to Tales from the Trunk: nominating the works that did make it! I'm Hilary B. Bisenieks.   Friends, it's been another amazing year for science fiction, fantasy, horror, and beyond, and I'm here once more to let you know about some of the amazing works by my fantastic guests, which you can nominate for this year's awards!   Andi C. Buchanan, who joined us in April of 2022, has a number of eligible works including their novel, Sanctuary, and the essay “Human not machine: how autistic writers are writing new space for themselves.”   A link to their eligibility post is included in the show notes. https://andicbuchanan.org/2022/12/18/2022-publications/    C.L. Clark, who just joined us in December, is eligible in most novelette categories for "Your Eyes, My Beacon: Being an Account of Several Misadventures and How I Found My Way Home," published in Uncanny May/June 2022   Amanda Cook, who joined us in June of 2022, has six stories eligible for short story categories: “The Impossible Task of Bringing Water,” “Germinating Everyday Magic,” “Weaving Serenity,” “Lily and Ink,” “Print a Soul in Six Easy Steps, a Primer by Clover Silverbrook,” and “When Dreams Do Show Me Thee.”    A link to her eligibility post is included in the show notes. https://acooksbooks.com/2022/11/28/babys-first-awards-eligibility-post/   Marion Deeds, who made her debut on this show in May of 2022, has an eligible novella, Comeuppance Served Cold, which you can hear an excerpt of on that episode, along with an eligible novel, Golden Rifts.   Ruthana Emrys, who appeared on the show in July of last year, has an eligible novel, A Half-Built Garden, and her column, Reading the Weird, is eligible for Best Related Work.   A link to her eligibility post is included in the show notes. https://twitter.com/R_Emrys/status/1592598551364005888   Sarah Gailey, this show's patron saint, joined us again last year in support of their eligible novel, Just Like Home. Among their other eligible works are their newsletter, Stone Soup, and their original comic miniseries, Know Your Station.   A link to their eligibility post is included in the show notes. https://sarahgailey.com/awards-eligibility-2022  Victor Manibo, who joined us in December of 2021, is eligible for his debut novel, The Sleepless.   Freya Marske, who joined us in October of 2021, is eligible in the various novel categories for A Restless Truth, the excellent sequel to her 2021 debut, A Marvellous Light.   Sam J. Miller, who joined us last January, has an eligible novella, Kid Wolf and Kraken Boy, as well as a collection, for such awards as have categories for collections, Boys, Beasts & Men.   Scientist, and definitely not a multi-colored beetle, Premee Mohamed, who last joined us in August of 2021, is eligible for Best Series for the first time for her Beneath the Rising series, which concluded with eligible novel The Void Ascendant. She also has several eligible short stories, including “All That Burns Unseen.”   Her eligibility post is included in the show notes. https://www.premeemohamed.com/post/2022-eligibility-post   Aidan Moher, who joined us back in October after far, far too long, is eligible with Fight, Magic, Items for Best Related work. He's also eligible for Best Fanzine for Astrolabe, and for Best Fan Writer for his work all over the place.   Aidan's eligibility post is included in the show notes. https://astrolabe.aidanmoher.com/p/2022-award-eligibility-hugos-nebulas   Hailey Piper, who joined us to open season four of the show back in March, has an eligible short story, “We Frolic Within the Leviathan's Heart,” a novella, Your Mind Is a Terrible Thing, and a novel, No Gods for Drowning. C.L. Polk, who will be returning to the show next month, has an excellent eligible novella, Even Though I Knew The End.   dave ring, patron saint of queer small-press publishing, is eligible for Best Editor, short form, for his work on Baffling Magazine as well as many other fine publications. His work with Marianne Kirby on Neon Hemlock Live is also eligible for Best Related Work.   A link to dave's eligibility post is included in the show notes. https://www.dave-ring.com/news/2022/11/18/2022-eligibility-post   Valerie Valdes, who joined us again this past August, is eligible for Best Novel (Science Fiction, where applicable) for Fault Tolerance, for Best Series for Chilling Effect, for Best Short Story for both “Team Building Exercise” and “Working from Home,” and for Best Semiprozine for Escape Pod, which she edits with Mur Lafferty.   Val's eligibility post is linked in the show notes. http://candleinsunshine.com/news/awards-eligibility-for-2022/    Fellow Warren Wilson alumnus Fran Wilde has various short stories eligible but is most excited to be eligible, for the first time this year, for Best Editor, Short Form, for her work at The Sunday Morning Transport!   John Wiswell, excellent human being, has many, many eligible short stories, including “D.I.Y.” and “Demonic Invasion or Placebo Effect?”   John's full eligibility post is linked in the show notes. https://johnwiswell.substack.com/p/all-the-short-stories-i-published   Finally, I have 100% more eligible work this year than last! In addition to this very show, Tales from the Trunk, which is eligible for Best Fancast and other podcast and audio categories, I also published a game, All Our Yesterdays, which is eligible for the Nebula Award for Best Game Writing.   Thanks so much for tuning in, and thank you to everyone who nominates and votes in any of our genre's awards! That's very cool of you.   Join us again next week, when my guest will be Juliet Kemp!   Tales from the Trunk is mixed and produced in beautiful Oakland, California.   Our theme music is “Paper Wings,” by Lillian Boyd.   You can support the show on patreon at patreon dot com slash trunkcast. All patrons of the show now get a sticker and logo button, along with show outtakes and other content that can't be found anywhere else.   You can find the show on Twitter and Tumblr at trunkcast, and I tweet and tumbl at hbbisenieks.   If you like the show, consider taking a moment to rate and review us on your preferred podcast platform.   And remember: don't self-reject.  

In case you missed it during our deep dive conversation of "All Our Yesterdays," here's our exclusive interview with William Shatner! We're so proud of our enlightening voyage through the original "Star Trek" series on "Enterprise Incidents," and we're grateful for your support! Keep going boldly! You can support Enterprise Incidents by making a generous donation right here (think of it as a tip jar): https://anchor.fm/enterpriseincidents You can follow Enterprise Incidents on social media at: Facebook: https://www.facebook.com/EnterpriseIncidents Twitter: @enterincidents Follow Scott Mantz @moviemantz on Twitter and Instagram Follow Steve Morris @srmorris on Twitter and @srmorris1 on Instagram --- Support this podcast: https://anchor.fm/enterpriseincidents/support

As our journey through the original "Star Trek" series comes to a penultimate close, we're thrilled to be joined for our deep dive of "All Our Yesterdays" by returning guest Adam Nimoy, followed by our exclusive interview with the man himself: William Shatner! While investigating the disappearance of an entire civilization on a planet whose star is about to explode, Kirk, Spock and McCoy accidentally go back in time and become trapped in that planet's past. Captain Kirk finds himself accused of witchcraft while stuck in a time period resembling old England, while Mr. Spock and Dr. McCoy are transported back to the planet's Ice Age and are given shelter by a lonely woman. With less than a few hours to go before the star goes nova, Kirk must find his way back to the future in time to save Spock and McCoy, but the effects of the time period may have affected Spock to the point where he doesn't want to be saved. With the run of the original series coming to a close, "Star Trek" had one final creative burst of greatness with "All Our Yesterdays," an engaging and entertaining episode filled with high stakes, gripping intensity, a touching romance and stellar performances (especially from guest star Mariette Hartley). But the high points are undoubtedly the scenes between Spock & McCoy. After years of simmering tensions between them, their relationship comes to a dramatic boil, and Leonard Nimoy and DeForest Kelley play these scenes perfectly. You can support Enterprise Incidents right here: https://anchor.fm/enterpriseincidents (Just think of it as a “Tip Jar”) You can follow Enterprise Incidents at: Facebook https://www.facebook.com/EnterpriseIncidents Twitter @enterincidents Instagram @enterpriseincidents Follow Scott Mantz @moviemantz on Twitter and Instagram Follow Steve Morris @srmorris on Twitter and srmorris1 on Instagram --- Support this podcast: https://anchor.fm/enterpriseincidents/support

Start Artist Song Time Album Year Parallel Or 90 Degrees The Sea 6:52 The Time Capsule 1998 0:08:50 The Paralydium Project Synergy 7:21 Worlds Beyond 2020 0:16:11 Matthew Parmenter All for Nothing 4:59 All Our Yesterdays 2016 0:22:14 Ryan Parmenter Give ‘n' Take 4:05 One of a Different Color 2018 0:26:18 Emmanuelle Parrenin Thibault Et […]

Today on the show I get to talk with Erik Tarloff. Erik is the author of the national best-seller Face-Time, The Man Who Wrote the Book, and All Our Yesterdays. His early work was writing primarily for the screen, including an early draft of Disney's animated Aladdin, & Car 54, Where Are You? for Orion Pictures. His TV work includes writing episodes of M*A*S*H, All in the Family, The Bob Newhart Show, The Jeffersons, Alice and many others. He's written pro bono speeches for Al Gore and former President Clinton. That's just some of his work - he's had a very prolific career. I first heard about him in 2019 when his book The Woman in Black came out on Rare Bird Books. It was one of my favorites from that year. His latest novel is called Tell Me the Truth About Love. I highly recommend it. If you live in San Francisco pick up a copy at Books, Inc. or Pegasus if you are in Berkeley. For our LA listeners, as always, check out Book Soup or Skylight. If you're from my hometown in Salt Lake, Wellerworks is great place - located in downtown Salt Lake. Erik was a blast to talk to and I hope we get him back on the show at some point in the future. Thanks for listening. Kyler

On the show this week: The Muppet Show special guest star: Actress/singer and star of "Alice," Linda Lavin! And Star Trek Original Series episode, "All Our Yesterdays." Travels through time with witch trials and the ice age. Oh my!

On the show this week: The Muppet Show special guest star: Actress/singer and star of "Alice," Linda Lavin! And Star Trek Original Series episode, "All Our Yesterdays." Travels through time with witch trials and the ice age. Oh my!

In case you missed the announcement at the start of our last episode, with Neon Yang, my new game, All Our Yesterdays, is available now for pay-what-you-want on my itch!  This time around, it's my absolute pleasure to welcome to the show Aimee Kuzenski (@aimeekuzenski)! Aimee reads to us from her novel, Tilted, which leads us into a great discussion on the interiority of writing, thoughts about reading aloud, and how important a good fight scene is.   Things we mention in this episode: She-Ra and the Princesses of Power Viable Paradise John Appel Karen Osborne Valerie Valdes Scrivener Third person omniscient The Earthsea Cycle, by Ursula K. Le Guin The Lord of the Rings, by J.R.R. Tolkien Jane Austen Karen's twitch “Fractured,” by Aimee Kuzenski The Murderbot Diaries, by Martha Wells The Locked Tomb series, by Tamsyn Muir The Broken Earth series, by N.K. Jemisin The Raven Tower, by Ann Leckie Ancillary Justice, by Ann Leckie Blade Runner Wow, cool robot Hayao Miyazaki The Hobbit, by J.R.R. Tolkien “The Shadow out of Time”, by racist uncle Howard Beneath the Rising series, by Premee Mohamed The Innsmouth Legacy series, by Ruthanna Emrys Ruthanna's episode Dune, by Frank Herbert “How I Became Coruscating Queen of All the Realms, Pierced the Obsidian Night, Destroyed a Legendary Sword, and Saved My Heart's True Love,” by Baker and Dovey No Shit, There I Was, edited by Alex Acks Story Hour Skies of Wonder, Skies of Danger, edited by Agner, Appel, and Miles “The Raven,” by Edgar Allan Poe Castle Fix My Fight Scene on Twitch and Youtube K.B. Wagers Ghost in the Shell: SAC_2045 Sense and Sensibility, by Jane Austen Sense and Sensibility Emma Thompson Kate Winslet Persuasion  Clueless What Moves the Dead, by T. Kingfisher The Fall of the House of Usher, by Edgar Allan Poe Just Like Home, by Sarah Gailey

As mentioned at the top of the show, I have a game out, All Our Yesterdays, which you can find on my Itch.io!   It's my absolute pleasure, this time around, to welcome Neon Yang to the show to talk about their brand new book, The Genesis of Misery, out September 27th, 2022, from Tor books! Neon reads to us from the start of the book, which leads us into some great discussion about why doing multiple rewrites can be good, actually.   Things we mention in this episode:   Neon's Tensorate series Joan of Arc Gundam Sarah Gailey's latest book tour Just Like Home, by Sarah Gailey Dongwon Song Friends at the Table PARTIZAN Monster Hunter Rise Devil May Cry Elden Ring Neon's insta   Join us next time, when my guest will be Aimee Kuzenski!

This week we are joined by friend of the show R.W. Martin! Not only is R.W. a great guy he's also a very talented actor, writer, director, and now podcaster. Check out his new show All Our Yesterdays on Facebook and YouTube. Randy William Martin is an award-winning actor who was born on November 15, 1965, in Montpelier, Vermont, to William Frederick Martin and Mary Elizabeth (Blanchard) Martin. From an early age, it was apparent that he had a flair for comedy. While in grade school he was known to visit the principal daily due to his unique antics, this could also be because he has suffered from ADHD his whole life, a disability he has used to his advantage in his creativeness, in acting, and writing. On June 26th1987, while still living in his hometown of Waterbury, Vermont he entered a local variety show, impersonating 'Weird Al' Yankovic, this was his first time performing in front of a crowd. That performance made him realize that making people laugh and cheer was what he wanted to do for the rest of his life. This also marked the first time he went by the name "R.W." Martin. In 1982 while waiting in the bus line R.W. was bullied so badly that he dropped out of school that day, and never went back, he went on to get a GED with above-average scores. He has written a book available on Amazon called Life Inside My Head A Scattered Tale Living With ADHD Ramblin's that talks about the struggles he has faced in life. In the mid-80s and early '90s R.W. took advantage of the few opportunities where Hollywood filmed a movie or television series in Vermont. The Spitfire Grill, The Wizard of Loneliness, Ethan Frome, and "Rescue 911" are a few of the projects he has worked on as an uncredited actor. R.W. made a trip to Hollywood in 1994 on a greyhound bus to try to find an agent, to no avail. He is still trying to find an agent, hoping to break into the mainstream business. In the meantime, R.W. continues to contribute humorous videos to YouTube and works on local Vermont commercials and independent films, still trying to catch that break. If given the chance, R.W. Martin could be bigger than one of his idols, Jim Carrey. www.officialrwmartin.com This episode is sponsored by Deadly Grounds Coffee, head over to https://deadlygroundscoffee.com/ and grab a bag if you want to support the show head over to http://tee.pub/lic/xagxfUg22qI and grab a shirt! We are part of The Dorkening Podcast Network https://www.thedorkeningpodcastnetwork.com/ Find out more at https://wicked-horror-show.pinecast.co Send us your feedback online: https://pinecast.com/feedback/wicked-horror-show/60db90e2-cea2-4e8e-90f4-7728cb31169e

Best-selling novelist Lawrence Norfolk and award-winning writer Joanna Walsh review a new edition of All Our Yesterdays, a novel by the acclaimed post-war Italian novelist Natalia Ginzburg with a new introduction by author Sally Rooney. Lawrence and Joanna also review Sun & Sea, a Lithuanian opera performance about climate change staged on an artificial beach which the audience view from above, which won the is part of LIFT, London's biennial international theatre festival. Sun & Sea was Lithuania's national entry for the 2019 Venice Biennale, where it received the festival's top award, the Golden Lion. From riot grrl to musical stateswoman, singer songwriter Laura Veirs talks about her new album and playing her father's guitar. She performs live in the studio. Presenter: Samira Ahmed Producer: Eliane Glaser

This week's episode looks at “All You Need is Love”, the Our World TV special, and the career of the Beatles from April 1966 through August 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Rain" by the Beatles. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ NB for the first few hours this was up, there was a slight editing glitch. If you downloaded the old version and don't want to redownload the whole thing, just look in the transcript for "Other than fixing John's two flubbed" for the text of the two missing paragraphs. Errata I say "Come Together" was a B-side, but the single was actually a double A-side. Also, I say the Lennon interview by Maureen Cleave appeared in Detroit magazine. That's what my source (Steve Turner's book) says, but someone on Twitter says that rather than Detroit magazine it was the Detroit Free Press. Also at one point I say "the videos for 'Paperback Writer' and 'Penny Lane'". I meant to say "Rain" rather than "Penny Lane" there. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. Particularly useful this time was Steve Turner's book Beatles '66. I also used Turner's The Beatles: The Stories Behind the Songs 1967-1970. Johnny Rogan's Starmakers and Svengalis had some information on Epstein I hadn't seen anywhere else. Some information about the "Bigger than Jesus" scandal comes from Ward, B. (2012). “The ‘C' is for Christ”: Arthur Unger, Datebook Magazine and the Beatles. Popular Music and Society, 35(4), 541-560. https://doi.org/10.1080/03007766.2011.608978 Information on Robert Stigwood comes from Mr Showbiz by Stephen Dando-Collins. And the quote at the end from Simon Napier-Bell is from You Don't Have to Say You Love Me, which is more entertaining than it is accurate, but is very entertaining. Sadly the only way to get the single mix of "All You Need is Love" is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Magical Mystery Tour. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I start the episode -- this episode deals, in part, with the deaths of three gay men -- one by murder, one by suicide, and one by an accidental overdose, all linked at least in part to societal homophobia. I will try to deal with this as tactfully as I can, but anyone who's upset by those things might want to read the transcript instead of listening to the episode. This is also a very, very, *very* long episode -- this is likely to be the longest episode I *ever* do of this podcast, so settle in. We're going to be here a while. I obviously don't know how long it's going to be while I'm still recording, but based on the word count of my script, probably in the region of three hours. You have been warned. In 1967 the actor Patrick McGoohan was tired. He had been working on the hit series Danger Man for many years -- Danger Man had originally run from 1960 through 1962, then had taken a break, and had come back, retooled, with longer episodes in 1964. That longer series was a big hit, both in the UK and in the US, where it was retitled Secret Agent and had a new theme tune written by PF Sloan and Steve Barri and recorded by Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But McGoohan was tired of playing John Drake, the agent, and announced he was going to quit the series. Instead, with the help of George Markstein, Danger Man's script editor, he created a totally new series, in which McGoohan would star, and which McGoohan would also write and direct key episodes of. This new series, The Prisoner, featured a spy who is only ever given the name Number Six, and who many fans -- though not McGoohan himself -- took to be the same character as John Drake. Number Six resigns from his job as a secret agent, and is kidnapped and taken to a place known only as The Village -- the series was filmed in Portmeirion, an unusual-looking town in Gwynnedd, in North Wales -- which is full of other ex-agents. There he is interrogated to try to find out why he has quit his job. It's never made clear whether the interrogators are his old employers or their enemies, and there's a certain suggestion that maybe there is no real distinction between the two sides, that they're both running the Village together. He spends the entire series trying to escape, but refuses to explain himself -- and there's some debate among viewers as to whether it's implied or not that part of the reason he doesn't explain himself is that he knows his interrogators wouldn't understand why he quit: [Excerpt: The Prisoner intro, from episode Once Upon a Time, ] Certainly that explanation would fit in with McGoohan's own personality. According to McGoohan, the final episode of The Prisoner was, at the time, the most watched TV show ever broadcast in the UK, as people tuned in to find out the identity of Number One, the person behind the Village, and to see if Number Six would break free. I don't think that's actually the case, but it's what McGoohan always claimed, and it was certainly a very popular series. I won't spoil the ending for those of you who haven't watched it -- it's a remarkable series -- but ultimately the series seems to decide that such questions don't matter and that even asking them is missing the point. It's a work that's open to multiple interpretations, and is left deliberately ambiguous, but one of the messages many people have taken away from it is that not only are we trapped by a society that oppresses us, we're also trapped by our own identities. You can run from the trap that society has placed you in, from other people's interpretations of your life, your work, and your motives, but you ultimately can't run from yourself, and any time you try to break out of a prison, you'll find yourself trapped in another prison of your own making. The most horrifying implication of the episode is that possibly even death itself won't be a release, and you will spend all eternity trying to escape from an identity you're trapped in. Viewers became so outraged, according to McGoohan, that he had to go into hiding for an extended period, and while his later claims that he never worked in Britain again are an exaggeration, it is true that for the remainder of his life he concentrated on doing work in the US instead, where he hadn't created such anger. That final episode of The Prisoner was also the only one to use a piece of contemporary pop music, in two crucial scenes: [Excerpt: The Prisoner, "Fall Out", "All You Need is Love"] Back in October 2020, we started what I thought would be a year-long look at the period from late 1962 through early 1967, but which has turned out for reasons beyond my control to take more like twenty months, with a song which was one of the last of the big pre-Beatles pop hits, though we looked at it after their first single, "Telstar" by the Tornadoes: [Excerpt: The Tornadoes, "Telstar"] There were many reasons for choosing that as one of the bookends for this fifty-episode chunk of the podcast -- you'll see many connections between that episode and this one if you listen to them back-to-back -- but among them was that it's a song inspired by the launch of the first ever communications satellite, and a sign of how the world was going to become smaller as the sixties went on. Of course, to start with communications satellites didn't do much in that regard -- they were expensive to use, and had limited bandwidth, and were only available during limited time windows, but symbolically they meant that for the first time ever, people could see and hear events thousands of miles away as they were happening. It's not a coincidence that Britain and France signed the agreement to develop Concorde, the first supersonic airliner, a month after the first Beatles single and four months after the Telstar satellite was launched. The world was becoming ever more interconnected -- people were travelling faster and further, getting news from other countries quicker, and there was more cultural conversation – and misunderstanding – between countries thousands of miles apart. The Canadian media theorist Marshall McLuhan, the man who also coined the phrase “the medium is the message”, thought that this ever-faster connection would fundamentally change basic modes of thought in the Western world. McLuhan thought that technology made possible whole new modes of thought, and that just as the printing press had, in his view, caused Western liberalism and individualism, so these new electronic media would cause the rise of a new collective mode of thought. In 1962, the year of Concorde, Telstar, and “Love Me Do”, McLuhan wrote a book called The Gutenberg Galaxy, in which he said: “Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and superimposed co-existence.… Terror is the normal state of any oral society, for in it everything affects everything all the time.…” He coined the term “the Global Village” to describe this new collectivism. The story we've seen over the last fifty episodes is one of a sort of cultural ping-pong between the USA and the UK, with innovations in American music inspiring British musicians, who in turn inspired American ones, whether that being the Beatles covering the Isley Brothers or the Rolling Stones doing a Bobby Womack song, or Paul Simon and Bob Dylan coming over to the UK and learning folk songs and guitar techniques from Martin Carthy. And increasingly we're going to see those influences spread to other countries, and influences coming *from* other countries. We've already seen one Jamaican artist, and the influence of Indian music has become very apparent. While the focus of this series is going to remain principally in the British Isles and North America, rock music was and is a worldwide phenomenon, and that's going to become increasingly a part of the story. And so in this episode we're going to look at a live performance -- well, mostly live -- that was seen by hundreds of millions of people all over the world as it happened, thanks to the magic of satellites: [Excerpt: The Beatles, "All You Need is Love"] When we left the Beatles, they had just finished recording "Tomorrow Never Knows", the most experimental track they had recorded up to that date, and if not the most experimental thing they *ever* recorded certainly in the top handful. But "Tomorrow Never Knows" was only the first track they recorded in the sessions for what would become arguably their greatest album, and certainly the one that currently has the most respect from critics. It's interesting to note that that album could have been very, very, different. When we think of Revolver now, we think of the innovative production of George Martin, and of Geoff Emerick and Ken Townshend's inventive ideas for pushing the sound of the equipment in Abbey Road studios, but until very late in the day the album was going to be recorded in the Stax studios in Memphis, with Steve Cropper producing -- whether George Martin would have been involved or not is something we don't even know. In 1965, the Rolling Stones had, as we've seen, started making records in the US, recording in LA and at the Chess studios in Chicago, and the Yardbirds had also been doing the same thing. Mick Jagger had become a convert to the idea of using American studios and working with American musicians, and he had constantly been telling Paul McCartney that the Beatles should do the same. Indeed, they'd put some feelers out in 1965 about the possibility of the group making an album with Holland, Dozier, and Holland in Detroit. Quite how this would have worked is hard to figure out -- Holland, Dozier, and Holland's skills were as songwriters, and in their work with a particular set of musicians -- so it's unsurprising that came to nothing. But recording at Stax was a different matter.  While Steve Cropper was a great songwriter in his own right, he was also adept at getting great sounds on covers of other people's material -- like on Otis Blue, the album he produced for Otis Redding in late 1965, which doesn't include a single Cropper original: [Excerpt: Otis Redding, "Satisfaction"] And the Beatles were very influenced by the records Stax were putting out, often namechecking Wilson Pickett in particular, and during the Rubber Soul sessions they had recorded a "Green Onions" soundalike track, imaginatively titled "12-Bar Original": [Excerpt: The Beatles, "12-Bar Original"] The idea of the group recording at Stax got far enough that they were actually booked in for two weeks starting the ninth of April, and there was even an offer from Elvis to let them stay at Graceland while they recorded, but then a couple of weeks earlier, the news leaked to the press, and Brian Epstein cancelled the booking. According to Cropper, Epstein talked about recording at the Atlantic studios in New York with him instead, but nothing went any further. It's hard to imagine what a Stax-based Beatles album would have been like, but even though it might have been a great album, it certainly wouldn't have been the Revolver we've come to know. Revolver is an unusual album in many ways, and one of the ways it's most distinct from the earlier Beatles albums is the dominance of keyboards. Both Lennon and McCartney had often written at the piano as well as the guitar -- McCartney more so than Lennon, but both had done so regularly -- but up to this point it had been normal for them to arrange the songs for guitars rather than keyboards, no matter how they'd started out. There had been the odd track where one of them, usually Lennon, would play a simple keyboard part, songs like "I'm Down" or "We Can Work it Out", but even those had been guitar records first and foremost. But on Revolver, that changed dramatically. There seems to have been a complex web of cause and effect here. Paul was becoming increasingly interested in moving his basslines away from simple walking basslines and root notes and the other staples of rock and roll basslines up to this point. As the sixties progressed, rock basslines were becoming ever more complex, and Tyler Mahan Coe has made a good case that this is largely down to innovations in production pioneered by Owen Bradley, and McCartney was certainly aware of Bradley's work -- he was a fan of Brenda Lee, who Bradley produced, for example. But the two influences that McCartney has mentioned most often in this regard are the busy, jazz-influenced, basslines that James Jamerson was playing at Motown: [Excerpt: The Four Tops, "It's the Same Old Song"] And the basslines that Brian Wilson was writing for various Wrecking Crew bassists to play for the Beach Boys: [Excerpt: The Beach Boys, "Don't Talk (Put Your Head on My Shoulder)"] Just to be clear, McCartney didn't hear that particular track until partway through the recording of Revolver, when Bruce Johnston visited the UK and brought with him an advance copy of Pet Sounds, but Pet Sounds influenced the later part of Revolver's recording, and Wilson had already started his experiments in that direction with the group's 1965 work. It's much easier to write a song with this kind of bassline, one that's integral to the composition, on the piano than it is to write it on a guitar, as you can work out the bassline with your left hand while working out the chords and melody with your right, so the habit that McCartney had already developed of writing on the piano made this easier. But also, starting with the recording of "Paperback Writer", McCartney switched his style of working in the studio. Where up to this point it had been normal for him to play bass as part of the recording of the basic track, playing with the other Beatles, he now started to take advantage of multitracking to overdub his bass later, so he could spend extra time getting the bassline exactly right. McCartney lived closer to Abbey Road than the other three Beatles, and so could more easily get there early or stay late and tweak his parts. But if McCartney wasn't playing bass while the guitars and drums were being recorded, that meant he could play something else, and so increasingly he would play piano during the recording of the basic track. And that in turn would mean that there wouldn't always *be* a need for guitars on the track, because the harmonic support they would provide would be provided by the piano instead. This, as much as anything else, is the reason that Revolver sounds so radically different to any other Beatles album. Up to this point, with *very* rare exceptions like "Yesterday", every Beatles record, more or less, featured all four of the Beatles playing instruments. Now John and George weren't playing on "Good Day Sunshine" or "For No One", John wasn't playing on "Here, There, and Everywhere", "Eleanor Rigby" features no guitars or drums at all, and George's "Love You To" only features himself, plus a little tambourine from Ringo (Paul recorded a part for that one, but it doesn't seem to appear on the finished track). Of the three songwriting Beatles, the only one who at this point was consistently requiring the instrumental contributions of all the other band members was John, and even he did without Paul on "She Said, She Said", which by all accounts features either John or George on bass, after Paul had a rare bout of unprofessionalism and left the studio. Revolver is still an album made by a group -- and most of those tracks that don't feature John or George instrumentally still feature them vocally -- it's still a collaborative work in all the best ways. But it's no longer an album made by four people playing together in the same room at the same time. After starting work on "Tomorrow Never Knows", the next track they started work on was Paul's "Got to Get You Into My Life", but as it would turn out they would work on that song throughout most of the sessions for the album -- in a sign of how the group would increasingly work from this point on, Paul's song was subject to multiple re-recordings and tweakings in the studio, as he tinkered to try to make it perfect. The first recording to be completed for the album, though, was almost as much of a departure in its own way as "Tomorrow Never Knows" had been. George's song "Love You To" shows just how inspired he was by the music of Ravi Shankar, and how devoted he was to Indian music. While a few months earlier he had just about managed to pick out a simple melody on the sitar for "Norwegian Wood", by this point he was comfortable enough with Indian classical music that I've seen many, many sources claim that an outside session player is playing sitar on the track, though Anil Bhagwat, the tabla player on the track, always insisted that it was entirely Harrison's playing: [Excerpt: The Beatles, "Love You To"] There is a *lot* of debate as to whether it's George playing on the track, and I feel a little uncomfortable making a definitive statement in either direction. On the one hand I find it hard to believe that Harrison got that good that quickly on an unfamiliar instrument, when we know he wasn't a naturally facile musician. All the stories we have about his work in the studio suggest that he had to work very hard on his guitar solos, and that he would frequently fluff them. As a technical guitarist, Harrison was only mediocre -- his value lay in his inventiveness, not in technical ability -- and he had been playing guitar for over a decade, but sitar only a few months. There's also some session documentation suggesting that an unknown sitar player was hired. On the other hand there's the testimony of Anil Bhagwat that Harrison played the part himself, and he has been very firm on the subject, saying "If you go on the Internet there are a lot of questions asked about "Love You To". They say 'It's not George playing the sitar'. I can tell you here and now -- 100 percent it was George on sitar throughout. There were no other musicians involved. It was just me and him." And several people who are more knowledgeable than myself about the instrument have suggested that the sitar part on the track is played the way that a rock guitarist would play rather than the way someone with more knowledge of Indian classical music would play -- there's a blues feeling to some of the bends that apparently no genuine Indian classical musician would naturally do. I would suggest that the best explanation is that there's a professional sitar player trying to replicate a part that Harrison had previously demonstrated, while Harrison was in turn trying his best to replicate the sound of Ravi Shankar's work. Certainly the instrumental section sounds far more fluent, and far more stylistically correct, than one would expect: [Excerpt: The Beatles, "Love You To"] Where previous attempts at what got called "raga-rock" had taken a couple of surface features of Indian music -- some form of a drone, perhaps a modal scale -- and had generally used a guitar made to sound a little bit like a sitar, or had a sitar playing normal rock riffs, Harrison's song seems to be a genuine attempt to hybridise Indian ragas and rock music, combining the instrumentation, modes, and rhythmic complexity of someone like Ravi Shankar with lyrics that are seemingly inspired by Bob Dylan and a fairly conventional pop song structure (and a tiny bit of fuzz guitar). It's a record that could only be made by someone who properly understood both the Indian music he's emulating and the conventions of the Western pop song, and understood how those conventions could work together. Indeed, one thing I've rarely seen pointed out is how cleverly the album is sequenced, so that "Love You To" is followed by possibly the most conventional song on Revolver, "Here, There, and Everywhere", which was recorded towards the end of the sessions. Both songs share a distinctive feature not shared by the rest of the album, so the two songs can sound more of a pair than they otherwise would, retrospectively making "Love You To" seem more conventional than it is and "Here, There, and Everywhere" more unconventional -- both have as an introduction a separate piece of music that states some of the melodic themes of the rest of the song but isn't repeated later. In the case of "Love You To" it's the free-tempo bit at the beginning, characteristic of a lot of Indian music: [Excerpt: The Beatles, "Love You To"] While in the case of "Here, There, and Everywhere" it's the part that mimics an older style of songwriting, a separate intro of the type that would have been called a verse when written by the Gershwins or Cole Porter, but of course in the intervening decades "verse" had come to mean something else, so we now no longer have a specific term for this kind of intro -- but as you can hear, it's doing very much the same thing as that "Love You To" intro: [Excerpt: The Beatles, "Here, There, and Everywhere"] In the same day as the group completed "Love You To", overdubbing George's vocal and Ringo's tambourine, they also started work on a song that would show off a lot of the new techniques they had been working on in very different ways. Paul's "Paperback Writer" could indeed be seen as part of a loose trilogy with "Love You To" and "Tomorrow Never Knows", one song by each of the group's three songwriters exploring the idea of a song that's almost all on one chord. Both "Tomorrow Never Knows" and "Love You To" are based on a drone with occasional hints towards moving to one other chord. In the case of "Paperback Writer", the entire song stays on a single chord until the title -- it's on a G7 throughout until the first use of the word "writer", when it quickly goes to a C for two bars. I'm afraid I'm going to have to sing to show you how little the chords actually change, because the riff disguises this lack of movement somewhat, but the melody is also far more horizontal than most of McCartney's, so this shouldn't sound too painful, I hope: [demonstrates] This is essentially the exact same thing that both "Love You To" and "Tomorrow Never Knows" do, and all three have very similarly structured rising and falling modal melodies. There's also a bit of "Paperback Writer" that seems to tie directly into "Love You To", but also points to a possible very non-Indian inspiration for part of "Love You To". The Beach Boys' single "Sloop John B" was released in the UK a couple of days after the sessions for "Paperback Writer" and "Love You To", but it had been released in the US a month before, and the Beatles all got copies of every record in the American top thirty shipped to them. McCartney and Harrison have specifically pointed to it as an influence on "Paperback Writer". "Sloop John B" has a section where all the instruments drop out and we're left with just the group's vocal harmonies: [Excerpt: The Beach Boys, "Sloop John B"] And that seems to have been the inspiration behind the similar moment at a similar point in "Paperback Writer", which is used in place of a middle eight and also used for the song's intro: [Excerpt: The Beatles, "Paperback Writer"] Which is very close to what Harrison does at the end of each verse of "Love You To", where the instruments drop out for him to sing a long melismatic syllable before coming back in: [Excerpt: The Beatles, "Love You To"] Essentially, other than "Got to Get You Into My Life", which is an outlier and should not be counted, the first three songs attempted during the Revolver sessions are variations on a common theme, and it's a sign that no matter how different the results might  sound, the Beatles really were very much a group at this point, and were sharing ideas among themselves and developing those ideas in similar ways. "Paperback Writer" disguises what it's doing somewhat by having such a strong riff. Lennon referred to "Paperback Writer" as "son of 'Day Tripper'", and in terms of the Beatles' singles it's actually their third iteration of this riff idea, which they originally got from Bobby Parker's "Watch Your Step": [Excerpt: Bobby Parker, "Watch Your Step"] Which became the inspiration for "I Feel Fine": [Excerpt: The Beatles, "I Feel Fine"] Which they varied for "Day Tripper": [Excerpt: The Beatles, "Day Tripper"] And which then in turn got varied for "Paperback Writer": [Excerpt: The Beatles, "Paperback Writer"] As well as compositional ideas, there are sonic ideas shared between "Paperback Writer", "Tomorrow Never Knows", and "Love You To", and which would be shared by the rest of the tracks the Beatles recorded in the first half of 1966. Since Geoff Emerick had become the group's principal engineer, they'd started paying more attention to how to get a fuller sound, and so Emerick had miced the tabla on "Love You To" much more closely than anyone would normally mic an instrument from classical music, creating a deep, thudding sound, and similarly he had changed the way they recorded the drums on "Tomorrow Never Knows", again giving a much fuller sound. But the group also wanted the kind of big bass sounds they'd loved on records coming out of America -- sounds that no British studio was getting, largely because it was believed that if you cut too loud a bass sound into a record it would make the needle jump out of the groove. The new engineering team of Geoff Emerick and Ken Scott, though, thought that it was likely you could keep the needle in the groove if you had a smoother frequency response. You could do that if you used a microphone with a larger diaphragm to record the bass, but how could you do that? Inspiration finally struck -- loudspeakers are actually the same thing as microphones wired the other way round, so if you wired up a loudspeaker as if it were a microphone you could get a *really big* speaker, place it in front of the bass amp, and get a much stronger bass sound. The experiment wasn't a total success -- the sound they got had to be processed quite extensively to get rid of room noise, and then compressed in order to further prevent the needle-jumping issue, and so it's a muddier, less defined, tone than they would have liked, but one thing that can't be denied is that "Paperback Writer"'s bass sound is much, much, louder than on any previous Beatles record: [Excerpt: The Beatles, "Paperback Writer"] Almost every track the group recorded during the Revolver sessions involved all sorts of studio innovations, though rarely anything as truly revolutionary as the artificial double-tracking they'd used on "Tomorrow Never Knows", and which also appeared on "Paperback Writer" -- indeed, as "Paperback Writer" was released several months before Revolver, it became the first record released to use the technique. I could easily devote a good ten minutes to every track on Revolver, and to "Paperback Writer"s B-side, "Rain", but this is already shaping up to be an extraordinarily long episode and there's a lot of material to get through, so I'll break my usual pattern of devoting a Patreon bonus episode to something relatively obscure, and this week's bonus will be on "Rain" itself. "Paperback Writer", though, deserved the attention here even though it was not one of the group's more successful singles -- it did go to number one, but it didn't hit number one in the UK charts straight away, being kept off the top by "Strangers in the Night" by Frank Sinatra for the first week: [Excerpt: Frank Sinatra, "Strangers in the Night"] Coincidentally, "Strangers in the Night" was co-written by Bert Kaempfert, the German musician who had produced the group's very first recording sessions with Tony Sheridan back in 1961. On the group's German tour in 1966 they met up with Kaempfert again, and John greeted him by singing the first couple of lines of the Sinatra record. The single was the lowest-selling Beatles single in the UK since "Love Me Do". In the US it only made number one for two non-consecutive weeks, with "Strangers in the Night" knocking it off for a week in between. Now, by literally any other band's standards, that's still a massive hit, and it was the Beatles' tenth UK number one in a row (or ninth, depending on which chart you use for "Please Please Me"), but it's a sign that the group were moving out of the first phase of total unequivocal dominance of the charts. It was a turning point in a lot of other ways as well. Up to this point, while the group had been experimenting with different lyrical subjects on album tracks, every single had lyrics about romantic relationships -- with the possible exception of "Help!", which was about Lennon's emotional state but written in such a way that it could be heard as a plea to a lover. But in the case of "Paperback Writer", McCartney was inspired by his Aunt Mill asking him "Why do you write songs about love all the time? Can you ever write about a horse or the summit conference or something interesting?" His response was to think "All right, Aunt Mill, I'll show you", and to come up with a lyric that was very much in the style of the social satires that bands like the Kinks were releasing at the time. People often miss the humour in the lyric for "Paperback Writer", but there's a huge amount of comedy in lyrics about someone writing to a publisher saying they'd written a book based on someone else's book, and one can only imagine the feeling of weary recognition in slush-pile readers throughout the world as they heard the enthusiastic "It's a thousand pages, give or take a few, I'll be writing more in a week or two. I can make it longer..." From this point on, the group wouldn't release a single that was unambiguously about a romantic relationship until "The Ballad of John and Yoko",  the last single released while the band were still together. "Paperback Writer" also saw the Beatles for the first time making a promotional film -- what we would now call a rock video -- rather than make personal appearances on TV shows. The film was directed by Michael Lindsay-Hogg, who the group would work with again in 1969, and shows Paul with a chipped front tooth -- he'd been in an accident while riding mopeds with his friend Tara Browne a few months earlier, and hadn't yet got round to having the tooth capped. When he did, the change in his teeth was one of the many bits of evidence used by conspiracy theorists to prove that the real Paul McCartney was dead and replaced by a lookalike. It also marks a change in who the most prominent Beatle on the group's A-sides was. Up to this point, Paul had had one solo lead on an A-side -- "Can't Buy Me Love" -- and everything else had been either a song with multiple vocalists like "Day Tripper" or "Love Me Do", or a song with a clear John lead like "Ticket to Ride" or "I Feel Fine". In the rest of their career, counting "Paperback Writer", the group would release nine new singles that hadn't already been included on an album. Of those nine singles, one was a double A-side with one John song and one Paul song, two had John songs on the A-side, and the other six were Paul. Where up to this point John had been "lead Beatle", for the rest of the sixties, Paul would be the group's driving force. Oddly, Paul got rather defensive about the record when asked about it in interviews after it failed to go straight to the top, saying "It's not our best single by any means, but we're very satisfied with it". But especially in its original mono mix it actually packs a powerful punch: [Excerpt: The Beatles, "Paperback Writer"] When the "Paperback Writer" single was released, an unusual image was used in the advertising -- a photo of the Beatles dressed in butchers' smocks, covered in blood, with chunks of meat and the dismembered body parts of baby dolls lying around on them. The image was meant as part of a triptych parodying religious art -- the photo on the left was to be an image showing the four Beatles connected to a woman by an umbilical cord made of sausages, the middle panel was meant to be this image, but with halos added over the Beatles' heads, and the panel on the right was George hammering a nail into John's head, symbolising both crucifixion and that the group were real, physical, people, not just images to be worshipped -- these weren't imaginary nails, and they weren't imaginary people. The photographer Robert Whittaker later said: “I did a photograph of the Beatles covered in raw meat, dolls and false teeth. Putting meat, dolls and false teeth with The Beatles is essentially part of the same thing, the breakdown of what is regarded as normal. The actual conception for what I still call “Somnambulant Adventure” was Moses coming down from Mount Sinai with the Ten Commandments. He comes across people worshipping a golden calf. All over the world I'd watched people worshiping like idols, like gods, four Beatles. To me they were just stock standard normal people. But this emotion that fans poured on them made me wonder where Christianity was heading.” The image wasn't that controversial in the UK, when it was used to advertise "Paperback Writer", but in the US it was initially used for the cover of an album, Yesterday... And Today, which was made up of a few tracks that had been left off the US versions of the Rubber Soul and Help! albums, plus both sides of the "We Can Work It Out"/"Day Tripper" single, and three rough mixes of songs that had been recorded for Revolver -- "Doctor Robert", "And Your Bird Can Sing", and "I'm Only Sleeping", which was the song that sounded most different from the mixes that were finally released: [Excerpt: The Beatles, "I'm Only Sleeping (Yesterday... and Today mix)"] Those three songs were all Lennon songs, which had the unfortunate effect that when the US version of Revolver was brought out later in the year, only two of the songs on the album were by Lennon, with six by McCartney and three by Harrison. Some have suggested that this was the motivation for the use of the butcher image on the cover of Yesterday... And Today -- saying it was the Beatles' protest against Capitol "butchering" their albums -- but in truth it was just that Capitol's art director chose the cover because he liked the image. Alan Livingston, the president of Capitol was not so sure, and called Brian Epstein to ask if the group would be OK with them using a different image. Epstein checked with John Lennon, but Lennon liked the image and so Epstein told Livingston the group insisted on them using that cover. Even though for the album cover the bloodstains on the butchers' smocks were airbrushed out, after Capitol had pressed up a million copies of the mono version of the album and two hundred thousand copies of the stereo version, and they'd sent out sixty thousand promo copies, they discovered that no record shops would stock the album with that cover. It cost Capitol more than two hundred thousand dollars to recall the album and replace the cover with a new one -- though while many of the covers were destroyed, others had the new cover, with a more acceptable photo of the group, pasted over them, and people have later carefully steamed off the sticker to reveal the original. This would not be the last time in 1966 that something that was intended as a statement on religion and the way people viewed the Beatles would cause the group trouble in America. In the middle of the recording sessions for Revolver, the group also made what turned out to be their last ever UK live performance in front of a paying audience. The group had played the NME Poll-Winners' Party every year since 1963, and they were always shows that featured all the biggest acts in the country at the time -- the 1966 show featured, as well as the Beatles and a bunch of smaller acts, the Rolling Stones, the Who, the Yardbirds, Roy Orbison, Cliff Richard and the Shadows, the Seekers, the Small Faces, the Walker Brothers, and Dusty Springfield. Unfortunately, while these events were always filmed for TV broadcast, the Beatles' performance on the first of May wasn't filmed. There are various stories about what happened, but the crux appears to be a disagreement between Andrew Oldham and Brian Epstein, sparked by John Lennon. When the Beatles got to the show, they were upset to discover that they had to wait around before going on stage -- normally, the awards would all be presented at the end, after all the performances, but the Rolling Stones had asked that the Beatles not follow them directly, so after the Stones finished their set, there would be a break for the awards to be given out, and then the Beatles would play their set, in front of an audience that had been bored by twenty-five minutes of awards ceremony, rather than one that had been excited by all the bands that came before them. John Lennon was annoyed, and insisted that the Beatles were going to go on straight after the Rolling Stones -- he seems to have taken this as some sort of power play by the Stones and to have got his hackles up about it. He told Epstein to deal with the people from the NME. But the NME people said that they had a contract with Andrew Oldham, and they weren't going to break it. Oldham refused to change the terms of the contract. Lennon said that he wasn't going to go on stage if they didn't directly follow the Stones. Maurice Kinn, the publisher of the NME, told Epstein that he wasn't going to break the contract with Oldham, and that if the Beatles didn't appear on stage, he would get Jimmy Savile, who was compering the show, to go out on stage and tell the ten thousand fans in the audience that the Beatles were backstage refusing to appear. He would then sue NEMS for breach of contract *and* NEMS would be liable for any damage caused by the rioting that was sure to happen. Lennon screamed a lot of abuse at Kinn, and told him the group would never play one of their events again, but the group did go on stage -- but because they hadn't yet signed the agreement to allow their performance to be filmed, they refused to allow it to be recorded. Apparently Andrew Oldham took all this as a sign that Epstein was starting to lose control of the group. Also during May 1966 there were visits from musicians from other countries, continuing the cultural exchange that was increasingly influencing the Beatles' art. Bruce Johnston of the Beach Boys came over to promote the group's new LP, Pet Sounds, which had been largely the work of Brian Wilson, who had retired from touring to concentrate on working in the studio. Johnston played the record for John and Paul, who listened to it twice, all the way through, in silence, in Johnston's hotel room: [Excerpt: The Beach Boys, "God Only Knows"] According to Johnston, after they'd listened through the album twice, they went over to a piano and started whispering to each other, picking out chords. Certainly the influence of Pet Sounds is very noticeable on songs like "Here, There, and Everywhere", written and recorded a few weeks after this meeting: [Excerpt: The Beatles, "Here, There, and Everywhere"] That track, and the last track recorded for the album, "She Said She Said" were unusual in one very important respect -- they were recorded while the Beatles were no longer under contract to EMI Records. Their contract expired on the fifth of June, 1966, and they finished Revolver without it having been renewed -- it would be several months before their new contract was signed, and it's rather lucky for music lovers that Brian Epstein was the kind of manager who considered personal relationships and basic honour and decency more important than the legal niceties, unlike any other managers of the era, otherwise we would not have Revolver in the form we know it today. After the meeting with Johnston, but before the recording of those last couple of Revolver tracks, the Beatles also met up again with Bob Dylan, who was on a UK tour with a new, loud, band he was working with called The Hawks. While the Beatles and Dylan all admired each other, there was by this point a lot of wariness on both sides, especially between Lennon and Dylan, both of them very similar personality types and neither wanting to let their guard down around the other or appear unhip. There's a famous half-hour-long film sequence of Lennon and Dylan sharing a taxi, which is a fascinating, excruciating, example of two insecure but arrogant men both trying desperately to impress the other but also equally desperate not to let the other know that they want to impress them: [Excerpt: Dylan and Lennon taxi ride] The day that was filmed, Lennon and Harrison also went to see Dylan play at the Royal Albert Hall. This tour had been controversial, because Dylan's band were loud and raucous, and Dylan's fans in the UK still thought of him as a folk musician. At one gig, earlier on the tour, an audience member had famously yelled out "Judas!" -- (just on the tiny chance that any of my listeners don't know that, Judas was the disciple who betrayed Jesus to the authorities, leading to his crucifixion) -- and that show was for many years bootlegged as the "Royal Albert Hall" show, though in fact it was recorded at the Free Trade Hall in Manchester. One of the *actual* Royal Albert Hall shows was released a few years ago -- the one the night before Lennon and Harrison saw Dylan: [Excerpt: Bob Dylan, "Like a Rolling Stone", Royal Albert Hall 1966] The show Lennon and Harrison saw would be Dylan's last for many years. Shortly after returning to the US, Dylan was in a motorbike accident, the details of which are still mysterious, and which some fans claim was faked altogether. The accident caused him to cancel all the concert dates he had booked, and devote himself to working in the studio for several years just like Brian Wilson. And from even further afield than America, Ravi Shankar came over to Britain, to work with his friend the violinist Yehudi Menuhin, on a duet album, West Meets East, that was an example in the classical world of the same kind of international cross-fertilisation that was happening in the pop world: [Excerpt: Yehudi Menuhin and Ravi Shankar, "Prabhati (based on Raga Gunkali)"] While he was in the UK, Shankar also performed at the Royal Festival Hall, and George Harrison went to the show. He'd seen Shankar live the year before, but this time he met up with him afterwards, and later said "He was the first person that impressed me in a way that was beyond just being a famous celebrity. Ravi was my link to the Vedic world. Ravi plugged me into the whole of reality. Elvis impressed me when I was a kid, and impressed me when I met him, but you couldn't later on go round to him and say 'Elvis, what's happening with the universe?'" After completing recording and mixing the as-yet-unnamed album, which had been by far the longest recording process of their career, and which still nearly sixty years later regularly tops polls of the best album of all time, the Beatles took a well-earned break. For a whole two days, at which point they flew off to Germany to do a three-day tour, on their way to Japan, where they were booked to play five shows at the Budokan. Unfortunately for the group, while they had no idea of this when they were booked to do the shows, many in Japan saw the Budokan as sacred ground, and they were the first ever Western group to play there. This led to numerous death threats and loud protests from far-right activists offended at the Beatles defiling their religious and nationalistic sensibilities. As a result, the police were on high alert -- so high that there were three thousand police in the audience for the shows, in a venue which only held ten thousand audience members. That's according to Mark Lewisohn's Complete Beatles Chronicle, though I have to say that the rather blurry footage of the audience in the video of those shows doesn't seem to show anything like those numbers. But frankly I'll take Lewisohn's word over that footage, as he's not someone to put out incorrect information. The threats to the group also meant that they had to be kept in their hotel rooms at all times except when actually performing, though they did make attempts to get out. At the press conference for the Tokyo shows, the group were also asked publicly for the first time their views on the war in Vietnam, and John replied "Well, we think about it every day, and we don't agree with it and we think that it's wrong. That's how much interest we take. That's all we can do about it... and say that we don't like it". I say they were asked publicly for the first time, because George had been asked about it for a series of interviews Maureen Cleave had done with the group a couple of months earlier, as we'll see in a bit, but nobody was paying attention to those interviews. Brian Epstein was upset that the question had gone to John. He had hoped that the inevitable Vietnam question would go to Paul, who he thought might be a bit more tactful. The last thing he needed was John Lennon saying something that would upset the Americans before their tour there a few weeks later. Luckily, people in America seemed to have better things to do than pay attention to John Lennon's opinions. The support acts for the Japanese shows included  several of the biggest names in Japanese rock music -- or "group sounds" as the genre was called there, Japanese people having realised that trying to say the phrase "rock and roll" would open them up to ridicule given that it had both "r" and "l" sounds in the phrase. The man who had coined the term "group sounds", Jackey Yoshikawa, was there with his group the Blue Comets, as was Isao Bito, who did a rather good cover version of Cliff Richard's "Dynamite": [Excerpt: Isao Bito, "Dynamite"] Bito, the Blue Comets, and the other two support acts, Yuya Uchida and the Blue Jeans, all got together to perform a specially written song, "Welcome Beatles": [Excerpt: "Welcome Beatles" ] But while the Japanese audience were enthusiastic, they were much less vocal about their enthusiasm than the audiences the Beatles were used to playing for. The group were used, of course, to playing in front of hordes of screaming teenagers who could not hear a single note, but because of the fear that a far-right terrorist would assassinate one of the group members, the police had imposed very, very, strict rules on the audience. Nobody in the audience was allowed to get out of their seat for any reason, and the police would clamp down very firmly on anyone who was too demonstrative. Because of that, the group could actually hear themselves, and they sounded sloppy as hell, especially on the newer material. Not that there was much of that. The only song they did from the Revolver sessions was "Paperback Writer", the new single, and while they did do a couple of tracks from Rubber Soul, those were under-rehearsed. As John said at the start of this tour, "I can't play any of Rubber Soul, it's so unrehearsed. The only time I played any of the numbers on it was when I recorded it. I forget about songs. They're only valid for a certain time." That's certainly borne out by the sound of their performances of Rubber Soul material at the Budokan: [Excerpt: The Beatles, "If I Needed Someone (live at the Budokan)"] It was while they were in Japan as well that they finally came up with the title for their new album. They'd been thinking of all sorts of ideas, like Abracadabra and Magic Circle, and tossing names around with increasing desperation for several days -- at one point they seem to have just started riffing on other groups' albums, and seem to have apparently seriously thought about naming the record in parodic tribute to their favourite artists -- suggestions included The Beatles On Safari, after the Beach Boys' Surfin' Safari (and possibly with a nod to their recent Pet Sounds album cover with animals, too), The Freewheelin' Beatles, after Dylan's second album, and my favourite, Ringo's suggestion After Geography, for the Rolling Stones' Aftermath. But eventually Paul came up with Revolver -- like Rubber Soul, a pun, in this case because the record itself revolves when on a turntable. Then it was off to the Philippines, and if the group thought Japan had been stressful, they had no idea what was coming. The trouble started in the Philippines from the moment they stepped off the plane, when they were bundled into a car without Neil Aspinall or Brian Epstein, and without their luggage, which was sent to customs. This was a problem in itself -- the group had got used to essentially being treated like diplomats, and to having their baggage let through customs without being searched, and so they'd started freely carrying various illicit substances with them. This would obviously be a problem -- but as it turned out, this was just to get a "customs charge" paid by Brian Epstein. But during their initial press conference the group were worried, given the hostility they'd faced from officialdom, that they were going to be arrested during the conference itself. They were asked what they would tell the Rolling Stones, who were going to be visiting the Philippines shortly after, and Lennon just said "We'll warn them". They also asked "is there a war on in the Philippines? Why is everybody armed?" At this time, the Philippines had a new leader, Ferdinand Marcos -- who is not to be confused with his son, Ferdinand Marcos Jr, also known as Bongbong Marcos, who just became President-Elect there last month. Marcos Sr was a dictatorial kleptocrat, one of the worst leaders of the latter half of the twentieth century, but that wasn't evident yet. He'd been elected only a few months earlier, and had presented himself as a Kennedy-like figure -- a young man who was also a war hero. He'd recently switched parties from the Liberal party to the right-wing Nacionalista Party, but wasn't yet being thought of as the monstrous dictator he later became. The person organising the Philippines shows had been ordered to get the Beatles to visit Ferdinand and Imelda Marcos at 11AM on the day of the show, but for some reason had instead put on their itinerary just the *suggestion* that the group should meet the Marcoses, and had put the time down as 3PM, and the Beatles chose to ignore that suggestion -- they'd refused to do that kind of government-official meet-and-greet ever since an incident in 1964 at the British Embassy in Washington where someone had cut off a bit of Ringo's hair. A military escort turned up at the group's hotel in the morning, to take them for their meeting. The group were all still in their rooms, and Brian Epstein was still eating breakfast and refused to disturb them, saying "Go back and tell the generals we're not coming." The group gave their performances as scheduled, but meanwhile there was outrage at the way the Beatles had refused to meet the Marcos family, who had brought hundreds of children -- friends of their own children, and relatives of top officials -- to a party to meet the group. Brian Epstein went on TV and tried to smooth things over, but the broadcast was interrupted by static and his message didn't get through to anyone. The next day, the group's security was taken away, as were the cars to take them to the airport. When they got to the airport, the escalators were turned off and the group were beaten up at the arrangement of the airport manager, who said in 1984 "I beat up the Beatles. I really thumped them. First I socked Epstein and he went down... then I socked Lennon and Ringo in the face. I was kicking them. They were pleading like frightened chickens. That's what happens when you insult the First Lady." Even on the plane there were further problems -- Brian Epstein and the group's road manager Mal Evans were both made to get off the plane to sort out supposed financial discrepancies, which led to them worrying that they were going to be arrested or worse -- Evans told the group to tell his wife he loved her as he left the plane. But eventually, they were able to leave, and after a brief layover in India -- which Ringo later said was the first time he felt he'd been somewhere truly foreign, as opposed to places like Germany or the USA which felt basically like home -- they got back to England: [Excerpt: "Ordinary passenger!"] When asked what they were going to do next, George replied “We're going to have a couple of weeks to recuperate before we go and get beaten up by the Americans,” The story of the "we're bigger than Jesus" controversy is one of the most widely misreported events in the lives of the Beatles, which is saying a great deal. One book that I've encountered, and one book only, Steve Turner's Beatles '66, tells the story of what actually happened, and even that book seems to miss some emphases. I've pieced what follows together from Turner's book and from an academic journal article I found which has some more detail. As far as I can tell, every single other book on the Beatles released up to this point bases their account of the story on an inaccurate press statement put out by Brian Epstein, not on the truth. Here's the story as it's generally told. John Lennon gave an interview to his friend, Maureen Cleave of the Evening Standard, during which he made some comments about how it was depressing that Christianity was losing relevance in the eyes of the public, and that the Beatles are more popular than Jesus, speaking casually because he was talking to a friend. That story was run in the Evening Standard more-or-less unnoticed, but then an American teen magazine picked up on the line about the Beatles being bigger than Jesus, reprinted chunks of the interview out of context and without the Beatles' knowledge or permission, as a way to stir up controversy, and there was an outcry, with people burning Beatles records and death threats from the Ku Klux Klan. That's... not exactly what happened. The first thing that you need to understand to know what happened is that Datebook wasn't a typical teen magazine. It *looked* just like a typical teen magazine, certainly, and much of its content was the kind of thing that you would get in Tiger Beat or any of the other magazines aimed at teenage girls -- the September 1966 issue was full of articles like "Life with the Walker Brothers... by their Road Manager", and interviews with the Dave Clark Five -- but it also had a long history of publishing material that was intended to make its readers think about social issues of the time, particularly Civil Rights. Arthur Unger, the magazine's editor and publisher, was a gay man in an interracial relationship, and while the subject of homosexuality was too taboo in the late fifties and sixties for him to have his magazine cover that, he did regularly include articles decrying segregation and calling for the girls reading the magazine to do their part on a personal level to stamp out racism. Datebook had regularly contained articles like one from 1963 talking about how segregation wasn't just a problem in the South, saying "If we are so ‘integrated' why must men in my own city of Philadelphia, the city of Brotherly Love, picket city hall because they are discriminated against when it comes to getting a job? And how come I am still unable to take my dark- complexioned friends to the same roller skating rink or swimming pool that I attend?” One of the writers for the magazine later said “We were much more than an entertainment magazine . . . . We tried to get kids involved in social issues . . . . It was a well-received magazine, recommended by libraries and schools, but during the Civil Rights period we did get pulled off a lot of stands in the South because of our views on integration” Art Unger, the editor and publisher, wasn't the only one pushing this liberal, integrationist, agenda. The managing editor at the time, Danny Fields, was another gay man who wanted to push the magazine even further than Unger, and who would later go on to manage the Stooges and the Ramones, being credited by some as being the single most important figure in punk rock's development, and being immortalised by the Ramones in their song "Danny Says": [Excerpt: The Ramones, "Danny Says"] So this was not a normal teen magazine, and that's certainly shown by the cover of the September 1966 issue, which as well as talking about the interviews with John Lennon and Paul McCartney inside, also advertised articles on Timothy Leary advising people to turn on, tune in, and drop out; an editorial about how interracial dating must be the next step after desegregation of schools, and a piece on "the ten adults you dig/hate the most" -- apparently the adult most teens dug in 1966 was Jackie Kennedy, the most hated was Barry Goldwater, and President Johnson, Billy Graham, and Martin Luther King appeared in the top ten on both lists. Now, in the early part of the year Maureen Cleave had done a whole series of articles on the Beatles -- double-page spreads on each band member, plus Brian Epstein, visiting them in their own homes (apart from Paul, who she met at a restaurant) and discussing their daily lives, their thoughts, and portraying them as rounded individuals. These articles are actually fascinating, because of something that everyone who met the Beatles in this period pointed out. When interviewed separately, all of them came across as thoughtful individuals, with their own opinions about all sorts of subjects, and their own tastes and senses of humour. But when two or more of them were together -- especially when John and Paul were interviewed together, but even in social situations, they would immediately revert to flip in-jokes and riffing on each other's statements, never revealing anything about themselves as individuals, but just going into Beatle mode -- simultaneously preserving the band's image, closing off outsiders, *and* making sure they didn't do or say anything that would get them mocked by the others. Cleave, as someone who actually took them all seriously, managed to get some very revealing information about all of them. In the article on Ringo, which is the most superficial -- one gets the impression that Cleave found him rather difficult to talk to when compared to the other, more verbally facile, band members -- she talked about how he had a lot of Wild West and military memorabilia, how he was a devoted family man and also devoted to his friends -- he had moved to the suburbs to be close to John and George, who already lived there. The most revealing quote about Ringo's personality was him saying "Of course that's the great thing about being married -- you have a house to sit in and company all the time. And you can still go to clubs, a bonus for being married. I love being a family man." While she looked at the other Beatles' tastes in literature in detail, she'd noted that the only books Ringo owned that weren't just for show were a few science fiction paperbacks, but that as he said "I'm not thick, it's just that I'm not educated. People can use words and I won't know what they mean. I say 'me' instead of 'my'." Ringo also didn't have a drum kit at home, saying he only played when he was on stage or in the studio, and that you couldn't practice on your own, you needed to play with other people. In the article on George, she talked about how he was learning the sitar,  and how he was thinking that it might be a good idea to go to India to study the sitar with Ravi Shankar for six months. She also talks about how during the interview, he played the guitar pretty much constantly, playing everything from songs from "Hello Dolly" to pieces by Bach to "the Trumpet Voluntary", by which she presumably means Clarke's "Prince of Denmark's March": [Excerpt: Jeremiah Clarke, "Prince of Denmark's March"] George was also the most outspoken on the subjects of politics, religion, and society, linking the ongoing war in Vietnam with the UK's reverence for the Second World War, saying "I think about it every day and it's wrong. Anything to do with war is wrong. They're all wrapped up in their Nelsons and their Churchills and their Montys -- always talking about war heroes. Look at All Our Yesterdays [a show on ITV that showed twenty-five-year-old newsreels] -- how we killed a few more Huns here and there. Makes me sick. They're the sort who are leaning on their walking sticks and telling us a few years in the army would do us good." He also had very strong words to say about religion, saying "I think religion falls flat on its face. All this 'love thy neighbour' but none of them are doing it. How can anybody get into the position of being Pope and accept all the glory and the money and the Mercedes-Benz and that? I could never be Pope until I'd sold my rich gates and my posh hat. I couldn't sit there with all that money on me and believe I was religious. Why can't we bring all this out in the open? Why is there all this stuff about blasphemy? If Christianity's as good as they say it is, it should stand up to a bit of discussion." Harrison also comes across as a very private person, saying "People keep saying, ‘We made you what you are,' well, I made Mr. Hovis what he is and I don't go round crawling over his gates and smashing up the wall round his house." (Hovis is a British company that makes bread and wholegrain flour). But more than anything else he comes across as an instinctive anti-authoritarian, being angry at bullying teachers, Popes, and Prime Ministers. McCartney's profile has him as the most self-consciously arty -- he talks about the plays of Alfred Jarry and the music of Karlheinz Stockhausen and Luciano Berio: [Excerpt: Luciano Berio, "Momenti (for magnetic tape)"] Though he was very worried that he might be sounding a little too pretentious, saying “I don't want to sound like Jonathan Miller going on" --

If there's one thing that most -- if not all -- "Star Trek" fans can agree on, it's that the third season simply was not as good as the first two. But that's not to say that it was bad. In fact, it was better than it probably deserved to be, given that the meager budget was cut once again, and some of "Star Trek's" most talented creative forces left for good, such as Story Editor Dorothy Fontana and Cinematographer Jerry Finnerman. And then there's Gene Roddenberry himself, who distanced himself even further from "Star Trek" after NBC dumped it on Friday nights at 10pm. But despite everything stacked against its favor, Season 3 had some pretty great episodes, including "Day of the Dove," "All Our Yesterdays," "The Paradise Syndrome" and "Is There in Truth No Beauty?" Listen to how and why all these changes took place on our Season 3 Preview.Supplemental -- Season 3 PreviewYou can support Enterprise Incidents right here: https://anchor.fm/enterpriseincidents (Just think of it as a “Tip Jar”) You can follow Enterprise Incidents at: Facebook https://www.facebook.com/EnterpriseIncidents Twitter @enterincidents Instagram @enterpriseincidents Follow Scott Mantz @moviemantz on Twitter and Instagram Follow Steve Morris @srmorris on Twitter and srmorris1 on Instagram --- Support this podcast: https://anchor.fm/enterpriseincidents/support

In this episode of Trekking Through Time and Space... Hoai-Tran and Jacob consider "All Our Yesterdays" and wish they could be watching a different show than Star Trek this week. But a trip to the "Forest of the Dead" over on Doctor Who makes it all worthwhile. Doctor Who: Forest of the Dead - 1:46 Star Trek: All Our Yesterdays - 1:02:03 Episode Rankings - 1:34:48 Logo by David Scaliatine. Send all questions, comments, concerns, suggestions, and complaints to trekkingtimepodcast@gmail.com Support us on Patreon for early access to new episodes, weekly bonus episodes, and more. Follow along with our ongoing episode rankings right here.

Does your favorite sci-fi show have an episode where it's just.... really fucking cold? For Stella Cheeks, it's the Star Trek TOS episode "All Our Yesterdays" and for Erin Cline, it's the X-Files episodes "Ice". Yeah! Nailing this theme!   Join Stella and Erin as they watch both the Federation and The Feds battle inner turmoil and frostbite alike. Remember, if you're cold so is your baby snake in a latex suit. Bring them inside.   --- About the podcast: Erin Cline and Stella Cheeks have been friends for over a decade but have never seen each other's favorite TV show. Seeking to rectify that grievous error (seriously, they used to live together), X-Treks was born! Each week the duo choose one episode from Star Trek: The Original Series and one episode from The X-Files that fits a previously chosen cinematic theme, watch them together, and share their feelings! Alongside producer Bobby Hoffman, they discuss their first impressions, how the episodes fit into the larger fan lore, and fascinating behind-the-scenes facts.  --- Follow The X-Treks Crew Twitter: @nydproductions #xtrekspod @Stella_Cheeks @Haberdasher9k  Instagram: @NYDErnGenC

In episode 6, Sam wraps up his TOS watch with "Requiem for Methuselah" and "All Our Yesterdays."

All Our Yesterdays was the twenty third episode of Star Trek's third season to air, with a civilisation using time travel technology to escape an impending apocalypse. In this episode Gerry and Iain discuss looking before you leap. After arriving at a planet due to face the supernova of its star, Kirk, Spock and McCoy find one person alive on the surface, a librarian named Atoz (Ian Wolfe) who is guardian of an unusual time travel device. Trapped separately in the past, Spock and McCoy meet Zarabeth (Mariette Hartley) and struggle with Spock's genetic regression, while Kirk enlists the help of a fellow time traveller (Kermit Murdock) to return to the library before the star explodes. All Our Yesterdays was directed by Marvin Chomsky, the last of his three episodes. The script was written by Jean Lisette Aroeste, who also penned Is There In Truth No Beauty? In this episode Gerry and Iain considered whether time is a flat circle. The discussion continues in the comments below and please keep in touch with us on Twitter, Facebook and Instagram where we're @trekpodcast. You can listen to the show here on the website, on Apple Podcasts, Spotify, YouTube, Pocket Casts, TuneIn, Stitcher, Google or wherever you find your podcasts. All Our Yesterdays was released in 1969. It is 50 minutes long and originally aired on the NBC network. It can be viewed on Paramount+ in the United states, Netflix in the UK and is available on DVD and Blu Ray in other countries, including a comprehensive remastered set of all three seasons released by Paramount Home Entertainment.

All Our Yesterdays was the twenty third episode of Star Trek's third season to air, with a civilisation using time travel technology to escape an impending apocalypse. In this episode Gerry and Iain discuss looking before you leap. After arriving at a planet due to face the supernova of its star, Kirk, Spock and McCoy […] The post All Our Yesterdays – Episode 78 appeared first on Fascinating?.

Ted Mader has rewatched Star Trek: The Original Series, Season 3, Episode 23 "All Our Yesterdays" (1969), as part of a Ted Trek 60s TV rewatch podcast series. Joined by a panel of Star Trek enthusiasts, they discuss the episode and break it all down. Live Long and Podcast Star Trek, The Original Series, S3 E23 "All Our Yesterdays" (1969) | Rewatch First Aired: March 14, 1969 In-universe date: 2269 Date of Podcast: November 15, 2021 Ted Trek 60s TV Rewatch Series THIS WEEK'S PODCASTERS Ted Mader, Dave Mader, Jody Simpson, Adam Woodward LIVE LONG AND PODCAST ORIGINALLY CREATED BY Dave Mader and Jaemeel Robinson PRODUCER Dave Mader YouTube Channel: https://www.youtube.com/user/livelongandpodcast Facebook Page: https://www.facebook.com/pg/LiveLongAndPodcast Twitch Channel: https://www.twitch.tv/livelongandpodcast Listen on Spotify: https://open.spotify.com/show/0yIEMJhawSLGAozJAh4EdG #StarTrek #OriginalSeries #TedTrek #TedTreks #LiveLongAndPodcast

The Enterprise arrives at the planet Sarpeidon which is about to be destroyed by a supernova. Kirk, Spock, and McCoy beam down to investigate and are trapped in a planet's distant past--where Kirk is accused of being a witch and Spock finds love (or something) with an exiled woman. We'll discuss why we love this episode despite its obvious quirks and plot holes. Where does Spock think he's going to get seeds? Why doesn't McCoy regress? And what the hell happens to that cart once it goes through the Atavachron portal, anyway? Join Bill & Dan for All Our Yesterdays, this week on The Flagship!

The Enterprise arrives at the planet Sarpeidon which is about to be destroyed by a supernova. Kirk, Spock, and McCoy beam down to investigate and are trapped in a planet's distant past--where Kirk is accused of being a witch and Spock finds love (or something) with an exiled woman. We'll discuss why we love this episode despite its obvious quirks and plot holes. Where does Spock think he's going to get seeds? Why doesn't McCoy regress? And what the hell happens to that cart once it goes through the Atavachron portal, anyway? Join Bill & Dan for All Our Yesterdays, this week on The Flagship!

In the Pocket Books continuity, Spock had a son! Siskoid and the Irredeemable Shagg answered a call from FW Patron Corey Moosa and spent the summer reading Ann Crispin's Yesterday's Son and Time for Yesterday. Their impromptu book club has yielded some thoughts about this sequel to Star Trek's "All Our Yesterdays"... Listen to Episode 54 below! Or subscribe to Gimme That Star Trek on Apple Podcasts or Spotify! This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK! Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER: https://twitter.com/FWPodcasts Like our FACEBOOK page: https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Support us on Patreon: https://www.patreon.com/fwpodcasts Subscribe via iTunes as part of the FIRE AND WATER PODCAST NETWORK. Credits: "Star Trek Theme" by Alexander Courage, with the Irredeemable Shagg on vocals. End theme: "Deep Space Nine Theme" by Dennis McCarthy. Bonus clips from: Star Trek's "All Our Yesterdays", starring Leonard Nimoy, Mariette Hartley, and DeForest Kelley. And thanks for leaving a comment!

In case you missed it, Witney Seibold and William Bibbiani are reviewing every episode of STAR TREK ever made on their Patreon-exclusive podcast, ALL OUR YESTERDAYS! They've already reviewed every episode of STAR TREK: THE ORIGINAL SERIES and STAR TREK: THE ANIMATED SERIES, and the first four STAR TREK movies, and this week they begin their trek through every single episode of THE NEXT GENERATION, and we're giving that episode away for free! Enjoy our episode about the two-hour pilot, ENCOUNTER AT FARPOINT, and sign up on Patreon to enjoy over our over 100-episode backlog, and to follow along with our TNG podcast every single week! Subscribe on Patreon at www.patreon.com/criticallyacclaimednetwork for all our exclusive content and exciting rewards, like bonus episodes, commentary tracks and much, much more! And visit our TeePublic page to buy shirts, mugs and other exciting merchandise!  And if you want soap, be sure to check out M. Lopes da Silva's Etsy store: SaltCatSoap! Follow us on Twitter at @CriticAcclaim, join the official Fan Club on Facebook, follow Bibbs at @WilliamBibbiani and follow Witney at @WitneySeibold, and head on over to www.criticallyacclaimed.net for all their podcasts, reviews and more!  And don't forget to email us at letters@criticallyacclaimed.net, so we can read your correspondence and answer your questions in a future episode! And check out our Amazon Wish List to send us more exciting one season wonders that we can review on the show!

In our final “Best of TOS” review, we dive into the penultimate episode of Star Trek: The Original Series, “All Our Yesterdays”. Join in as we dive into an episode in which Leonard Nimoy flexes his acting chops, as Spock flirts with the barbaric nature of the Vulcan past.

In our final “Best of TOS” review, we dive into the penultimate episode of Star Trek: The Original Series, “All Our Yesterdays”. Join in as we dive into an episode in which Leonard Nimoy flexes his acting chops, as Spock flirts with the barbaric nature of the Vulcan past.

While we wait for more Trek we are continuing our Time Travel Retrospective Series. Join us as we talk about all of the Star Trek episodes that deal with characters moving in time. This week we continue with the TOS episode "All Our Yesterdays"!Written by: Jean Lisette AroesteDirected by: Marvin J. ChomskyOriginal Airdate: March 14, 1969When Kirk, Spock and McCoy investigate the disappearance of a doomed planet's population, they find themselves trapped in different periods of that world's past.

When Kirk, Spock, and McCoy beam down to a planet just hours before its sun explodes they find themselves transported into its past. Now, they truly are in a race against time. Join us for another installment of our time travel series with "All Our Yesterdays"! #scifi; #startrek; #space; #timetravel; #action

It's an all-new episode of WE'VE GOT MAIL, the podcast where film critics William Bibbiani and Witney Seibold answer YOUR letters! This week, Bibbs and Witney talk about what films and shows would have worked on QUIBI, the rules for the ALL OUR YESTERDAYS drinking game, the best movies about coming home, the ongoing issue with fat-shaming in movies and television, the parodies and references that accidentally introduced them to classic movies and music, and their favorite movie musicals and orchestral scores! Email us at letters@criticallyacclaimed.net, so we can read your correspondence and answer YOUR questions in future episodes! Subscribe on Patreon at www.patreon.com/criticallyacclaimednetwork for exclusive content and exciting rewards, like bonus episodes, commentary tracks and much, much more! And visit our TeePublic page to buy shirts, mugs and other exciting merchandise!  Follow us on Twitter at @CriticAcclaim, join the official Fan Club on Facebook, follow Bibbs at @WilliamBibbiani and follow Witney at @WitneySeibold, and head on over to www.criticallyacclaimed.net for all their podcasts, reviews and more! 

Welcome back! Turns out our title is pretty straightforward this week as we dive into All Our Yesterdays by Cristin Terrill with Niki, and take a trip back into the early 2000s with Tyler with Fairly Oddparents Breaking Da Rules. It's sure as heck one hell of a trip this week with these ones and we hope you enjoy it! Follow us: Twitter: @TurnandMashPod Instagram: @pageandbuttonspodcast Gmail: pageandbuttonspodcast@gmail.com Facebook: Page Turners and Button Mashers Podcast Patreon: patreon.com/pageandbuttonspodcast Mario 35th anniversary video: https://www.youtube.com/watch?v=s_UcjEq2Dgk&authuser=0 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/pageandbuttonspodcast/message Support this podcast: https://anchor.fm/pageandbuttonspodcast/support

Join us as we explore time travel across the whole of Trek! In this week's episode we take a look at ‘Relativity' and ‘All Our Yesterdays' Follow us on Twitter: @retrekpod Drop us an email: retrekpod@gmail.com Come and talk trek with us on Facebook: https://m.facebook.com/groups/2338257279782967   If you enjoy the show please leave us a review on you podcatcher of choice. We are available on: Apple Podcasts (itunes) https://itunes.apple.com/gb/podcast/re-trek/id1446221767 Podbean https://retrek.podbean.com/ Stitcher https://www.stitcher.com/podcast/james-king/retrek Spotify https://u922627.ct.sendgrid.net/wf/click?upn=TvhtDiauxJVhRdbUMx2NHL6ODz… Star Trek, Star Trek: The Next Generation, Star Trek: Deep Space Nine, Star Trek: Voyager, Star Trek: Enterprise, Star Trek: Discovery, Star Trek:Picard and all associated characters are the property of CBS.  Star Trek Created by Gene Roddenberry

In this episode of Trekking Through Compliance, we consider the episode All Our Yesterdays which aired on March 14, 1969 and Star Date 5943.7. Compliance Takeaways:What is targeted training?What is effective training?What is your training governance protocol?

Whom Pods Destroy returns with another episode, taking a deep dive into the original series. In this podcast we discuss the late third season episode “All Our Yesterdays”. The episode where Spock regresses and er… gets back to basics, so to speak. This episode threw up all manner of side topics, about contemporary storytelling formats … Continue reading "Episode 45 – Turtle Wax"

If you love CRITICALLY ACCLAIMED and THE TWO-SHOT, we’ve got a treat for you! It’s the first episode of ALL OUR YESTERDAYS, a brand new show where co-hosts William Bibbiani and Witney Seibold review every single episode of every single STAR TREK series! The rest of the series is a Patreon exclusive, but we thought you’d enjoy the pilot, which is all about the first STAR TREK pilot, which didn’t have Kirk, didn’t have Bones, and didn’t really work! Let’s take a deep dive into one of the most popular TV shows in history, with the CRITICALLY ACCLAIMED crew!Email us at letters(a)criticallyacclaimed.net, follow your hosts on Twitter at @WilliamBibbiani and @WitneySeibold, and follow the podcast/website at @CriticAcclaim. Check out our website at www.criticallyacclaimed.net and head on over to www.patreon.com/criticacclaim to contribute to the show and get even more exclusive content, including bonus podcasts, commentary tracks and more!

In the seventh episode of Random Trek Review, Matt and Andrew discuss the Star Trek: The Original Series episode “All Our Yesterdays.” They talk about one planet's decision to flee into the past to avoid destruction, Kirk's odd plo…

In the seventh episode of Random Trek Review, Matt and Andrew discuss the Original Series episode "All Our Yesterdays". They talk about one planet's decision to flee into the past to avoid destruction, Kirk's odd plotline, Spock's transformation into a primal Vulcan and more! Subscribe on iTunes

TNG Season 7 Vs. TOS Season 3, Part 2   In the spirit of March Madness, we bring you the second part of Trek Madness! The ship's company of Standard Orbit take on the mighty crew of Earl Grey in an epic battle, this time of the best of the best of Season 7 of The Next Generation versus Season 3 of The Original Series. The two teams complete their second crossover of their two episode adventure as they remove their biases and discuss which episodes were the best of the best. Join Amy Nelson, Zach Moore, Justin Oser, Richard Marquez, and Ken Tripp for some bracketed competition between these two Star Trek series. Enjoy part one on Standard Orbit 213, which released on Monday, March 19th and enjoy the conclusion of the 24 round battle on this episode of Earl Grey. Boldly Listen!! Chapters Intro (00:00:00)  Listener Feedback (00:01:49)  Welcome, Ken and Zach!  (00:06:15) That Which Survives vs. Homeward (00:07:35)  Battlefield vs. Journey's End (00:11:45) For the World is Hollow vs. Force of Nature (00:18:41)  Beauty vs. Thine Own Self (00:25:04) All Our Yesterdays vs. Attached (00:32:39)  The Cloud Minders vs. Descent, Part II (00:38:44) Wink of an Eye vs. Preemptive Strike (00:44:58) The Savage Curtain vs. Parallels (00:50:31) Whom Gods Destroy vs. The Pegasus (00:56:04) The Enterprise Incident vs. Gambit (01:02:31) The Tholian Web vs. Lower Decks (01:06:42) Day of the Dove vs. All Good Things... (01:11:39) Final Thoughts from Ken and Zach (01:17:48) Final Thoughts from Amy, Richard, and Justin (01:19:49) Closing (01:24:57) Runtime: 1 hour 28 minutes 49 seconds   Hosts Amy Nelson, Richard Marquez, Justin Oser Guests Ken Tripp Zach Moore   Production Justin Oser (Editor and Producer) Richard Marquez (Producer) Amy Nelson (Producer) Tony Robinson (Producer) C Bryan Jones (Executive Producer) Matthew Rushing (Executive Producer) Ken Tripp (Executive Producer) Norman C. Lao (Associate Producer) Michael E Hueter (Associate Producer) Thomas Appel (Associate Producer) Justin Oser (Associate Producer) Richard Marquez (Production Manager) Tony Robinson (Show Art) Brandon-Shea Mutala (Patreon Manager)

(All Our Yesterdays, part 5 of 5) A heist divided against itself cannot stand. ----- Music by Matt Weber http://mattwebersmusic.wordpress.com/   Find us online at: http://thechimera.space http://twitter.com/chimerapod http://facebook.com/chimerapod itsthechimera@gmail.com   Josh Hall-Bachner: https://twitter.com/charlequin Braden Lamb: http://twitter.com/bradenlamb Jeffrey Bard: https://www.ashesofcreation.com/ Kacey Smith: [stand in front of a mirror at midnight and call her name three times] Kelly Weisman Asprooth-Jackson: http://www.firstparishbeverly.org/spiritual/ministers-page/ Vin LaBate: http://twitter.com/mrreciprocity and also http://twitter.com/rarecandypod

(All Our Yesterdays, part 4 of 5) Galactic history is filled with great empires bent on conquest, expansion, and legacy.  Today we're going to watch one of them end. ------ Music by Matt Weber http://mattwebersmusic.wordpress.com/   Find us online at: http://thechimera.space http://twitter.com/chimerapod http://facebook.com/chimerapod itsthechimera@gmail.com   Josh Hall-Bachner: https://twitter.com/charlequin Braden Lamb: http://twitter.com/bradenlamb Jeffrey Bard: https://www.ashesofcreation.com/ Kacey Smith: [stand in front of a mirror at midnight and call her name three times] Kelly Weisman Asprooth-Jackson: http://www.firstparishbeverly.org/spiritual/ministers-page/ Vin LaBate: http://twitter.com/mrreciprocity and also http://twitter.com/rarecandypod

Beer Space Nine's first episode of 2018!! This week we discuss the classic Star Trek episodes The Savage Curtain and All Our Yesterdays. Only one more episode before we're done with TOS and we move on to the cartoon. 

(All Our Yesterdays, part 3 of 5) ALL RISE. ------ Music by Matt Weber http://mattwebersmusic.wordpress.com/   Find us online at: http://thechimera.space http://twitter.com/chimerapod http://facebook.com/chimerapod itsthechimera@gmail.com   Josh Hall-Bachner: https://twitter.com/charlequin Braden Lamb: http://twitter.com/bradenlamb Jeffrey Bard: https://www.ashesofcreation.com/ Kacey Smith: [stand in front of a mirror at midnight and call her name three times] Kelly Weisman Asprooth-Jackson: http://www.firstparishbeverly.org/spiritual/ministers-page/ Vin LaBate: http://twitter.com/mrreciprocity and also http://twitter.com/rarecandypod

(All Our Yesterdays, part 2 of 5) A ghost haunts Theron Melanthios.  No, not that ghost, a different one--a ghost with bloody paws and a long, glittering knife.  Perhaps it's time we learned why the former lawman can't seem to shake his provincial past. ------ Music by Matt Weber http://mattwebersmusic.wordpress.com/   Find us online at: http://thechimera.space http://twitter.com/chimerapod http://facebook.com/chimerapod itsthechimera@gmail.com Josh Hall-Bachner: https://twitter.com/charlequin Braden Lamb: http://twitter.com/bradenlamb Jeffrey Bard: https://www.ashesofcreation.com/ Kacey Smith: [stand in front of a mirror at midnight and call her name three times] Kelly Weisman Asprooth-Jackson: http://www.firstparishbeverly.org/spiritual/ministers-page/ Vin LaBate: http://twitter.com/mrreciprocity and also http://twitter.com/rarecandypod

(All Our Yesterdays, part 1 of 5) This week, the gang finally helps their new roommate settle in, and try to help them feel at home by telling stories of past trauma. ----- Music by Matt Weber http://mattwebersmusic.wordpress.com/   Find us online at: http://thechimera.space http://twitter.com/chimerapod http://facebook.com/chimerapod itsthechimera@gmail.com   Josh Hall-Bachner: https://twitter.com/charlequin Braden Lamb: http://twitter.com/bradenlamb Jeffrey Bard: https://www.ashesofcreation.com/ Kacey Smith: [stand in front of a mirror at midnight and call her name three times] Kelly Weisman Asprooth-Jackson: http://www.firstparishbeverly.org/spiritual/ministers-page/ Vin LaBate: http://twitter.com/mrreciprocity and also http://twitter.com/rarecandypod

Spock finds love 5000 years in the past ("All Our Yesterdays"), and Kirk is body-swapped with an ex-girlfriend ("Turnabout Intruder"). Not only do the guys look back at the whole of season three of Star Trek, they reveal the upcoming The Edge of Forever / Bigger on the Inside schedule, and eat tasty treats. They also dive headfirst into the pure, unmitigated misogyny of one of the episodes. And Mike kills any chance of gaining a particular sponsor thanks to the outtake. Please visit our Patreon page at patreon.com/edge

Spock finds love 5000 years in the past ("All Our Yesterdays"), and Kirk is body-swapped with an ex-girlfriend ("Turnabout Intruder"). Not only do the guys look back at the whole of season three of Star Trek, they reveal the upcoming The Edge of Forever / Bigger on the Inside schedule, and eat tasty treats. They also dive headfirst into the pure, unmitigated misogyny of one of the episodes. And Mike kills any chance of gaining a particular sponsor thanks to the outtake. Please visit our Patreon page at patreon.com/edge

Spock finds love 5000 years in the past ("All Our Yesterdays"), and Kirk is body-swapped with an ex-girlfriend ("Turnabout Intruder"). Not only do the guys look back at the whole of season three of Star Trek, they reveal the upcoming The Edge of Forever / Bigger on the Inside schedule, and eat tasty treats. They also dive headfirst into the pure, unmitigated misogyny of one of the episodes. And Mike kills any chance of gaining a particular sponsor thanks to the outtake. Please visit our Patreon page at patreon.com/edge

Mike and Pat welcome special guest Eric Allen, co-author of 50 Years at the Village Vanguard – Thad Jones, Mel Lewis and the Vanguard Jazz Orchestra, and discuss the book along with early recordings by the band and a couple other seventies big bands. All three agree - ain't no way Pat's letting Maynard Ferguson into his blanket fort. Thad Jones / Mel Lewis Big Band – LIVE AT THE VILLAGE VANGUARD, PRESENTING THE JAZZ ORCHESTRA; ALL OUR YESTERDAYS (disc 1); Maynard Ferguson – MF HORN; Toshiko Akiyoshi – EUROPEAN MEMOIRS.

Discussing TOS episodes 77-79. "The Savage Curtain" (077) @ 00:50, "All Our Yesterdays" (078) @ 19:05, "Turnabout Intruder" (079) @ 34:28. SSN 3 thoughts at 50:21. Discovery premiere plans @ 57:16.

It's one of the most bogus journeys the "Enterprise" crew has ever gone on as space Lincoln allows Kirk to glance behind "The Savage Curtain," followed by a trip though time that is an excellent adventure for the audience but heartbreak for Spock in "All Our Yesterdays." Also this week: Lincoln makes us cringe, hot Spock on Doc action, and Jake pens a letter. synopses: 0:49; The Savage Curtain: 16:39; All Our Yesterdays: 38:18

Chandler has been voted Best Unsigned Artist in StarCentral Magazine and was also featured on the Reverbnation home page in 2013. His album Road Not Taken with his NJ based group Iron Bridge Band made the Grammy ballot for Best Rock Album for 2013 and their song All Our Yesterdays charted on the Roots Music Report Chart at number 11 as of and additionally appeared on the AAA AMA charts. The album reached number 8 in the RMR chart's Pop Rock category. 

Chandler has been voted Best Unsigned Artist in StarCentral Magazine and was also featured on the Reverbnation home page in 2013. His album Road Not Taken with his NJ based group Iron Bridge Band made the Grammy ballot for Best Rock Album for 2013 and their song All Our Yesterdays charted on the Roots Music Report Chart at number 11 as of and additionally appeared on the AAA AMA charts. The album reached number 8 in the RMR chart's Pop Rock category. 

Chandler has been voted Best Unsigned Artist in StarCentral Magazine and was also featured on the Reverbnation home page in 2013. His album Road Not Taken with his NJ based group Iron Bridge Band made the Grammy ballot for Best Rock Album for 2013 and their song All Our Yesterdays charted on the Roots Music Report Chart at number 11 as of and additionally appeared on the AAA AMA charts. The album reached number 8 in the RMR chart's Pop Rock category. 

TOS 3x22 / 3x23. Meet Space Lincoln and revert to a primitive Vulcan state in this installment of From There to Here: The Star Trek 50th Anniversary Rewatch from Trek.fm. ChaptersThe Savage Curtain (00:00:53) All Our Yesterdays (00:07:05) HostsMike Schindler and Dennis Castello ProductionMike Schindler (Editor and Producer) C Bryan Jones (Executive Producer) Charlynn Schmiedt (Executive Producer) Matthew Rushing (Executive Producer) Norman C. Lao (Executive Producer) Richard Marquez (Production Manager) Will Nguyen (Content Manager)

In this episode, Mike and Molly finally wrap up the TOS series! To celebrate, they sing the groovy little song from "The Way to Eden." Also, listen to their Top 5 Mega TOS List! And, of course, the last two episodes they have to discuss are "All Our Yesterdays" and "Turnabout Intruder."

  The lovely Cristin Terrill invited me over to discuss theater, Sir Ian McKellen buying tea, and her recent decision to admit a planned sequel to her debut novel, All Our Yesterdays, was not a workable project. Cristin is funny and quick, and her kindhearted vibe may have something to do with the fact that she knows she has a safety net: dog grooming school.

Space…the Final Frontier…for geekery! Join Chris and Cindy as the beam into the 23rd century! First they explore the strange new world known as the Lexington Comic Con, where they meet none other than Captain Kirk himself, William Shatner! The Captain is commanding a much smaller vehicle these days! As we travel at warp speed, the Franklins discuss how they got into Star Trek, and of course debate which version of Trek is best (like there is any real debate?). Then it's on to our Prime Directive, commentary on the classic Star Trek Season 3 episode “All Our Yesterdays”. Kirk's loins get him into trouble once again, and Spock and McCoy blindly follow him into danger. While trapped in a dying planet's frozen past, Spock goes out of his Vulcan mind, and finds love with the time-tossed (and of course, scantily-clad) Zarabeth…while Bones becomes a true Spock-Blocker! We wrap things ups with our resident librarian Cindy giving you a Captain's Log on two follow-ups to this classic episode, the Trek novels “Yesterday's Son” and “Time for Yesterday”. So prepare yourself and leap through the Atavachron into podcasting adventure! Subscribe via iTunes Be sure to let us know what you think! What are your favorite episodes of Star Trek? Let your voice be heard! We'd love to read it aloud in an upcoming episode. Drop us a line in our comments section, or email us at supermatespodcast@gmail.com. We're also on Facebook! Chris (aka Earth 2 Chris) co-hosts the Power Records Podcast with the Esteemed Rob Kelly over at the Fire and Water Podcast feed! Check them out here: http://www.fireandwaterpodcast.blogspot.com/ Next time, we dig into our toy chest, and wax nostalgic about our favorite toys of the 1980s!

Kirk, Spock and McCoy are trapped in the past. But different pasts! On an alien planet! But they've got bigger problems than that. Spock is reverting to a sort of pre-enlightenment Vulcan. All of that and the Enterprise may be destroyed by a star that's expected to go supernova in minutes! Will everyone make it through? Find out when we put All Our Yesterdays in the Mission Log. Remember, kids, any time is the right time to contact Mission Log: On Facebook: facebook.com/missionlogpod On Twitter: @missionlogpod On Skype: MissionLogPod On the phone: (323) 522-5641 Online: http://missionlogpodcast.com We may use your comments on the show!

Kirk, Spock and McCoy are trapped in the past. But different pasts! On an alien planet! But they've got bigger problems than that. Spock is reverting to a sort of pre-enlightenment Vulcan. All of that and the Enterprise may be destroyed by a star that's expected to go supernova in minutes! Will everyone make it through? Find out when we put All Our Yesterdays in the Mission Log. Remember, kids, any time is the right time to contact Mission Log: On Facebook: facebook.com/missionlogpod On Twitter: @missionlogpod On Skype: MissionLogPod On the phone: (323) 522-5641 Online: http://missionlogpodcast.com We may use your comments on the show!

Kirk, Spock and McCoy are trapped in the past. But different pasts! On an alien planet! But they’ve got bigger problems than that. Spock is reverting to a sort of pre-enlightenment Vulcan. All of that and the Enterprise may be destroyed by a star that’s expected to go supernova in minutes! Will everyone make it through? Find out when we put All Our Yesterdays in the Mission Log. Remember, kids, any time is the right time to contact Mission Log: On Facebook: facebook.com/missionlogpod On Twitter: @missionlogpod On Skype: MissionLogPod On the phone: (323) 522-5641 Online: http://missionlogpodcast.com We may use your comments on the show!

Our 9-month mission is over, as we reach the end of The Original Series with “All Our Yesterdays” and “Turnabout Intruder”. If only we could go back in time to the first or second seasons–but no women, please, they’re nuts! Plus! Eric lays out a roadmap for the future of Trekabout. iTunes Google Play RSS

This weeks Supplemental is a real listener special as we are joined by none other than @QueenKatBlue AKA Sina & @Science_islife AKA Jacqueline. They joined us to review the TOS season 3 classic “All Our Yesterdays” and there were only a couple of small digressions.

#78 In this episode of Trek TV we discuss Star Trek TOS season 3 production number 78 - "All Our Yesterdays". Tracy and Vaughn host.  Visit our website for fan art, news and more!

Series finale! Gav Brown joins us to review “The Savage Curtain,” “All Our Yesterdays” and “Turnabout Intruder.”

Covering "All Our Yesterdays" from TOS today with a full commentary. Other geeky news & info and a new contest! All this and more this week on TSF!

Hartley began her career in her teens as a stage actress, coached and mentored by the noted Eva Le Gallienne. Her film career began with Ride the High Country (1962), a western with actors Randolph Scott and Joel McCrea, and directed by Sam Peckinpah. She also had a supporting role in Alfred Hitchcock’s Marnie (1964). In 1963 she played Clary in Gunsmoke episode 53 In the 1963-1964 television season, she appeared in an episode of ABC’s drama about college life, Channing and in two episodes of The Virginian. In 1966, she appeared as Polly Dockery in the series finale, "A Burying for Rosey", of The Legend of Jesse James. She appeared in an episode of the T.V. series of M*A*S*H (TV series) as Dr. Inga Halverson ('Inga' Series 7 episode 17). She also worked with Rod Serling and Gene Roddenberry, two famed creators of television and film science fiction. She first appeared in an episode of The Twilight Zone ("The Long Morrow"). In 1969, she appeared in the penultimate episode of Star Trek, "All Our Yesterdays". She appeared in several science fiction films, Marooned (1969), Earth II (1971), and the pilot for the post-apocalyptic Genesis II (1973), another Roddenberry production. During the late 1970s, Hartley also appeared with James Garner in a popular series of television commercials advertising Polaroid cameras. The two actors had such chemistry that it was often (erroneously) believed that they were married in real life. Her biography contains a photo of her in a T-shirt proclaiming, “I am NOT Mrs. James Garner.” Hartley also guest-starred in a memorable episode of Garner’s TV series The Rockford Files during this period. The script required them to kiss at one point. Unknown to them, a paparazzo was photographing the scene from a distance. The photos were run in a tabloid trying to provoke a scandal, causing a good deal of attention. (An article that ran in TV Guide was titled, “That woman is not James Garner’s wife!”)

We said we'd be back with more CANCELED TOO SOON sooner than you think, and we meant it!What started out as a gag on this week's episode of our STAR TREK podcast ALL OUR YESTERDAYS is now a long-awaited episode of CANCELED TOO SOON.It's QUARK, the short-lived sci-fi comedy sitcom from GET SMART co-creator Buck Henry, starring Richard Benjamin as the captain of an interstellar garbage scow getting in wacky adventures a la STAR TREK and STAR WARS.It only lasted eight episodes, but could it be that QUARK was... CANCELED TOO SOON? William Bibbiani and Witney Seibold are about to find out! Subscribe on Patreon at www.patreon.com/criticallyacclaimednetwork for exclusive content and exciting rewards, like bonus episodes, commentary tracks and much, much more!Email us at letters@criticallyacclaimed.net, so we can read your correspondence and answer YOUR questions in future episodes!Join the SALTCATSOAP OF THE MONTH CLUB today!Our Sponsors:* Check out Factor 75 and use my code criticallyacclaimed50 for a great deal: https://www.factor75.com/Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

It's a special episode of our STAR TREK patreon podcast, and this one is free to everybody!Witney Seibold and William Bibbiani are reviewing every single episode of STAR TREK in order, and after exploring the original series, the animated series, the first five movies and the first three seasons of STAR TREK: THE NEXT GENERATION, they've arrived at one of the best and biggest episodes ever!Enjoy this special episode of the ALL OUR YESTERDAYS podcast, dedicated to the episode where Picard becomes a Borg, just before a cliffhanger that blew everyone's minds!You can listen to every episode of ALL OUR YESTERDAYS on our Patreon page! Subscribe on Patreon at www.patreon.com/criticallyacclaimednetwork for exclusive content and exciting rewards, like bonus episodes, commentary tracks and much, much more! Join the new SALTCATSOAP OF THE MONTH CLUB at Patreon.com/SaltCatSoap today! You can also buy soaps at our Ko-fi store!Email us at letters@criticallyacclaimed.net, so we can read your correspondence and answer YOUR questions in future episodes!Follow us on Twitter at @CriticAcclaim, join the official Fan Club on Facebook, follow Bibbs at @WilliamBibbiani and follow Witney at @WitneySeibold, and head on over to www.criticallyacclaimed.net for all their podcasts, reviews and more!Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy