1969 song by The Beatles
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All Together Now kicks off in Waterford.Local legend John Mullanne joins us from the festival.
The Currabinny Caravan is open; what's served is discussed in detail (perhaps a boring amount of detail). Come see us LIVE! at All Together Now, this Saturday at 4pm, in The Kitchen Press at Theatre of Food. Hosted on Acast. See acast.com/privacy for more information.
All Together Now 2025 takes place at the Curraghmore Estate in Co. Waterford this weekend, with a host of huge acts set to take to the stage across the August Bank Holiday.Among the big names are Fontaines DC, CMAT, Bicep, Primal Scream and Wet Leg.Dee Reddy and John Caddell joined Matt on The Last Word for Tuesday's music slot.Hit the 'Play' button on this page to hear the chat.
Ahead of our glorious return for the nexter series we have a very exciting announcment. We are going to be recording a live pod at the GoLoud stage at 12 on the Saturday of All Together Now with very special and hilarious guest Padraig Wilson-McCarthy. So pop over for some frestival fun and frolics. See you there!
With Amy and Darren preparing for their first live show together at All Together Now this weekend, the couple chat about festivals - sharing stories from the ones they've been to, revealing festival hacks and planning festival outfits. You can catch them at the GoLoud Lounge this Saturday, 2nd August at 6pm, alongside Unscripted with Niamh O'Connor.As well as that, The Conways tell the story of the funky smell in their house, and Darren recaps on his stand-up segment at a recent live show at the Bord Gáis Energy Theatre. Plus, the couple answer some listener questions - including who Amy would host the podcast with if it wasn't her husband, and Darren has an interesting Would You Rather to choose between.If you've got questions or topics for Amy and Darren, send them to TheConways@GoLoudNow.com!
This week we sit down with Erin Carlman Weber, the founder and owner of All Together Now -- a cozy café, cheese counter, and natural wine shop in Ukrainian Village. After honing her palate at Formaggio Kitchen in Boston and working with Stephanie Izard's restaurant group, Erin opened ATN in 2018 with a mission to bring people together over thoughtfully curated food and drink. We talk about what inspired her to launch this one-of-a-kind neighborhood spot, how it became a lifeline for connection during COVID, and her tips for pairing cheese and wine like someone who knows what they're doing. Plus -- an extra-special gratuity round with a renaissance curator of the finer, funkier things.
This week's special guest is the multifaceted Cóilí Collins aka DJ Shampain. ing in Galway nearly 10 years ago as a duo with Evan Campbell KETTAMA as VSN. The pair went on to form G-Town Records, and brought Galway to the world stages of dance music, with Shampain playing everything from Boiler Room to tours of China. Shampain and Kettama's Galway influence on the scene culminated in the pair taking over The Big Top marquee outdoors during the Galway Arts Festival in 2023, and putting on an eclectic night with drag artists and drone artists in Salthill. But DJing is not the be all and end all for Cóilí. Shampain is a creative fella who doesn't rest - that means presenting Éire Eile, a TV show on TG4 about subcultures, jointly running a barber shop called Poblacht in Galway city, doing alternative silent film soundtracks with Slaughterhouse, running a mixed media / magazine and label called Freak and this year, finally releasing his own original music, with more to come. The night after our chat, Shampain plays the Big Top again with Interplanetary Criminal and Tommy Holohan and next week you can catch him at Jameson Connects The Circle Stage at All Together Now closing the stage after David Holmes. The Jameson Connects: The Circle stage at All Together Now features some Nialler9 favourites including Dry Cleaning, David Holmes, Maria Somerville, God Knows, DUG, Sloucho, Curtisy, Róis, Shampain, Adore and more. Listen on Apple | Android | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed | Podlink * Support Nialler9 on Patreon, get event discounts, playlists, ad-free episodes and join our Discord community
Today I am joined on the podcast by John, Jack and Jamie of the Goo!I'll firstly be chatting with John, the founder and editor of the The Goo magazine and why and how he setup up The Goo Magazine, the ethos of the publication, how it's changed from it's beginnings to now and the musical landscape in Ireland currently. Then, with only a few more days to go before making our way to down to Curraghamore Estate in County Waterford, myself, Jack and Jamie will be going through a few of the acts on this years lineup and talking about who the must-see acts are to see, who we are most excited for and what makes All Together Now such a special Irish festival.Horrenda + Their Last Stop + Fear Gorta live at Sin EUragh's EP Launch w/ Horrenda + Black Hole DiversSacred Noose + Grave Sermon + Their Last Stop + Lymphoedema live at Sin E Hosted on Acast. See acast.com/privacy for more information.
Mark and Connor talk about the Beatles animated feature film, Yellow Submarine and then play a little trivia game for summer movies from the 2010s.If you're in the Wilmington, Delaware area, checkout All Together Now from the Rock Orchestra featuring Lopes on Movies' own, Joey Lopes on lead guitar.https://www.delawaretheatre.org/all-together-nowCheck out the demo for Joey's soon to be released video game, Detective Instinct, Farewell, My Belovedhttps://www.store.steampowered.com/app/2689930/Detective_Instinct_Farewell_My_Beloved/Listen LIVE every Wednesday at 8:30am on 91.3 WVUD, or online at: http://www.wvud.org/
It's always a good time to talk to God Knows, the Irish-Zimbabwean rapper based in Shannon. God Knows is a favourite returning guest, one of the nicest men in Irish music, one of the finest rappers in Ireland, a man who always has time for others, has an open heart, who puts collaboration, creativity and lifting people up to their rightful place. It's a great time to talk to God Knows because on September 26th this year, he will release a long-awaited debut album The Future Of The Past, featuring production by his close collaborator MuRli (we also get to hear where they first met which is a fun bit of trivia) and featuring the singles 'The Observer', 'The Art Of Alienation' and next week's forthcoming single 'Misplaced Empathy'. GK played Cork the night before we chat at a Jameson Connects The Circle event at Crane Lane, ahead of the rapper's live set at Jameson Connects The Circle stage at All Together Now, this August bank holiday weekend. So we talk about this new music and its deep ancestral familial inspirations which have surprisingly links to an West Cork venue, growing up in a multi-cultural Shannon, DJing and pleasing the crowd (or not), our excitement about the new Clipse album and the weird stuff going on with AI in music at the moment. The Jameson Connects: The Circle stage at All Together Now features some Nialler9 favourites including Dry Cleaning, David Holmes, Maria Somerville, God Knows, DUG, Sloucho, Curtisy, Róis, Shampain, Adore and more. Listen on Apple | Android | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed | Podlink * Support Nialler9 on Patreon, get event discounts, playlists, ad-free episodes and join our Discord community
Comhrá le Róisín Ní Mhaoláin faoi chlár fhéile All Together Now do 2025 sa stiúideo beo ar Eadra.
Ep 325 – WWF Monday Night RAW 10/12/1998 The one with the cement 0:30 - Welcome 17:37 - RAW Opening 19:10 - The New Age Outlaws (Road Dogg Jesse James/Bad Ass Billy Gunn) vs LOD 2000 (Road Warrior Animal/Droz) (w/ Road Warrior Hawk) for the WWF Tag Team Championships 22:50 - Steve Blackman vs Ken Shamrock in a 1st round matchup of the WWF Intercontinental Championship Tournament 27:30 - Val Venis (w/ Terri Runnels) vs Marvelous Marc Mero (w/ Jacqueline) in a 1st round matchup of the WWF Intercontinental Championship Tournament 31:07 - Mankind vs Mark Henry in a 1st round matchup of the WWF Intercontinental Championship Tournament 37:01 - “Double J” Jeff Jarrett vs X-Pac in a 1st round matchup of the WWF Intercontinental Championship Tournament 44:01 - Val Venis (w/ Terri Runnells) vs Ken Shamrock in the semifinals of the WWF Intercontinental Championship Tournament 48:18 - Mankind vs X-Pac in the semifinals of the WWF Intercontinental Championship Tournament 50:39 - X-Pac vs Ken Shamrock in the Finals of the WWF Intercontinental Championship Tournament 52:25 - Kane and Undertaker vs the Rock and Stone Cold Steve Austin 58:17 - Overall Thoughts 1:04:01 - Smarking It Up 1:17:49 - Making Their Way to the Ring 1:22:14 - Goodbyes Music from this week's show is “We're All Together Now” by Jim Johnston and “Cell Block” by Jim Johnston Rate and review us on iTunes, Spotify, YouTube, or wherever you find your podcasts Email – WrestlingHistoryX@gmail.com X – WrestlingHistoX
Skywalking Through Neverland: A Star Wars / Disney Fan Podcast
We waited 50 years to the date that JAWS premiered (June 20, 1975) to put out this episode. We celebrate this anniversary with special guest Mike Celestino (Laughing Place / Who's the Bossk podcast) by sharing our personal stories and fun facts of the film's legacy. From JAWS music (da-DUM!) to merchandise (who wore the Shark costume that Halloween?), behind-the-scenes tidbits (who is this “Bruce” the shark was named after?) and YOUR personal experiences with this special film. Everyone has a JAWS story. What's yours? TODAY in Star Wars History 6/17/1986 39 years ago… The final issue of Marvel's Star Wars comic series ends with issue #107: "All Together Now." To end a galactic invasion the Rebels, along with new allies, plan to capture Prince Serono with hopes that his people, the Tof, will surrender. After a battle in the palace where a traitor has helped the Rebels defeat the Prince and Dark Lady Lumiya to stop the invasion, Luke expresses hope in the future. SPONSORS Small World Vacations is an official sponsor of Skywalking Through Neverland. Contact them for a no obligation price quote at www.smallworldvacations.com. Tell them Skywalking Through Neverland sent you. SUPPORT THE SHOW Find out how you can become a part of the Skywalking Force and unlock bonus content. CONTACT US Instagram: http://instagram.com/skywalkingpod Twitter: https://twitter.com/SkywalkingPod Facebook: https://www.facebook.com/skywalkingthroughneverland Send emails to share@skywalkingthroughneverland.com and follow us on Facebook. If you dug this episode, click over to iTunes | Stitcher | YouTube and leave us a review! Never Land on Alderaan!
We waited 50 years to the date that JAWS premiered (June 20, 1975) to put out this episode. We celebrate this anniversary with special guest Mike Celestino (Laughing Place / Who's the Bossk podcast) by sharing our personal stories and fun facts of the film's legacy. From JAWS music (da-DUM!) to merchandise (who wore the Shark costume that Halloween?), behind-the-scenes tidbits (who is this “Bruce” the shark was named after?) and YOUR personal experiences with this special film. Everyone has a JAWS story. What's yours? TODAY in Star Wars History 6/17/1986 39 years ago… The final issue of Marvel's Star Wars comic series ends with issue #107: "All Together Now." To end a galactic invasion the Rebels, along with new allies, plan to capture Prince Serono with hopes that his people, the Tof, will surrender. After a battle in the palace where a traitor has helped the Rebels defeat the Prince and Dark Lady Lumiya to stop the invasion, Luke expresses hope in the future. SPONSORS Small World Vacations is an official sponsor of Skywalking Through Neverland. Contact them for a no obligation price quote at www.smallworldvacations.com. Tell them Skywalking Through Neverland sent you. SUPPORT THE SHOW Find out how you can become a part of the Skywalking Force and unlock bonus content. CONTACT US Instagram: http://instagram.com/skywalkingpod Twitter: https://twitter.com/SkywalkingPod Facebook: https://www.facebook.com/skywalkingthroughneverland Send emails to share@skywalkingthroughneverland.com and follow us on Facebook. If you dug this episode, click over to iTunes | Stitcher | YouTube and leave us a review! Never Land on Alderaan!
The Farm are touring again this summer and have just made their first album for 31 years (with the same-line-up). This sparky and wide-ranging conversation with Peter Hooton stops off at the following … … the advice Mark E Smith gave him when they were interviewed by Select magazine. … “Suedeheads v Trogs and Greebos”: early ‘70s tribal warfare in Bootle. … seeing Cockney Rebel, the Sensational Alex Harvey Band and Genesis at the Liverpool Empire. … the death of old heroes – “you imagined Bowie was always going to be there”. … backstage with the Clash in Paris and why they were the Farm's role models. … Bill Drummond's attempt to remodel them “in tracksuits with hard dogs”. … how the death of John Lennon made him start writing. … the use of All Together Now as a football anthem – from everyone to Everton to Euros 2004 to a disastrous campaign by the Labour Party - “but the Qatar World Cup was a bridge too far”. … touring with Mick Jones (“the Pied Piper”) for the Hillsborough 96 Campaign. … his school band, Breakwind - “the forerunners of Half Man Half Biscuit” – and being in the cast of Oliver!. …. his guided music tours of Liverpool and the places they visit. … and why The Farm has “omni-appeal – a band who look like they're from a street corner”. Also in the mix: Big Audio Dynamite, Deaf School, Nile Rodgers, Roger Eagle and Cliff Richard on Top Of The Pops. Buy tickets and the album Let The Music (Take Control) here: https://thefarmmusic.co.uk/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear
The Farm are touring again this summer and have just made their first album for 31 years (with the same-line-up). This sparky and wide-ranging conversation with Peter Hooton stops off at the following … … the advice Mark E Smith gave him when they were interviewed by Select magazine. … “Suedeheads v Trogs and Greebos”: early ‘70s tribal warfare in Bootle. … seeing Cockney Rebel, the Sensational Alex Harvey Band and Genesis at the Liverpool Empire. … the death of old heroes – “you imagined Bowie was always going to be there”. … backstage with the Clash in Paris and why they were the Farm's role models. … Bill Drummond's attempt to remodel them “in tracksuits with hard dogs”. … how the death of John Lennon made him start writing. … the use of All Together Now as a football anthem – from everyone to Everton to Euros 2004 to a disastrous campaign by the Labour Party - “but the Qatar World Cup was a bridge too far”. … touring with Mick Jones (“the Pied Piper”) for the Hillsborough 96 Campaign. … his school band, Breakwind - “the forerunners of Half Man Half Biscuit” – and being in the cast of Oliver!. …. his guided music tours of Liverpool and the places they visit. … and why The Farm has “omni-appeal – a band who look like they're from a street corner”. Also in the mix: Big Audio Dynamite, Deaf School, Nile Rodgers, Roger Eagle and Cliff Richard on Top Of The Pops. Buy tickets and the album Let The Music (Take Control) here: https://thefarmmusic.co.uk/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear
The Farm are touring again this summer and have just made their first album for 31 years (with the same-line-up). This sparky and wide-ranging conversation with Peter Hooton stops off at the following … … the advice Mark E Smith gave him when they were interviewed by Select magazine. … “Suedeheads v Trogs and Greebos”: early ‘70s tribal warfare in Bootle. … seeing Cockney Rebel, the Sensational Alex Harvey Band and Genesis at the Liverpool Empire. … the death of old heroes – “you imagined Bowie was always going to be there”. … backstage with the Clash in Paris and why they were the Farm's role models. … Bill Drummond's attempt to remodel them “in tracksuits with hard dogs”. … how the death of John Lennon made him start writing. … the use of All Together Now as a football anthem – from everyone to Everton to Euros 2004 to a disastrous campaign by the Labour Party - “but the Qatar World Cup was a bridge too far”. … touring with Mick Jones (“the Pied Piper”) for the Hillsborough 96 Campaign. … his school band, Breakwind - “the forerunners of Half Man Half Biscuit” – and being in the cast of Oliver!. …. his guided music tours of Liverpool and the places they visit. … and why The Farm has “omni-appeal – a band who look like they're from a street corner”. Also in the mix: Big Audio Dynamite, Deaf School, Nile Rodgers, Roger Eagle and Cliff Richard on Top Of The Pops. Buy tickets and the album Let The Music (Take Control) here: https://thefarmmusic.co.uk/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.
Ep 324 – WWF Monday Night RAW 10/5/1998 The one with Mr McMahon in the hospital 0:22 - Welcome 14:12 - RAW Opening 15:36 – X-Pac (w/Chyna) vs D'Lo Brown (w/Mark Henry) for the WWF European Championship 19:21 – The Headbangers (Mosh/Thrasher) vs the Insane Clown Posse (Shaggy 2 Dope/Violent J) 22:28 - Vader vs Marvelous Marc Mero (w/ Jacqueline) 25:54 - Edge vs Owen Hart 27:37 - Kane vs Ken Shamrock 30:35 - Val Venis (w/Terri Runnels) vs Gangrel (w/Christian) 34:54 - Al Snow vs “Double J” Jeff Jarrett 37:00 - Road Dogg Jesse James (w/ X-Pac) vs Mark Henry (w/ D'Lo Brown) 42:04 - The Rock vs the Undertaker 46:25 - Overall Thoughts 50:39 - Smarking It Up 1:00:29 - Making Their Way to the Ring 1:03:03 - Goodbyes Music from this week's show is “We're All Together Now” by Jim Johnston and “Dark Side v1” by Jim Johnston Rate and review us on iTunes, Spotify, YouTube, or wherever you find your podcasts Email – WrestlingHistoryX@gmail.com X – WrestlingHistoX
Ep 323 – WWF Monday Night RAW 09/28/1998 The Zamboni episode! 0:18 - Welcome 13:55 - RAW Opening 16:08 - New Age Outlaws (Road Dogg Jesse James/Bad Ass Billy Gunn) vs Southern Justice (Dennis Knight/Mark Canterbury) (w/”Double J” Jeff Jarrett) for the WWF World Tag Team Championship 19:39 – Dan Severn vs Owen Hart in a Submission match 22:40 - Vader (w/ Sgt Slaughter) vs Al Snow 25:05 - “Double J” Jeff Jarrett vs Marvelous Marc Mero vs Gangrel vs D'Lo Brown vs Droz vs Edge in a Six Way Elimination match to determine the #1 Contender for the WWF European Championship 32:47 - Faarooq vs Mark Henry with Chyna as the special guest referee 35:15 - The Oddities (Golga/Kurrgan) (w/ Giant Silva, Luna and ICP (Shaggy 2 Dope/Violent J)) vs the Headbangers (Mosh/Thrasher) 37:24 - Val Venis (w/ Terri Runnels) vs X-Pac for the WWF European Championship 40:03 - Ken Shamrock, Mankind, and the Rock vs Undertaker and Kane in a handicap match 44:13 - Overall Thoughts 49:18 - Smarking It Up 1:00:06 - Making Their Way to the Ring 1:02:38 - Goodbyes Music from this week's show is “We're All Together Now” by Jim Johnston and “Power v3” by Jim Johnston Rate and review us on iTunes, Spotify, YouTube, or wherever you find your podcasts Email – WrestlingHistoryX@gmail.com X – WrestlingHistoX
In this episode of the XS Noize Podcast, host Mark Millar is joined by Peter Hooton, frontman of Liverpool legends The Farm, to discuss their first new studio album in over 30 years — Let The Music (Take Control), out June 20th, 2025, on Modern Sky. Known for their chart-topping debut Spartacus and iconic singles like “Groovy Train” and “All Together Now,” The Farm were key players in the indie-dance movement. Now, the original lineup returns with a powerful, feel-good record rooted in the same DIY ethos and social conscience that first defined them. Peter talks about the creative spark behind the new album, the band's role as outspoken campaigners, and the legacy of their most enduring anthem. We also cover: The influence of football terrace and Balearic culture, Reuniting all five original members, Why Let The Music (Take Control) feels like both a statement and a celebration. Don't miss this inspiring conversation. Listen to episode #231 of the XS Noize Podcast Or listen via YouTube | Apple Podcasts | Spotify | Amazon Music | RSS – Find The XS Noize Podcast's complete archive of episodes here. Previous XS Noize Podcast guests include legends and trailblazers such as Snow Patrol, John Lydon, Will Sergeant, Ocean Colour Scene, Gary Kemp, Doves, Gavin Friday, David Gray, Anton Newcombe, Peter Hook, Razorlight, Sananda Maitreya, James, Crowded House, Elbow, Cast, Kula Shaker, Shed Seven, Future Islands, Peter Frampton, Bernard Butler, Steven Wilson, Travis, New Order, The Killers, Tito Jackson, Simple Minds, The Divine Comedy, Shaun Ryder, Gary Numan, Sleaford Mods, Michael Head — and many more.
Ep 320 – WWF Monday Night RAW 09/14/1998 WWF brought it! 0:23 - Welcome 18:25 - RAW Opening 20:51 - Road Dog Jesses James (w/ Bad Ass Billy Gunn and X-Pac) vs Double J Jeff Jarrett (w/ Southern Justice (Dennis Knight/Mark Cantebury) 23:54 - Kane (w/ the Undertaker) vs the Rock 29:34 - HHH (w/ Chyna and X-Pac) vs Owen Hart (w/ Mark Henry) for the WWF Intercontinental Championship 33:04 - Mankind vs Undertaker (w/ Kane) 37:52 – Gangrel vs Edge 40:22 – X-Pac and Chyna (w/ HHH) vs Mark Henry 43:29 - Jacqueline (w/ Marc Mero) vs Sable in an Evening Gown match 46:37 - Ken Shamrock vs Stone Cold Steve Austin for the WWF Championship 51:26 - Overall Thoughts 55:56 - Smarking It Up 1:09:28 - Making Their Way to the Ring 1:11:43 - Goodbyes Music from this week's show is “We're All Together Now” by Jim Johnston and “Hell Frozen Over v3” by Jim Johnston Rate and review us on iTunes, Spotify, YouTube, or wherever you find your podcasts Email – WrestlingHistoryX@gmail.com X – WrestlingHistoX
Send us a textIntro song: The Continuing Story of Bungalow Bill25. Words of Love24. Drive My Car23. Here Comes the Sun22. Ob-La-Di, Ob-La-Da21. You've Got to Hide Your Love AwayOutro song: All Together Now
Il vento e la pioggia non fermano i nostri Domenico e Francesca in questo mercoledì musicale. Oggi infatti, non una, ma ben due interviste: la prima a Luca Di Stefano, cantante catanese conosciuto per la sua partecipazione ad All Together Now; mentre la seconda ad una delle beniamine della radio, ovvero Chiara Cami. Di cosa avranno chiacchierato? Per scoprirlo dovete assolutamente recuperare la puntata!
Ep 310 - WWF Monday Night RAW 06/29/1998 I'm gonna knock you out 0:20 - Welcome 12:58 - RAW Opening 16:25 - Darren Drozdov vs Steven Regal 20:58 - Marvelous Marc Mero vs Steve Blackman in a 1st round match in the Brawl For All tournament 27:58 - Dick Togo (w/ Yamaguchi-san) vs Val Venis 33:08 - HHH (w/Chyna) vs Owen Hart vs Ken Shamrock in a King of Kings match 41:27 - Mark Cantebury vs Bradshaw in a 1st round match in the Brawl for All tournament 46:02 – Stone Cold Steve Austin vs Kane (w/ Paul Bearer) for the WWF Championship 50:40 - Overall Thoughts 52:55 - Smarking It Up 1:05:58 - Making Their Way to the Ring 1:08:26 - Goodbyes Music from this week's show is “We're All Together Now” by Jim Johnston and “Hell Frozen Over v3” by Jim Johnston Rate and review us on iTunes, Spotify, YouTube, or wherever you find your podcasts Email – WrestlingHistoryX@gmail.com X – WrestlingHistoX
Many people who come to me for coaching or consulting, their main question is: Eric, which music thing do I do? To that I say, which one do you resonate with most? Which music direction does your past, your present, and your hoped for future?LINKS IN THIS VIDEO:THE STATE OF STOCK MUSIC IN 2025: https://youtube.com/live/uOYvz9Kzlnw?feature=share// SELL YOUR MUSIC ON NON-EXCLUSIVE STOCK LIBRARIES (Start the course for FREE!): https://payhip.com/b/pvsfL NOW JUST $49! //FREE EBOOK: THE DO-EVERYTHING CHECKLIST FOR YOUR SONGShttps://makemusicincome.com/checklistGet FREE stuff at https://makemusicincome.com/free/BECOME A POSITIVE SPIN SONGS PARTNERWork directly with composer and producer Eric Copeland to develop albums of music for pitching to sync licensing for TV, Film, Ads, and Gaming.Email Eric@MakeMusicIncome.com--GET YOUR MUSIC TO TV, FILM, ADS, AND GAMING: https://payhip.com/b/KtoqHFREE EBOOK: THE DO-EVERYTHING CHECKLIST FOR YOUR SONGShttps://makemusicincome.com/checklistFREE COURSE: HOW TO UPLOAD TO POND5https://makemusicincome.com/pond5FREE EBOOK: 50 WAYS TO MAKE MUSIC INCOME V4https://makemusicincome.com/50waysFREE EBOOK!: TOOLS YOUR NEED TO MAKE MUSIC INCOME V2https://makemusicincome.com/toolsFREE STOCK MUSIC RESEARCH PAPER: "The Ubiquitous Style, Form, and Instrumentation of Corporate Stock Music"https://makemusicincome.com/ubiquitousONE-ON-ONE COACHING FOR COMPOSERS AND PRODUCERS:Get Feedback From Eric on Your Music & Career: https://makemusicincome.com/coaching/NEW! GET MAKE MUSIC INCOME GEAR!Cool MMI T-Shirts, Caps, and or course Mugs for Lovely Beverages!https://cre8iv.sellfy.store/JOIN OUR EMAIL LIST (Get an email when we release new videos!)http://eepurl.com/hF8ihrTHE OFFICIAL WEB SITE:https://makemusicincome.com/OUR WEEKLY PODCAST:https://anchor.fm/makemusicincomeDISTROKID: Get your music to Spotify, Apple, Youtube, and more for one yearly price.Get 7% Off:Click here: https://distrokid.com/vip/seven/911910Get 50% off if you are a student or educator! Click here: https://distrokid.com/student/911910NEED GEAR?SWEETWATER SOUND: Support the channel by using this link to find the latest deals and get the gear you need at our favorite music store, Sweetwater Sound!https://sweetwater.sjv.io/q4JEB5DISCO: Show off your amazing portfolio and be where the music supervisors and music buyers are! Click here: https://disco.ac/signup?b=2095&u=34391IDENTIFYY: Get paid when your music is used on YouTubeClick here: https://identifyy.com?referral=MTMzMjc2POND5: Get into Music Licensing easily! Use this referral code to sign up and get started selling YOUR music with Pond5! Click here: https://www.pond5.com?ref=FromtheMomentMusicJOIN OUR COMMUNITY ON DISCORD:https://bit.ly/3fYDSVdMY SYNC LICENSING MUSICPositive Spin Songs - https://positivespinsongs.comMY PERSONAL MUSIC:https://www.ericcopelandmusic.comTimestamps:0:00 - What is Your S?5:00 - Eric's Week8:23 - The Seven S's of Music Income10:00 - S1. Sync Licensing14:00 - S2. Stock Music Licensing21:00 - S3. Studio Producer37:23 - S4. Sheet Music41:42 - S5. Stage (Composer)46:19 - S6. Streaming49:40 - S7. Shows (Artist, Band)51:45 - All Together Now
This week we're talking 2000trees, DOWNLOAD, All Together Now and more on TPD TV's infamous lineup reviews!
Ep 297 - WWF Monday Night RAW 03/30/1998 We couldn't believe this all happened in one show 0:22 - Welcome 15:22 - RAW Opening 20:28 - Los Boricuas (Jesus Castillo/Jose Estrada) vs Legion of Doom 2000 (Road Warrior Hawk/Road Warrior Animal) (w/ Sunny) 24:22 - Chainz vs Kurrgan (w/ Jackyl) 28:00 - Aguila vs Jeff Jarrett 33:07 - The Nation of Domination (The Rock/Faarooq) (w/ D'lo Brown, Kama, and Mark Henry) vs Ken Shamrock and Steve Blackman 43:29 - Taka Michinoku vs Marvelous Marc Mero (w/ Sable) 46:55 - The New Midnight Express (Bodacious Bart Gunn/Bombastic Bob Holly) (w/ Jim Cornette) vs the Headbangers (Mosh/Thrasher) for the NWA World Tag Team Championship 52:26 - Chainsaw Charlie and Cactus Jack vs the New Age Outlaws (Road Dogg Jesse James/Bad Ass Billy Gunn) for the WWF World Tag Team Championships in a Cage match 56:16 - Overall Thoughts 1:00:18 - Smarking It Up 1:07:42 - Making Their Way to the Ring 1:11:15 - Goodbyes Music from this week's show is “We're All Together Now” by Jim Johnston and “Break It Down” by DX Band Rate and review us on iTunes, Spotify, YouTube, or wherever you find your podcasts Email – WrestlingHistoryX@gmail.com X – WrestlingHistoX
All Together Now! Reimagining Church: Strategic Intentions, Fractals, and Flocking In this fourth episode of our mini-series on reimagining the Episcopal Church, we delve into how integrating strategic intention, fractals, and flocking can transform our communal and relational dynamics. The discussion highlights the importance of shifting from individualism to a collective mindset, ensuring that we thrive together at every level—individuals, congregations, and dioceses. By fostering interconnectedness and shared resources, we can embody the teachings of Jesus Christ and the early church as depicted in the book of Acts, working collaboratively to face future challenges. 00:00 Introduction to Reimagining Church 00:26 Strategic Intention and Relational Shift 01:42 Commitment to Thriving at Every Level 03:56 Flocking Together for Strength and Resources 08:32 Challenges and Opportunities for Small and Large Churches 10:53 A Vision for Collaborative Ministry 14:43 Conclusion and Call to Action
HousePlants are Paul Noonan and Daithi. They released their second album Half Known Things on October 18 and talk about its creation on this episode of the TPOE podcast. Buy Half Known Things: https://wearehouseplants.bandcamp.com/album/half-known-thingsh HousePlants tour dates: December 27: Roisin Dubh, Galway December 28: Cyprus Avenue, Cork January 11: Dolan's Warehouse, Limerick January 30, 31: Button Factory, Dublin Intro music: HousePlants - Swimming Pool Outro music: HousePlants - Hope is a Hell of a Drug --- Press release: HousePlants have built a reputation for their electrifying live performances, from festivals like All Together Now and Beyond the Pale, to opening slots for legends such as Chic and Leftfield. Their unique combination of energetic rhythms and heart-on-sleeve storytelling has earned them a loyal following. With Half Known Things, the band promises to deliver more of the vibrant, feel-good energy that has become their hallmark, while venturing deeper into sonic experimentation and live band dynamics. Paul Noonan reflects on the evolution from their debut: "This album was very much informed by playing shows with the first one, feeling what was connecting and creating those euphoric collective moments. With Dry Goods, we were sending each other parts from our respective bunkers. This time, we had the luxury of being in the same room for some of it and making decisions in the moment. Every decision, we asked, ‘Will it make the people move?' The result is an album full of heart, heat, and groove, with distorted textures and vibrant beats driving the music forward. From the album opener “In The Right Light” to the seven-minute opus “No Pushover,” Half Known Things pulses with life, capturing the raw, raucous energy of their live performances. Daithí shares his journey throughout the making of the album: "Half Known Things feels alive in a way I've never experienced before – we've tried to capture the wild energy of our live shows and bottle it into these nine tracks. It's music that's messy, human, and alive, which to me is the heart of what HousePlants is all about." Standout tracks include 'Swimming Pool', an upbeat anthem that captures the messy joy of life, and 'My Love My Umbrella', a haunting ballad that draws inspiration from Irish writer John McGahern's works. From start to finish, Half Known Things offers a sonic experience that is simultaneously introspective and celebratory, inviting listeners to lose themselves in the music, and most importantly, have fun.
This summer, Vodafone boosted connectivity by placing temporary sites at ten major events across the country, including, Bloom, Kaleidoscope, Flavours of Fingal, All Together Now, Tullamore show, Moynalty Steam Threshing and Electric Picnic, as well as events within Malahide Castle. St Annes Park and Marlay Park, including Longitude Festival. Looking back at the traffic, the team at Vodafone saw that the network handled more than 140 terabytes (TB) of data, equivalent to about 11 years of streaming videos, and approximately 2 million voice calls, facilitating customers' need to stay connected and share their special moments. As anticipated, Electric Picnic struck a chord, amping up over 40% of the total data and dialling in over 50% of the total calls across these summer events. The recent Fleadh in Wexford, and Electric Picnic showcased an array of app usage among attendees, highlighting the evolving needs and interests of festival-goers. Not surprisingly for Ireland, weather apps were among the most popular. Approximately 40,000 Vodafone customers at the Fleadh and 50,000 at Electric Picnic checked in on the apps to stay informed about weather conditions. Map apps also played a crucial role, guiding around 50,000 Fleadh attendees and 45,000 Electric Picnic goers. Additionally, social media and communication apps like Facebook, WhatsApp, Instagram and TikTok saw substantial usage, enabling festival-goers to share their experiences and memories in real-time. In addition to summer events, Ireland welcomed global superstars Taylor Swift and Coldplay to our shores. Vodafone's network team prepared for uplifts in data traffic at these major concerts. At the Taylor Swift's shows, Vodafone recorded record-breaking data consumption at the Aviva, with traffic peaking each night the moment she took to the stage. Similarly, during Coldplay's performances, the network handled a significant increase in data usage, particularly on Sunday when Aslan made their first surprise appearance. The network upgrades across these events underscore Vodafone's commitment to delivering a reliable service. By effectively managing substantial data volumes and maintaining consistent connectivity, Vodafone has facilitated a seamless experience for their customers throughout the summer at multiple events. See more stories here.
From now on, the Best of the Month episode is going Patreon-only. Public subscribers get the first 20 minutes or so. Patreon members get to hear the whole episode on their member feeds or on Patreon direct. It's the Nialler9 Podcast's monthly episode where Niall and Andrea recommend albums and songs of recent weeks.Episode 258 of the Nialler9 Podcast features Niall and Andrea discussing the Olympics, a brief review of All Together Now, Optimo at Hang Dai and more.Up for discussion on the music tips are: albums from Clairo, Remi Wolf, Clara La San; tunes from A Lazarus Soul, Charli XCX, Kynsy, Merce Lemon, Devon Again, Chanel Beads, Fcukers and Father John Misty. Plus an unreleased gem from Phil Lynott?* Support Nialler9 on Patreon, get event discounts, playlists, ad-free episodes and join our Discord communityListen on Apple | Android | ACAST | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS FeedShow notesSongs played on the Nialler9 Podcast Spotify PlaylistFollow Nialler9 on Insta | Twitter | Youtube | Spotify Hosted on Acast. See acast.com/privacy for more information.
In Episode 175, Susie Boutry (@NovelVisits) and I explore our favorite Micro Genres for 2024. Over the past year, we've continued to refine our reading tastes and identify specific themes and types of books that resonate deeply with us. This year, Susie and I have a curated list of 10 all-new Micro Genres, along with standout books from each category. It's another big episode with tons of great book recommendations! This post contains affiliate links through which I make a small commission when you make a purchase (at no cost to you!). CLICK HERE for the full episode Show Notes on the blog. Cold War Espionage (Sarah) [3:19] Sarah Red Widow by Alma Katsu | Amazon | Bookshop.org [4:49] Red London by Alma Katsu | Amazon | Bookshop.org [4:50] Our American Friend by Anna Pitoniak | Amazon | Bookshop.org [5:10] The Charm School by Nelson DeMille | Amazon | Bookshop.org [5:20] Red Notice by Bill Browder | Amazon | Bookshop.org [5:47] The Spy and the Traitor by Ben Macintyre | Amazon | Bookshop.org [6:01] Susie The Sisterhood by Liz Mundy | Amazon | Bookshop.org [6:26] Angsty Motherhood (Susie) [7:21] Sarah Perfect Tunes by Emily Gould | Amazon | Bookshop.org [12:00] Susie Soldier Sailor by Claire Kilroy | Amazon | Bookshop.org [8:38] Same As It Ever Was by Claire Lombardo | Amazon | Bookshop.org [10:04] Amazing Grace Adams by Fran Littlewood | Amazon | Bookshop.org [10:37] When I Ran Away by Ilona Bannister | Amazon | Bookshop.org [10:53] Little Prisons by Ilona Bannister (currently unavailable in the US) [10:54] Landslide by Susan Conley | Amazon | Bookshop.org [10:57] The Push by Ashley Audrain | Amazon | Bookshop.org [11:00] Memoirs About the Demise of a Marriage (Sarah) [12:18] Sarah How to Stay Married by Harrison Scott Key | Amazon | Bookshop.org [13:26] You Could Make This Place Beautiful by Maggie Smith | Amazon | Bookshop.org [13:52] A Beautiful, Terrible Thing by Jen Waite | Amazon | Bookshop.org [14:11] Bankruptcy by Janet Lombardi | Amazon | Bookshop.org [14:14] Susie Untamed by Glennon Doyle | Amazon | Bookshop.org [14:49] Pandemic Stories (Susie) [15:26] NOT Based on the COVID-19 Pandemic & More Dystopian [15:49] Sarah Wanderers by Chunk Wendig | Amazon | Bookshop.org [17:43] Susie Station Eleven by Emily St. John Mandel | Amazon | Bookshop.org [16:06] The Dog Stars by Peter Heller | Amazon | Bookshop.org [16:20] The Memory of Animals by Claire Fuller | Amazon | Bookshop.org [16:41] Severance by Ling Ma | Amazon | Bookshop.org [17:07] The Dreamers by Karen Thompson Walker | Amazon | Bookshop.org [18:20] With the COVID-19 Pandemic in the Background [18:28] Sarah 56 Days by Catherine Ryan Howard | Amazon | Bookshop.org [20:37] Reef Road by Deborah Goodrich Royce | Amazon | Bookshop.org [20:40] Susie Blue Ruin by Hari Kunzru | Amazon | Bookshop.org [18:37] Day by Michael Cunningham | Amazon | Bookshop.org [19:17] Tom Lake by Ann Patchett | Amazon | Bookshop.org [19:47] Pete and Alice in Maine by Caitlin Shetterly | Amazon | Bookshop.org [19:49] Other Books Mentioned Wish You Were Here by Jodi Picoult [21:09] Invisible Son by Kim Johnson [21:14] This Is My America by Kim Johnson [21:19] The Measure by Nikki Erlick [22:03] Did She Actually Say That?! (Sarah) [23:03] Sarah Miracle Creek by Angie Kim | Amazon | Bookshop.org [24:18] Happiness Falls by Angie Kim | Amazon | Bookshop.org [24:19] The Push by Ashley Audrain | Amazon | Bookshop.org [24:55] All This Could Be Yours by Jami Attenberg | Amazon | Bookshop.org [25:14] Sociopath by Patric Gagne, PhD | Amazon | Bookshop.org [25:42] Susie The Change by Kirsten Miller | Amazon | Bookshop.org [26:15] On the Savage Side by Tiffany McDaniel | Amazon | Bookshop.org [26:32] Books Revolving Around Generational Trauma (Susie) [27:34] Sarah Strange Sally Diamond by Liz Nugent | Amazon | Bookshop.org [31:24] Memphis by Tara M. Stringfellow | Amazon | Bookshop.org [31:28] What My Bones Know by Stephanie Foo | Amazon | Bookshop.org [31:52] The Body Keeps the Score by Bessel van der Kolk, MD | Amazon | Bookshop.org [31:54] What Happened to You? by Oprah Winfrey and Bruce D. Perry, MD PhD | Amazon | Bookshop.org [31:57] Susie Grown Women by Sarai Johnson | Amazon | Bookshop.org [29:08] Homegoing by Yaa Gyasi | Amazon | Bookshop.org [29:58] The Postcard by Anne Berest | Amazon | Bookshop.org [30:27] Saving Ruby King by Catherine Adel West | Amazon | Bookshop.org [30:50] All My Rage by Sabaa Tahir | Amazon | Bookshop.org [30:53] Swift River by Essie Chambers | Amazon | Bookshop.org [30:56] Brotherless Night by V. V. Ganeshanathan | Amazon | Bookshop.org [30:59] Co-Ed Friend Groups (Sarah) [32:18] Sarah The Interestings by Meg Wolitzer | Amazon | Bookshop.org [33:17] Shotgun Lovesongs by Nickolas Butler | Amazon | Bookshop.org [33:29] The Ensemble by Aja Gabel | Amazon | Bookshop.org [33:39] All Together Now by Matthew Norman | Amazon | Bookshop.org [33:47] Tomorrow, and Tomorrow, and Tomorrow by Gabrielle Zevin | Amazon | Bookshop.org [34:01] The Christmas Orphans Club by Becca Freeman | Amazon | Bookshop.org [34:14] Susie The Celebrants by Steven Rowley | Amazon | Bookshop.org [34:36] Who We Are Now by Lauryn Chamberlain | Amazon | Bookshop.org [35:16] Peace, Love, and Rock n' Roll / Books Set in the '60s & '70s (Susie) [36:58] Susie The Women by Kristin Hannah | Amazon | Bookshop.org [38:09] Daisy Jones & The Six by Taylor Jenkins Reid | Amazon | Bookshop.org [38:31] Mary Jane by Jessica Anya Blau | Amazon | Bookshop.org [38:57] The Nickel Boys by Colson Whitehead | Amazon | Bookshop.org [spp-timestamp time=”[39:11]″] All You Have to Do Is Call by Kerri Maher | Amazon | Bookshop.org [39:39] Last House by Jessica Shattuck | Amazon | Bookshop.org [39:53] Surprisingly High-Quality Celebrity Memoirs (Sarah) [40:33] Sarah Open by Andre Agassi | Amazon | Bookshop.org [41:05] Spare by Prince Harry | Amazon | Bookshop.org [41:07] Open Book by Jessica Simpson | Amazon | Bookshop.org [42:16] Finding Me by Viola Davis | Amazon | Bookshop.org [43:11] Becoming by Michelle Obama | Amazon | Bookshop.org [43:15] Only Say Good Things by Crystal Hefner | Amazon | Bookshop.org [43:21] Susie Born a Crime by Trevor Noah | Amazon | Bookshop.org [44:19] Other Books Mentioned The Woman in Me by Britney Spears [41:45] The Many Lives of Mama Love by Laura Love Hardin [43:33] Look Backs (Susie) [44:38] Sarah City of Girls by Elizabeth Gilbert | Amazon | Bookshop.org [48:11] Lillian Boxfish Takes a Walk by Kathleen Rooney | Amazon | Bookshop.org [48:33] Victim by Andrew Boryga | Amazon | Bookshop.org [49:06] Susie The Rachel Incident by Caroline O'Donoghue | Amazon | Bookshop.org [45:30] The Age of Miracles by Karen Thompson Walker | Amazon | Bookshop.org [46:03] Now Is Not the Time to Panic by Kevin Wilson | Amazon | Bookshop.org [47:08] Absolution by Alice McDermott | Amazon | Bookshop.org [47:30] Other Books Mentioned Happiness Falls by Angie Kim [47:47]
All Together Now begins in Waterford today and hurling legend John Mullane is pumped for it.
Siobhan McClean aka shiv is an Irish-Zimbabwean producer, singer-songwriter of neo-soul, RnB and lo-fi hip-hop who has shared two songs from the forthcoming debut album the defiance of a sadgirl this September, 'Limerence' and 'Cherry Pie', the latter featuring Kojaque, and produced by Gaptoof.I spoke to Shiv about the nature of collaborating and connecting with different artists and producers for this episode of the Nialler9 podcast, ahead of Shiv's set at All Together Now Festival this August Bank Holiday weekend, where Shiv plays on the Jameson Connects The Circle Stage at 7pm on the Friday night. Shiv will be debuting a special song and joined by her collaborator on the song James Vincent McMorrow.The forthcoming album is a reflection of the personal upheaval she experienced, including a breakup, leaving a major label, parting ways with her manager, and moving countries. Shiv talks about how studying psychology has influenced her songwriting.Shiv also talks about her influences and we focus on songs from Kanye, James Vincent McMorrow, Dijon, Ari Lennox, and Negro Impacto (see below).The Jameson Connects: The Circle stage at All Together Now features some Nialler9 favourites including Optimo, Just Mustard, The Murder Capital, qbanaa, Aby Coulibaly, Morgano, Sloucho, Rachael Lavelle and more.* Support Nialler9 on Patreon to hear all full episodes, get event discounts, playlists, ad-free episodes and join our Discord community.Listen on Apple | Android | ACAST | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed Hosted on Acast. See acast.com/privacy for more information.
Ep 277 – WWF Monday Night RAW 10/6/1997 A famous faction gets its name 0:23 - Welcome 17:01 - RAW Opening 22:59 - The Headbangers (Mosh/Thrasher) vs the Godwinns (Henry O/Phineas I Godwinn) (w/ Uncle Cletus) in a Lumberjack match 26:34 - Miguel Perez vs Marc Mero (w/ Sable) 35:45 - Rocky Maivia (w/ the Nation of Domination) vs British Bulldog (w/ the Hart Foundation) 41:07 - Owen Hart vs Road Warrior Hawk for the WWF Intercontinental Championship 51:09 - Triple H (w/ Chyna) vs Bret “Hitman” Hart 53:17 - Overall Thoughts 59:56 - Smarking It Up 1:08:54 - The Dusty Finish 1:10:30 - Goodbyes Music from this week's show is “We're All Together Now” by Jim Johnston and “Ode to Joy” by Ludwig van Beethoven Rate and review us on iTunes, Spotify, YouTube, or wherever you find your podcasts Email – WrestlingHistoryX@gmail.com X – WrestlingHistoX
Join host Mark Reeson on the latest episode of "The Feeling Sound Podcast," proudly presented by Urbanista Magazine, as he sits down with Peter Hooton, the charismatic lead singer of the iconic band The Farm. Known for their timeless hits like "All Together Now" and "Groovy Train," The Farm has left an indelible mark on the music scene with their unique blend of alternative rock and dance music. In this engaging conversation, Peter Hooton shares stories from his illustrious career, insights into the music industry, and the creative process behind some of The Farm's biggest hits. From the band's early days in Liverpool to their rise to fame in the '90s, Hooton provides a candid look at the highs and lows of life in the spotlight. Listeners will also get an exclusive peek into Peter's current projects and his thoughts on the evolution of music over the years. Whether you're a long-time fan of The Farm or a newcomer to their music, this episode promises to be a fascinating journey through the mind of a true musical pioneer. Tune in to "The Feeling Sound Podcast" for an episode filled with nostalgia, inspiration, and the timeless sound of The Farm. Don't miss this chance to hear from one of the most influential voices in alternative rock!
In this podcast episode ... He's an Emmy award winning singer songwriter born and raised in Waterford We talk to Steve Elci about his music career and his new album of songs for kids called All Together Now. Plus we take a look at other stories from across the region
This week's Track of The Week #TOTW is ‘Music' by Niamh Regan
Ep 274 – WWF Monday Night RAW 09/22/1997 First time in Madison Square Garden and they call their shot 0:22 - Welcome 14:06 - RAW Opening 16:16 - Rocky Maivia (w/ the Nation of Domination) vs Ahmed Johnson in the Quarterfinals of the WWF Intercontinental Title Tournament 24:49 - The Legion of Doom (Road Warrior Animal/Road Warrior Hawk) vs the Nation of Domination (Faarooq/Kama Mustafa) 28:17 - Owen Hart (w/ security) vs Brian Pillman (w/ Marlena) in the Semifinals of the WWF Intercontinental Title Tournament 35:29 - Hunter Hearst Helmsley (w/ Chyna) vs Dude Love in a Falls Count Anywhere match 43:08 - Bret “Hitman” Hart vs Goldust 48:09 - Overall Thoughts 50:41 - Smarking It Up 59:54 - The Dusty Finish 1:01:40 - Goodbyes Music from this week's show is “We're All Together Now” by Jim Johnston and “Hart Attack” by Jim Johnston Rate and review us on iTunes, Spotify, GooglePlay, or wherever you find your podcasts Email – WrestlingHistoryX@gmail.com X – WrestlingHistoX
The incredible Steve Elci returns to the show to talk about the numerous projects he's been involved in since his last appearance, which include the Rise Together compilation albums and his newest album "All Together Now". Steve shares the inspiration for creating the album, how it shapes his path going forward and shares the stories behind 3 of the albums songs and videos. Songs featured on the show include:1 - We Rise Above2 - Power of the Sunflower3 - Hey World This Is MeYouTube Episode Link: https://youtu.be/8qnbj_G10EQFind the Album at: SpotifyComing Soon!The Featured songs will be added to the KINDIE ROCK STARS Season 5 Spotify playlist. Add the KINDIE ROCK STARS Season 5 Playlist on Spotify:https://open.spotify.com/playlist/7jU6Z7WCvhX9BubUU3j8DS?si=96f0a2f423fd4f9dYouTube Channel:https://www.youtube.com/@SteveelciSupport the Show.
The festival season is beginning with Forbidden Fruit kicking off this weekend. Electric Picnic, All Together Now and Longitude are on the horizon and smaller festivals like Night and Day Festival in Roscommon are also taking place. They're much beloved by patrons, but how important are these festivals, and more importantly how important are they for the artists themselves?Artist Nialler9 joins Kieran to discuss.
This Authors Week episode on The Adventure Paradox podcast we delve into the transformative power of self-discovery with author deJoly LaBrier. LaBrier's journey, from the formative experiences of a Marine's daughter to finding solace in the Lookout Mountain community, offers a compelling narrative of resilience and self-expression.The episode explores how writing, initially a tool for navigating a nomadic childhood, became a profound instrument for personal growth and impacting others. LaBrier shares a pivotal moment – a high school speech that ignited her passion for authenticity and the healing process it inspired.Join us as we unpack into LaBrier's inspiring works, including the hopeful and healing "All Together Now" and the highly anticipated "Life as a Onesie," a metaphorical exploration of wholeness. The episode underscores the therapeutic power of writing and storytelling, offering practical guidance on self-publishing and fostering a supportive community for aspiring writers.For women seeking to courageously author their life stories, LaBrier's "Write and Rise" program provides a beacon of empowerment, guiding them towards self-discovery and impactful storytelling. This Authors Week episode is a must-listen for anyone seeking to find their voice and share their unique narrative with the world.Episode Chapters:03:56 The Spark of Authenticity09:11 Unveiling "All Together Now"15:35 Embracing Life's Challenges with Positivity19:30 The Language We Use Shapes Our Lives23:36 Write and Rise: A Program to Empower Women's Voices27:50 The Strength Behind Powerful Writing 38:50 The Self-Publishing Journey41:27 Finding Your Authentic VoiceLinks & Resources:Website: https://dejoly.com/All Together Now: A Multiple's Story of Hope and Healing: https://a.co/d/3CZMHlBWhat Happened to You?: A Guidebook for People Seeking Hope, Healing, and Lasting Transformation: https://a.co/d/7ihIIHbGreeting the Day: Wisdom From My Gardens: https://a.co/d/d8gEPB1Diary of a survivor: In art & poetry: https://a.co/d/f9VSR9OJust says "buy the book on Amazon!"Support the Show.Connect with me in the following ways:catcaldwellmyers@gmail.comwww.catcaldwellmyers.com@catcaldwellmyers@adventureparadoxThe Adventure Paradox Podcast Page (Fb)
Ep 267 – WWF Monday Night RAW 08/11/1997 There are glimpses of the future 0:22 - Welcome 15:19 - RAW Opening 20:36 - Road Warrior Hawk (w/Road Warrior Animal) vs Henry O Godwinn (w/Phineas I Godwinn) in a Country Whipping match 25:34 - Scott Putski vs Tony Williams 28:57 - Flash Funk vs Brian Pillman 38:00 - Owen Hart and British Bulldog vs the Patriot and Ken Shamrock 45:39 - Faarooq vs Chainz 52:19 - “The Heartbreak Kid” Shawn Michaels vs Mankind 57:25 - Overall Thoughts 1:00:55 - Smarking It Up 1:11:08 - The Dusty Finish 1:13:55 - Goodbyes Music from this week's show is “We're All Together Now” by Jim Johnston and “Sexy Boy” by Jimmy Hart and JJ Maguire Rate and review us on iTunes, Spotify, GooglePlay, or wherever you find your podcasts Email – WrestlingHistoryX@gmail.com X – WrestlingHistoX
Ep 267 – WWF Monday Night RAW 08/11/1997 There are glimpses of the future 0:22 - Welcome 15:19 - RAW Opening 20:36 - Road Warrior Hawk (w/Road Warrior Animal) vs Henry O Godwinn (w/Phineas I Godwinn) in a Country Whipping match 25:34 - Scott Putski vs Tony Williams 28:57 - Flash Funk vs Brian Pillman 38:00 - Owen Hart and British Bulldog vs the Patriot and Ken Shamrock 45:39 - Faarooq vs Chainz 52:19 - “The Heartbreak Kid” Shawn Michaels vs Mankind 57:25 - Overall Thoughts 1:00:55 - Smarking It Up 1:11:08 - The Dusty Finish 1:13:55 - Goodbyes Music from this week's show is “We're All Together Now” by Jim Johnston and “Sexy Boy” by Jimmy Hart and JJ Maguire Rate and review us on iTunes, Spotify, GooglePlay, or wherever you find your podcasts Email – WrestlingHistoryX@gmail.com X – WrestlingHistoX
This show features two guests who are creating new culinary experiences in their respective Midwest communities and beyond. Meet Nikki Thompson Frazier, the founder of Sweet Encounter Bakery, which aims to create an inclusive dining experience for people with dietary restrictions. And, get to know Erin Carlman Weber, the founder, owner, and operator of All Together Now, a social gathering space in Chicago offering wine, cheese, and much more.Heritage Radio Network is a listener supported nonprofit podcast network. Support Eat Your Heartland Out by becoming a member!Eat Your Heartland Out is Powered by Simplecast.
Ep 249 – WWF RAW is WAR 04/07/1997 Half the crew is halfway around the world, what will they do? 0:23 - Welcome 16:10 - RAW Opening 17:11 - Owen Hart and the British Bulldog vs the Godwinns (Henry O/Phineas I Godwinn) (w/ Hillbilly Jim) 21:26 - Stone Cold Steve Austin vs Billy Gunn (w/ the Honky Tonk Man) 32:23 - Freddie Joe Floyd and Barry Horowitz vs the Headbangers (Mosh/Thrasher) 36:26 - Vernon White vs Ken Shamrock in a No Holds Barred Exhibition 39:04 - Vader (w/ Paul Bearer) vs Frank Stalletto 44:03 - Mankind (w/ Paul Bearer) vs Stone Cold Steve Austin 48:47 - Overall Thoughts 52:40 - Smarking It Up 1:02:18 - The Dusty Finish 1:04:04 - Goodbyes Music from this week's show is “We're All Together Now” by Slam Jam and “Hell Frozen Over v2” by Jim Johnston Rate and review us on iTunes, Spotify, GooglePlay, or wherever you find your podcasts Email – WrestlingHistoryX@gmail.com X – WrestlingHistoX
Episode 171 looks at "Hey Jude", the White Album, and the career of the Beatles from August 1967 through November 1968. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifty-seven-minute bonus episode available, on "I Love You" by People!. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata Not really an error, but at one point I refer to Ornette Coleman as a saxophonist. While he was, he plays trumpet on the track that is excerpted after that. 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. This time I also used Steve Turner's The Beatles: The Stories Behind the Songs 1967-1970. I referred to Philip Norman's biographies of John Lennon, George Harrison, and Paul McCartney, to Graeme Thomson's biography of George Harrison, Take a Sad Song by James Campion, Yoko Ono: An Artful Life by Donald Brackett, Those Were the Days 2.0 by Stephan Granados, and Sound Pictures by Kenneth Womack. Sadly the only way to get the single mix of “Hey Jude” is on this ludicrously-expensive out-of-print box set, but a remixed stereo mix is easily available on the new reissue of the 1967-70 compilation. The original mixes of the White Album are also, shockingly, out of print, but this 2018 remix is available for the moment. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a quick note -- this episode deals, among other topics, with child abandonment, spousal neglect, suicide attempts, miscarriage, rape accusations, and heroin addiction. If any of those topics are likely to upset you, you might want to check the transcript rather than listening to this episode. It also, for once, contains a short excerpt of an expletive, but given that that expletive in that context has been regularly played on daytime radio without complaint for over fifty years, I suspect it can be excused. The use of mantra meditation is something that exists across religions, and which appears to have been independently invented multiple times, in multiple cultures. In the Western culture to which most of my listeners belong, it is now best known as an aspect of what is known as "mindfulness", a secularised version of Buddhism which aims to provide adherents with the benefits of the teachings of the Buddha but without the cosmology to which they are attached. But it turns up in almost every religious tradition I know of in one form or another. The idea of mantra meditation is a very simple one, and one that even has some basis in science. There is a mathematical principle in neurology and information science called the free energy principle which says our brains are wired to try to minimise how surprised we are -- our brain is constantly making predictions about the world, and then looking at the results from our senses to see if they match. If they do, that's great, and the brain will happily move on to its next prediction. If they don't, the brain has to update its model of the world to match the new information, make new predictions, and see if those new predictions are a better match. Every person has a different mental model of the world, and none of them match reality, but every brain tries to get as close as possible. This updating of the model to match the new information is called "thinking", and it uses up energy, and our bodies and brains have evolved to conserve energy as much as possible. This means that for many people, most of the time, thinking is unpleasant, and indeed much of the time that people have spent thinking, they've been thinking about how to stop themselves having to do it at all, and when they have managed to stop thinking, however briefly, they've experienced great bliss. Many more or less effective technologies have been created to bring about a more minimal-energy state, including alcohol, heroin, and barbituates, but many of these have unwanted side-effects, such as death, which people also tend to want to avoid, and so people have often turned to another technology. It turns out that for many people, they can avoid thinking by simply thinking about something that is utterly predictable. If they minimise the amount of sensory input, and concentrate on something that they can predict exactly, eventually they can turn off their mind, relax, and float downstream, without dying. One easy way to do this is to close your eyes, so you can't see anything, make your breath as regular as possible, and then concentrate on a sound that repeats over and over. If you repeat a single phrase or word a few hundred times, that regular repetition eventually causes your mind to stop having to keep track of the world, and experience a peace that is, by all accounts, unlike any other experience. What word or phrase that is can depend very much on the tradition. In Transcendental Meditation, each person has their own individual phrase. In the Catholicism in which George Harrison and Paul McCartney were raised, popular phrases for this are "Lord Jesus Christ, Son of God, have mercy on me, a sinner" or "Hail, Mary, full of grace, the Lord is with you; blessed are you among women, and blessed is the fruit of your womb, Jesus. Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. Amen." In some branches of Buddhism, a popular mantra is "_NAMU MYŌHŌ RENGE KYŌ_". In the Hinduism to which George Harrison later converted, you can use "Hare Krishna Hare Krishna, Krishna Krishna Hare Hare, Hare Rama Hare Rama, Rama Rama Hare Hare", "Om Namo Bhagavate Vāsudevāya" or "Om Gam Ganapataye Namaha". Those last two start with the syllable "Om", and indeed some people prefer to just use that syllable, repeating a single syllable over and over again until they reach a state of transcendence. [Excerpt: The Beatles, "Hey Jude" ("na na na na na na na")] We don't know much about how the Beatles first discovered Maharishi Mahesh Yogi, except that it was thanks to Pattie Boyd, George Harrison's then-wife. Unfortunately, her memory of how she first became involved in the Maharishi's Spiritual Regeneration Movement, as described in her autobiography, doesn't fully line up with other known facts. She talks about reading about the Maharishi in the paper with her friend Marie-Lise while George was away on tour, but she also places the date that this happened in February 1967, several months after the Beatles had stopped touring forever. We'll be seeing a lot more of these timing discrepancies as this story progresses, and people's memories increasingly don't match the events that happened to them. Either way, it's clear that Pattie became involved in the Spiritual Regeneration Movement a good length of time before her husband did. She got him to go along with her to one of the Maharishi's lectures, after she had already been converted to the practice of Transcendental Meditation, and they brought along John, Paul, and their partners (Ringo's wife Maureen had just given birth, so they didn't come). As we heard back in episode one hundred and fifty, that lecture was impressive enough that the group, plus their wives and girlfriends (with the exception of Maureen Starkey) and Mick Jagger and Marianne Faithfull, all went on a meditation retreat with the Maharishi at a holiday camp in Bangor, and it was there that they learned that Brian Epstein had been found dead. The death of the man who had guided the group's career could not have come at a worse time for the band's stability. The group had only recorded one song in the preceding two months -- Paul's "Your Mother Should Know" -- and had basically been running on fumes since completing recording of Sgt Pepper many months earlier. John's drug intake had increased to the point that he was barely functional -- although with the enthusiasm of the newly converted he had decided to swear off LSD at the Maharishi's urging -- and his marriage was falling apart. Similarly, Paul McCartney's relationship with Jane Asher was in a bad state, though both men were trying to repair their damaged relationships, while both George and Ringo were having doubts about the band that had made them famous. In George's case, he was feeling marginalised by John and Paul, his songs ignored or paid cursory attention, and there was less for him to do on the records as the group moved away from making guitar-based rock and roll music into the stranger areas of psychedelia. And Ringo, whose main memory of the recording of Sgt Pepper was of learning to play chess while the others went through the extensive overdubs that characterised that album, was starting to feel like his playing was deteriorating, and that as the only non-writer in the band he was on the outside to an extent. On top of that, the group were in the middle of a major plan to restructure their business. As part of their contract renegotiations with EMI at the beginning of 1967, it had been agreed that they would receive two million pounds -- roughly fifteen million pounds in today's money -- in unpaid royalties as a lump sum. If that had been paid to them as individuals, or through the company they owned, the Beatles Ltd, they would have had to pay the full top rate of tax on it, which as George had complained the previous year was over ninety-five percent. (In fact, he'd been slightly exaggerating the generosity of the UK tax system to the rich, as at that point the top rate of income tax was somewhere around ninety-seven and a half percent). But happily for them, a couple of years earlier the UK had restructured its tax laws and introduced a corporation tax, which meant that the profits of corporations were no longer taxed at the same high rate as income. So a new company had been set up, The Beatles & Co, and all the group's non-songwriting income was paid into the company. Each Beatle owned five percent of the company, and the other eighty percent was owned by a new partnership, a corporation that was soon renamed Apple Corps -- a name inspired by a painting that McCartney had liked by the artist Rene Magritte. In the early stages of Apple, it was very entangled with Nems, the company that was owned by Brian and Clive Epstein, and which was in the process of being sold to Robert Stigwood, though that sale fell through after Brian's death. The first part of Apple, Apple Publishing, had been set up in the summer of 1967, and was run by Terry Doran, a friend of Epstein's who ran a motor dealership -- most of the Apple divisions would be run by friends of the group rather than by people with experience in the industries in question. As Apple was set up during the point that Stigwood was getting involved with NEMS, Apple Publishing's initial offices were in the same building with, and shared staff with, two publishing companies that Stigwood owned, Dratleaf Music, who published Cream's songs, and Abigail Music, the Bee Gees' publishers. And indeed the first two songs published by Apple were copyrights that were gifted to the company by Stigwood -- "Listen to the Sky", a B-side by an obscure band called Sands: [Excerpt: Sands, "Listen to the Sky"] And "Outside Woman Blues", an arrangement by Eric Clapton of an old blues song by Blind Joe Reynolds, which Cream had copyrighted separately and released on Disraeli Gears: [Excerpt: Cream, "Outside Woman Blues"] But Apple soon started signing outside songwriters -- once Mike Berry, a member of Apple Publishing's staff, had sat McCartney down and explained to him what music publishing actually was, something he had never actually understood even though he'd been a songwriter for five years. Those songwriters, given that this was 1967, were often also performers, and as Apple Records had not yet been set up, Apple would try to arrange recording contracts for them with other labels. They started with a group called Focal Point, who got signed by badgering Paul McCartney to listen to their songs until he gave them Doran's phone number to shut them up: [Excerpt: Focal Point, "Sycamore Sid"] But the big early hope for Apple Publishing was a songwriter called George Alexander. Alexander's birth name had been Alexander Young, and he was the brother of George Young, who was a member of the Australian beat group The Easybeats, who'd had a hit with "Friday on My Mind": [Excerpt: The Easybeats, "Friday on My Mind"] His younger brothers Malcolm and Angus would go on to have a few hits themselves, but AC/DC wouldn't be formed for another five years. Terry Doran thought that Alexander should be a member of a band, because bands were more popular than solo artists at the time, and so he was placed with three former members of Tony Rivers and the Castaways, a Beach Boys soundalike group that had had some minor success. John Lennon suggested that the group be named Grapefruit, after a book he was reading by a conceptual artist of his acquaintance named Yoko Ono, and as Doran was making arrangements with Terry Melcher for a reciprocal publishing deal by which Melcher's American company would publish Apple songs in the US while Apple published songs from Melcher's company in the UK, it made sense for Melcher to also produce Grapefruit's first single, "Dear Delilah": [Excerpt: Grapefruit, "Dear Delilah"] That made number twenty-one in the UK when it came out in early 1968, on the back of publicity about Grapefruit's connection with the Beatles, but future singles by the band were much less successful, and like several other acts involved with Apple, they found that they were more hampered by the Beatles connection than helped. A few other people were signed to Apple Publishing early on, of whom the most notable was Jackie Lomax. Lomax had been a member of a minor Merseybeat group, the Undertakers, and after they had split up, he'd been signed by Brian Epstein with a new group, the Lomax Alliance, who had released one single, "Try as You May": [Excerpt: The Lomax Alliance, "Try As You May"] After Epstein's death, Lomax had plans to join another band, being formed by another Merseybeat musician, Chris Curtis, the former drummer of the Searchers. But after going to the Beatles to talk with them about them helping the new group financially, Lomax was persuaded by John Lennon to go solo instead. He may later have regretted that decision, as by early 1968 the people that Curtis had recruited for his new band had ditched him and were making a name for themselves as Deep Purple. Lomax recorded one solo single with funding from Stigwood, a cover version of a song by an obscure singer-songwriter, Jake Holmes, "Genuine Imitation Life": [Excerpt: Jackie Lomax, "Genuine Imitation Life"] But he was also signed to Apple Publishing as a songwriter. The Beatles had only just started laying out plans for Apple when Epstein died, and other than the publishing company one of the few things they'd agreed on was that they were going to have a film company, which was to be run by Denis O'Dell, who had been an associate producer on A Hard Day's Night and on How I Won The War, the Richard Lester film Lennon had recently starred in. A few days after Epstein's death, they had a meeting, in which they agreed that the band needed to move forward quickly if they were going to recover from Epstein's death. They had originally been planning on going to India with the Maharishi to study meditation, but they decided to put that off until the new year, and to press forward with a film project Paul had been talking about, to be titled Magical Mystery Tour. And so, on the fifth of September 1967, they went back into the recording studio and started work on a song of John's that was earmarked for the film, "I am the Walrus": [Excerpt: The Beatles, "I am the Walrus"] Magical Mystery Tour, the film, has a mixed reputation which we will talk about shortly, but one defence that Paul McCartney has always made of it is that it's the only place where you can see the Beatles performing "I am the Walrus". While the song was eventually relegated to a B-side, it's possibly the finest B-side of the Beatles' career, and one of the best tracks the group ever made. As with many of Lennon's songs from this period, the song was a collage of many different elements pulled from his environment and surroundings, and turned into something that was rather more than the sum of its parts. For its musical inspiration, Lennon pulled from, of all things, a police siren going past his house. (For those who are unfamiliar with what old British police sirens sounded like, as opposed to the ones in use for most of my lifetime or in other countries, here's a recording of one): [Excerpt: British police siren ca 1968] That inspired Lennon to write a snatch of lyric to go with the sound of the siren, starting "Mister city policeman sitting pretty". He had two other song fragments, one about sitting in the garden, and one about sitting on a cornflake, and he told Hunter Davies, who was doing interviews for his authorised biography of the group, “I don't know how it will all end up. Perhaps they'll turn out to be different parts of the same song.” But the final element that made these three disparate sections into a song was a letter that came from Stephen Bayley, a pupil at Lennon's old school Quarry Bank, who told him that the teachers at the school -- who Lennon always thought of as having suppressed his creativity -- were now analysing Beatles lyrics in their lessons. Lennon decided to come up with some nonsense that they couldn't analyse -- though as nonsensical as the finished song is, there's an underlying anger to a lot of it that possibly comes from Lennon thinking of his school experiences. And so Lennon asked his old schoolfriend Pete Shotton to remind him of a disgusting playground chant that kids used to sing in schools in the North West of England (and which they still sang with very minor variations at my own school decades later -- childhood folklore has a remarkably long life). That rhyme went: Yellow matter custard, green snot pie All mixed up with a dead dog's eye Slap it on a butty, nice and thick, And drink it down with a cup of cold sick Lennon combined some parts of this with half-remembered fragments of Lewis Carrol's The Walrus and the Carpenter, and with some punning references to things that were going on in his own life and those of his friends -- though it's difficult to know exactly which of the stories attached to some of the more incomprehensible bits of the lyrics are accurate. The story that the line "I am the eggman" is about a sexual proclivity of Eric Burdon of the Animals seems plausible, while the contention by some that the phrase "semolina pilchard" is a reference to Sgt Pilcher, the corrupt policeman who had arrested three of the Rolling Stones, and would later arrest Lennon, on drugs charges, seems less likely. The track is a masterpiece of production, but the release of the basic take on Anthology 2 in 1996 showed that the underlying performance, before George Martin worked his magic with the overdubs, is still a remarkable piece of work: [Excerpt: The Beatles, "I am the Walrus (Anthology 2 version)"] But Martin's arrangement and production turned the track from a merely very good track into a masterpiece. The string arrangement, very much in the same mould as that for "Strawberry Fields Forever" but giving a very different effect with its harsh cello glissandi, is the kind of thing one expects from Martin, but there's also the chanting of the Mike Sammes Singers, who were more normally booked for sessions like Englebert Humperdinck's "The Last Waltz": [Excerpt: Engelbert Humperdinck, "The Last Waltz"] But here were instead asked to imitate the sound of the strings, make grunting noises, and generally go very far out of their normal comfort zone: [Excerpt: The Beatles, "I am the Walrus"] But the most fascinating piece of production in the entire track is an idea that seems to have been inspired by people like John Cage -- a live feed of a radio being tuned was played into the mono mix from about the halfway point, and whatever was on the radio at the time was captured: [Excerpt: The Beatles, "I am the Walrus"] This is also why for many decades it was impossible to have a true stereo mix of the track -- the radio part was mixed directly into the mono mix, and it wasn't until the 1990s that someone thought to track down a copy of the original radio broadcasts and recreate the process. In one of those bits of synchronicity that happen more often than you would think when you're creating aleatory art, and which are why that kind of process can be so appealing, one bit of dialogue from the broadcast of King Lear that was on the radio as the mixing was happening was *perfectly* timed: [Excerpt: The Beatles, "I am the Walrus"] After completing work on the basic track for "I am the Walrus", the group worked on two more songs for the film, George's "Blue Jay Way" and a group-composed twelve-bar blues instrumental called "Flying", before starting production. Magical Mystery Tour, as an idea, was inspired in equal parts by Ken Kesey's Merry Pranksters, the collective of people we talked about in the episode on the Grateful Dead who travelled across the US extolling the virtues of psychedelic drugs, and by mystery tours, a British working-class tradition that has rather fallen out of fashion in the intervening decades. A mystery tour would generally be put on by a coach-hire company, and would be a day trip to an unannounced location -- though the location would in fact be very predictable, and would be a seaside town within a couple of hours' drive of its starting point. In the case of the ones the Beatles remembered from their own childhoods, this would be to a coastal town in Lancashire or Wales, like Blackpool, Rhyl, or Prestatyn. A coachload of people would pay to be driven to this random location, get very drunk and have a singsong on the bus, and spend a day wherever they were taken. McCartney's plan was simple -- they would gather a group of passengers and replicate this experience over the course of several days, and film whatever went on, but intersperse that with more planned out sketches and musical numbers. For this reason, along with the Beatles and their associates, the cast included some actors found through Spotlight and some of the group's favourite performers, like the comedian Nat Jackley (whose comedy sequence directed by John was cut from the final film) and the surrealist poet/singer/comedian Ivor Cutler: [Excerpt: Ivor Cutler, "I'm Going in a Field"] The film also featured an appearance by a new band who would go on to have great success over the next year, the Bonzo Dog Doo-Dah Band. They had recorded their first single in Abbey Road at the same time as the Beatles were recording Revolver, but rather than being progressive psychedelic rock, it had been a remake of a 1920s novelty song: [Excerpt: The Bonzo Dog Doo-Dah Band, "My Brother Makes the Noises For the Talkies"] Their performance in Magical Mystery Tour was very different though -- they played a fifties rock pastiche written by band leaders Vivian Stanshall and Neil Innes while a stripper took off her clothes. While several other musical sequences were recorded for the film, including one by the band Traffic and one by Cutler, other than the Beatles tracks only the Bonzos' song made it into the finished film: [Excerpt: The Bonzo Dog Doo-Dah Band, "Death Cab for Cutie"] That song, thirty years later, would give its name to a prominent American alternative rock band. Incidentally the same night that Magical Mystery Tour was first broadcast was also the night that the Bonzo Dog Doo-Dah Band first appeared on a TV show, Do Not Adjust Your Set, which featured three future members of the Monty Python troupe -- Eric Idle, Michael Palin, and Terry Jones. Over the years the careers of the Bonzos, the Pythons, and the Beatles would become increasingly intertwined, with George Harrison in particular striking up strong friendships and working relationships with Bonzos Neil Innes and "Legs" Larry Smith. The filming of Magical Mystery Tour went about as well as one might expect from a film made by four directors, none of whom had any previous filmmaking experience, and none of whom had any business knowledge. The Beatles were used to just turning up and having things magically done for them by other people, and had no real idea of the infrastructure challenges that making a film, even a low-budget one, actually presents, and ended up causing a great deal of stress to almost everyone involved. The completed film was shown on TV on Boxing Day 1967 to general confusion and bemusement. It didn't help that it was originally broadcast in black and white, and so for example the scene showing shifting landscapes (outtake footage from Stanley Kubrick's Dr. Strangelove, tinted various psychedelic colours) over the "Flying" music, just looked like grey fuzz. But also, it just wasn't what people were expecting from a Beatles film. This was a ramshackle, plotless, thing more inspired by Andy Warhol's underground films than by the kind of thing the group had previously appeared in, and it was being presented as Christmas entertainment for all the family. And to be honest, it's not even a particularly good example of underground filmmaking -- though it looks like a masterpiece when placed next to something like the Bee Gees' similar effort, Cucumber Castle. But there are enough interesting sequences in there for the project not to be a complete failure -- and the deleted scenes on the DVD release, including the performances by Cutler and Traffic, and the fact that the film was edited down from ten hours to fifty-two minutes, makes one wonder if there's a better film that could be constructed from the original footage. Either way, the reaction to the film was so bad that McCartney actually appeared on David Frost's TV show the next day to defend it and, essentially, apologise. While they were editing the film, the group were also continuing to work in the studio, including on two new McCartney songs, "The Fool on the Hill", which was included in Magical Mystery Tour, and "Hello Goodbye", which wasn't included on the film's soundtrack but was released as the next single, with "I Am the Walrus" as the B-side: [Excerpt: The Beatles, "Hello Goodbye"] Incidentally, in the UK the soundtrack to Magical Mystery Tour was released as a double-EP rather than as an album (in the US, the group's recent singles and B-sides were added to turn it into a full-length album, which is how it's now generally available). "I Am the Walrus" was on the double-EP as well as being on the single's B-side, and the double-EP got to number two on the singles charts, meaning "I am the Walrus" was on the records at number one and number two at the same time. Before it became obvious that the film, if not the soundtrack, was a disaster, the group held a launch party on the twenty-first of December, 1967. The band members went along in fancy dress, as did many of the cast and crew -- the Bonzo Dog Doo-Dah Band performed at the party. Mike Love and Bruce Johnston of the Beach Boys also turned up at the party, and apparently at one point jammed with the Bonzos, and according to some, but not all, reports, a couple of the Beatles joined in as well. Love and Johnston had both just met the Maharishi for the first time a couple of days earlier, and Love had been as impressed as the Beatles were, and it may have been at this party that the group mentioned to Love that they would soon be going on a retreat in India with the guru -- a retreat that was normally meant for training TM instructors, but this time seemed to be more about getting celebrities involved. Love would also end up going with them. That party was also the first time that Cynthia Lennon had an inkling that John might not be as faithful to her as she previously supposed. John had always "joked" about being attracted to George Harrison's wife, Patti, but this time he got a little more blatant about his attraction than he ever had previously, to the point that he made Cynthia cry, and Cynthia's friend, the pop star Lulu, decided to give Lennon a very public dressing-down for his cruelty to his wife, a dressing-down that must have been a sight to behold, as Lennon was dressed as a Teddy boy while Lulu was in a Shirley Temple costume. It's a sign of how bad the Lennons' marriage was at this point that this was the second time in a two-month period where Cynthia had ended up crying because of John at a film launch party and been comforted by a female pop star. In October, Cilla Black had held a party to celebrate the belated release of John's film How I Won the War, and during the party Georgie Fame had come up to Black and said, confused, "Cynthia Lennon is hiding in your wardrobe". Black went and had a look, and Cynthia explained to her “I'm waiting to see how long it is before John misses me and comes looking for me.” Black's response had been “You'd better face it, kid—he's never gonna come.” Also at the Magical Mystery Tour party was Lennon's father, now known as Freddie Lennon, and his new nineteen-year-old fiancee. While Hunter Davis had been researching the Beatles' biography, he'd come across some evidence that the version of Freddie's attitude towards John that his mother's side of the family had always told him -- that Freddie had been a cruel and uncaring husband who had not actually wanted to be around his son -- might not be the whole of the truth, and that the mother who he had thought of as saintly might also have had some part to play in their marriage breaking down and Freddie not seeing his son for twenty years. The two had made some tentative attempts at reconciliation, and indeed Freddie would even come and live with John for a while, though within a couple of years the younger Lennon's heart would fully harden against his father again. Of course, the things that John always resented his father for were pretty much exactly the kind of things that Lennon himself was about to do. It was around this time as well that Derek Taylor gave the Beatles copies of the debut album by a young singer/songwriter named Harry Nilsson. Nilsson will be getting his own episode down the line, but not for a couple of years at my current rates, so it's worth bringing that up here, because that album became a favourite of all the Beatles, and would have a huge influence on their songwriting for the next couple of years, and because one song on the album, "1941", must have resonated particularly deeply with Lennon right at this moment -- an autobiographical song by Nilsson about how his father had left him and his mother when he was a small boy, and about his own fear that, as his first marriage broke down, he was repeating the pattern with his stepson Scott: [Excerpt: Nilsson, "1941"] The other major event of December 1967, rather overshadowed by the Magical Mystery Tour disaster the next day, was that on Christmas Day Paul McCartney and Jane Asher announced their engagement. A few days later, George Harrison flew to India. After John and Paul had had their outside film projects -- John starring in How I Won The War and Paul doing the soundtrack for The Family Way -- the other two Beatles more or less simultaneously did their own side project films, and again one acted while the other did a soundtrack. Both of these projects were in the rather odd subgenre of psychedelic shambolic comedy film that sprang up in the mid sixties, a subgenre that produced a lot of fascinating films, though rather fewer good ones. Indeed, both of them were in the subsubgenre of shambolic psychedelic *sex* comedies. In Ringo's case, he had a small role in the film Candy, which was based on the novel we mentioned in the last episode, co-written by Terry Southern, which was in itself a loose modern rewriting of Voltaire's Candide. Unfortunately, like such other classics of this subgenre as Anthony Newley's Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?, Candy has dated *extremely* badly, and unless you find repeated scenes of sexual assault and rape, ethnic stereotypes, and jokes about deformity and disfigurement to be an absolute laugh riot, it's not a film that's worth seeking out, and Starr's part in it is not a major one. Harrison's film was of the same basic genre -- a film called Wonderwall about a mad scientist who discovers a way to see through the walls of his apartment, and gets to see a photographer taking sexy photographs of a young woman named Penny Lane, played by Jane Birkin: [Excerpt: Some Wonderwall film dialogue ripped from the Blu-Ray] Wonderwall would, of course, later inspire the title of a song by Oasis, and that's what the film is now best known for, but it's a less-unwatchable film than Candy, and while still problematic it's less so. Which is something. Harrison had been the Beatle with least involvement in Magical Mystery Tour -- McCartney had been the de facto director, Starr had been the lead character and the only one with much in the way of any acting to do, and Lennon had written the film's standout scene and its best song, and had done a little voiceover narration. Harrison, by contrast, barely has anything to do in the film apart from the one song he contributed, "Blue Jay Way", and he said of the project “I had no idea what was happening and maybe I didn't pay enough attention because my problem, basically, was that I was in another world, I didn't really belong; I was just an appendage.” He'd expressed his discomfort to his friend Joe Massot, who was about to make his first feature film. Massot had got to know Harrison during the making of his previous film, Reflections on Love, a mostly-silent short which had starred Harrison's sister-in-law Jenny Boyd, and which had been photographed by Robert Freeman, who had been the photographer for the Beatles' album covers from With the Beatles through Rubber Soul, and who had taken most of the photos that Klaus Voorman incorporated into the cover of Revolver (and whose professional association with the Beatles seemed to come to an end around the same time he discovered that Lennon had been having an affair with his wife). Massot asked Harrison to write the music for the film, and told Harrison he would have complete free rein to make whatever music he wanted, so long as it fit the timing of the film, and so Harrison decided to create a mixture of Western rock music and the Indian music he loved. Harrison started recording the music at the tail end of 1967, with sessions with several London-based Indian musicians and John Barham, an orchestrator who had worked with Ravi Shankar on Shankar's collaborations with Western musicians, including the Alice in Wonderland soundtrack we talked about in the "All You Need is Love" episode. For the Western music, he used the Remo Four, a Merseybeat group who had been on the scene even before the Beatles, and which contained a couple of classmates of Paul McCartney, but who had mostly acted as backing musicians for other artists. They'd backed Johnny Sandon, the former singer with the Searchers, on a couple of singles, before becoming the backing band for Tommy Quickly, a NEMS artist who was unsuccessful despite starting his career with a Lennon/McCartney song, "Tip of My Tongue": [Excerpt: Tommy Quickly, "Tip of My Tongue"] The Remo Four would later, after a lineup change, become Ashton, Gardner and Dyke, who would become one-hit wonders in the seventies, and during the Wonderwall sessions they recorded a song that went unreleased at the time, and which would later go on to be rerecorded by Ashton, Gardner, and Dyke. "In the First Place" also features Harrison on backing vocals and possibly guitar, and was not submitted for the film because Harrison didn't believe that Massot wanted any vocal tracks, but the recording was later discovered and used in a revised director's cut of the film in the nineties: [Excerpt: The Remo Four, "In the First Place"] But for the most part the Remo Four were performing instrumentals written by Harrison. They weren't the only Western musicians performing on the sessions though -- Peter Tork of the Monkees dropped by these sessions and recorded several short banjo solos, which were used in the film soundtrack but not in the soundtrack album (presumably because Tork was contracted to another label): [Excerpt: Peter Tork, "Wonderwall banjo solo"] Another musician who was under contract to another label was Eric Clapton, who at the time was playing with The Cream, and who vaguely knew Harrison and so joined in for the track "Ski-ing", playing lead guitar under the cunning, impenetrable, pseudonym "Eddie Clayton", with Harrison on sitar, Starr on drums, and session guitarist Big Jim Sullivan on bass: [Excerpt: George Harrison, "Ski-ing"] But the bulk of the album was recorded in EMI's studios in the city that is now known as Mumbai but at the time was called Bombay. The studio facilities in India had up to that point only had a mono tape recorder, and Bhaskar Menon, one of the top executives at EMI's Indian division and later the head of EMI music worldwide, personally brought the first stereo tape recorder to the studio to aid in Harrison's recording. The music was all composed by Harrison and performed by the Indian musicians, and while Harrison was composing in an Indian mode, the musicians were apparently fascinated by how Western it sounded to them: [Excerpt: George Harrison, "Microbes"] While he was there, Harrison also got the instrumentalists to record another instrumental track, which wasn't to be used for the film: [Excerpt: George Harrison, "The Inner Light (instrumental)"] That track would, instead, become part of what was to be Harrison's first composition to make a side of a Beatles single. After John and George had appeared on the David Frost show talking about the Maharishi, in September 1967, George had met a lecturer in Sanskrit named Juan Mascaró, who wrote to Harrison enclosing a book he'd compiled of translations of religious texts, telling him he'd admired "Within You Without You" and thought it would be interesting if Harrison set something from the Tao Te Ching to music. He suggested a text that, in his translation, read: "Without going out of my door I can know all things on Earth Without looking out of my window I can know the ways of heaven For the farther one travels, the less one knows The sage, therefore Arrives without travelling Sees all without looking Does all without doing" Harrison took that text almost verbatim, though he created a second verse by repeating the first few lines with "you" replacing "I" -- concerned that listeners might think he was just talking about himself, and wouldn't realise it was a more general statement -- and he removed the "the sage, therefore" and turned the last few lines into imperative commands rather than declarative statements: [Excerpt: The Beatles, "The Inner Light"] The song has come in for some criticism over the years as being a little Orientalist, because in critics' eyes it combines Chinese philosophy with Indian music, as if all these things are equally "Eastern" and so all the same really. On the other hand there's a good argument that an English songwriter taking a piece of writing written in Chinese and translated into English by a Spanish man and setting it to music inspired by Indian musical modes is a wonderful example of cultural cross-pollination. As someone who's neither Chinese nor Indian I wouldn't want to take a stance on it, but clearly the other Beatles were impressed by it -- they put it out as the B-side to their next single, even though the only Beatles on it are Harrison and McCartney, with the latter adding a small amount of harmony vocal: [Excerpt: The Beatles, "The Inner Light"] And it wasn't because the group were out of material. They were planning on going to Rishikesh to study with the Maharishi, and wanted to get a single out for release while they were away, and so in one week they completed the vocal overdubs on "The Inner Light" and recorded three other songs, two by John and one by Paul. All three of the group's songwriters brought in songs that were among their best. John's first contribution was a song whose lyrics he later described as possibly the best he ever wrote, "Across the Universe". He said the lyrics were “purely inspirational and were given to me as boom! I don't own it, you know; it came through like that … Such an extraordinary meter and I can never repeat it! It's not a matter of craftsmanship, it wrote itself. It drove me out of bed. I didn't want to write it … It's like being possessed, like a psychic or a medium.” But while Lennon liked the song, he was never happy with the recording of it. They tried all sorts of things to get the sound he heard in his head, including bringing in some fans who were hanging around outside to sing backing vocals. He said of the track "I was singing out of tune and instead of getting a decent choir, we got fans from outside, Apple Scruffs or whatever you call them. They came in and were singing all off-key. Nobody was interested in doing the tune originally.” [Excerpt: The Beatles, "Across the Universe"] The "jai guru deva" chorus there is the first reference to the teachings of the Maharishi in one of the Beatles' records -- Guru Dev was the Maharishi's teacher, and the phrase "Jai guru dev" is a Sanskrit one which I've seen variously translated as "victory to the great teacher", and "hail to the greatness within you". Lennon would say shortly before his death “The Beatles didn't make a good record out of it. I think subconsciously sometimes we – I say ‘we' though I think Paul did it more than the rest of us – Paul would sort of subconsciously try and destroy a great song … Usually we'd spend hours doing little detailed cleaning-ups of Paul's songs, when it came to mine, especially if it was a great song like ‘Strawberry Fields' or ‘Across The Universe', somehow this atmosphere of looseness and casualness and experimentation would creep in … It was a _lousy_ track of a great song and I was so disappointed by it …The guitars are out of tune and I'm singing out of tune because I'm psychologically destroyed and nobody's supporting me or helping me with it, and the song was never done properly.” Of course, this is only Lennon's perception, and it's one that the other participants would disagree with. George Martin, in particular, was always rather hurt by the implication that Lennon's songs had less attention paid to them, and he would always say that the problem was that Lennon in the studio would always say "yes, that's great", and only later complain that it hadn't been what he wanted. No doubt McCartney did put in more effort on his own songs than on Lennon's -- everyone has a bias towards their own work, and McCartney's only human -- but personally I suspect that a lot of the problem comes down to the two men having very different personalities. McCartney had very strong ideas about his own work and would drive the others insane with his nitpicky attention to detail. Lennon had similarly strong ideas, but didn't have the attention span to put the time and effort in to force his vision on others, and didn't have the technical knowledge to express his ideas in words they'd understand. He expected Martin and the other Beatles to work miracles, and they did -- but not the miracles he would have worked. That track was, rather than being chosen for the next single, given to Spike Milligan, who happened to be visiting the studio and was putting together an album for the environmental charity the World Wildlife Fund. The album was titled "No One's Gonna Change Our World": [Excerpt: The Beatles, "Across the Universe"] That track is historic in another way -- it would be the last time that George Harrison would play sitar on a Beatles record, and it effectively marks the end of the period of psychedelia and Indian influence that had started with "Norwegian Wood" three years earlier, and which many fans consider their most creative period. Indeed, shortly after the recording, Harrison would give up the sitar altogether and stop playing it. He loved sitar music as much as he ever had, and he still thought that Indian classical music spoke to him in ways he couldn't express, and he continued to be friends with Ravi Shankar for the rest of his life, and would only become more interested in Indian religious thought. But as he spent time with Shankar he realised he would never be as good on the sitar as he hoped. He said later "I thought, 'Well, maybe I'm better off being a pop singer-guitar-player-songwriter – whatever-I'm-supposed-to-be' because I've seen a thousand sitar-players in India who are twice as better as I'll ever be. And only one of them Ravi thought was going to be a good player." We don't have a precise date for when it happened -- I suspect it was in June 1968, so a few months after the "Across the Universe" recording -- but Shankar told Harrison that rather than try to become a master of a music that he hadn't encountered until his twenties, perhaps he should be making the music that was his own background. And as Harrison put it "I realised that was riding my bike down a street in Liverpool and hearing 'Heartbreak Hotel' coming out of someone's house.": [Excerpt: Elvis Presley, "Heartbreak Hotel"] In early 1968 a lot of people seemed to be thinking along the same lines, as if Christmas 1967 had been the flick of a switch and instead of whimsy and ornamentation, the thing to do was to make music that was influenced by early rock and roll. In the US the Band and Bob Dylan were making music that was consciously shorn of all studio experimentation, while in the UK there was a revival of fifties rock and roll. In April 1968 both "Peggy Sue" and "Rock Around the Clock" reentered the top forty in the UK, and the Who were regularly including "Summertime Blues" in their sets. Fifties nostalgia, which would make occasional comebacks for at least the next forty years, was in its first height, and so it's not surprising that Paul McCartney's song, "Lady Madonna", which became the A-side of the next single, has more than a little of the fifties about it. Of course, the track isn't *completely* fifties in its origins -- one of the inspirations for the track seems to have been the Rolling Stones' then-recent hit "Let's Spend The Night Together": [Excerpt: The Rolling Stones, "Let's Spend the Night Together"] But the main source for the song's music -- and for the sound of the finished record -- seems to have been Johnny Parker's piano part on Humphrey Lyttleton's "Bad Penny Blues", a hit single engineered by Joe Meek in the fifties: [Excerpt: Humphrey Lyttleton, "Bad Penny Blues"] That song seems to have been on the group's mind for a while, as a working title for "With a Little Help From My Friends" had at one point been "Bad Finger Blues" -- a title that would later give the name to a band on Apple. McCartney took Parker's piano part as his inspiration, and as he later put it “‘Lady Madonna' was me sitting down at the piano trying to write a bluesy boogie-woogie thing. I got my left hand doing an arpeggio thing with the chord, an ascending boogie-woogie left hand, then a descending right hand. I always liked that, the juxtaposition of a line going down meeting a line going up." [Excerpt: The Beatles, "Lady Madonna"] That idea, incidentally, is an interesting reversal of what McCartney had done on "Hello, Goodbye", where the bass line goes down while the guitar moves up -- the two lines moving away from each other: [Excerpt: The Beatles, "Hello Goodbye"] Though that isn't to say there's no descending bass in "Lady Madonna" -- the bridge has a wonderful sequence where the bass just *keeps* *descending*: [Excerpt: The Beatles, "Lady Madonna"] Lyrically, McCartney was inspired by a photo in National Geographic of a woman in Malaysia, captioned “Mountain Madonna: with one child at her breast and another laughing into her face, sees her quality of life threatened.” But as he put it “The people I was brought up amongst were often Catholic; there are lots of Catholics in Liverpool because of the Irish connection and they are often religious. When they have a baby I think they see a big connection between themselves and the Virgin Mary with her baby. So the original concept was the Virgin Mary but it quickly became symbolic of every woman; the Madonna image but as applied to ordinary working class woman. It's really a tribute to the mother figure, it's a tribute to women.” Musically though, the song was more a tribute to the fifties -- while the inspiration had been a skiffle hit by Humphrey Lyttleton, as soon as McCartney started playing it he'd thought of Fats Domino, and the lyric reflects that to an extent -- just as Domino's "Blue Monday" details the days of the week for a weary working man who only gets to enjoy himself on Saturday night, "Lady Madonna"'s lyrics similarly look at the work a mother has to do every day -- though as McCartney later noted "I was writing the words out to learn it for an American TV show and I realised I missed out Saturday ... So I figured it must have been a real night out." The vocal was very much McCartney doing a Domino impression -- something that wasn't lost on Fats, who cut his own version of the track later that year: [Excerpt: Fats Domino, "Lady Madonna"] The group were so productive at this point, right before the journey to India, that they actually cut another song *while they were making a video for "Lady Madonna"*. They were booked into Abbey Road to film themselves performing the song so it could be played on Top of the Pops while they were away, but instead they decided to use the time to cut a new song -- John had a partially-written song, "Hey Bullfrog", which was roughly the same tempo as "Lady Madonna", so they could finish that up and then re-edit the footage to match the record. The song was quickly finished and became "Hey Bulldog": [Excerpt: The Beatles, "Hey Bulldog"] One of Lennon's best songs from this period, "Hey Bulldog" was oddly chosen only to go on the soundtrack of Yellow Submarine. Either the band didn't think much of it because it had come so easily, or it was just assigned to the film because they were planning on being away for several months and didn't have any other projects they were working on. The extent of the group's contribution to the film was minimal – they were not very hands-on, and the film, which was mostly done as an attempt to provide a third feature film for their United Artists contract without them having to do any work, was made by the team that had done the Beatles cartoon on American TV. There's some evidence that they had a small amount of input in the early story stages, but in general they saw the cartoon as an irrelevance to them -- the only things they contributed were the four songs "All Together Now", "It's All Too Much", "Hey Bulldog" and "Only a Northern Song", and a brief filmed appearance for the very end of the film, recorded in January: [Excerpt: Yellow Submarine film end] McCartney also took part in yet another session in early February 1968, one produced by Peter Asher, his fiancee's brother, and former singer with Peter and Gordon. Asher had given up on being a pop star and was trying to get into the business side of music, and he was starting out as a producer, producing a single by Paul Jones, the former lead singer of Manfred Mann. The A-side of the single, "And the Sun Will Shine", was written by the Bee Gees, the band that Robert Stigwood was managing: [Excerpt: Paul Jones, "And the Sun Will Shine"] While the B-side was an original by Jones, "The Dog Presides": [Excerpt: Paul Jones, "The Dog Presides"] Those tracks featured two former members of the Yardbirds, Jeff Beck and Paul Samwell-Smith, on guitar and bass, and Nicky Hopkins on piano. Asher asked McCartney to play drums on both sides of the single, saying later "I always thought he was a great, underrated drummer." McCartney was impressed by Asher's production, and asked him to get involved with the new Apple Records label that would be set up when the group returned from India. Asher eventually became head of A&R for the label. And even before "Lady Madonna" was mixed, the Beatles were off to India. Mal Evans, their roadie, went ahead with all their luggage on the fourteenth of February, so he could sort out transport for them on the other end, and then John and George followed on the fifteenth, with their wives Pattie and Cynthia and Pattie's sister Jenny (John and Cynthia's son Julian had been left with his grandmother while they went -- normally Cynthia wouldn't abandon Julian for an extended period of time, but she saw the trip as a way to repair their strained marriage). Paul and Ringo followed four days later, with Ringo's wife Maureen and Paul's fiancee Jane Asher. The retreat in Rishikesh was to become something of a celebrity affair. Along with the Beatles came their friend the singer-songwriter Donovan, and Donovan's friend and songwriting partner, whose name I'm not going to say here because it's a slur for Romani people, but will be known to any Donovan fans. Donovan at this point was also going through changes. Like the Beatles, he was largely turning away from drug use and towards meditation, and had recently written his hit single "There is a Mountain" based around a saying from Zen Buddhism: [Excerpt: Donovan, "There is a Mountain"] That was from his double-album A Gift From a Flower to a Garden, which had come out in December 1967. But also like John and Paul he was in the middle of the breakdown of a long-term relationship, and while he would remain with his then-partner until 1970, and even have another child with her, he was secretly in love with another woman. In fact he was secretly in love with two other women. One of them, Brian Jones' ex-girlfriend Linda, had moved to LA, become the partner of the singer Gram Parsons, and had appeared in the documentary You Are What You Eat with the Band and Tiny Tim. She had fallen out of touch with Donovan, though she would later become his wife. Incidentally, she had a son to Brian Jones who had been abandoned by his rock-star father -- the son's name is Julian. The other woman with whom Donovan was in love was Jenny Boyd, the sister of George Harrison's wife Pattie. Jenny at the time was in a relationship with Alexis Mardas, a TV repairman and huckster who presented himself as an electronics genius to the Beatles, who nicknamed him Magic Alex, and so she was unavailable, but Donovan had written a song about her, released as a single just before they all went to Rishikesh: [Excerpt: Donovan, "Jennifer Juniper"] Donovan considered himself and George Harrison to be on similar spiritual paths and called Harrison his "spirit-brother", though Donovan was more interested in Buddhism, which Harrison considered a corruption of the more ancient Hinduism, and Harrison encouraged Donovan to read Autobiography of a Yogi. It's perhaps worth noting that Donovan's father had a different take on the subject though, saying "You're not going to study meditation in India, son, you're following that wee lassie Jenny" Donovan and his friend weren't the only other celebrities to come to Rishikesh. The actor Mia Farrow, who had just been through a painful divorce from Frank Sinatra, and had just made Rosemary's Baby, a horror film directed by Roman Polanski with exteriors shot at the Dakota building in New York, arrived with her sister Prudence. Also on the trip was Paul Horn, a jazz saxophonist who had played with many of the greats of jazz, not least of them Duke Ellington, whose Sweet Thursday Horn had played alto sax on: [Excerpt: Duke Ellington, "Zweet Zursday"] Horn was another musician who had been inspired to investigate Indian spirituality and music simultaneously, and the previous year he had recorded an album, "In India," of adaptations of ragas, with Ravi Shankar and Alauddin Khan: [Excerpt: Paul Horn, "Raga Vibhas"] Horn would go on to become one of the pioneers of what would later be termed "New Age" music, combining jazz with music from various non-Western traditions. Horn had also worked as a session musician, and one of the tracks he'd played on was "I Know There's an Answer" from the Beach Boys' Pet Sounds album: [Excerpt: The Beach Boys, "I Know There's an Answer"] Mike Love, who co-wrote that track and is one of the lead singers on it, was also in Rishikesh. While as we'll see not all of the celebrities on the trip would remain practitioners of Transcendental Meditation, Love would be profoundly affected by the trip, and remains a vocal proponent of TM to this day. Indeed, his whole band at the time were heavily into TM. While Love was in India, the other Beach Boys were working on the Friends album without him -- Love only appears on four tracks on that album -- and one of the tracks they recorded in his absence was titled "Transcendental Meditation": [Excerpt: The Beach Boys, "Transcendental Meditation"] But the trip would affect Love's songwriting, as it would affect all of the musicians there. One of the few songs on the Friends album on which Love appears is "Anna Lee, the Healer", a song which is lyrically inspired by the trip in the most literal sense, as it's about a masseuse Love met in Rishikesh: [Excerpt: The Beach Boys, "Anna Lee, the Healer"] The musicians in the group all influenced and inspired each other as is likely to happen in such circumstances. Sometimes, it would be a matter of trivial joking, as when the Beatles decided to perform an off-the-cuff song about Guru Dev, and did it in the Beach Boys style: [Excerpt: The Beatles, "Spiritual Regeneration"] And that turned partway through into a celebration of Love for his birthday: [Excerpt: The Beatles, "Spiritual Regeneration"] Decades later, Love would return the favour, writing a song about Harrison and their time together in Rishikesh. Like Donovan, Love seems to have considered Harrison his "spiritual brother", and he titled the song "Pisces Brothers": [Excerpt: Mike Love, "Pisces Brothers"] The musicians on the trip were also often making suggestions to each other about songs that would become famous for them. The musicians had all brought acoustic guitars, apart obviously from Ringo, who got a set of tabla drums when George ordered some Indian instruments to be delivered. George got a sitar, as at this point he hadn't quite given up on the instrument, and he gave Donovan a tamboura. Donovan started playing a melody on the tamboura, which is normally a drone instrument, inspired by the Scottish folk music he had grown up with, and that became his "Hurdy-Gurdy Man": [Excerpt: Donovan, "Hurdy Gurdy Man"] Harrison actually helped him with the song, writing a final verse inspired by the Maharishi's teachings, but in the studio Donovan's producer Mickie Most told him to cut the verse because the song was overlong, which apparently annoyed Harrison. Donovan includes that verse in his live performances of the song though -- usually while doing a fairly terrible impersonation of Harrison: [Excerpt: Donovan, "Hurdy Gurdy Man (live)"] And similarly, while McCartney was working on a song pastiching Chuck Berry and the Beach Boys, but singing about the USSR rather than the USA, Love suggested to him that for a middle-eight he might want to sing about the girls in the various Soviet regions: [Excerpt: The Beatles, "Back in the USSR"] As all the guitarists on the retreat only had acoustic instruments, they were very keen to improve their acoustic playing, and they turned to Donovan, who unlike the rest of them was primarily an acoustic player, and one from a folk background. Donovan taught them the rudiments of Travis picking, the guitar style we talked about way back in the episodes on the Everly Brothers, as well as some of the tunings that had been introduced to British folk music by Davey Graham, giving them a basic grounding in the principles of English folk-baroque guitar, a style that had developed over the previous few years. Donovan has said in his autobiography that Lennon picked the technique up quickly (and that Harrison had already learned Travis picking from Chet Atkins records) but that McCartney didn't have the application to learn the style, though he picked up bits. That seems very unlike anything else I've read anywhere about Lennon and McCartney -- no-one has ever accused Lennon of having a surfeit of application -- and reading Donovan's book he seems to dislike McCartney and like Lennon and Harrison, so possibly that enters into it. But also, it may just be that Lennon was more receptive to Donovan's style at the time. According to McCartney, even before going to Rishikesh Lennon had been in a vaguely folk-music and country mode, and the small number of tapes he'd brought with him to Rishikesh included Buddy Holly, Dylan, and the progressive folk band The Incredible String Band, whose music would be a big influence on both Lennon and McCartney for the next year: [Excerpt: The Incredible String Band, "First Girl I Loved"] According to McCartney Lennon also brought "a tape the singer Jake Thackray had done for him... He was one of the people we bumped into at Abbey Road. John liked his stuff, which he'd heard on television. Lots of wordplay and very suggestive, so very much up John's alley. I was fascinated by his unusual guitar style. John did ‘Happiness Is A Warm Gun' as a Jake Thackray thing at one point, as I recall.” Thackray was a British chansonnier, who sang sweetly poignant but also often filthy songs about Yorkshire life, and his humour in particular will have appealed to Lennon. There's a story of Lennon meeting Thackray in Abbey Road and singing the whole of Thackray's song "The Statues", about two drunk men fighting a male statue to defend the honour of a female statue, to him: [Excerpt: Jake Thackray, "The Statues"] Given this was the music that Lennon was listening to, it's unsurprising that he was more receptive to Donovan's lessons, and the new guitar style he learned allowed him to expand his songwriting, at precisely the same time he was largely clean of drugs for the first time in several years, and he started writing some of the best songs he would ever write, often using these new styles: [Excerpt: The Beatles, "Julia"] That song is about Lennon's dead mother -- the first time he ever addressed her directly in a song, though it would be far from the last -- but it's also about someone else. That phrase "Ocean child" is a direct translation of the Japanese name "Yoko". We've talked about Yoko Ono a bit in recent episodes, and even briefly in a previous Beatles episode, but it's here that she really enters the story of the Beatles. Unfortunately, exactly *how* her relationship with John Lennon, which was to become one of the great legendary love stories in rock and roll history, actually started is the subject of some debate. Both of them were married when they first got together, and there have also been suggestions that Ono was more interested in McCartney than in Lennon at first -- suggestions which everyone involved has denied, and those denials have the ring of truth about them, but if that was the case it would also explain some of Lennon's more perplexing behaviour over the next year. By all accounts there was a certain amount of finessing of the story th
The A student's worst nightmare… The teacher says, “Grab a partner, it's group project time!” Perhaps you think it a ruthless generalization to say the task of a group project often forces one student with the ability, drive, and support from home to do all the work. But this was Little Bird Marketing CEO Priscilla McKinney's exact experience when her son came home from school one fateful day. News flash! The 5th grader group project setup doesn't end with 5th grade. Turns out, it extends to the corporate world. When talking about collaborations in the corporate sphere, Priscilla was met with resistance. What business leaders THOUGHT was a collaboration was really just a Kumbaya moment. Sure, we could sing All Together Now if you're more of a Beatles fan, but that doesn't get the work done! Getting people next to each other doing similar things DOES NOT equate to collaboration. It's not a win-lose situation. True collaboration means bigger wins for everyone. THAT'S what pushed Priscilla to write a book. Yep, Cultural Anthropologist, aspiring lunch eater, champagne aficionado, and social selling expert has now added AUTHOR to her titles. Want to know the framework for setting true collaboration in motion? Listen to today's full episode for the three big factors of collaboration that lead to success! The Market Research Podcast Award is back! And it's time to nominate your favorite kick-ass market research podcast for a chance to win the coveted title of MR Podcast of the Year. Nominations are open now through June 30th, and voting will open from July 1st to August 12th. Nominate your absolute favorite podcast in the insights industry at littlebirdmarketing.com/mr-podcast-award! The winner will be announced at Insights Marketing Day on September 28th. Will your favorite insights podcast make the cut?
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