Podcasts about alternate titles

Episode 322 ///February 7, 2024 ///Alternate Titles: 69 U, Why Do You Hate?, Retiring The Closet, Redecorating The Closet, Marinating, Losing A Condom, Fishing Out Condoms, Gender Neutral, /// (0:20) Welcome to Fella Friday.(9:30) Pillow talk.(24:32) I walked into the wrong restroom.(30:27) 1000 women.(41:55) Can you stay loyal?(55:50) TVs are falling. /// 1:11:18

Episode 318 ///December 6, 2024 ///Alternate Titles: 2024 Wrap-up, Our Favorite Mistake, Your Mom Is My Favorite, You're Mom's A 9, You're Mom's The Best, Thanksgiving Miracle, Jerokee's Guarantee, /// (0:20) Welcome to Flash Fridays.(09:00) Our favorite show.(21:00) Thanksgiving Miracle.(31:10) The Drama Continues.(48:15) Oso's Would You Rather? /// 1:31:04

Send us a textThis week on the old pod john: Sandhill cranes, wisdom from Walt Whitman, and the latest dangerous street drug.Support the showThanks for listening! Listen, rate, subscribe and other marketing type slogans! Here's my Insta: @dannypalmernyc @thedannypalmershow@blackcatcomedy (NYC stand-up show every Friday at 9 pm. 172 Rivington St.) And subscribe to my Patreon? Maybe? If you know how to? I don't know how it works. Let's just leave this thing be: https://www.patreon.com/thedannypalmershow

The Juice is finally loose in theaters once again. After many long years, we're gifted this sequel to the classic movie Beetlejuice. As with all of these "legacy sequels" or soft reboots, Kevin and Charlie proceed with a hopeful optimism despite being burned by so many others before it. Join us as Kevin gives his take on how Beetlejuice Beetlejuice holds up!   Alternate Titles* - 2 Juice 2 Loose - Beetlejuice 2 Electric Beetaloo - Famke - Stuart Little Stuart Little   As always, follow us on Twitter @ParkingLotCast to stay up to date, interact with us, and check out our episode artwork. You can listen to a new episode of our show on Spotify, iTunes, and Podbean every Tuesday night at 8:30 PM EST! Also, our YouTube page is hosting our shows on a slight delay if that's more your speed! https://www.youtube.com/channel/UCJkezUs5nq2KtUh8F9oQJuQ

Episode 306 ///August 30, 2024 ///ALTERNATE TITLES: 4 out of 10, Running Naked, The Past Was Special, /// (0:29) Welcome.(10:15) Head from a 4 but the head is a 10 (amazing) or head from a 10 but the head is terrible.(19:35) I'm out of toilet paper.(24:45) RANT: The Circus ain't circus no more!(35:35) Staying young. […]

Episode 304 ///August 16, 2024 ///ALTERNATE TITLES: 304 = HOE, Top Male Cheaters, American Murder: Laci Peterson, Improprieties, Back When He Was Cool, When We Were Cool, How To Get Away With Murder, How Not To Get Interrogated, Murder Was The Case, Amerkias Most Wanted, ///(0:29) Welcome.(06:30) Top Male Cheaters.(18:20) American Murder: Laci Peterson.(34:30) Interrogation.(47:20) […]

Alternate Title "Gorilla Radio" (cause Goku fights a radio. I know Great Apes aren't Gorillas, that's why it's an alt title.) Support us at patreon.com/bospod

5/12/2024Alternate Title #1: Cicada JunkAlternate Title #2: A Day of Maximum Cicadas Download uitb0683.mp3

In this episode, which is dedicated to Olivia the Corgi, we visit Tangentville again—this time on the bus! Also we get even deeper into the shady machinations behind the Bluegrass Conspiracy.

We are joined by our Motorsports Enthusiast, American correspondent (and friend), Boston Cuda! She chats with us as we attempt to cover everything that happened this week, starting with F1 Academy Updates and their final race in COTA. Some important questions: Does George know how to overtake ON the track? Will we ever enjoy watching Sprint races? Does Logan ACTUALLY know what a kilometre is? We do know that Max put up a fight this weekend and his win was well deserved even if we were all secretly hoping Lando or Lewis would pull off something wild in Austin. We saw Yoints, we saw Loints and we also saw a very questionable instagram story by a one Charles Leclerc. Stay tuned till the end to hear our short debrief on the disqualification and if this week taught us anything, it's that COTA is a race everyone has to attend in person next year, including us!

Episode 238 ALTERNATE TITLES:  Cruisin', Cruisin' For A Bruisin',  Disconnected, All You Can Drink, Knocking ‘em Out, I Eat Ass, I'll Eat Anything, How Much Do You Love Your Dick?, Swapping Spit, Dirty Mouths (0:23)  Barlos is going on a cruise.  Muted car colors.  Huge finger nails. (9:22) Sharing a toothbrush. (16:50)  LISTENER QUESTION:  How […]

Our community Discord! Our still unbelievable PFD wiki! Our merch store! Alternate Titles

Our community Discord! Our baller PFD wiki! Our merch store! Alternate Titles

Our community Discord! Our muy caliente PFD wiki! Our merch store! Alternate Titles

It's hard to get anyone together to podcast so I call them. Alternate Title, I annoy my relatives. 

 Hand Sandwich Good Time, A Laugh, Ridiculous High these are the words we are using to describe this weeks pick. Welcome to episode eight of season 7 of Flicks XRayed, this week we are dodging pick axes and are reviewing Simon Says. Host, Miner Tool Tony is joined by co-host Dream Girl Ryan and guests Dying of Laughter Joe, and Killed a man for each year of her life Carissa. This week we play a game of Alternate Titles for Horror Movies in the Woods, The Price is Right and The Flicks Awesome Lodge Word Game. So tune in as we discuss at length about Practical Effects, Stoners, Crispin Glover, and sooo much more. 

Yesterday we talked about Jess' closet and many of you reached out about your own closet woes. Today, Jess talks about how just talking through what was holding her back from tackling the closet project actually helped her get the motivation to do it!

 Hot Shit, Sexy Diarrhea, Just What?, Most Booby these are the words we are using to describe this weeks pick. Welcome to episode four of season 7 of Flicks XRayed, this week we are back from COVID and are on the case and are reviewing Malibu Express. Host, Privates Investigator Tony is joined by co-host Sarah, BOOBIES!!!! and guests Hill-billy Racer Chris, and Dave with an H. This week we play a game of Alternate Titles for 80's Action Movies, The Price is Right and The Flicks Awesome Lodge Word Game. So tune in as we discuss at length about Boobs, Ridiculous Story, Bad Character, and sooo much more. 

Alternate Title: 7 Steps to a Productive Disagreement -- Arguing. Ugh. It's so... so... unhelpful. When have you left an argument where the dust has settled and you felt 100% good with everything you said -- your eyes, your words, your tones...? Everything.  In fact, how would you feel if your church congregation watched what you said and did?  Would you be proud of yourself?  Would you feel small and immature? Usually, after an argument, I only feel the latter.   To clarify, what I mean by arguing is having elevated emotions when we start using a stronger voice and intense words.  Essentially, the judging/reasoning/impulse-control part of our brains (pre-frontal cortex) goes offline during that stressful conversation and we're left with the "lizard brain" which only knows how to flight, fight, or freeze. All the wisdom that we have cultivated throughout all of our lives and have prayed for and read about, goes out of the window during an argument.  We say things we don't mean and throw verbal knives at each other.  Sure, we might apologize for it the next day when we're calm, but those words leave scars.    So, can we ever disagree?  Yes.  We need to disagree. That's healthy and correct.    We need to be courageous and disagree about things that matter.    But we need to do it the Jesus way.    I have some very practical tips on how to disagree well, and how to honor God in it.    It's easy to use "popular thinking" and just say what you think. But the Bible is clear that's not best.  "We all stumble in many ways. Anyone who is never at fault in what they say is perfect, able to keep their whole body in check... The tongue also is a fire, a world of evil among the parts of the body. It corrupts the whole body, sets the whole course of one's life on fire, and is itself set on fire by hell." James 3:1 & 6 (Also, see the full book of James for more of this type of goodness. :)   How do we make sure we're not setting forest fires with our mouth?  Well, I have given you 7 or 8 keys in this episode that if we could consistently apply, I'd be a closer reflection of Jesus, and I think you would be, too.  Love & Blessings, Belah PS - We'd love to help you with your marriage and intimacy - to be connected, and for you to rate your marriage a 9 or even a 10 out of 10 marriage!  If you're interested in finding out if we can help you, sign up for a free Clarity Call at delightyourmarriage.com/cc

Jennifer's Body (2009) dir. Karyn Kasuma is the story of two best friends growing apart after one of them is ineffectively sacrificed in a Satanic ritual. Join Autumn, Hal, and brand-new guest host Heath as they discuss the follies of teenage girldom, platonic homoeroticism, and the lengths anyone should be able to go to save their bestie from themselves on this week's episode of Okay But Is It Gay?. Thanks to EnoffMusic for our theme song.Alternate Titles for this episode include: "Teen Choice Award Winner Megan Fox", "Lesbionic Bonds", "I Kissed a Girl But It Turned Out She was Possessed :/"TW: this episode contains discussions of blood, violence, gore, murder, cannibalism, body horror, sexual themes, sexual violence, asylums, ableist slurs, homophobia, the f-slur, fire-related death and carnage, possession and demonic activity, casual racism and micro-aggressions, and gaslighting.

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

Today, we continue our readthrough of Beautiful Creatures by Kami Garcia and Margaret Stohl. Discussion includes digging up graves, cutting school to read, making life decisions at sixteen, reflecting on prom, violating HIPPA, arriving in style, and airing dirty laundry. --- Support this podcast: https://podcasters.spotify.com/pod/show/letscallitnothing/support

Halloween may be over, but spoopy szn with the llamas is not! You better be wrapped up in a blanket cocoon, near a light source, or near another living creature. Alright, all settled? Good because this week, we will be talking about the haunted eBay painting The Hands Resist Him. While recording, this spooky painting even scared the llama who picked this topic, sooo listeners, beware! You're in for a scare! Lastly, whatever you do, DO NOT LOOK UP THE ACTUAL ART PIECE. YOU HAVE BEEN WARNED!! Didn't pass out from fright after another kooky, spooky tell? Then hit us up with questions or comments and email us at artdramallama@gmail.com

Jokes about the Trump Organization, Hong Kong, Juul, and Facebook. Plus Karolina guesses the alternate titles of famous novels. 

Alternate Title: "My Cat is a Dick and Ruined The End (Because He Caused Me to Have an Outburst)"

If Purity Culture shows us a false vision of who God is, what does it mean to begin to discover our sexuality by looking at Jesus? The team talks through questions like: What does it mean that Jesus was sexual? How can you express sexuality in singleness? What does this show us for how we can live in the modern world, far removed from Jesus's time? 

BAOLIT Movie Club Season 3, Episode 5Nick: The Apartment (1960)Chris: Butch Cassidy and the Sundance Kid (1969)Nate: Ikiru (1952)Zach: Persona (1966)BAOLIT Pick: Roman Holiday (1953)

Today's Topic: The many alternate titles Spaghetti Westerns had, even if the title had nothing to do with the film. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Steve and Jonathan discover their leg-to-body ratio and discuss the ins and outs of livin' la vida North Korea. They also stumble upon a potentially groundbreaking scientific discovery: the Theory of Diminishing Loads.

Wow, what a joke. Actually it’s not even funny. It’s disgusting. And yes, I’m talking about the new stimulus package announced today by Congress. In it, American’s will receive a $600 check from the government.Sounds great right?Here’s the issue. I wish it was something else… Something other than black and white NUMBERS. But unfortunately, our politicians are so bad and so corrupt that I can’t make this stuff up. The issue is MATH.According to Google, there are roughly 328 million Americans. Take that, and divide out this $900,000,000,000 stimulus…And it equals…Wait for it…$2,743 EACH and EVERY American would have to pay in taxes in order to FUND this package. And for the privilege of funding it, what do they give us?$600 checks. Yep, that’s not a typo. The federal government actually wants us to believe that receiving $600 payments is fair compensation for charging our kids and grandkids $2,743 each in order to repay the debt. It’s lunacy, it’s ridiculous, and it’s not logical. Now, what am I saying here?Am I saying there should be no checks? No.Am I saying the checks should be for more money? No.Am I saying that I personally would do better in this situation if I was in their shoes? No. Am I saying that people aren’t hurting and don’t need assistance? No.What I am saying is that the system is mathematically, unequivocally, not debate-ably, broken. The only way to fund stimulus like this is to literally create money out of thin air.I’m serious.So that’s what they are doing, trillions at a time. It’s a hamster wheel to nowhere. 1) We need money because the economy is screwed. 2) We print the money to try to “rescue it”3) this debases the currency, hurts the people we are trying to help MORE, and makes the problem worse. Regardless of if you understand the intricacies of how exactly the money is printed, and why that robs the very people that it is printed FOR, the point is the same. The numbers don’t make sense. The politicians don’t “have it under control”.They are not your friend. They are desperately trying to run on a hamster wheel that spins faster and faster by the day…Most have already fallen down.Their faces are just smooshed against the glass of the wheel, watching the world spin around them out of control. The only thing we can control is ourselves. I actually felt a strange sense of freedom reading the press releases last night…Seeing how incompetent our government is to solve the real issues of society, honestly freed me up to realize once and for all…Depending on them for ANYTHING is ludicrous. Thinking they will “come to the rescue?”, nope.They are honestly SO BAD.And SO ADDICTED to money printing. That the ONLY logical solution is to change the rules of the game. Instead of playing the “I hope the government helps me” game…We need to be playing the “Let’s use the governments’ stupidity to our advantage” game. Here are the things we know for sure after today. 1) The gov is slow as mollasses. You could have started 5 businesses in the time it took them to create this useless stimulus package. 2) The gov is trying to fix an unfixable problem (unpayable debt) by cheating and printing money to make up the difference. 3) They can’t stop this printing or the economies of the World will literally collapse. 4) All the rich people already know this. That’s why the rich got richer in 2020.When monopoly money gets dumped into the system?Those that hold cash?Those that “save”?They LOSE. And they lose badly. Those that hold assets?Things that can’t be printed out of thin air?They win, and they win BIG. That’s why I’ve been telling you all year to do 3 things. 1) Start a business. There is no better way to put money to WORK than by CONTROLLING the engine that produces it. 2) Buy Bitcoin with the profits. There is no scarcer asset in the World. Do your own research if you don’t believe me. 3) Stop listening to 99% of people and 100% of people paid by the government. They are not your friends. They don’t have your best interests at heart. And they are 100% uninformed about what is ACTUALLY happening in the World right now and how it is going to affect you. I’ll see you guys tomorrow. Sorry for the tone of this letter, but this stimulus honestly disgusts me. The same people that create all the laws, one of the most important being “do not steal”… just STOLE $900 BILLION DOLLARS away from our descendants today. And what can we do about it?Jack squat. Besides the 3 things I said above. So let’s get to work and do them, eh?Kale Get on the email list at thekaleletter.substack.com

Fair warning: everything I’m about to write should be taken with a grain of salt. This is MY opinion. Don’t go doing crazy stuff because I told you to. But I’m pretty sure I figured out the biggest secret to success today, ready for it?Those that have the APPETITE for the most risk, typically win in the long term, and win BIG. the only way I know how to explain this is with a few very short stories okay?Story #1 - My Amazon Business + 50k in Credit Card DebtIs putting $50,000 on CREDIT CARDS a proper business decision?Ask any PROFESSOR or someone who ISN’T an entrepreneur, and they will say a resounding “HELL NO”.But ask someone who’s been through the fire and come out the other side? You might get a different answer….That’s honestly how I started my first Amazon business.I didn’t have any money!I was fresh out of college, with a horrible 27k per year job….How was I supposed to order inventory for an Amazon business?Well, luckily, there’s this thing called CREDIT..I don’t know if you’ve heard of it, but the world runs on it…. :)And I might be a psychopath, but I honestly thought to myself, “who gives a shi*”…If this fails? I’m broke. Just like I am now…If it doesn’t fail, I get to leave this miserable cubicle….So I literally said F it.And put it all on credit cards. And it was the best decision I’ve ever made.Story #2 - Quitting my job. Want the VERY honest truth?I didn’t quit. I got fired! Haha!Here’s how it went down…I walked into my bosses’ office. She said, “Kale, we need to talk”(not the best words you want to hear from your boss haha)She showed me a youtube video that I had made talking about Amazon. Told me it was a “conflict of interest” to be a business consultant AND help people sell on Amazon on the side….I guess it probably was. She basically gave me an ultimatum, shut down the youtube channel, or be fired. I said, I kid you not, “should I pack up now?”Maybe I’m a psycho. Maybe I just am not wired like most people. But this was never even a question for me. Now let’s get something straight here. Nine University wasn’t a thing. All we had was AMAZON. It was profitable, but we still had some credit card debt. By quitting my job, I was LITERALLY putting it all out there.It was make it work, and make it work better, or LITERALLY have no way to pay my debt and go bankrupt. And I gladly took that risk. Without even thinking about it for more than 2 seconds, wasn’t even an option for me.Now before I tell any more stories, what do these two stories have in common?#1 - A “f**k it” attitude. I’m sorry for the language but there’s no other way to describe it. The best entrepreneurs I know, all got to that “f**k it” moment. It’s that point in your life where even if you completely BOMBED. Even if this entrepreneurial venture lands you in heavy debt. You still don’t give a s**t. How could you?Your situation is already so crappy, going bankrupt won’t make it crappier!!!You’ll just have to keep working that same crappy job, that you’re working RIGHT NOW!Who cares!Honestly, I think this is really what holds many people back from greatness…They have too much to lose….Those that have nothing to lose are DANGEROUS….#2 - A SUPREME confidence in oneself to FIGURE IT OUT. Maybe I sound crazy. And I am. But the reason I wasn’t worried about racking up 50k in debt?Or quitting my job WAY too soon?It’s because I knew myself. I knew that literally the only way to stop me is to kill me.Bury me six feet in the ground. And put a BIG HEAVY HEADSTONE over it so I can’t crawl back out. I’m serious, I truly believe that deep down that I’m a beast. And if push comes to shove I will make it no matter what. I think all Entrepreneurs believe that to some level.Which is what allows them to take that jump. Because make no mistake, it is a JUMP, and your risk tolerance needs to be through the roof. I guess it’s summarized as, yes, we SEE the risks, we just don’t care, because we know that even in the WORST CASE SCENARIO we will still find a way to twist it in our favor….Last story - Someone you respect more than me - Elon Musk After PayPal. I’m sure you all know this story but it bears repeating…How many of you would have balls that big??That’s some big ass kahunas right there….Elon never had to work a day again the rest of his life…Yet he did THAT….Wow. I would say it’s paid off though….Elon is now the second richest person in the WORLD. My prediction is that he will soon pass Jeff. And also become the first TRILLIONAIRE…(He has massive stock incentives at Tesla + Space X and STARLINK will generate RIDICULOUS profits at MASSIVE scale)If you haven’t already read it yet, I would REALLY encourage you to read Elon’s biography, it’s one of the best books I’ve ever read -> https://www.amazon.com/Elon-Musk-SpaceX-Fantastic-FutureIt really shows what I’m talking about here…A RELENTLESS appetite for…1) Risk2) Successand then also the INSANE confidence that it takes to persevere no matter what. Now, you may be reading this and thinking “that’s not me”.You probably have a decent life. You aren’t stuck in a cubicle like I was. You have kids to worry about, or bills to pay, or whatever. And that’s totally fine. I get it 100%. But what I do want to say is that life is VERY short. This may be the dumbest phrase ever in a serious letter but…“You’ve gotta risk it to get the biscuit”.That literally sums it all up ^^^ haha!I promise you right now that every successful entrepreneur you know took CRAZY risks to make it happen. They may not talk about it openly. They may not always even be MONETARY risks.. (often it’s just perception, what will he/she/or MOM think)But trust me, they took them. Hell, I’ve even taken risks that I won’t share openly on this letter, because you’ll think I’m insane. I’m starting to ramble now, but I guess I’ll just leave you with this. After teaching thousands of people to become successful entrepreneurs I’ve learned one thing…Sometimes you’ve gotta get UP IN SOMEONE’S BUSINESS to get them to change. Sometimes it’s the easiest to just STAY where you’re at. An object in motion STAYS in motion. An object sitting on the couch, well, you get the idea.I’ve dropped quite a few F bombs in my day, particularly with the people I LOVE THE MOST, in order to get them to EFFING DO IT.From the outside looking in, it’s EASY to see that they are underperforming. They are NOWHERE NEAR living up to their potential.And sometimes, you just need to yell, say the F word, and point it out so it hurts a little. The best part?You can do this with yourself. Stop reading now if you can’t handle a little language. This is what I personally said to myself to get myself to start my Amazon business. Again, stop reading now if you don’t like it getting real. “Kale, are you just going to keep being a f*****g loser your whole life? Cry home to your mommy because basketball didn’t work out? Quit being a f*****g wuss and figure out how to make money. No one gives a s**t about you and isn’t going to help you. They are focused on themselves. Deal with it.” Contrast that with the wussy version…“Kale things didn’t go your way. It will be okay. One day at a time. Just do the best you can at your job and it will take care of itself.”Seriously! That’s just one example. Which one gets you fired up more?Stop talking to yourself like a little wuss. Stop justifying all your little excuses for being average. Do you really want to be f*****g average?Notice how saying a bad word makes it sound even MORE average and despicable?You are BETTER than this. WAY BETTER.Okay, rant over, I hope all that above made sense. Get out there this weekend and DO something about it. Oh, and share this with that ONE person who needs it. This should probably have the most shares of any letter I’ve ever written. See you Monday, if you’re subscribed. Kale Get on the email list at thekaleletter.substack.com

We’re talking about self-honouring ways of showing up today. Here’s why: lots of us starting out try to do ALL the social media and ALL the things. This is what we are taught to do. Show up on every social media platform and show up consistently and constantly. That can leave you feeling burned out or frustrated and it’s honestly a terrible use of your limited time and energy. In this episode, we’re talking about what to do instead. Shownotes: vibrantmompreneurs.com/podcast Quiz: vibrantmompreneurs.com/quiz Coaching: vibrantmompreneurs.com/coaching

Alternate Titles for this episode:A New KingA Tight 20 MinutesNuts about Beans Chili EditionVin Diesel’s Vin Diesel2Vin2DieselThanks as always to our judge jury and executioner

Hey guys!Bit busy today. Want to know why?Because we are LAUNCHING A PRODUCT TONIGHT!!!You are invited, if you would like to come, it’s FREE -> https://onlineamzcoaches.com/xmas-registerIt’s at 8pm ET TONIGHT (Thursday, December 10th)And yes it is 100% LIVE LIVE LIVE and it’s going to be a blast. Don’t miss it. ———————————————-Okay, see what I did there? It’s like inception up in here. Not only am I going to teach you how to launch ANY product effectively, right here right now, I USED all of the strategies I’m about to outline below ABOVE. The best part, is it will benefit us all. Here’s how to launch anything. 1) Build up a BASE. You can’t launch a new product to your mom and your cousins. They may buy your product the first time, but that’s probably going to be the end of that sad pity party. You need a base of people (preferably paying customers) who you can go back to and deliver value to easily. Here’s the key elements of a base.You need to be able to make contact with them. Email addresses, phone numbers, or facebook groups. Some way to get into contact with them.They need to know OF you, or at least have some sort of trust in you. That’s basically it. This “BASE” can be acquired many ways and is different for every business model. People make it harder than it seems though. You just have to get some small group of people to trust you enough, or to be interested in what you are saying enough, to be able to ask them for a “favor”. 2) Make it an EVENT. News flash. No one cares about your “fall sale”. People love EVENTS. I mean, have you ever seen a Justin Bieber concert?Yeah, me either, I wish I had though, he’s incredible. But I digress. People love events because it bonds them with people and gives them something to DO!3) Make it EXCLUSIVE.Exclusivity doesn’t necessarily have to mean, “only you rich pricks can get in!”It just means that not everyone is invited. You people reading this are only invited because you read the Kale Letter. That makes our event tonight more exclusive. It’s also exclusive simply because it’s LIVE and only happening once..Which leads me to my next point.4) It needs to be live and only happening once. Why do people never record sporting events and watch them later?(if you do that you’re weird btw)Because it’s not LIVE!What’s the point of watching something that has already happened?We feel like we aren’t even involved then!Would that kicker even have made that field goal if I wasn’t at home screaming… “MAKE IT YOU IDIOT!!!”Probably not. You get the idea. Same thing should be with your product launch. You don’t necessarily have to get on a zoom call with 500 people like I will tonight and make a fool of yourself…(but it is kind of fun drinking IPA’s with 500 of your friends…)But you DO need to make “IT” live. Whether that’s a webpage with a countdown timer…or a discount code that expires at midnight..DANG i’m getting ahead of myself already!5)YOU NEED URGENCY!Urgency works so well that we ALL KNOW what the salesperson is doing, yet it STILL WORKS!How crazy is that. That’s like me playing 1 on 1 with Lebron. Telling him that RIGHT NOW I’m going to jump and dunk on him.And then DOING IT. RIGHT IN HIS FACE. I will say this one time and only one time.NO ONE WILL BUY YOUR “THING” UNLESS THERE IS URGENCY ATTACHED TO IT. NO ONE.You need to find a way to get them to physically pull out their credit card and buy your thing. “Just saying, hey, my product is for sale now!” Isn’t going to cut it. 6) BY FAR THE MOST IMPORTANT ONE. What you are selling ACTUALLY NEEDS TO BE VALUABLE. In fact, it needs to be SO valuable that you literally are no longer SELLING anything.Did you read that? I’ll copy and past it again and make it huge so you actually read it. In fact, it needs to be SO valuable that you literally are no longer SELLING anything.No one wants to be sold something. It’s like our first instinct.(okay not falling off tall buildings and THEN, a close second, not being sold)So, if no one wants it, why do it?“GREAT QUESTION KALE YOU DUMB BUTT BUT I NEED TO SELL MY PRODUCT DORKFACE”No, really?That’s why it’s EVEN MORE IMPORTANT that you get the value right. You have to be SO CONVINCED that this is A FREAKING STEAL, that you are GIVING THIS DAMN THING AWAY, or else you will come off salesy and noone will buy. For instance, tonight on our product launch. I REFUSED to do it for 6+ months. No joke. I could have launched this product 6 months ago but it wasn’t ready. Now, after PUTTING IN THE WORK, this bad boy is so valuable that I honestly can’t NOT tell people about it. It’s that good. Oh, and we DISCOUNTED IT so heavily that we actually LOSE money up front (and only make money if the customer is happy). When you know, on your side, truthfully, that you are literally doing EVERYTHING POSSIBLE to give the customer more value than any other company in the World…THAT’S when you sell. And you sell like freaking crazy because people KNOW you are being honest. 7) Don’t be afraid to hype the launch. People are busy.Like REALLY busy. And they get a LOT of emails.And a LOT of videos on their facebook feed. You almost have to be extremely annoying.Go so far beyond what you are comfortable with. Just to get 10% of people to show up.If you aren’t crazy aggressive marketing your launch, you need to go back to the drawing board, because clearly you don’t believe in your product enough. That’s what I’ve got, I’ve probably got 300+ letters in this brain about marketing tips like this, so please comment below if you like this one and I’ll write more. Oh and hit that like button. OH, and I guess I should practice what I PREACH…COME TO THE LAUNCH TONIGHT! IT’S A FREAKING HOLIDAY EXTRAVAGANZA! WE ARE GOING TO REVEAL STUFF THAT WILL LITERALLY CHANGE YOUR LIFE AND IT’S ONLY HAPPENING TONIGHT, YES THIS NIGHT DECEMBER 10TH, AT 8PM EASTERN TIME. NO, YOU WILL NOT BE ABLE TO WATCH IT LATER. SO COME HANG OUT AND WE WILL BLOW YOUR MIND AND DRINK BEER TOGETHER!HERE’S THE LINK DO IT RIGHT NOW! -> https://onlineamzcoaches.com/xmas-registerHaha I guess that’s what’s called “practicing what you preach…”Love you all.. See you tonight hopefully!Kale Get on the email list at thekaleletter.substack.com

This is The Spoon, where David Jackson & Chris Stokes are our guest, and we've been The Boss for a looooong time.  Music By  Nada Surf Bleachers  Have Gun Will Travel Spoon Feeding  The Queen's Gambit  Jason Isbell ~ Southeastern   Challenger  Miles Davis Topanga Rist  Long Way Up   Robbie's McDonald's commercial 1972 Top 5 Alternate Titles  Honorable Mention - Adoption Buddies 5- Eat. Pray. Yankees.  4- After Yale, I'd Love To Be An Umpire  3- Lives Of Great Purity  2- Get The Cane!  1- ...The Way My Dad Likes It  The Men Of The Spoon Robbie Rist Chris Jackson Thom Bowers The Spoon on Twitter  The Spoon Facebook Group The Spoon Facebook Page Email: the_spoon_radio@yahoo.com  

Dude, I couldn't wait till next week to share this article it's too sick/insane. These three scientists just won the Nobel Prize for Physics AND ALL THREE WON FOR STUFF ABOUT SPACE. And Andrea Ghez became the fourth woman to win the Nobel Prize in Physics. Historical badassery. Link to article: https://www.nytimes.com/2020/10/06/science/nobel-prize-physics.html?referrer=mastheadMy insta: @dannypalmernyc

Learn how an alternate title of a song by The Monkees serves as a lesson to keep it moving with a growth mindset in the Schoolhouse.

The title says it all (Or most of it, anyway). --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/jim-hoffmaster/support

Annie and Dan are back to review year 2000 movie, Hollow Man. This film stars Kevin Bacon, Elizabeth Shue, Josh Brolin, Kim Dickins, and Greg Grunberg. Directed by Paul Verhoeven.  Alternate Titles:  Dualing Hepburns, Ebenezer Dumb One, Invisible Jurassic Park, Effective Effects, Hair Notwithstanding, Weird Butt Rock, Bad and Cheesy, More Dicks!, Crotching & Gyrating, Sebastian Cage

Rosalind Chao has over 130 acting credits. Some highlights include M*A*S*H, Star Trek Next Generation (Keiko O'Brien), Deep Space Nine, Joy Luck Club, The OA, The OC, The Neighbors.. and on an on . her most recent film is Disney’s incredible live-action MULAN, in which she plays Mulan’s mother.Her husband Simon Templeman also has over a hundred credits, appearing in many television shows and movies. He's also played someVIDEO GAME characters  over the years. Mass Effect, Legacy of Kain, Dragon Age, Blood Omen, World of Warcraft… all huge hits that wouldn’t have been the same without his aggressively intimidating pipes.  Anyway, the point is that Simon and Rosalind are successful actors. And they’re been successfully married for 30 years. And that’s super nice. And I wanted to kind of figure out the secret to their success as actors and as life partners. So that’s what we talk about. Or at least, that’s what we set out to talk about. What we really talked about, well, take a listen.

Annie and Dan return to review 2000's Rom-Com "Miss Congeniality" starring Sandra Bullock, Benjamin Pratt, Michael Caine, and Candace Bergen. Whoooo Boy. Alternate Titles:   Our Other Pardcart, Shrew-Moles, Satan's Panties, Broad with Two Asses, Submit to the Hotness, Casual Ass Slapping, Zero Research, Down to Clown, Hit Me With Your Fun Fact, Bradson Pittay, Depiction of the Peej

Welcome to the Transformation Church Weekly Follow-Up Podcast! Each week Executive Pastor Justin Oswald and Lead Pastor Brad Livingston follow-up, break down and discuss the week's Sunday message. Join them in their conversation of each message preached at TC. You'll gain deeper insight into the message and may even experience the occasional mind-shattering, face-melting, lip quivering, Tweetable, quotable, mic drop one-liner! Enjoy.   This week, Pastor Justin and Pastor Brad discuss our series Faithful with Part 4: "An Alternate Title".   You get double points if you show us love by sharing it with your friends.   You can also Tweet us your questions and comments or email them to us at followup@transformaionchurch.com! If the question isn't lame, it might make its way onto the podcast! (Kidding of course, surely it won't be lame.)   You can check out more of Transformation Church by visiting us online at transformationchurch.com and on Instagram & Facebook at @transformationpensacola

Welcome to the Transformation Church Podcast! Each week you can be a part of the weekly sermon delivered at TC by one of our Pastors. You can join us and listen to each message and then catch our Weekly Follow-Up Podcast on each Wednesday where Executive Pastor Justin Oswald and Lead Pastor Brad Livingston have an in-depth discussion about this week's message. Thank you for taking the time to connect with us and with God through this message!   This week, Pastor Brad preaches Part 4 of the Faithful series titled "An Alternate Title".   It would mean so much to us if you would Like and Review our podcast. You get double points if you show us love by sharing it with your friends.   You can check out more of Transformation Church by visiting us online at transformationchurch.com and on Instagram & Facebook at @transformationpensacola

On the April 17, 2020 Episode of /Film Daily, Film editor-in-chief Peter Sciretta is joined by /Film senior writer Ben Pearson and writer Chris Evangelista to discuss the latest film and tv news, including Steven Spielberg’s Star Wars, Darren Aronofsky’s Batman, Rogue One, The Shining, Myst and more. At The News: Chris: Cinemark Hopes to Start Reopening Movie Theaters in July Ben: San Diego Comic-Con 2020 Has Officially Been Cancelled  Chris: Cannes Film Festival Cancelation Still Seems Likely, But Organizers Hoping to Make Something Happen This Year Ben: 20 Things We Learned From the New ‘Rogue One: A Star Wars Story’ Commentary: ‘Inglourious Basterds’ References, Alternate Titles, Cassian’s Backstory, and More Chris: ‘The Shining’ TV Series, ‘Justice League Dark’ Coming From Bad Robot & HBO Max Ben: ‘Myst’ TV Series in the Works From ‘X-Men: First Class’ Writer Ashley Edward Miller Chris: Darren Aronofsky’s Batman Movie Was To Star Joaquin Phoenix Ben: Steven Spielberg May Have Saved Babu Frik’s Life in ‘Star Wars: The Rise of Skywalker’ Other Articles Mentioned:   All the other stuff you need to know: You can find more about all the stories we mentioned on today’s show at slashfilm.com, and linked inside the show notes. /Film Daily is published every weekday, bringing you the most exciting news from the world of movies and television as well as deeper dives into the great features from slashfilm.com.  You can subscribe to /Film Daily on iTunes, Google Podcasts, Overcast, Spotify and all the popular podcast apps (RSS).  Send your feedback, questions, comments and concerns to us at peter@slashfilm.com. Please leave your name and general geographic location in case we mention the e-mail on the air. Please rate and review the podcast on iTunes, tell your friends and spread the word!  Thanks to Sam Hume for our logo.

We continue with another episode of Season 4 of Flicks XRayed this week with episode 38 and this week we watch and review Queen of the Desert. A Scribe From the Great Mosque and The Host Tony is joined by guests Camel Handler Ryan, and Queen of Dessert Sarah. This week we play a game of Alternate Titles for Desert Movies, The Price is Right and The Flicks Awesome Lodge Word Game for the coveted princess crown. So tune in as we discuss at length about Gertrude Bell, The Desert, Indy Films and sooo much more.

The boys are back with the best episode yet - the clip show. Definitely listen to What's More Metal wherever you get podcasts. Alternate Titles are UMMM and HEEYYYY.

Four hundred and fifteen years ago tomorrow, an attempted attack on England's Parliament was thwarted just in time. Today, Megan is talking about Guy Fawkes and the Gunpowder Plot. Email sisterlyhistorymysteries@gmail.com Instagram @sisterlypodcast Twitter @sisterlypodcast Wikipedia article https://bit.ly/2PFpRP8 BBC History article https://bbc.in/2JI1Rao Daily Record article https://bit.ly/2C8CDhq Tower of London Escape Twitter thread https://bit.ly/2C4IyDY Drawing showing gunpowder stored under Parliament building https://bit.ly/34nLlEv Welsh children with Guy Fawkes effigy https://bit.ly/2NegaG2 Explosion in 2005 ITV recreation https://bit.ly/34vra7H (Chicago) See Carlie in Pride and Prejudice https://bit.ly/2owkN45 Find Megan at: @meganelainecarter (Insta), @meganecarter (Twitter), megancarter.net Find Carlie at: @carterrosesherman (Insta), @carterrosesherm (Twitter) Thanks for joining us - please take a second to rate, review, and subscribe!

Alternate Titles for this Episode: All Dawns Must Die, To All the Dawns I've Loathed Before, White as Heck, Let's Have a Seance, Come Back to the Five and Dime Vera Adare Vera Adare, Impotent Shadow Son, Luke Casteel Thinks Arden Should Chill, Vera's Name is a HOSANNA, Semen on the Rocking Chair, Hush Hush Sweet Audrina, and - the one that really sums up how we feel about Whitefern, the ghostwritten fake sequel to My Sweet Audrina: Kill Them All

The girls catch up to rehash the dramatic clusterfuck that was the Monaco GP, the awesome Indy500, the Berlin E-Prix and the never-ending mess that is the GPDA Survey. Alternate Title #8 - Monaco: Now That's a Clusterfuck