Podcasts about Ancoats

He followed in his father's footsteps, and during a decade at Mortenson rose from an intern to a market sector leader at the Minneapolis construction giant. David Wood could've settled in for a long and lucrative career with few career risks. Instead, he chose to start from scratch, founding his own construction company, Ancoats. In this revealing episode, Coats shares key events from his local upbringing that could've derailed his life, and his career. Instead, he leveraged setbacks into comebacks, and is now growing his own company.Connect with Versique

This week on Scheming, Manchester City Council's head of regeneration for the Eastern Gateway Shelagh McNerney chats with Place North West about becoming obsessed with car parks, “completing Ancoats”, and why a public sector grounding is vital for young property professionals. Speaking with Place North West deputy editor Dan Whelan, McNerney reflected on a 40-year career that has seen her flit between the public and private sectors to deliver impactful regeneration and discussed how the delivery of regeneration projects has changed over the years. Subscribe to Place North West for free: placenorthwest.co.uk/subscribe

David Wood, founder and president of Ancoats Construction, talks to F&C reporter Brian Johnson. Wood discusses following in his father's footsteps, his reason for starting Ancoats and the labor challenges in the construction sector.

Mick Rossi in conversation with David Eastaugh https://secretrecordslimited.com/products/seccd293 https://open.spotify.com/album/6CDdnpP6vmKBji4D0JLslu?si=-aD8bL4ySwuM8Je73_5geA Legendary Slaughter & The Dogs guitarist Mick Rossi released solo album All The Saints and All The Souls in 2020 - his new album Gun St, named after the street where his family moved to in Ancoats in the 1930s, was released on Secret Records Ltd.  Slaughter and the Dogs are an English punk rock band formed in 1975 in Wythenshawe, Manchester. Their original line-up consisted of singer Wayne Barrett McGrath, rhythm guitar Mick Rossi, drummer Brian "Mad Muffet" Grantham, lead guitarist Mike Day and bassist Howard Bates.  

“Go out there and create. You've got to do it.”Actor John Henshaw joins Lisa Morton for a conversation in City Tower, which overlooks Manchester city centre. It's a very different skyline to the one John came to love as a child growing up in Ancoats during the 50's and 60's. John, who was one of 14, was born and raised on George Leigh street. He jokingly describes his childhood as “feral', but with lots of love, pets and community. Hear how John made the transition from bin man to respected character actor; what it was like working alongside Craig Cash and Caroline Aherne and how a role in The Royal Family led to him epitomising everyone's pub landlord in iconic series Early Doors. You'll also get a great insight into Manchester history from someone who's seen that area of the city experience dramatic change. ------Your host, Lisa Morton, started PR company Roland Dransfield in 1996, one month after the fateful IRA bomb that tore apart the city centre. From that point, the business, and its team members, have been involved in helping to support the creation of Modern Manchester – across regeneration, business, charity, leisure and hospitality, sport and culture.To celebrate the 26 years that Roland Dransfield has spent creating these bonds, Lisa is gathering together some of her Greater Mancunian ‘family' and will be exploring how they have created their own purposeful relationships with the best place in the world.Connect with Lisa and Roland Dransfield: Via our websiteOn InstagramOn TwitterOn Spotify

Meet Ben Duffy, the creative genius behind **Vision Barbers** nestled in the heart of Manchester's vibrant Ancoats community! Ever dreamed of a haircut that feels more like a rejuvenating experience? Look no further! Ben, with over a decade of expertise in the hair game, Ben has made it his mission to create a haven where style meets relaxation. Ben's journey began at 15, and he's been shaping hair and lives ever since. His vision was simple: a chilled-out space where you can leave the stress at the door and embrace a new you, one haircut at a time. Yet, beneath his creative spirit, he grappled with the silent struggles of mental health. The journey wasn't easy; there were moments of self-doubt and uncertainty, but Ben refused to be defined by his challenges. Instead, he embraced them as changes for growth. Ben stands tall, not just as a successful entrepreneur, but as an inspiration to others. His story reminds us that with courage, perseverance, and a dash of creativity, we can conquer even the most daunting challenges. Stay sharp, Manchester!

A warm Mancunian welcome to all my listeners. Presenting Season 6, Episode 7 of the #MeettheMancunian #podcast #mancunian #manchester #youth #mentalhealth #socialimpact #nonprofit #blackhistorymonth. I'm Deepa Thomas-Sutcliffe, your friendly host. In the seventh episode, the Meet the Mancunian podcast talks to Angeli Sweeney, [https://www.linkedin.com/in/angeli-sweeney-92505332/] Senior Mental Health Practitioner and Youth Worker, 42nd Street [https://www.42ndstreet.org.uk/] about supporting young people's emotional and mental health and wellbeing. Angeli shares how 42nd street has been supporting young people aged from 11-25 years championing youth-centred approaches that promote choice and creativity. 42nd Street offer a range of individual therapeutic support and encourage and support young people to have a voice, and access opportunities to learn, develop new skills, be creative, have fun and demonstrate to themselves and others that they are able to recover, manage their mental health and wellbeing and achieve their full potential. Did you know: * 20% of adolescents may      experience a mental health problem in any given year. * 50% of mental health      problems are established by age 14 and 75% by age 24. * 10% of children and young      people (aged 5 to 16 years) have a clinically diagnosable mental problem. * 42nd Street is over 43      years old and has been supporting young people's physical and emotional      health since it started. * The charity has its own dedicated      creative venue The Horsfall, inspired by the work of Thomas Horsfall who      created a unique social and artistic experiment at Ancoats at the end of      the 19th century. Time stamps of key moments in the podcast episode & transcript: 00:03:29 sharing her passion for supporting the youth 00:04:34 introducing 42nd Street 00:07:56 some of the challenges she had to overcome 00:09:58 the impact the charity has made 00:14:49 message for Black History Month Listen to the episode and read the transcript on www.meetthemancunian.co.uk [http://www.meetthemancunian.co.uk/]

Latest up from Spoken Label (Spoken Word / Poetry / Artist Podcast) features the wonderful Amy Langley. Amy has been writing poetry since she was 5 years old; her first experience of writing poetry was when she stayed at her grandparents, who lived in Wiltshire, in the summer holidays; she used to have a little book next to her bed; she would hear the birds singing and be inspired to write. Amy continued my writing throughout her childhood and recalls writing a poetry book and gifting it to one of her favourite primary school teachers. Amy used to perform on Manchester's open mic night scene when she was 18, a lot of it was freestyling however there was some pre-written material. There was a little hiatus from performing but the stage soon came back to being a spotlight in Amy's heart in 2017 when she began performing at The Wonder Inn in Manchester City centre. Then followed The Old Abbey Tap House in Hulme to further expanding to Dulcimer in Chorlton, Mind Over Matter in Camden, BYOB at Box Park in Wembley, Mind Over Matter in Ancoats, Pull Up Bar in Ancoats and has spoken at Sale Write Out Loud a few times. One thing Amy is sure of; her love of writing and performing poetry; expressing herself through word allows her to set free thoughts, feelings & share experiences that can benefit those that take the time to listen. More about Amy can be found at: https://www.instagram.com/amythepoet_/

www.bloomfieldart.co.uk   instagram:   bloomfieldart_restoration   you tube : @BloomfieldartRestoration   James Bloomfield Art Restorer  Bloomfield Art Fine Art Restoration Email: contact@bloomfieldart.co.uk Mobile: 07754566836 www.bloomfieldart.co.uk   4th Floor, Hope Mill, 113 Pollard Street, Ancoats, Manchester, M4 7JA Bloomfieldart is a member of the British Association of Paintings Conservators-Restorers    

www.bloomfieldart.co.uk   instagram:   bloomfieldart_restoration   you tube : @BloomfieldartRestoration   James Bloomfield Art Restorer  Bloomfield Art Fine Art Restoration Email: contact@bloomfieldart.co.uk Mobile: 07754566836 www.bloomfieldart.co.uk   4th Floor, Hope Mill, 113 Pollard Street, Ancoats, Manchester, M4 7JA Bloomfieldart is a member of the British Association of Paintings Conservators-Restorers    

In this week's episode, we discuss Ancoats, New Islington and gentrification in the New Manchester. The episode starts in Pollen, the bakery that represents the new residents who have moved to New Islington in their thousands. Joshi and Darryl discuss Joshi's weekend read about issues of community cohesion in the area, which has prompted a massive reaction online and a public conversation about how the city is changing. We also discuss Factory International, levelling up and - of course - Picadilly Gardens. To read Joshi's piece, click here: https://manchestermill.co.uk/p/new-islington-ancoats Hosted on Acast. See acast.com/privacy for more information.

Hello dear listener, welcome back! Episode 2 of series 4 is here! This week Matt and I have a very packed podcast for you. There's been a lot of forum discussion around what sort of all-rounder guitar I should get. Matt has continued his Bass VI modding, I've got an absolutely stunning Ancoats guitar, and a rather charming Ice Drive from Goliath FX.AND you get 10% off ALL Izotope suites and plugins with discount code: NERDS10 - visit izotope.com to check out their massive range of mixing, mastering, instruments and effects plugins. Hosted on Acast. See acast.com/privacy for more information.

How far would a group of fans go to keep their club fan-owned? In this episode, The Mill editor Joshi Hermann and writer Dani Cole speak to Jack Walton about the extraordinary campaign led by fans of Rochdale AFC. They then speak to Kieran Maguire about football club ownership and hear Jack Dulhanty's story about an ESOL class in Ancoats.To read more join us as a member at manchestermill.co.uk Hosted on Acast. See acast.com/privacy for more information.

It's all kicking off in Greater Manchester! New council leaders, a scrap over clean air, and the Lib Dems pick up a seat in Ancoats & Beswick. To fill us in on all the action, we are joined today by Chorlton councillor Eve Holt. We discuss Eve's journey into environmentalism, the combined climate consciousness of the council, what changes Bev Craig is bringing to Manchester City Council, and the controversy over the GM Clean Air Zone. Shout outsDanielle - Our Green ChorltonClaire - from Our Streets Chorlton @OurChorltonand Glynis – Eve's mum!Jan Rosenow (@janrosenow)on his heat pump myth busting. Check out his thread belowhttps://twitter.com/janrosenow/status/1492086853159301121?t=NLbSKSz7kg5OXSg4MrnMBg&s=08Bury Trades Council@BuryTUCIf you like the show tell your comrades!Find us on:Twitter: @MCRGND_PODInsta: mcrgndpodFB: MCRGNDPODSupport the show (https://www.patreon.com/gndmediauk)

Hello dear listener!Welcome to another episode of Guitar Nerds. This week, Matt, JD and I are talking all about the wonderful little British Custom Shop, Ancoats; their range of cool quirky retro models and their aggressive price point!We also discuss JD's rad new little Fenton-Weil Bass combo and a number of cool effects pedals from KMA, MXR and Old Blood Noise Endeavors! See acast.com/privacy for privacy and opt-out information.

For at least twenty years, youth gangs had become a prominent and menacing way of life within parts of Manchester that had festered within the slums of places such as Hope Street, Greengate, Ordsall, Gorton, Angel Meadow and Ancoats to name but a few. Young lads between the ages of 14 and 18 found solace by joining gangs that gave them a feeling of importance and by fighting with rival gangs, it also gave them the respect they felt they deserved as well as a sense of belonging. And for many, it was a way out of the monotony of day-to-day life that had offered them very little hope. With smart haircuts and their own unique dress code, which included bell-bottomed trousers, silk scarves and brass-tipped pointed clogs, they would roam the back streets and alleyways of Manchester in gangs that reflected the territories they were formed in. For example, The Bengal Tigers came from the streets around Bengal Street in Ancoats, Meadow Lads from Angel Meadow and the Grey Mare Boys from Grey Mare Lane in Bradford. And to coincide with this ever increasing wave of gang violence, a name would emerge out from the streets that would become synonymous with each gang - the "Scuttlers." For more on this case, please visit our website at https://www.daysofhorror.com Follow us on; Twitter : www.twitter.com/dohpods Instagram : www.instagram.com/dohpods

It's Boxing Day, 1964, when a 26-year-old man named Ian Brady, and a 22-year-old woman named Myra Hindley, attend a fair in Ancoats, an area in Manchester, North West England.  The pair had met three years prior when Myra had developed an infatuation with Ian. Finally, Ian showed interest and asked her to the movies. They have been inseparable ever since, although their relationship is anything but conventional.  While at the fair, the couple notice that a ten-year-old named Lesley Ann Downey appears to be alone. In an instant, she becomes their next target.  The young couple approach her, purposefully dropping the shopping they're carrying. Ian and Myra know that the presence of a woman means a child is more likely to trust them. This is part of their strategy.  And so, they ask Lesley if she wouldn't mind helping them carry their packages to their car, and then on to their home on Wardle Brook Avenue.  When they arrive, Lesley Ann Downey is raped and then murdered.  She is not Ian and Myra's first victim. And she will not be their last.  The following morning, as Lesley Ann's family frantically search for their missing daughter, the pair bury her in a shallow grave at Saddleworth Moor, a wide open expanse of hills and uncultivated land. Her clothes are buried by her feet.  The crimes committed by Myra Hindley and Ian Brady would come to be known as the Moors murder, a series of killings that targeted children, four of whom were sexually assaulted.  Myra Hindley has long been branded the “most evil woman in Britain” - the exception to everything we think we know about female killers. CREDITS Guests: Dr Lizzie Seal & Dr Meghan Sacks Host: Jessie Stephens Producer: Gia Moylan Audio Producer: Ian Camilleri CONTACT US Tell us what you think of the show via email at truecrime@mamamia.com.au   Join our closed Facebook community to discuss this episode. Just search True Crime Conversations on Facebook or follow this link https://bit.ly/tcc-group  If any of the contents in this episode have caused distress, know that there is help available via Lifeline on 13 11 14 or Beyond Blue on 1300 22 4636 See omnystudio.com/listener for privacy information. Mamamia acknowledges the Traditional Owners of the Land we have recorded this podcast on, the Gadigal people of the Eora Nation. We pay our respects to their Elders past and present and extend that respect to all Aboriginal and Torres Strait Islander cultures. Support the show: https://www.mamamia.com.au/mplus/ See omnystudio.com/listener for privacy information.

Professor Aldred talks to Harriet Larrington-Spencer, a researcher at Healthy Active Cities at the University of Salford. Harriet, or Harrie, developed an interest in active travel after experiencing cycling in Copenhagen and the Netherlands, and after losing the use of her left arm following a collision with a driver. Harrie discovered that while a tricycle was far easier for her to use, the physical barriers and chicanes in place on many of Britain's cycleways make the use of three wheels challenging. Harrie talks about the challenges such infrastructure poses for non-standard cycle users, about other barriers to wider uptake, such as cost, what inclusive active travel would look like, and what research she would conduct, if money were no object. And, of course, about cycling with her dog, Frida. Healthy Active Cities is a research group bringing together researchers from the University of Salford, as well as practitioners and policymakers to discuss issues in sustainable transport. You can find out more about their work here: https://blogs.salford.ac.uk/healthyactivecities/TRANSCRIPT00:00Hi and welcome back to the Active Travel Podcast, brought to you by the Active Travel Academy, and to season two. We had a little break over Autumn, and we've all been busy working on lots of different projects, but we're delighted to finally bring you the second episode – and we hope to have more in the weeks to come. But without further ado, let's hand over to Professor Rachel Aldred, Active Travel Academy founder, and our guest.So I'm really happy to be here for an episode of the active travel podcast with Harriet Larrington-Spencer, who is a researcher at Healthy Active Cities at the University of Salford. So hi, Harrie, good to have you here. 00:11Hi, Rachel, thank you for having me.00:14Great. So one of the things I wanted to start with is really about how you got into this how you got into researching active travel, because one of the great things about active travel is that it's people from a whole range of different backgrounds in the field in terms of disciplinary backgrounds. So can you tell me how you got into it?00:32Yeah, it's so my academic background is originally not active travel, I come from a geography background. So my bachelor's is in geography. And then I moved to the Netherlands to do my master's, which was in water management and irrigation. So very different from active travel. And whilst I was there, and I did my Erasmus as part of my masters in Copenhagen, just I went from kind of cycling for, for recreation and, and a bit of sport to cycling every day, when you arrive at university as an international student in the Netherlands, they tell you no bike, no life. So you kind of the first thing, the first thing they give you is a list of all the secondhand places to buy a bike. And then from that moment, cycling just became my natural form of transportation. And when I saw then I started my PhD. Back in the UK, in Manchester, I was cycling everyday for transportation, and I got hit by a car. And then I had to start changing the type of cycling. So whilst I was cycling for transportation, I was also doing cycling for sport. But I had to kind of start working out how to cycle for transportation in a way that I could do, because the the car damaged my left arm, so it doesn't work, and my hand doesn't work anymore. So it became How could I use a two wheel bike. So I started doing doing that. And even on two wheels, I found quite a lot of barriers to cycling, and doing my everyday journeys that I just hadn't considered before. And then more recently, to make it a lot easier for myself, I have a trike, and so I can do my shopping and carry my dog more easily. And the barriers that were difficult to negotiate on a on a bike have become impossible to negotiate on a trike. And so it started from there really, and and thinking about active travelling that everybody has a has a right basically, it's kind of the right to the city is that everyone should be able to move actively around their local neighbourhood, and how to enable that. 02:43Wow,Wow, thank you now I am going to pick up on different bits of that. But just to go back to the Netherlands experience. So when you went to the Netherlands, had you been cycling much before in this country? Were you completely new to it?02:55No, so I wasn't completely new I grew up in the middle of in the kind of the middle of nowhere in the countryside. So to get to see friends it was always cycling. But also, it was cycling through farmland and fields and or very small country lanes. And it was never really it wasn't an everyday thing. So to actually get anywhere, we had no bus service, you had to learn to drive if you wanted to get anywhere independently and before kind of 17,18 cycling offered that but it wasn't particularly viable to get very far. 03:39Yeah, I know I that sounds kind of familiar. And when you came back to Manchester after the or you came to Manchester after the Netherlands, how was it suddenly cycling in Manchester after having cycled in the Netherlands?03:50It's just a complete world away. It's I think even if you remove the infrastructure from the UK from kind of that equation, the infrastructure makes a difference. But it's also that I think everyone in the Netherlands who drives is also a cyclist. So it's, it's Yeah, the infrastructure is not there. And then also cyclists are not in the minds of drivers, either. So when I got hit by a car it was because the driver overtook me and turned left because they didn't even and it was across the segregated cycle lane as well. So it's that they didn't even think that they had to kind of consider that there might be a cyclist on the cycle lane and yeah, completely different.04:39Yeah, it just highlights the need for the infrastructure but also the need for the cultural change behaviour change as well at the same time. And then you were talking about how you cycling as a disabled cyclist using a two wheeler and then using a trike was was different. Could you say a little bit more about that and about some of the barriers that you experienced there.05:00With, with two wheels, I can I can do it and I can I can cycle in, it's fine. But moving the handlebars is quite difficult picking up my bike is difficult. So the probably the biggest barrier is if you are using shared paths and then there's barriers on the shared path. So you've got, A frames are the worst, but there's also chicanes. So I think most of you probably know what chicanes are, but kind of small fences to slow you down. So it just started with the two wheels, you kind of you can negotiate it, but it takes time and it takes energy and I can't really lift my bike and it causes pain when I do it. And then when you get to three wheels, because the cycle is longer and it's wider, you literally cannot like you can't get it past A frames, and sometimes you can get it past chicanes but to do that, my husband has to kind of pick up the trike and negotiate it around. I can't do that at all by myself. So it just it means that that certain cycle, cycling routes are completely off limits to me. And they're often the cycle routes that are the nicest ones, because they're completely away from cars and roads.06:13And why why do you think this kind of this kind of thing exists? Why given that, you know, potentially it's not in line with equality legislation?06:21So the kind of technical reason that they're there is to prevent motorcycles and and anti-social behaviour on cycle routes. Often, it's part of the planning permission to get the route and the police have to if a route is going to be off road, then the police have to agree to it as well. And the police's kind of standard response is an A frame. And some residents also want A frames as well, because there's, I think there's often a fear of this kind of antisocial behaviour from motorcycles, not necessarily that it's going to happen. So, yeah, and it's and now, kind of, the more I get into it, the more I struggle, because I think kind of maybe a few years ago, it was that councils wouldn't know about the Equality Act and kind of the what, what their responsibilities are to disabled cyclists. But more and more, I'm seeing councils saying things like, Oh, we've looked at LTN 1/20 [Local Transport Note 1/20 – cycle infrastructure design guidance], which very specifically says, Don't use A frames, don't use chicanes, and the council's will recognise that, that they should not be using those and they shouldn't be implementing those. And that by implementing those, they're excluding disabled cyclists. But at the same time, they kind of say, we're doing it anyway. And we've got no other way to manage motorcyclists. So this is what we'll do.07:53Yeah, so that's, they'll just probably pick up on the LTN 1/20, the new cycle infrastructure design guidance. So that's seen some improvements, but obviously, isn't necessarily feeding through into practice. And does it highlight the extent to which things need to be aligned for things to change? If the police, you know, you don't necessarily just need transport just use to change in transport planning, but also the police and so on as well.08:15Yeah, it definitely needs to be a much more joined up approach. And even now, in in Stockport, we're seeing that there are routes that aren't accessible. So if you look at LTN 1/20, they say that the ideal route be at least spaced at 1.5 metres. And so in Stockport, they're taking cycle routes and walking routes that have this spacing already. And they're putting chicanes on them. And I've just saw a proposal yesterday where they're asking for an A frame barrier. So yeah, there's there needs to be working with police and with residents and with disabled people, as well. But to me, it shouldn't be the kind of the equality of access should be the centre point. And it's what should we be do? What can we do to achieve that rather, than kind of the restricting of motorcycles being being the point where where they start design?09:11Yeah, yeah. So it's kind of trying to restrict a minority of problematic users of one mode, that's maybe not even actually the case. It's something that's feared rather than trying to ensure inclusive access for for walking cycling, which is meant to be something that's being encouraged.09:25Yeah, exactly. And the more people you have using a route legitimately, the less attractive it will be to anyone on a motorcycle if, if you think that you're going to access that route, because it's kind of an empty space that you can whisper on your bike. It's much less attractive. If it's full of everybody on trikes bikes with push chairs walking, it's, it's very different.09:50Great, and that sort of brings up another topic, which is around inclusivity of active travel. So could you maybe sort of tell us a little bit about what active travel, how inclusive active travel is or what what needs to change.10:04I think active travel is getting much more inclusive, I see a lot of people who are non-disabled, recognising the barriers that disabled people have to active travel, I think at kind of a grassroots level, especially, it's happening more with sport than with active travel is that is kind of getting disabled people more involved, recognising the barriers that disabled people have. I think in active travel, it would really help if design centred disabled people, because anything designed for disabled people is is going to be good for everybody. So with cycling, there's so there is a lot of barriers for disabled people, anyone who wants to use a non standard cycle, there's not only the infrastructural barriers, and you, you know they're there. So it's kind of like why would you invest in something if the routes that you want to go on with your family or your friends, you can't get on. And then on top of that, you have the you have the cost of the equipment. So a non standard cycle is 1000s and 1000s of pounds. And then on top of that you have the insurance of it, you have to have the secure storage to meet the insurance requirements. And then you also need to know that when you cycle somewhere there will be a secure place to lock your site as well. So I found with my trike, I can't, I can't even use the Sheffield stand without taking up multiple spaces on the Sheffield stands. And I don't want to block other people from being able to be able to park their cycles. So there's kind of there's all these factors that have to be accounted for. And it's the same with with walking, with using a wheelchair that so much of the urban environment isn't isn't suitable for just independently using your wheelchair to get to your to your local area, whether there's no pavement drops, if there's pavement parking, parks that don't have accessible entrances to them. It's it when and when you start noticing it and I think this has happened a lot with non-disabled people as well when disabled people who who are working in active travel and are advocates within it have started pointing it out is that once you start seeing it, you can't stop seeing it and and it's just it defies belief really, that you would have a park that not everybody can connect thiswill be because of barriers at the gates because of steps.12:33Yes. So very similar things to cycle paths is that you have kind of the chicane entrances into the park, which make it quite difficult, especially if you're on something more recumbent. If you're on a hand cycle, for example. So you're lower down, and you'll have a longer base. Yeah, even wheelchairs, I think sometimes struggled to go through the these spaces unless it's a wide open gate.13:00And do you think that's starting to change in planning at all? I mean, if advocates are noticing it are planners noticing it, are things getting better.13:07I think that things are changing. So LTN 1/20 was an a massive win for inclusive cycling and that you can you read through that document and you see the advocacy work of Wheels for Wellbeing in there, and how powerfully and positively they've impacted the world of inclusive cycling, in terms of planning from councils. In Greater Manchester, I feel like there's much more awareness of it, but there's a real struggle to start making those changes for whatever reason. And I, I do think there needs to be a bit of bravery that I can understand that some of these are quite big changes. To say we're not going to restrict access is a big change to how kind of urban planning has been done. But I've also seen some really positive things. So Manchester highways has recently created an access group but that's because it's that has a lot of disabled people with a lot of different kind of experiences and skills. And they are hopefully going to listen to those views when when they're implementing active travel projects. But yeah, it's kind of a time will tell.14:23You were mentioning about Manchester highways and maybe it's time to say something about the Greater Manchester context because Greater Manchester is I think it's something like 2.7 million people across the urban area. So yeah, large urban area, metropolitan area, different authorities and so on different levels of planning. So how does that work in terms of active travel? How is it structured and you know, is it different authorities in charge of different bits and so on?14:50Yeah, so different authorities will be in charge of their own area. I think we then have the Bee networks for for walking and cycling with Chris Boardman who is the walking and cycling Commissioner. So this is trying to join those up a bit and have a more integrated approach to walking and cycling. It's a struggle because for different councils have different approaches and different histories, I mean, you can definitely see in Salford at the moment they've, they're really progressing with their walking and cycling, working to make things much more inclusive. So they've on one of the big walking and cycling trails, they've just been removing barriers and replacing them with bollards that are 1.5 metres apart and celebrating that as well on social media recognising that it's, it's a really positive thing to be doing, and showing that as a positive example to councils in Greater Manchester. And I think having that kind of the overall Bee network, having committed to having an inclusive approach, they have the the 12 year old cycling is the body around which the infrastructure has been built. Personally, I think the 12 year old should be on a trike. But but it's kind of getting there. And they've they've said no barriers, although you see that being put into practice quite differently, but there is pushback against it. And also, in Greater Manchester, we have Walk Ride, which is a community-based organisation. So there's the central body. And then there's all different smaller groups of people who are really interested in walking and cycling. And you see such fantastic work within those smaller groups that they have really good connections with their councils and the walking and cycling forums. And they're, they're putting a lot of pressure onto the councillors to make sure that everything done is thinking about everyone who who wants to use those, the walking and cycling infrastructure that's being built. And it's just really nice to see kind of everybody committed to making things inclusive, because often, there's a lot of what has to be done. And it often falls onto the shoulders of disabled people to do that labour. So it's nice to not always have to be the one that is pointing out the issues and following up with councillors and councils.17:15And do you think that's kind of important as well that you have? Because that's quite distinctive that you have the sort of walking and cycling advocates together in the same in the same advocacy group? Does that make a big difference?17:26Yeah, I think it's fantastic. I think the speed with which, with which Walk Ride GM and the smaller local groups have grown over the past couple of years, really demonstrates kind of the local appetite for walking and cycling. And the skills in those groups that has developed as well is amazing. So for some people, it's that they they work within walking and cycling design or infrastructure, behaviour change within local councils, and they have those skills from their jobs and from their training. But for some people there, they're kind of new to it, and learning and reading all of this all of the documents and policies that are being produced and it's just fantastic for people being able to hold the councillors to to their word basically. And to the point where people if something's installed, and it doesn't look right, or I pointed out something at the weekend, someone was there measuring it with a tape measure to check out whether the distance between the chicanes meets with the accessibility, design guidelines. Yeah, it's really cool.18:38Returning to the barriers side of things, we talked quite a bit about the physical barriers, but you talked earlier also about the sort of cost and linked with that the storage that you don't want to store something that's expensive, it might get, you know, if it's not secure, it might get stolen, do you think more needs to be done to improve access, you know, availability, affordability of adaptive cycles, ie bikes and trikes and so on?18:59Yeah, definitely. And there's, I think part of it is that if we are moving towards a modal shift, then having these products because they are quite a rare thing. So if you're having to import them, and there's very few being imported, then they're going to be higher cost. So there's kind of one aspect is the more people we have doing it then hopefully a reduction in cost, but they kind of, they are specialist, so they're going to be more expensive than a standard two wheel cycle. So there's some really great schemes going on. So Wheels for Wellbeing have one scheme in London, which is looking at loaning people non-standard cycles, and really helping people choose cycles that are appropriate for them. And and being able to do a loan scheme that can then turn into ownership if they're interested in it. And also, Cycling Projects has a similar thing in West Midlands and we're setting up a trike library in in Manchester and then hopefully that will if people will get a chance to experience trikes, because you, if if they're rare, and you don't get a chance to have a go on them, you're not going to splash out 2000 pounds if you don't, if you don't know how it's going to fit in your life that you really, you need to start doing those everyday journeys, you need to have a go at taking your trike to the, to the shop to get milk and to work. Yeah, and have that that space to build it up and build up over time and see whether it works. So I think with the trike library that we've raised money for, as part of Walk Ride in Manchester, we're going to hopefully loan out cycles for three months at a time maybe more and and help people with journey planning, with ride buddying, and all of those smaller parts to get people into it. The storage, the storage is is a real issue. And it also comes into into policing as well and, and monitoring. And if you I think bike crime is is very low on the police agenda at the moment, because there's not that much funding to police. So it's working out ways to do that. And there is this kind of on on road storage that we've seen in Waltham Forest, and you can get adapted versions of that. So there's options that we just need to keep pushing for and and ensuring that when we're thinking about those options, so in in Greater Manchester, there is there is some of I think in Salford there's some of these on streets cycle hangers, but for people to push for ones that can have non-standard cycles as well, when they're kind of being brought up in that local area.21:32Do you think there's potentially a role for a more universal scheme as well? Because one of the things, one of the criticisms that's been made of the cycle to work scheme is that, you know, certainly you have to have an employer that's opted in it excludes anybody who's not in employment. So a lot of older people, proportionally more disabled people and so on. Do you think we kind of need a more universal access to cycling scheme?21:53Yeah, we definitely do at the moment, it's kind of it falls on the the charity sector to be implementing it and their capacity to implement it is based upon their resources and always scraping the money together to be able to do it. And it's really frustrating when it's something that would help so many people. Yeah, I mean, a universal scheme would be amazing. I tried to you can, there's ways to do it through kind of access to work. But it's always there's always kind of caveats within it. And it's so that you just have to keep arguing for it. So most ability is the obvious way to do it. And there are mobility aids that you access through Motability, so to have that as as a way to do it. And also in the Netherlands, they have very similar schemes where disabled people can have access to active travel equipment. Yeah, and it's it's at a time when I think people are really recognising that disabled people want to be more active, the benefits the public health benefits of disabled people being more active are huge and organisations like great, like, Sport England, as we come out of the pandemic are centralising disable people within within their programmes, and they want to disproportionately invest in disabled people. So I think it is a really good time to start thinking about how to make these how to make access to to non-standard cycles and adaptive cycles, kind of a universal scheme.23:21Cool. And what would if you were thinking about, you know, the your priorities for getting most disabled people cycling, what would you What would you prioritise? What would you think would be the most important thing?23:36One would be the access to the cycles. Two would be working out connected routes within cities. So in Greater Manchester, we have the Bee networks, but we need to look at how the Bee networks connect and with the existing infrastructure that we already have, and how to make that infrastructure barrier free and accessible. Another one would be looking at cycles as mobility aids in in Greater Manchester, for example, people aren't allowed to take cycles onto the trams, which really inhibits multimodal journeys. So you can't you couldn't cycle from, I don't know Sale into Manchester City Centre as a disabled person to work and then think actually, I'm too tired to cycle home let me take my let me take my cycle on the tram. So because you can't do that, then you're, you're then making it a less viable option because you can't do those first and last, or you Yeah, you can't do those parts you need by public transport. So and also to be able to use the pedestrian areas if you need it to be able to put your shopping onto your bike or trike close to the shops and, and having the storage for it as well. And it doesn't I mean for shopping, it doesn't have to be the super-secure sheltered storage. It's just having storage solutions that are well spaced that can that you can use with a trike and have space to not only put your trike, but you have to think about how people are getting off and on. So you need to have that space between the stands.25:16Well, one question I was going to ask was on the research theme was getting obviously this is an under researched area if what would your sort of fantasy research project be if you had a 2 million pound research budget or whatever, you know, imagine? Imagine the zeros what what would your research programme be looking at inclusive cycling, eco inclusive active travel?25:37So for I think inclusive active travel, I think it would be fascinating to do a community mapping project where you work with disabled people's organisations, and you have disabled people map their, their everyday journeys that they do, either by whatever mode of transport they're doing, and then work with people to to look at how active travel can replace non active travel journeys basically. So and to work on the very close ones, so going to places for for small amounts of shopping, going to visit your children going to visit your parents going to the park, taking the kids to school, those journeys, but looking really specifically at the different types of challenges that people have with those. And working out how to then use that to, to create kind of more local regeneration. Because Yeah, because you're not going to get active travel if people physically can't use that their local environment. And and think about how to prioritise those. So that's one aspect. And another aspect I'm really interested in is shared space in in urban centres, because it is a really it's a very aesthetically pleasing thing to have, I think shared space. But obviously, there's a lot of challenges that it offers and conflicting challenges that it has for for different groups of people. So for visually impaired people in particular shared space is quite a challenging thing to have in it can create an environment that that whilst statistically, it's probably very unlikely that you're going to get hit by a bike, it doesn't stop the environment being hostile. So thinking about the types of behaviour within shared spaces and and how to kind of move cohesion both move cohesively and behave in cohesive ways of in the shared space. But also what type of infrastructures within the shared space, enable that that type of behaviour. So kind of a two way approach to that.27:39And actually just thinking about that in terms of the infrastructure and sharing infrastructures, are there good examples? We've talked quite a bit about the barriers and some of the problems, can you think of good examples of environments that work well for inclusive active travel and either in Greater Manchester or somewhere else, and why why it's good.27:59We have a couple of bits now in Greater Manchester, it's difficult, because actually one of the best places for kind of walking and cycling in Greater Manchester is Oxford Road. So and it is a really, really good piece of infrastructure, but the cycle track is just not quite wide enough. So I can't actually use it on the trike. But normally, I would say that there is a few bits of segregated cycle lanes that are kind of four metres wide, and have space for bi directional cycling flow. So I mean, these are perfect. But that's quite a short stretch, I'm trying to think of something. I think low traffic neighbourhoods, for example, have a real opportunity for for inclusive active travel, they don't have the segregated cycle lanes, obviously, but by reducing the cars using the roads, there is that space for any type of cycle. There's space for wheelchairs and mobility scooters. I think the the challenge with low traffic neighbourhoods is that it's not you don't automatically make them inclusive by filtering the cars from them and that the the existing infrastructures within them already can still pose challenges. So I think speed bumps is quite a good example that if you are non-disabled and walking or cycling, a speed bump isn't going to bother you. But if you're on a recumbent cycle, the speed bumps are not very pleasant at all. And the same with pavement drops as well.And there's a lot of the the issues around the built environment. So some of those things around narrow bike lanes or narrow footways and so on. 29:29So is a lot of that to do with accommodating motor traffic and then sort of people on foot, people on bikes that have had to fight it out for what's left.29:47Yeah, exactly. And you see a lot of space for cycling always seems to be reallocating space away from pedestrians. So the weekend I visited a new proposed walking and cycling route through Ancoats well from New Islington to Ancoats along a really really nice marina that's full of people walking, it's kind of there's a few different bakeries, it's a really nice space. And in this area there's not there's not that many open spaces. And instead of putting a segregated cycleway on the main road, which has five lanes of traffic, and has recently had 10 million pounds spent on its upgrade, they are trying to Manchester council is trying to put the walking and cycling route, which is a is a major league route. So it is specifically for commuting through this very pedestrian recreational, kind of sitting and being space, rather than then taking that space away from cars. And by doing that, you automatically kind of put pedestrians and cyclists at odds with each other both in terms of the space itself, but also within this wider space of kind of what a city is and who is in a city where people are supposed to be in the city. And it shouldn't be like that if we really want to have modal shift we need to start reallocating space away from cars and a lot of time if you do anything like that, then you get a lot of uproar from drivers. But there's there's very little discussion about kind of taking that space away from pedestrians and I think that's Yeah, it's often pedestrians who do suffer within that.31:28In terms of the the Greater Manchester context as well. What would you say in the next five years? Do you think things will be different in five years what hopefully what what might have changed around sort of inclusive active travel?31:42I would really like to see more people on non-standard cycles. I've definitely noticed that since I started getting since I have been cycling on a trike. I've had a lot more people on social media, for example, saying, I've never even considered a trike as an option. I thought trikes were for old people, and people saying that they're considering one as well now. And that's really nice, because it shows that you need to see people doing something for you to start considering that it's an option for yourself as well. So I think that's one aspect that if we get more people cycling, and more disabled people cycling, then hopefully it will be kind of it will build. So that's one aspect, I think another aspect is is the access to inclusive cycles. And that's something that needs to be worked on. Another one is with the Bee networks, is that we just need to keep the momentum and the energy of holding councils to account to to ensure that when things are being implemented, they're being implemented inclusively and to LTN 1/20. In it, it helps so much to have that design guidance, really, because you can just keep sending it and saying, you know, this is this is what this is what needs to happen. I think more widely, we need more than just kind of the Bee networks, we need to be looking at local journeys and how to enable those local journeys. And to maybe move I move a bit away from from focusing on commuting journeys is Yeah, and it's looking at the everyday and I think children's journeys as well as a really nice way to do that. Because they're going to school and back. That's two journeys a day. But then obviously, you need to start looking at the wider practices around that because it's hard sometimes for parents to be able to take their children to school. So we need to have the safe infrastructure for that. But it Yeah, to have this kind of joined up approach where there's the policy, there's the projects, there's the infrastructure.33:53So earlier you were mentioning cycling as well with with your dog, who's become something of a star on social media. Could you say something about your dog?34:00Yes, so we got Frida we got her very luckily at the start of the just before the start of the first lockdown. I just I had a bit of trouble at first after my accident. So kind of I'd always been doing cycling for for everyday cycling, cycling since living in the Netherlands, but also I used to do a lot of touring, cycling and sports cycling. And I was really struggling with not being able to do those anymore. And so it's just trying to find ways to enjoy a different type of everyday life. And I've always wanted a dog and we'd always be putting it off saying you know, we'll wait until we live in a house with a big garden and then just finally was really fed up and bought. Let's just do it and she'll be a good excuse to kind of go out the weekends and then because we don't have a car and Cycling is our primary form of transport from the second day we had her we started training, training her I'm not sure that's the right word, but we kind of put her in a backpack and put her on the bike and fed her lots of treats. And she just, she just loves it. She's, she's very attention seeking, which is amazing. So she'll be, she'll be like, sitting in in the bucket of the cargo trike and she'll be quite chilled out and she'll hear people in the distance and she'll suddenly pop up to give them a show, I think. And I think people really like it. They, I, I'm very, I'm very shy and I, I find it quite embarrassing, but it is really nice to cycle past people and see their really positive reaction. And I think it draws attention cycling as well because normally it's quite like a fast someone will just go past you but you can't really notice if and often I carry my husband as well in the front bucket of my of my cargo trike. So it's quite obvious when we get when we're going past and Frida's at the front. So, yeah, yes. And, well, funnily enough as well. I haven't had any close passes on the trike since cycling with Frida ever. So I think that's, I mean, there's something to say there about how people value dogs over over human beings as well. But yeah, really, she loves it, she just sits in the bucket with her goggles. And the goggles is because we started using the cargo trike because it's a bit lower down, I was worried about stones flicking up into her eyes. But she takes it all in her stride. And she she's always excited. I think it's because we are, we kind of started building in having trips, we will do our shopping. But it's about more than doing shopping. It's about going for a nice cycle along nice routes, and stopping at a park where we can throw tennis balls for her and, you know, come back via a nice way to have coffee. So it's kind of it's trying to make, because I've been I've just really loved cycling, so it's making cycling my hobby, but in a in a different way and a more everyday way. So Friday is a really important part of that. But yeah, I mean, I changed my I changed my Twitter handle to Tricycle Mayor. And then some someone said to me that actually it was Friday that was the Tricycle Mayor, and now I've realised that they they are correct. 37:32Everybody loves dogs on bikes, I think my popular tweet ever was just a picture of somebody with three dogs in her cargo bike.37:37Yeah, exactly. They're just they are a people pleaser.37:41Excellent. No, that does link back nicely into the question that I've just remembered. I was going to ask you, which was when you were talking about sort of local trips? So there's been a lot of talk recently about the well, it varies. Sometimes it's the 15 minutes city, sometimes it's the 20 minute neighbourhood, this kind of focus on things being local, do you think that that's useful? those concepts are kind of useful as well?38:01I do. I really like them, I think that we need to, I prefer the 20 minute neighbourhood just in terms of people's speeds. And I, I, I hope that kind of from people spending a lot more time in their local areas as well during COVID. And locked down that perhaps people see the value in that as well. And in my research at the moment, and just talking about people about what they've been doing during lockdown and how they've been using their local neighbourhoods, it's really nice to hear how people know their local neighbourhoods a lot better. And spending a lot more time and getting to know all of the different roads and using local shops and local places to go and get a coffee when they go and walk. And I yeah, I mean, for us it comes into the same kind of having, trying to make cycling and doing these everyday activities part of the hobby. So we're starting to use a local refill shop, for example, and cut that part off of off of supermarket shopping. And it does, it's having the time to do that as well. So there is a there's a time element that you have to have kind of that disposable time to be able to go there. So I'm we're looking at how to do all of our shopping locally, and what we can do plastic free.Thanks so much Harrie, that was a really great chat and I look forward to seeing what happens with you next with your research with Greater Manchester. You've been listening to the active travel podcast. You can find us online on our website at blog.westminster.ac.uk/ATA/podcast, we are most podcasting hosts and you can follow us on Twitter and Instagram at @active_ata. Let us know what you think, drop us a tweet or an email at activetravelacademy@westminster.ac.uk Thanks for listening. Until next time. Hosted on Acast. See acast.com/privacy for more information.

There is a sane man back in the White House, a Covid-19 vaccination is beginning to be rolled out and Bill Bailey won strictly, 2020 is really turning itself around. All that is left is to enact a Green New Deal that decarbonises the global powers and everything will be fine, right? As much as decarbonisation of the likes of the US and China is important, if getting to that point requires the global south to be metaphorically thrown under the bus is it even really a New Deal at all?   This week we are joined by Dr Leon Sealey Huggins (@Leon_Ayo) Assistant professor at Warwick University.  We discuss the racist underpinnings of capitalism, how international politics condemns the global south to a climate catastrophe and how do we design a Green New Deal that doesn't exploit those regions who are on the front lines of climate breakdown. LinksLeon's article on green capitalism https://novaramedia.com/2020/12/13/green-capitalism-will-never-succeed-in-tackling-climate-breakdown/Leon's paper "The Climate Crisis is a Racist Crisishttp://wrap.warwick.ac.uk/103485/13/WRAP-climate-crisis-racist-crisis-structural-racism-inequality-climate-change-VoR-Sealey-Huggins-2018.pdfClimate Justice activists Wretched of the Earth. A grassroots collective for Indigenous, black, brown & diaspora groups  demanding climate justice + in solidarity with  UK & Global South communities  @wretchedotearthShout OutsCOP26 Coalition . A coalition campaigning for COP26 to be built of a Climate Justice framework@COP26_CoalitionUNICEF- for feeding our children where the state fails to do so.@UNICEF_ukEveryone working hard to keep Ancoats green.Alan Good- campaigning for saving city center green field sites @AlanGoodLDSave New Islington Green@saveNIgreenTrees not Cars @TreesNotCarsSave Ryebank Fields@ryebankfieldsIf you like the show tell your comrades!Find us on Twitter:@MCRGND_PODInsta: ManchestergndpodFB:MCRGNDPOD

Taking us on a late-night transcendence from a certain tug-of-war for power, Portland-based Simon Howlett returns to the Soup with the sort of sweaty and sleazy after-hours session you once heard resonate through disused warehouses from Bushwick to Ancoats. For one Saturday in 2020, let's pretend we're back where we all want to be. Rejoice. See acast.com/privacy for privacy and opt-out information.

This week there are two episiodes of the podcast going up, both of them longer than normal. This one, episode one hundred, is the hundredth-episode special and is an hour and a half long. It looks at the early career of the Beatles, and at the three recordings of “Love Me Do”. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “Misirlou” by Dick Dale and the Deltones. 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/ —-more—- Resources No Mixclouds this week, as both episodes have far too many songs by one artist. The mixclouds will be back with episode 101. While there are many books on the Beatles, and I have read dozens of them, only one needs to be mentioned as a reference for this episode (others will be used for others). All These Years Vol 1: Tune In by Mark Lewisohn is simply the *only* book worth reading on the Beatles’ career up to the end of 1962. It is the most detailed, most accurate, biography imaginable, and the gold standard by which all other biographies of musicians should be measured. I only wish volumes two and three were available already so I could not expect my future episodes on the Beatles to be obsolete when they do come out. There are two versions of the book — a nine-hundred page mass-market version and a 1700-page expanded edition. I recommend the latter. The information in this podcast is almost all from Lewisohn’s book, but I must emphasise that the opinions are mine, and so are any errors — Lewisohn’s book only has one error that I’m aware of (a joke attributed to the comedian Jasper Carrott in a footnote that has since been traced to an earlier radio show). I am only mortal, and so have doubtless misunderstood or oversimplified things and introduced errors where he had none.   The single version of “Love Me Do” can be found on Past Masters, a 2-CD compilation of the Beatles’ non-album tracks that includes the majority of their singles and B-sides. The version with Andy White playing on can be found on Please Please Me. The version with Pete Best, and many of the other early tracks used here, is on Anthology 1.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Errata I pronounce the name of Lewisohn’s book as “All Those Years” instead of “All These Years”. I say ” The Jets hadn’t liked playing at Williams’ club” at one point. I meant “at Koschmider’s club”   Transcript   The Beatles came closer than most people realise to never making a record. Until the publication of Mark Lewisohn’s seminal biography All These Years vol 1: Tune In, in 2013 everyone thought they knew the true story — John met Paul at Woolton Village Fete in 1957, and Paul joined the Quarrymen, who later became the Beatles. They played Hamburg and made a demo, and after the Beatles’ demo was turned down by Decca, their manager Brian Epstein shopped it around every record label without success, until finally George Martin heard the potential in it and signed them to Parlophone, a label which was otherwise known for comedy records. Martin was, luckily, the one producer in the whole of the UK who could appreciate the Beatles’ music, and he signed them up, and the rest was history. The problem is, as Lewisohn showed, that’s not what happened. Today I’m going to tell, as best I can the story of how the Beatles actually became the band that they became, and how they got signed to EMI records. I’m going to tell you the story of “Love Me Do”: [Excerpt: The Beatles, “Love Me Do (single version)”] As I mentioned at the beginning, this episode owes a *huge* debt to Mark Lewisohn’s book. I like to acknowledge my sources, anyway, but I’ve actually had difficulty with this episode because Lewisohn’s book is *so* detailed, *so* full, and written *so* well that much of the effort in writing this episode came from paring down the information, rather than finding more, and from reworking things so I was not just paraphrasing bits of his writing. Normally I rely on many sources, and integrate the material myself, but Lewisohn has done all that work far better than any other biographer of any other musician. Were the Beatles not such an important part of music history, I would just skip this episode because there is nothing for me to add. As it is, I *obviously* have to cover this, but I almost feel like I’m cheating in doing so. If you find this episode interesting at all, please do yourself a favour and buy that book.  This episode is going to be a long one — much longer than normal. I won’t know the precise length until after I’ve recorded and edited it, of course, but I’m guessing it’s going to be about ninety minutes. This is the hundredth episode, the end of the second year of the podcast, the end of the second book based on the podcast, and the introduction of the single most important band in the whole story, so I’m going to stretch out a bit. I should also mention that there are a couple of discussions of sudden, traumatic, deaths in this episode. With all that said, settle in, this is going to take a while. Every British act we’ve looked at so far — and many of those we’re going to look at in the next year or two — was based in London. Either they grew up there, or they moved there before their musical career really took off. The Beatles, during the time we’re covering in this episode, were based in Liverpool. While they did eventually move to London, it wasn’t until after they’d started having hits. And what listeners from outside the UK might not realise is what that means in terms of attitudes and perceptions. Liverpool is a large city — it currently has a population of around half a million, and the wider Liverpool metropolitan area is closer to two million — but like all British cities other than London, it was regarded largely as a joke in the British media, and so in return the people of Liverpool had a healthy contempt for London. To give Americans some idea of how London dominates in Britain, and thus how it’s thought of outside London, imagine that New York, Washington DC, and Los Angeles were all the same city — that the financial, media, and political centres of the country were all the same place. Now further imagine that Silicon Valley and all the Ivy League universities were half an hour’s drive from that city. Now, imagine how much worse the attitudes that that city would have about so-called “flyover states” would be, and imagine in return how people in large Midwestern cities like Detroit or Chicago would think about that big city.  In this analogy, Liverpool is Detroit, and like Detroit, it was very poor and had produced a few famous musicians, most notably Billy Fury, who was from an impoverished area of Liverpool called the Dingle: [Excerpt: Billy Fury, “Halfway to Paradise”] But Fury had, of course, moved to London to have his career. That’s what you did. But in general, Liverpool, if people in London thought of it at all, was thought of as a provincial backwater full of poor people, many of them Irish, and all of them talking with a ridiculous accent. Liverpool was ignored by London, and that meant that things could develop there out of sight. The story of the Beatles starts in the 1950s, with two young men in their mid-teens. John Winston Lennon was born in 1940, and had had a rather troubled childhood. His father had been a merchant seaman who had been away in the war, and his parents’ relationship had deteriorated for that and other reasons. As a result, Lennon had barely known his father, and when his mother met another man, Lennon’s aunt, Mary Smith, who he always called Mimi, had taken him in, believing that his mother “living in sin” would be a bad influence on the young boy. The Smith family were the kind of lower middle class family that seemed extremely rich to the impoverished families in Liverpool, but were not well off by any absolute standard. Mimi, in particular, was torn between two very different urges. On one hand, she had strongly bohemian, artistic, urges — as did all of her sisters. She was a voracious reader, and a lover of art history, and encouraged these tendencies in John. But at the same time, she was of that class which has a little status, but not much security, and so she was extremely wary of the need to appear respectable. This tension between respectability and rebellion was something that would appear in many of the people who Lennon later worked with, such as Brian Epstein and George Martin, and it was something that Lennon would always respond to — those people would be the only ones who Lennon would ever view as authority figures he could respect, though he would also resent them at times. And it might be that combination of rebellion and respectability that Lennon saw in Paul McCartney. McCartney was from a family who, in the Byzantine world of the British class system of the time, were a notch or so lower than the Smith family who raised Lennon, but he was academically bright, and his family had big plans for him — they thought that it might even be possible that he might become a teacher if he worked very hard at school. McCartney was a far less openly rebellious person than Lennon was, but he was still just as caught up in the music and fashions of the mid-fifties that his father associated with street gangs and hooliganism. Lennon, like many teenagers in Britain at the time, had had his life changed when he first heard Elvis Presley, and he had soon become a rock and roll obsessive — Elvis was always his absolute favourite, but he also loved Little Richard, who he thought was almost as good, and he admired Buddy Holly, who had a special place in Lennon’s heart as Holly wore glasses on stage, something that Lennon, who was extremely short-sighted, could never bring himself to do, but which at least showed him that it was a possibility. Lennon was, by his mid-teens, recreating a relationship with his mother, and one of the things they bonded over was music — she taught him how to play the banjo, and together they worked out the chords to “That’ll Be the Day”, and Lennon later switched to the guitar, playing banjo chords on five of the six strings.  Like many, many, teenagers of the time, Lennon also formed a skiffle group, which he called the Quarrymen, after a line in his school song. The group tended to have a rotating lineup, but Lennon was the unquestioned leader. The group had a repertoire consisting of the same Lonnie Donegan songs that every other skiffle group was playing, plus any Elvis and Buddy Holly songs that could sound reasonable with a lineup of guitars, teachest bass, and washboard. The moment that changed the history of the music, though, came on July the sixth, 1957, when Ivan Vaughan, a friend of Lennon’s, invited his friend Paul McCartney to go and see the Quarry Men perform at Woolton Village Fete. That day has gone down in history as “the day John met Paul”, although Mark Lewisohn has since discovered that Lennon and McCartney had briefly met once before. It is, though, the day on which Lennon and McCartney first impressed each other musically. McCartney talks about being particularly impressed that the Quarry Men’s lead singer was changing the lyrics to the songs he was performing, making up new words when he forgot the originals — he says in particular that he remembers Lennon singing “Come Go With Me” by the Del-Vikings: [Excerpt: The Del-Vikings, “Come Go With Me”] McCartney remembers Lennon as changing the lyrics to “come go with me, right down to the penitentiary”, and thinking that was clever. Astonishingly, some audio recording actually exists of the Quarry Men’s second performance that day — they did two sets, and this second one comes just after Lennon met McCartney rather than just before. The recording only seems to exist in a very fragmentary form, which has snatches of Lennon singing “Baby Let’s Play House” and Lonnie Donegan’s hit “Puttin’ on the Style”, which was number one on the charts at the time, but that even those fragments have survived, given how historic a day this was, is almost miraculous: [Excerpt: The Quarrymen, “Puttin’ on the Style”] After the first set, Lennon met McCartney, who was nearly two years younger, but a more accomplished musician — for a start, he knew how to tune the guitar with all six strings, and to proper guitar tuning, rather than tuning five strings like a banjo. Lennon and his friends were a little nonplussed by McCartney holding his guitar upside-down at first — McCartney is left-handed — but despite having an upside-down guitar with the wrong tuning, McCartney managed to bash out a version of Eddie Cochran’s “Twenty-Flight Rock”, a song he would often perform in later decades when reminding people of this story: [Excerpt: Paul McCartney, “Twenty-Flight Rock”] This was impressive to Lennon for three reasons. The first was that McCartney was already a strong, confident performer — he perhaps seemed a little more confident than he really was, showing off in front of the bigger boys like this. The second was that “Twenty-Flight Rock” was a moderately obscure song — it hadn’t charted, but it *had* appeared in The Girl Can’t Help It, a film which every rock and roll lover in Britain had watched at the cinema over and over. Choosing that song rather than, say, “Be-Bop-A-Lula”, was a way of announcing a kind of group affiliation — “I am one of you, I am a real rock and roll fan, not just a casual listener to what’s in the charts”. I stress that second point because it’s something that’s very important in the history of the Beatles generally — they were *music fans*, and often fans of relatively obscure records. That’s something that bound Lennon and McCartney, and later the other members, together from the start, and something they always noted about other musicians. They weren’t the kind of systematic scholars who track down rare pressings and memorise every session musician’s name, but they were constantly drawn to find the best new music, and to seek it out wherever they could. But the most impressive thing for Lennon — and one that seems a little calculated on McCartney’s part, though he’s never said that he thought about this that I’m aware of — was that this was an extremely wordy song, and McCartney *knew all the words*. Remember that McCartney had noticed Lennon forgetting the words to a song with lyrics as simple as “come, come, come, come, come into my heart/Tell me darling we will never part”, and here’s McCartney singing this fast-paced, almost patter song, and getting the words right.  From the beginning, McCartney was showing how he could complement Lennon — if Lennon could impress McCartney by improvising new lyrics when he forgot the old ones, then McCartney could impress Lennon by remembering the lyrics that Lennon couldn’t — and by writing them down for Lennon, sharing his knowledge freely. McCartney went on to show off more, and in particular impressed Lennon by going to a piano and showing off his Little Richard imitation. Little Richard was the only serious rival to Elvis in Lennon’s affections, and McCartney could do a very decent imitation of him. This was someone special, clearly. But this put Lennon in a quandary. McCartney was clearly far, far, better than any of the Quarry Men — at least Lennon’s equal, and light years ahead of the rest of them. Lennon had a choice — invite this young freak of nature into his band, and improve the band dramatically, but no longer be the unquestioned centre of the group, or remain in absolute control but not have someone in the group who *knew the words* and *knew how to tune a guitar*, and other such magical abilities that no mere mortals had. Those who only know of Lennon from his later reputation as a massive egoist would be surprised, but he decided fairly quickly that he had to make the group better at his own expense. He invited McCartney to join the group, and McCartney said yes. Over the next few months the membership of the Quarry Men changed. They’d been formed while they were all at Quarry Bank Grammar School, but that summer Lennon moved on to art school. I’m going to have to talk about the art school system, and the British education system of the fifties and early sixties a lot over the next few months, but here’s an extremely abbreviated and inaccurate version that’s good enough for now. Between the ages of eleven and sixteen, people in Britain — at least those without extremely rich parents, who had a different system — went to two kinds of school depending on the result of an exam they took aged eleven, which was based on some since-discredited eugenic research about children’s potential. If you passed the exam, you were considered academically apt, and went to a grammar school, which was designed to filter you through to university and the professions. If you failed the exam, you went to a secondary modern, which was designed to give you the skills to get a trade and make a living working with your hands. And for the most part, people followed the pipeline that was set up for them. You go to grammar school, go to university, become a lawyer or a doctor or a teacher. You go to secondary modern, leave school at fourteen, become a plumber or a builder or a factory worker. But there are always those people who don’t properly fit into the neat categories that the world tries to put them in. And for people in their late teens and early twenties, people who’d been through the school system but not been shaped properly by it, there was another option at this time. If you were bright and creative, but weren’t suited for university because you’d failed your exams, you could go to art school. The supposed purpose of the art schools was to teach people to do commercial art, and they would learn skills like lettering and basic draughtsmanship. But what the art schools really did was give creative people space to explore ideas, to find out about areas of art and culture that would otherwise have been closed to them. Keith Richards, Pete Townshend, Ian Dury, Ray Davies, Bryan Ferry, Syd Barrett, and many more people we’ll be seeing over the course of this story went to art school, and as David Bowie would put it later, the joke at the time was that you went to art school to learn to play blues guitar. With Lennon and his friends all moving on from the school that had drawn them together, the group stabilised for a time on a lineup of Lennon, McCartney, Colin Hanton, Len Garry, and Eric Griffiths. But the first time this version of the group played live, while McCartney sang well, he totally fluffed his lead guitar lines on stage. While there were three guitarists in the band at this point, they needed someone who could play lead fluently and confidently on stage. Enter George Harrison, who had suddenly become a close friend of McCartney. Harrison went to the same school as McCartney — a grammar school called the Liverpool Institute, but was in the year below McCartney, and so the two had always been a bit distant. However, at the same time as Lennon was moving on to art school after failing his exams, McCartney was being kept back a year for failing Latin — which his father always thought was deliberate, so he wouldn’t have to go to university. Now he was in the same year at school as Harrison, and they started hanging out together. The two bonded strongly over music, and would do things like take a bus journey to another part of town, where someone lived who they heard owned a copy of “Searchin'” by the Coasters: [Excerpt: The Coasters, “Searchin'”] The two knocked on this stranger’s door, asked if he’d play them this prized record, and he agreed — and then they stole it from him as they left his house. Another time they took the bus to another part of town again, because they’d heard that someone in that part of town knew how to play a B7 chord on his guitar, and sat there as he showed them. So now the Quarrymen needed a lead guitarist, McCartney volunteered his young mate. There are a couple of stories about how Harrison came to join the band — apparently he auditioned for Lennon at least twice, because Lennon was very unsure about having such a young kid in his band — but the story I like best is that Harrison took his guitar to a Quarry Men gig at Wilson Hall — he’d apparently often take his guitar to gigs and just see if he could sit in with the bands. On the bill with the Quarry Men was another group, the Eddie Clayton Skiffle Group, who were generally regarded as the best skiffle band in Liverpool. Lennon told Harrison that he could join the band if he could play as well as Clayton, and Harrison took out his guitar and played “Raunchy”: [Excerpt: Bill Justis, “Raunchy”] I like this story rather than the other story that the members would tell later — that Harrison played “Raunchy” on a bus for Lennon — for one reason. The drummer in the Eddie Clayton Skiffle Group was one Richy Starkey, and if it happened that way, the day that George joined the Quarry Men was also the day that John, Paul, George, and Ringo were all in the same place for the first time. George looked up to John and essentially idolised him, though Lennon thought of him as a little annoying at times — he’d follow John everywhere, and not take a hint when he wasn’t wanted sometimes, just eager to be with his big cool new mate. But despite this tiny bit of tension, John, Paul, and George quickly became a solid unit — helped by the fact that the school that Paul and George went to was part of the same complex of buildings as Lennon’s art college, so they’d all get the bus there and back together.  George was not only younger, he was a notch or two further down the social class ladder than John or Paul, and he spoke more slowly, which made him seem less intelligent. He came from Speke, which was a rougher area, and he would dress even more like a juvenile delinquent than the others. Meanwhile, Len Garry and Eric Griffiths left the group — Len Garry because he became ill and had to spend time in hospital, and anyway they didn’t really need a teachest bass. What they did need was an electric bass, and since they had four guitars now they tried to persuade Eric to get one, but he didn’t want to pay that much money, and he was always a little on the outside of the main three members, as he didn’t share their sense of humour. So the group got Nigel Walley, who was acting as the group’s manager, to fire him. The group was now John, Paul, and George all on guitars, and Colin Hanton on drums. Sometimes, if they played a venue that had a piano, they’d also bring along a schoolfriend of Paul’s, John “Duff” Lowe, to play piano. Meanwhile, the group were growing in other ways. Both John and Paul had started writing songs, together and apart. McCartney seems to have been the first, writing a song called “I Lost My Little Girl” which he would eventually record more than thirty years later: [Excerpt: Paul McCartney, “I Lost My Little Girl”] Lennon’s first song likewise sang about a little girl, this time being “Hello, Little Girl”. By the middle of 1958, this five-piece group was ready to cut their first record — at a local studio that would cut a single copy of a disc for you. They went into this studio at some time around July 1958, and recorded two songs. The first was their version of “That’ll Be the Day”: [Excerpt: The Quarry Men, “That’ll be the Day”] The B-side was a song that McCartney had written, with a guitar solo that George had come up with, so the label credit read “McCartney/Harrison”. “In Spite of All the Danger” seems to have been inspired by Elvis’ “Trying to Get to You”: [Excerpt: Elvis Presley, “Trying to Get to You”] It’s a rough song, but a good attempt for a teenager who had only just started writing songs: [Excerpt: The Quarry Men, “In Spite of All the Danger”] Apparently Lowe and Hanton hadn’t heard the song before they started playing, but they make a decent enough fist of it in the circumstances. Lennon took the lead even though it was McCartney’s song — he said later “I was such a bully in those days I didn’t even let Paul sing his own song.” That was about the last time that this lineup of Quarry Men played together. In July, the month that seems likely for the recording, Lowe finished at the Liverpool Institute, and so he drifted away from McCartney and Harrison. Meanwhile Hanton had a huge row with the others after a show, and they fell out and never spoke again. The Quarry Men were reduced to a trio of Lennon, McCartney, and Harrison. But — possibly the very day after that recording if an unreliable plaque at the studio where they recorded it is to be believed — something happened which was to have far more impact on the group than the drummer leaving. John Lennon’s mother, with whom he’d slowly been repairing his relationship, had called round to visit Mimi. She left the house, and bumped into Nigel Walley, who was calling round to see John. She told him he wasn’t there, and that he could walk with her to the bus stop. They walked a little while, then went off in different directions. Walley heard a thump and turned round — Julia Lennon had been hit by a car and killed instantly. As you can imagine, John’s mother dying caused him a huge amount of distress, but it also gave him a bond with McCartney, whose own mother had died of cancer shortly before they met. Neither really spoke about it to each other, and to the extent they did it was with ultra-cynical humour — but the two now shared something deeper than just the music, even though the music itself was deep enough. Lennon became a much harder, nastier, person after this, at least for a time, his natural wit taking on a dark edge, and he would often drink too much and get aggressive. But life still went on, and John, Paul, and George kept trying to perform — though the gigs dried up, and they didn’t have a drummer any more. They’d just say “the rhythm’s in the guitars” when asked why they didn’t have one. They were also no longer the Quarry Men — they didn’t have a name. At one point late in the year, they also only had two guitars between the three of them — Lennon seems to have smashed his in a fit of fury after his mother’s death. But he stole one backstage at a talent contest, and soon they were back to having three. That talent show was one run by Carroll Levis, who we talked about before in the episode on “Shakin’ All Over”. The three boys went on Levis’ show, this time performing as Johnny & The Moondogs —  in Manchester, at the Hippodrome in Ancoats, singing Buddy Holly’s “Think it Over”: [Excerpt: The Crickets, “Think it Over”] Lennon sang lead with his arms draped over the shoulders of Paul and George, who sang backing vocals and played guitar. They apparently did quite well, but had to leave before the show finished to get the last train back to Liverpool, and so never found out whether the audience would have made them the winner, with the possibility of a TV appearance. They did well enough, though, to impress a couple of other young lads on the bill, two Manchester singers named Allan Clarke and Graham Nash. But in general, the Japage Three, a portmanteau of their names that they settled on as their most usual group name at this point, played very little in 1959 — indeed, George spent much of the early part of the year moonlighting in the Les Stewart Quartet, another group, though he still thought of Lennon and McCartney as his musical soulmates; the Les Stewart Quartet were just a gig.  The three of them would spend much of their time at the Jacaranda, a coffee bar opened by a Liverpool entrepreneur, Allan Williams, in imitation of the 2is, which was owned by a friend of his. Lennon was also spending a lot of time with an older student at his art school, Stuart Sutcliffe, one of the few people in the world that Lennon himself looked up to. The Les Stewart Quartet would end up indirectly being key to the Beatles’ development, because after one of their shows at a local youth club they were approached by a woman named Mona Best. Mona’s son Pete liked to go to the youth club, but she was fairly protective of him, and also wanted him to have more friends — he was a quiet boy who didn’t make friends easily. So she’d hit upon a plan — she’d open her own club in her cellar, since the Best family were rich enough to have a big house. If there was a club *in Pete’s house* he’d definitely make lots of friends. They needed a band, and she asked the Les Stewart Quartet if they’d like to be the resident band at this new club, the Casbah, and also if they’d like to help decorate it.  They said yes, but then Paul and George went on a hitch-hiking holiday around Wales for a few days, and George didn’t get back in time to play a gig the quartet had booked. Ken Brown, the other guitarist, didn’t turn up either, and Les Stewart got into a rage and split the group. Suddenly, the Casbah had no group — George and Ken were willing to play, but neither was a lead singer — and no decorators either. So George roped in John and Paul, who helped decorate the place, and with the addition of Ken Brown, the group returned to the Quarry Men name for their regular Saturday night gig at the Casbah. The group had no bass player or drummer, and they all kept pestering everyone they knew to get a bass or a drum kit, but nobody would bite. But then Stuart Sutcliffe got half a painting in an exhibition put on by John Moores, the millionaire owner of Littlewoods, who was a big patron of the arts in Liverpool. I say he got half a painting in the exhibition, because the painting was done on two large boards — Stuart and his friends took the first half of the painting down to the gallery, went back to get the other half, and got distracted by the pub and never brought it. But Moores was impressed enough with the abstract painting that he bought it at the end of the exhibition’s run, for ninety pounds — about two thousand pounds in today’s money. And so Stuart’s friends gave him a choice — he could either buy a bass or a drum kit, either would be fine. He chose the bass. But the same week that Stuart joined, Ken Brown was out, and they lost their gig at the Casbah. John, Paul, George and Ken had turned up one Saturday, and Ken hadn’t felt well, so instead of performing he just worked on the door. At the end of the show, Mona Best insisted on giving Ken an equal share of the money, as agreed. John, Paul, and George wouldn’t stand for that, and so Ken was out of the group, and they were no longer playing for Mona Best. Stuart joining the group caused tensions — George was fine with him, thinking that a bass player who didn’t yet know how to play was better than no bass player at all, but Paul was much less keen. Partly this was because he thought the group needed to get better, which would be hard with someone who couldn’t play, but also he was getting jealous of Sutcliffe’s closeness to Lennon, especially when the two became flatmates. But John wanted him in the group, and what John wanted, he got. There are recordings of the group around this time that circulate — only one has been released officially, a McCartney instrumental called “Cayenne”, but the others are out there if you look: [Excerpt: The Quarry Men, “Cayenne”] The gigs had dried up again, but they did have one new advantage — they now had a name they actually liked. John and Stuart had come up with it, inspired by Buddy Holly’s Crickets. They were going to be Beatles, with an a. Shortly after the Beatles’ first appearance under that name, at the art school student union, came the Liverpool gig which was to have had Eddie Cochran and Gene Vincent headlining, before Cochran died. A lot of Liverpool groups were booked to play on the bill there, but not the Beatles — though Richy Starkey was going to play the gig, with his latest group Rory Storm and the Hurricanes. Allan Williams, the local promoter, added extra groups to fill out the bill, including Gerry and the Pacemakers, and suddenly everyone who loved rock and roll in Liverpool realised that there were others out there like them. Overnight, a scene had been born. And where there’s a scene, there’s money to be made. Larry Parnes, who had been the national promoter of the tour, was at the show and realised that there were a lot of quite proficient musicians in Liverpool. And it so happened that he needed backing bands for three of his artists who were going on tour, separately — two minor stars, Duffy Power and Johnny Gentle, and one big star, Billy Fury. And both Gentle and Fury were from Liverpool themselves. So Parnes asked Allan Williams to set up auditions with some of the local groups. Williams invited several groups, and one he asked along was the Beatles, largely because Lennon and Sutcliffe begged him. He also found them a drummer, Tommy Moore, who was a decade older than the rest of them — though Moore didn’t turn up to the audition because he had to work, and so Johnny “Hutch” Hutchinson of Cass and the Cassanovas sat in with them, much to Hutch’s disgust — he hated the Beatles, and especially Lennon.  Cass of the Cassanovas also insisted that “the Beatles” was a stupid name, and that the group needed to be Something and the Somethings, and he suggested Long John and the Silver Beatles, and that stuck for a couple of shows before they reverted to their proper name. The Beatles weren’t chosen for any of the main tours that were being booked, but then Parnes phoned Williams up — there were some extra dates on the Johnny Gentle tour that he hadn’t yet booked a group for. Could Williams find him a band who could be in Scotland that Friday night for a nine-day tour? Williams tried Cass and the Cassanovas, Rory Storm and the Hurricanes, and Gerry and the Pacemakers, but none of them could go on tour at such short notice. They all had gigs booked, or day jobs they had to book time off with. The Beatles had no gigs booked, and only George had a day job, and he didn’t mind just quitting that. They were off to Scotland. They were so inspired by being on tour with a Larry Parnes artist that most of them took on new names just like those big stars — George became Carl Harrison, after Carl Perkins, Stuart became Stuart de Staël, after his favourite painter, and Paul became Paul Ramon, which he thought sounded mysterious and French. There’s some question about whether John took on a new name — some sources have him becoming “Long John”, while others say he was “Johnny” Lennon rather than John. Tommy Moore, meanwhile, was just Thomas Moore. It was on this tour, of course, that Lennon helped Johnny Gentle write “I’ve Just Fallen For Someone”, which we talked about last week: [Excerpt: Darren Young, “I’ve Just Fallen For Someone”] The tour was apparently fairly miserable, with horrible accommodation, poor musicianship from the group, and everyone getting on everyone’s nerves — George and Stuart got into fistfights, John bullied Stuart a bit because of his poor playing, and John particularly didn’t get on well with Moore — a man who was a decade older, didn’t share their taste in music, and worked in a factory rather than having the intellectual aspirations of the group. The two hated each other by the end of the tour. But the tour did also give the group the experience of signing autographs, and of feeling like stars in at least a minor way. When they got back to Liverpool, George moved in with John and Stuart, to get away from his mum telling him to get a proper job, and they got a few more bookings thanks to Williams, but they soon became drummerless — they turned up to a gig one time to find that Tommy Moore wasn’t there. They went round to his house, and his wife shouted from an upstairs window, “Yez can piss off, he’s had enough of yez and gone back to work at the bottle factory”. The now four-piece group carried on, however, and recordings exist of them in this period, sounding much more professional than only a few months before, including performances of some of their own songs. The most entertaining of these is probably “You’ll Be Mine”, an Ink Spots parody with some absurd wordplay from Lennon: [Excerpt: The Beatles, “You’ll Be Mine”] Soon enough the group found another drummer, Norm Chapman, and carried on as before, getting regular bookings thanks to Williams. There was soon a temporary guest at the flat John, Stuart, and George shared with several other people — Royston Ellis, the Beat poet and friend of the Shadows, had turned up in Liverpool and latched on to the group, partly because he fancied George. He performed with them a couple of times, crashed at the flat, and provided them with two formative experiences — he gave them their first national press, talking in Record and Show Mirror about how he wanted them to be his full-time group, and he gave them their first drug experience, showing them how to get amphetamines out of inhalers. While the group’s first national press was positive, there was soon some very negative press indeed associated with them. A tabloid newspaper wanted to do a smear story about the dangerous Beatnik menace. The article talked about how “they revel in filth”, and how beatniks were “a dangerous menace to our young people… a corrupting influence of drug addicts and peddlers, degenerates who specialise in obscene orgies”. And for some reason — it’s never been made clear exactly how — the beatnik “pad” they chose to photograph for this story was the one that John, Stuart, and George lived in, though they weren’t there at the time — several of their friends and associates are in the pictures though. They were all kicked out of their flat, and moved back in with their families, and around this time they lost Chapman from the group too — he was called up to do his National Service, one of the last people to be conscripted before conscription ended for good. They were back to a four-piece again, and for a while Paul was drumming. But then, as seems to have happened so often with this group, a bizarre coincidence happened. A while earlier, Allan Williams had travelled to Hamburg, with the idea of trying to get Liverpool groups booked there. He’d met up with Bruno Koschmider, the owner of a club called the Kaiserkeller. Koschmider had liked the idea, but nothing had come of it, partly because neither could speak the other’s language well. A little while later, Koschmider had remembered the idea and come over to the UK to find musicians. He didn’t remember where Williams was from, so of course he went to London, to the 2is, and there he found a group of musicians including Tony Sheridan, who we talked about back in the episode on “Brand New Cadillac”, the man who’d been Vince Taylor’s lead guitarist and had a minor solo career: [Excerpt: Tony Sheridan, “Why?”] Sheridan was one of the most impressive musicians in Britain, but he also wanted to skip the country — he’d just bought a guitar on credit in someone else’s name, and he also had a wife and six-month-old baby he wanted rid of. He eagerly went off with Koschmider, and a scratch group called the Jets soon took up residence at the Kaiserkeller. Meanwhile, in Liverpool, Derry and the Seniors were annoyed. Larry Parnes had booked them for a tour, but then he’d got annoyed at the unprofessionalism of the Liverpool bands he was booking and cancelled the booking, severing his relationship with Williams. The Seniors wanted to know what Williams was going to do about it.  There was no way to get them enough gigs in Liverpool, so Williams, being a thoroughly decent man who had a sense of obligation, offered to drive the group down to London to see if they could get work there. He took them to the 2is, and they were allowed to get up and play there, since Williams was a friend of the owner. And Bruno Koschmider was there. The Jets hadn’t liked playing at Williams’ club, and they’d scarpered to another one with better working conditions, which they helped get off the ground and renamed the Top Ten, after Vince Taylor’s club in London. So Bruno had come back to find another group, and there in the same club at the same time was the man who’d given him the idea in the first place, with a group. Koschmider immediately signed up Derry and the Seniors to play at the Kaiserkeller.  Meanwhile, the best gig the Beatles could get, also through Williams, was backing a stripper, where they played whatever instrumentals they knew, no matter how inappropriate, things like the theme from The Third Man: [Excerpt: Anton Karas, “Theme from The Third Man”] A tune guaranteed to get the audience into a sexy mood, I’m sure you’ll agree. But then Allan Williams got a call from Koschmider. Derry and the Seniors were doing great business, and he’d decided to convert another of his clubs to be a rock and roll club. Could Williams have a group for him by next Friday? Oh, and it needed to be five people. Williams tried Rory Storm and the Hurricanes. They were busy. He tried Cass and the Cassanovas. They were busy. He tried Gerry and the Pacemakers. They were busy. Finally, he tried the Beatles. They weren’t busy, and said yes they could go to Hamburg that week. There were a few minor issues, like there not being five of them, none of them having passports, and them not having a drummer. The passports could be sorted quickly — there’s a passport office in Liverpool — but the lack of a fifth Beatle was more of a problem. In desperation, they turned eventually to Pete Best, Mrs. Best’s son, because they knew he had a drum kit. He agreed.  Allan Williams drove the group to Hamburg, and they started playing six-hour sets every night at the Indra, not finishing til three in the morning, at which point they’d make their way to their lodgings — the back of a filthy cinema.  By this time, the Beatles had already got good — Howie Casey, of Derry and the Seniors, who’d remembered the Beatles as being awful at the Johnny Gentle audition, came over to see them and make fun of them, but found that they were far better than they had been. But playing six hours a night got them *very* good *very* quickly — especially as they decided that they weren’t going to play the same song twice in a night, meaning they soon built up a vast repertoire. But right from the start, there was a disconnect between Pete Best and the other four — they socialised together, and he went off on his own. He was also a weak player — he was only just starting to learn — and so the rest of the group would stamp their feet to keep him in time. That, though, also gave them a bit more of a stage act than they might otherwise have had. There are lots of legendary stories about the group’s time in Hamburg, and it’s impossible to sort fact from fiction, and the bits we can sort out would get this podcast categorised as adult content, but they were teenagers, away from home for a long period for the first time, living in a squalid back room in the red light district of a city with a reputation for vice. I’m sure whatever you imagine is probably about right. After a relatively short time, they were moved from the Indra, which had to stop putting on rock and roll shows, to the Kaiserkeller, where they shared the bill with Rory Storm & the Hurricanes, up to that point considered Liverpool’s best band. There’s a live recording of the Hurricanes from 1960, which shows that they were certainly powerful: [Excerpt: Rory Storm and the Hurricanes, “Brand New Cadillac”] That recording doesn’t have the Hurricanes’ normal drummer on, who was sick for that show. But compared to what the Beatles had become — a stomping powerhouse with John Lennon, whose sense of humour was both cruel and pointed, doing everything he could to get a rise out of the audience — they were left in the dust. A letter home that George Harrison wrote sums it up — “Rory Storm & the Hurricanes came out here the other week, and they are crumby. He does a bit of dancing around but it still doesn’t make up for his phoney group. The only person who is any good in the group is the drummer.” That drummer was Richy Starkey from the Eddie Clayton Skiffle Group, now performing as Ringo Starr. They struck up a friendship, and even performed together at least once — John, Paul, George, and Ringo acting as the backing group for Lu Walters of the Hurricanes on a demo, which is frustratingly missing and hasn’t been heard since. They were making other friends, too. There was Tony Sheridan, who they’d seen on TV, but who would now sometimes jam with them as equals. And there was a trio of arty bohemian types who had stumbled across the club, where they were very out of place — Astrid Kirscherr, Klaus Voormann, and Jurgen Vollmer. They all latched on to the Beatles, and especially to Stuart, who soon started dating Astrid, despite her speaking no English and him speaking no German. But relations between Koschmider and the Beatles had worsened, and he reported to the police that George, at only seventeen, was under-age. George got deported. The rest of the group decided to move over to the Top Ten Club, and as a parting gift, Paul and Pete nailed some condoms to their bedroom wall and set fire to them. Koschmider decided to report this to the police as attempted arson, and those two were deported as well. John followed a week later, while Stuart stayed in Hamburg for a while, to spend more time with Astrid, who he planned to marry. The other four regrouped, getting in a friend, Chas Newby, as a temporary bass player while Stuart was away. And on the twenty-seventh of December, 1960, when they played Litherland Town Hall, they changed the Liverpool music scene. They were like nothing anyone had ever seen, and the audience didn’t dance — they just rushed to the stage, to be as close to the performance as possible. The Beatles had become the best band in Liverpool. Mark Lewisohn goes further, and suggests that the three months of long nights playing different songs in Hamburg had turned them into the single most experienced rock band *in the world* — which seems vanishingly unlikely to me, but Lewisohn is not a man given to exaggeration. By this time, Mona Best had largely taken over the group’s bookings, and there were a lot of them, as well as a regular spot at the Casbah. Neil Aspinall, a friend of Pete’s, started driving them to gigs, while they also had a regular MC, Bob Wooler, who ran many local gigs, and who gave the Beatles their own theme music — he’d introduce them with the fanfare from Rossini’s William Tell Overture: [Excerpt: Rossini, “William Tell Overture”] Stuart came over from Hamburg in early January, and once again the Beatles were a five-piece — and by now, he could play quite well, well enough, at any rate, that it didn’t destroy the momentum the group had gathered. The group were getting more and more bookings, including the venue that would become synonymous with them, the Cavern, a tiny little warehouse cellar that had started as a jazz club, and that the Quarry Men had played once a couple of years earlier, but had been banned from for playing too much rock and roll. Now, the Beatles were getting bookings at the Cavern’s lunchtime sessions, and that meant more than it seemed. Most of the gigs they played otherwise were on the outskirts of the city, but the Cavern was in the city centre. And that meant that for the lunchtime sessions, commuters from outside the city were coming to see them — which meant that the group got fans from anywhere within commuting distance, fans who wanted them to play in their towns. Meanwhile, the group were branching out musically — they were particularly becoming fascinated by the new R&B, soul, and girl-group records that were coming out in the US. After already having loved “Money” by Barrett Strong, John was also obsessed with the Miracles, and would soon become a fervent fan of anything Motown, and the group were all big fans of the Shirelles. As they weren’t playing original material live, and as every group would soon learn every other group’s best songs, there was an arms race on to find the most exciting songs to cover. As well as Elvis and Buddy and Eddie, they were now covering the Shirelles and Ray Charles and Gary US Bonds. The group returned to Hamburg in April, Paul and Pete’s immigration status having been resolved and George now having turned eighteen, and started playing at the Top Ten club, where they played even longer sets, and more of them, than they had at the Kaiserkeller and the Indra. Tony Sheridan started regularly joining them on stage at this time, and Paul switched to piano while Sheridan added the third guitar. This was also when they started using Preludin, a stimulant related to amphetamines which was prescribed as a diet drug — Paul would take one pill a night, George a couple, and John would gobble them down. But Pete didn’t take them — one more way in which he was different from the others — and he started having occasional micro-sleeps in the middle of songs as the long nights got to him, much to the annoyance of the rest of the group. But despite Pete’s less than stellar playing they were good enough that Sheridan — the single most experienced musician in the British rock and roll scene — described them as the best R&B band he’d ever heard. Once they were there, they severed their relationship with Allan Williams, refusing to pay him his share of the money, and just cutting him out of their careers.  Meanwhile, Stuart was starting to get ill. He was having headaches all the time, and had to miss shows on occasion. He was also the only Beatle with a passion for anything else, and he managed to get a scholarship to study art with the famous sculptor Eduardo Paolozzi, who was now working in Hamburg. Paul subbed for Stuart on bass, and eventually Stuart left the group, though on good terms with everyone other than Paul. So it was John, Paul, George and Pete who ended up making the Beatles’ first records. Bert Kaempfert, the most important man in the German music industry, had been to see them all at the Top Ten and liked what he saw. Outside Germany, Kaempfert was probably best known for co-writing Elvis’ “Wooden Heart”, which the Beatles had in their sets at this time: [Excerpt: Elvis Presley, “Wooden Heart”] Kaempfert had signed Tony Sheridan to a contract, and he wanted the Beatles to back him in the studio — and he was also interested in recording a couple of tracks with them on their own. The group eagerly agreed, and their first session started at eight in the morning on the twenty-second of June 1961, after they had finished playing all night at the club, and all of them but Pete were on Preludin for the session. Stuart came along for moral support, but didn’t play. Pete was a problem, though. He wasn’t keeping time properly, and Kaempfert eventually insisted on removing his bass drum and toms, leaving only a snare, hi-hat, and ride cymbal for Pete to play. They recorded seven songs at that session in total. Two of them were just by the Beatles. One was a version of “Ain’t She Sweet”, an old standard which Gene Vincent had recorded fairly recently, but the other was the only track ever credited to Lennon and Harrison as cowriters. On their first trip to Hamburg, they’d wanted to learn “Man of Mystery” by the Shadows: [Excerpt: The Shadows, “Man of Mystery”] But there was a slight problem in that they didn’t have a copy of the record, and had never heard it — it came out in the UK while they were in Germany. So they asked Rory Storm to hum it for them. He hummed a few notes, and Lennon and Harrison wrote a parody of what Storm had sung, which they named “Beatle Bop” but by this point they’d renamed “Cry For a Shadow”: [Excerpt: The Beatles, “Cry For a Shadow”] The other five songs at the session were given over to Tony Sheridan, with the Beatles backing him, and the song that Kaempfert was most interested in recording was one the group had been performing on stage — a rocked-up version of the old folk song “My Bonnie”: [Excerpt: Tony Sheridan and the Beat Brothers, “My Bonnie”] That was the record chosen as the single, but it was released not as by Tony Sheridan and the Beatles, but by Tony Sheridan and the Beat Brothers — “Beatles”, to German ears, sounded a little like “piedels”, a childish slang term for penises. The Beatles had made their first record, but it wasn’t one they thought much of. They knew they could do better. The next week, the now four-piece Beatles returned to Liverpool, with much crying at Stuart staying behind — even Paul, now Stuart was no longer a threat for John’s attention, was contrite and tried to make amends to him.  On their return to Liverpool, they picked up where they had left off, playing almost every night, and spending the days trying to find new records — often listening to the latest releases at NEMS, a department store with an extensive record selection. Brian Epstein, the shop’s manager, prided himself on being able to get any record a customer wanted, and whenever anyone requested anything he’d buy a second copy for the shelves. As a result, you could find records there that you wouldn’t get anywhere else in Liverpool, and the Beatles were soon adding more songs by the Shirelles and Gary US Bonds to their sets, as well as more songs by the Coasters and Ben E. King’s “Stand By Me”. They were playing gigs further afield, and Neil Aspinall was now driving them everywhere. Aspinall was Pete Best’s closest friend — and was having an affair with Pete’s mother — but unlike Pete himself he also became close to the other Beatles, and would remain so for the rest of his life.  By this point, the group were so obviously the best band on the Liverpool scene that they were starting to get bored — there was no competition. And by this point it really was a proper scene — John’s old art school friend Bill Harry had started up a magazine, Mersey Beat, which may be the first magazine anywhere in the world to focus on one area’s local music scene. Brian Epstein from NEMS had a column, as did Bob Wooler, and often John’s humorous writing would appear as well. The Beatles were featured in most issues — although Paul McCartney’s name was misspelled almost every time it appeared — and not just because Lennon and Harry were friends. By this point there were the Beatles, and there were all the other groups in the area. For several months this continued — they learned new songs, they played almost every day, and they continued to be the best. They started to find it boring. The one big change that came at this point was when John and Paul went on holiday to Paris, saw Vince Taylor, bumped into their friend Jurgen from Hamburg, and got Jurgen to do their hair like his — the story we told in the episode on “Brand New Cadillac”. They now had the Beatles haircut, though they were still wearing leather. When they got back, George copied their new style straight away, but Pete decided to leave his hair in a quiff. There was nowhere else to go without a manager to look after them. They needed management — and they found it because of “My Bonnie”: [Excerpt: Tony Sheridan and the Beat Brothers, “My Bonnie”] “My Bonnie” was far from a great record, but it was what led to everything that followed. The Beatles had mentioned from the stage at the Cavern that they had a record out, and a young man named Raymond Jones walked into NEMS and asked for a copy of it. Brian Epstein couldn’t find it in the record company catalogues, and asked Jones for more information — Jones explained that they were a Liverpool group, but the record had come out in Germany. A couple of days later, two young girls came into the shop asking for the same record, and now Epstein was properly intrigued — in his view, if *two* people asked for a record, that probably meant a lot more than just two people wanted it. He decided to check these Beatles out for himself. Epstein was instantly struck by the group, and this has led to a lot of speculation over the years, because his tastes ran more to Sibelius than to Little Richard. As Epstein was also gay, many people have assumed that the attraction was purely physical. And it might well have been, at least in part, but the suggestion that everything that followed was just because of that seems unlikely — Epstein was also someone who had a long interest in the arts, and had trained as an actor at RADA, the most prestigious actors’ college in the UK, before taking up his job at the family store. Given that the Beatles were soon to become the most popular musicians in the history of the world, and were already the most popular musicians in the Liverpool area, the most reasonable assumption must be that Epstein was impressed by the same things that impressed roughly a billion other people over the next sixty years. Epstein started going to the Cavern regularly, to watch the Beatles and to make plans — the immaculately dressed, public-school-educated, older rich man stood out among the crowd, and the Beatles already knew his face from his record shop, and so they knew something was going on. By late November, Brian had managed to obtain a box of twenty-five copies of “My Bonnie”, and they’d sold out within hours. He set up a meeting with the Beatles, and even before he got them signed to a management contract he was using his contacts with the record industry in London to push the Beatles at record companies. Those companies listened to Brian, because NEMS was one of their biggest customers. December 1961, the month they signed with Brian Epstein, was also the month that they finally started including Lennon/McCartney songs in their sets.  And within a couple of weeks of becoming their manager, even before he’d signed them to a contract, Brian had managed to persuade Mike Smith, an A&R man from Decca, to come to the Cavern to see the group in person. He was impressed, and booked them in for a studio session. December 61 was also the first time that John, Paul, George, and Ringo played together in that lineup, without any other musicians, when on the twenty-seventh of December Pete called in sick for a show, and the others got in their friend to cover for him. It wouldn’t be the last time they would play together. On New Year’s Day 1962, the Beatles made the trek down to London to record fifteen songs at the Decca studios. The session was intended for two purposes — to see if they sounded as good on tape as they did in the Cavern, and if they did to produce their first single. Those recordings included the core of their Cavern repertoire, songs like “Money”: [Excerpt: The Beatles, “Money (Decca version)”] They also recorded three Lennon/McCartney songs, two by Paul — “Love of the Loved” and “Like Dreamers Do”: [Excerpt: The Beatles, “Like Dreamers Do”] And one by Lennon — “Hello Little Girl”: [Excerpt: The Beatles, “Hello Little Girl”] And they were Lennon/McCartney songs, even though they were written separately — the two agreed that they were going to split the credit on anything either of them wrote. The session didn’t go well — the group’s equipment wasn’t up to standard and they had to use studio amps, and they’re all audibly nervous — but Mike Smith was still fairly confident that they’d be releasing something through Decca — he just had to work out the details with his boss, Dick Rowe. Meanwhile, the group were making other changes. Brian suggested that they could get more money if they wore suits, and so they agreed — though they didn’t want just any suits, they wanted stylish mohair suits, like the black American groups they loved so much.  The Beatles were now a proper professional group — but unfortunately, Decca turned them down. Dick Rowe, Mike Smith’s boss, didn’t think that electric guitars were going to become a big thing — he was very tuned in to the American trends, and nothing with guitars was charting at the time. Smith was considering two groups — the Beatles, and Brian Poole and the Tremeloes, and wanted to sign both. Rowe told him that he could sign one, but only one, of them. The Tremeloes had been better in the studio, and they lived round the corner from Smith and were friendly with him. There was no contest — much as Smith wanted to sign both groups, the Tremeloes were the better prospect. Rowe did make an offer to Epstein: if Epstein would pay a hundred pounds (a *lot* of money in those days), Tony Meehan, formerly of the Shadows, would produce the group in another session, and Decca would release that. Brian wasn’t interested — if the Beatles were going to make a record, they were going to make it with people who they weren’t having to pay for the privilege. John, Paul, and George were devastated, but for their own reasons they didn’t bother to tell Pete they’d been turned down. But they did have a tape of themselves, at least — a professional-quality recording that they could use to attract other labels. And their career was going forward in other ways. The same day Brian had his second meeting with Decca, they had an audition with the BBC in Manchester, where they were accepted to perform on Teenager’s Turn, a radio programme hosted by the Northern Dance Orchestra. A few weeks later, on the seventh of March, they went to Manchester to record four songs in front of an audience, of which three would be broadcast: [Excerpt: The Beatles, “Please Mr. Postman (Teenager’s Turn)”] That recording of John singing “Please Mr. Postman” is historic for another reason, which shows just how on the cutting edge of musical taste the Beatles actually were — it was the first time ever that a Motown song was played on the BBC. Now we get to the part of the story that, before Mark Lewisohn’s work in his book a few years back, had always been shrouded in mystery. What Lewisohn shows is that George Ma

This week there are two episiodes of the podcast going up, both of them longer than normal. This one, episode one hundred, is the hundredth-episode special and is an hour and a half long. It looks at the early career of the Beatles, and at the three recordings of "Love Me Do". Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "Misirlou" by Dick Dale and the Deltones. 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/ ----more---- Resources No Mixclouds this week, as both episodes have far too many songs by one artist. The mixclouds will be back with episode 101. While there are many books on the Beatles, and I have read dozens of them, only one needs to be mentioned as a reference for this episode (others will be used for others). All These Years Vol 1: Tune In by Mark Lewisohn is simply the *only* book worth reading on the Beatles' career up to the end of 1962. It is the most detailed, most accurate, biography imaginable, and the gold standard by which all other biographies of musicians should be measured. I only wish volumes two and three were available already so I could not expect my future episodes on the Beatles to be obsolete when they do come out. There are two versions of the book -- a nine-hundred page mass-market version and a 1700-page expanded edition. I recommend the latter. The information in this podcast is almost all from Lewisohn's book, but I must emphasise that the opinions are mine, and so are any errors -- Lewisohn's book only has one error that I'm aware of (a joke attributed to the comedian Jasper Carrott in a footnote that has since been traced to an earlier radio show). I am only mortal, and so have doubtless misunderstood or oversimplified things and introduced errors where he had none.   The single version of "Love Me Do" can be found on Past Masters, a 2-CD compilation of the Beatles' non-album tracks that includes the majority of their singles and B-sides. The version with Andy White playing on can be found on Please Please Me. The version with Pete Best, and many of the other early tracks used here, is on Anthology 1.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Errata I pronounce the name of Lewisohn's book as "All Those Years" instead of "All These Years". I say " The Jets hadn't liked playing at Williams' club" at one point. I meant "at Koschmider's club"   Transcript   The Beatles came closer than most people realise to never making a record. Until the publication of Mark Lewisohn's seminal biography All These Years vol 1: Tune In, in 2013 everyone thought they knew the true story -- John met Paul at Woolton Village Fete in 1957, and Paul joined the Quarrymen, who later became the Beatles. They played Hamburg and made a demo, and after the Beatles' demo was turned down by Decca, their manager Brian Epstein shopped it around every record label without success, until finally George Martin heard the potential in it and signed them to Parlophone, a label which was otherwise known for comedy records. Martin was, luckily, the one producer in the whole of the UK who could appreciate the Beatles' music, and he signed them up, and the rest was history. The problem is, as Lewisohn showed, that's not what happened. Today I'm going to tell, as best I can the story of how the Beatles actually became the band that they became, and how they got signed to EMI records. I'm going to tell you the story of "Love Me Do": [Excerpt: The Beatles, "Love Me Do (single version)"] As I mentioned at the beginning, this episode owes a *huge* debt to Mark Lewisohn's book. I like to acknowledge my sources, anyway, but I've actually had difficulty with this episode because Lewisohn's book is *so* detailed, *so* full, and written *so* well that much of the effort in writing this episode came from paring down the information, rather than finding more, and from reworking things so I was not just paraphrasing bits of his writing. Normally I rely on many sources, and integrate the material myself, but Lewisohn has done all that work far better than any other biographer of any other musician. Were the Beatles not such an important part of music history, I would just skip this episode because there is nothing for me to add. As it is, I *obviously* have to cover this, but I almost feel like I'm cheating in doing so. If you find this episode interesting at all, please do yourself a favour and buy that book.  This episode is going to be a long one -- much longer than normal. I won't know the precise length until after I've recorded and edited it, of course, but I'm guessing it's going to be about ninety minutes. This is the hundredth episode, the end of the second year of the podcast, the end of the second book based on the podcast, and the introduction of the single most important band in the whole story, so I'm going to stretch out a bit. I should also mention that there are a couple of discussions of sudden, traumatic, deaths in this episode. With all that said, settle in, this is going to take a while. Every British act we've looked at so far -- and many of those we're going to look at in the next year or two -- was based in London. Either they grew up there, or they moved there before their musical career really took off. The Beatles, during the time we're covering in this episode, were based in Liverpool. While they did eventually move to London, it wasn't until after they'd started having hits. And what listeners from outside the UK might not realise is what that means in terms of attitudes and perceptions. Liverpool is a large city -- it currently has a population of around half a million, and the wider Liverpool metropolitan area is closer to two million -- but like all British cities other than London, it was regarded largely as a joke in the British media, and so in return the people of Liverpool had a healthy contempt for London. To give Americans some idea of how London dominates in Britain, and thus how it's thought of outside London, imagine that New York, Washington DC, and Los Angeles were all the same city -- that the financial, media, and political centres of the country were all the same place. Now further imagine that Silicon Valley and all the Ivy League universities were half an hour's drive from that city. Now, imagine how much worse the attitudes that that city would have about so-called "flyover states" would be, and imagine in return how people in large Midwestern cities like Detroit or Chicago would think about that big city.  In this analogy, Liverpool is Detroit, and like Detroit, it was very poor and had produced a few famous musicians, most notably Billy Fury, who was from an impoverished area of Liverpool called the Dingle: [Excerpt: Billy Fury, "Halfway to Paradise"] But Fury had, of course, moved to London to have his career. That's what you did. But in general, Liverpool, if people in London thought of it at all, was thought of as a provincial backwater full of poor people, many of them Irish, and all of them talking with a ridiculous accent. Liverpool was ignored by London, and that meant that things could develop there out of sight. The story of the Beatles starts in the 1950s, with two young men in their mid-teens. John Winston Lennon was born in 1940, and had had a rather troubled childhood. His father had been a merchant seaman who had been away in the war, and his parents' relationship had deteriorated for that and other reasons. As a result, Lennon had barely known his father, and when his mother met another man, Lennon's aunt, Mary Smith, who he always called Mimi, had taken him in, believing that his mother "living in sin" would be a bad influence on the young boy. The Smith family were the kind of lower middle class family that seemed extremely rich to the impoverished families in Liverpool, but were not well off by any absolute standard. Mimi, in particular, was torn between two very different urges. On one hand, she had strongly bohemian, artistic, urges -- as did all of her sisters. She was a voracious reader, and a lover of art history, and encouraged these tendencies in John. But at the same time, she was of that class which has a little status, but not much security, and so she was extremely wary of the need to appear respectable. This tension between respectability and rebellion was something that would appear in many of the people who Lennon later worked with, such as Brian Epstein and George Martin, and it was something that Lennon would always respond to -- those people would be the only ones who Lennon would ever view as authority figures he could respect, though he would also resent them at times. And it might be that combination of rebellion and respectability that Lennon saw in Paul McCartney. McCartney was from a family who, in the Byzantine world of the British class system of the time, were a notch or so lower than the Smith family who raised Lennon, but he was academically bright, and his family had big plans for him -- they thought that it might even be possible that he might become a teacher if he worked very hard at school. McCartney was a far less openly rebellious person than Lennon was, but he was still just as caught up in the music and fashions of the mid-fifties that his father associated with street gangs and hooliganism. Lennon, like many teenagers in Britain at the time, had had his life changed when he first heard Elvis Presley, and he had soon become a rock and roll obsessive -- Elvis was always his absolute favourite, but he also loved Little Richard, who he thought was almost as good, and he admired Buddy Holly, who had a special place in Lennon's heart as Holly wore glasses on stage, something that Lennon, who was extremely short-sighted, could never bring himself to do, but which at least showed him that it was a possibility. Lennon was, by his mid-teens, recreating a relationship with his mother, and one of the things they bonded over was music -- she taught him how to play the banjo, and together they worked out the chords to "That'll Be the Day", and Lennon later switched to the guitar, playing banjo chords on five of the six strings.  Like many, many, teenagers of the time, Lennon also formed a skiffle group, which he called the Quarrymen, after a line in his school song. The group tended to have a rotating lineup, but Lennon was the unquestioned leader. The group had a repertoire consisting of the same Lonnie Donegan songs that every other skiffle group was playing, plus any Elvis and Buddy Holly songs that could sound reasonable with a lineup of guitars, teachest bass, and washboard. The moment that changed the history of the music, though, came on July the sixth, 1957, when Ivan Vaughan, a friend of Lennon's, invited his friend Paul McCartney to go and see the Quarry Men perform at Woolton Village Fete. That day has gone down in history as "the day John met Paul", although Mark Lewisohn has since discovered that Lennon and McCartney had briefly met once before. It is, though, the day on which Lennon and McCartney first impressed each other musically. McCartney talks about being particularly impressed that the Quarry Men's lead singer was changing the lyrics to the songs he was performing, making up new words when he forgot the originals -- he says in particular that he remembers Lennon singing "Come Go With Me" by the Del-Vikings: [Excerpt: The Del-Vikings, "Come Go With Me"] McCartney remembers Lennon as changing the lyrics to "come go with me, right down to the penitentiary", and thinking that was clever. Astonishingly, some audio recording actually exists of the Quarry Men's second performance that day -- they did two sets, and this second one comes just after Lennon met McCartney rather than just before. The recording only seems to exist in a very fragmentary form, which has snatches of Lennon singing "Baby Let's Play House" and Lonnie Donegan's hit "Puttin' on the Style", which was number one on the charts at the time, but that even those fragments have survived, given how historic a day this was, is almost miraculous: [Excerpt: The Quarrymen, "Puttin' on the Style"] After the first set, Lennon met McCartney, who was nearly two years younger, but a more accomplished musician -- for a start, he knew how to tune the guitar with all six strings, and to proper guitar tuning, rather than tuning five strings like a banjo. Lennon and his friends were a little nonplussed by McCartney holding his guitar upside-down at first -- McCartney is left-handed -- but despite having an upside-down guitar with the wrong tuning, McCartney managed to bash out a version of Eddie Cochran's "Twenty-Flight Rock", a song he would often perform in later decades when reminding people of this story: [Excerpt: Paul McCartney, "Twenty-Flight Rock"] This was impressive to Lennon for three reasons. The first was that McCartney was already a strong, confident performer -- he perhaps seemed a little more confident than he really was, showing off in front of the bigger boys like this. The second was that "Twenty-Flight Rock" was a moderately obscure song -- it hadn't charted, but it *had* appeared in The Girl Can't Help It, a film which every rock and roll lover in Britain had watched at the cinema over and over. Choosing that song rather than, say, "Be-Bop-A-Lula", was a way of announcing a kind of group affiliation -- "I am one of you, I am a real rock and roll fan, not just a casual listener to what's in the charts". I stress that second point because it's something that's very important in the history of the Beatles generally -- they were *music fans*, and often fans of relatively obscure records. That's something that bound Lennon and McCartney, and later the other members, together from the start, and something they always noted about other musicians. They weren't the kind of systematic scholars who track down rare pressings and memorise every session musician's name, but they were constantly drawn to find the best new music, and to seek it out wherever they could. But the most impressive thing for Lennon -- and one that seems a little calculated on McCartney's part, though he's never said that he thought about this that I'm aware of -- was that this was an extremely wordy song, and McCartney *knew all the words*. Remember that McCartney had noticed Lennon forgetting the words to a song with lyrics as simple as "come, come, come, come, come into my heart/Tell me darling we will never part", and here's McCartney singing this fast-paced, almost patter song, and getting the words right.  From the beginning, McCartney was showing how he could complement Lennon -- if Lennon could impress McCartney by improvising new lyrics when he forgot the old ones, then McCartney could impress Lennon by remembering the lyrics that Lennon couldn't -- and by writing them down for Lennon, sharing his knowledge freely. McCartney went on to show off more, and in particular impressed Lennon by going to a piano and showing off his Little Richard imitation. Little Richard was the only serious rival to Elvis in Lennon's affections, and McCartney could do a very decent imitation of him. This was someone special, clearly. But this put Lennon in a quandary. McCartney was clearly far, far, better than any of the Quarry Men -- at least Lennon's equal, and light years ahead of the rest of them. Lennon had a choice -- invite this young freak of nature into his band, and improve the band dramatically, but no longer be the unquestioned centre of the group, or remain in absolute control but not have someone in the group who *knew the words* and *knew how to tune a guitar*, and other such magical abilities that no mere mortals had. Those who only know of Lennon from his later reputation as a massive egoist would be surprised, but he decided fairly quickly that he had to make the group better at his own expense. He invited McCartney to join the group, and McCartney said yes. Over the next few months the membership of the Quarry Men changed. They'd been formed while they were all at Quarry Bank Grammar School, but that summer Lennon moved on to art school. I'm going to have to talk about the art school system, and the British education system of the fifties and early sixties a lot over the next few months, but here's an extremely abbreviated and inaccurate version that's good enough for now. Between the ages of eleven and sixteen, people in Britain -- at least those without extremely rich parents, who had a different system -- went to two kinds of school depending on the result of an exam they took aged eleven, which was based on some since-discredited eugenic research about children's potential. If you passed the exam, you were considered academically apt, and went to a grammar school, which was designed to filter you through to university and the professions. If you failed the exam, you went to a secondary modern, which was designed to give you the skills to get a trade and make a living working with your hands. And for the most part, people followed the pipeline that was set up for them. You go to grammar school, go to university, become a lawyer or a doctor or a teacher. You go to secondary modern, leave school at fourteen, become a plumber or a builder or a factory worker. But there are always those people who don't properly fit into the neat categories that the world tries to put them in. And for people in their late teens and early twenties, people who'd been through the school system but not been shaped properly by it, there was another option at this time. If you were bright and creative, but weren't suited for university because you'd failed your exams, you could go to art school. The supposed purpose of the art schools was to teach people to do commercial art, and they would learn skills like lettering and basic draughtsmanship. But what the art schools really did was give creative people space to explore ideas, to find out about areas of art and culture that would otherwise have been closed to them. Keith Richards, Pete Townshend, Ian Dury, Ray Davies, Bryan Ferry, Syd Barrett, and many more people we'll be seeing over the course of this story went to art school, and as David Bowie would put it later, the joke at the time was that you went to art school to learn to play blues guitar. With Lennon and his friends all moving on from the school that had drawn them together, the group stabilised for a time on a lineup of Lennon, McCartney, Colin Hanton, Len Garry, and Eric Griffiths. But the first time this version of the group played live, while McCartney sang well, he totally fluffed his lead guitar lines on stage. While there were three guitarists in the band at this point, they needed someone who could play lead fluently and confidently on stage. Enter George Harrison, who had suddenly become a close friend of McCartney. Harrison went to the same school as McCartney -- a grammar school called the Liverpool Institute, but was in the year below McCartney, and so the two had always been a bit distant. However, at the same time as Lennon was moving on to art school after failing his exams, McCartney was being kept back a year for failing Latin -- which his father always thought was deliberate, so he wouldn't have to go to university. Now he was in the same year at school as Harrison, and they started hanging out together. The two bonded strongly over music, and would do things like take a bus journey to another part of town, where someone lived who they heard owned a copy of "Searchin'" by the Coasters: [Excerpt: The Coasters, "Searchin'"] The two knocked on this stranger's door, asked if he'd play them this prized record, and he agreed -- and then they stole it from him as they left his house. Another time they took the bus to another part of town again, because they'd heard that someone in that part of town knew how to play a B7 chord on his guitar, and sat there as he showed them. So now the Quarrymen needed a lead guitarist, McCartney volunteered his young mate. There are a couple of stories about how Harrison came to join the band -- apparently he auditioned for Lennon at least twice, because Lennon was very unsure about having such a young kid in his band -- but the story I like best is that Harrison took his guitar to a Quarry Men gig at Wilson Hall -- he'd apparently often take his guitar to gigs and just see if he could sit in with the bands. On the bill with the Quarry Men was another group, the Eddie Clayton Skiffle Group, who were generally regarded as the best skiffle band in Liverpool. Lennon told Harrison that he could join the band if he could play as well as Clayton, and Harrison took out his guitar and played "Raunchy": [Excerpt: Bill Justis, "Raunchy"] I like this story rather than the other story that the members would tell later -- that Harrison played "Raunchy" on a bus for Lennon -- for one reason. The drummer in the Eddie Clayton Skiffle Group was one Richy Starkey, and if it happened that way, the day that George joined the Quarry Men was also the day that John, Paul, George, and Ringo were all in the same place for the first time. George looked up to John and essentially idolised him, though Lennon thought of him as a little annoying at times -- he'd follow John everywhere, and not take a hint when he wasn't wanted sometimes, just eager to be with his big cool new mate. But despite this tiny bit of tension, John, Paul, and George quickly became a solid unit -- helped by the fact that the school that Paul and George went to was part of the same complex of buildings as Lennon's art college, so they'd all get the bus there and back together.  George was not only younger, he was a notch or two further down the social class ladder than John or Paul, and he spoke more slowly, which made him seem less intelligent. He came from Speke, which was a rougher area, and he would dress even more like a juvenile delinquent than the others. Meanwhile, Len Garry and Eric Griffiths left the group -- Len Garry because he became ill and had to spend time in hospital, and anyway they didn't really need a teachest bass. What they did need was an electric bass, and since they had four guitars now they tried to persuade Eric to get one, but he didn't want to pay that much money, and he was always a little on the outside of the main three members, as he didn't share their sense of humour. So the group got Nigel Walley, who was acting as the group's manager, to fire him. The group was now John, Paul, and George all on guitars, and Colin Hanton on drums. Sometimes, if they played a venue that had a piano, they'd also bring along a schoolfriend of Paul's, John "Duff" Lowe, to play piano. Meanwhile, the group were growing in other ways. Both John and Paul had started writing songs, together and apart. McCartney seems to have been the first, writing a song called "I Lost My Little Girl" which he would eventually record more than thirty years later: [Excerpt: Paul McCartney, "I Lost My Little Girl"] Lennon's first song likewise sang about a little girl, this time being "Hello, Little Girl". By the middle of 1958, this five-piece group was ready to cut their first record -- at a local studio that would cut a single copy of a disc for you. They went into this studio at some time around July 1958, and recorded two songs. The first was their version of "That'll Be the Day": [Excerpt: The Quarry Men, "That'll be the Day"] The B-side was a song that McCartney had written, with a guitar solo that George had come up with, so the label credit read "McCartney/Harrison". "In Spite of All the Danger" seems to have been inspired by Elvis' "Trying to Get to You": [Excerpt: Elvis Presley, "Trying to Get to You"] It's a rough song, but a good attempt for a teenager who had only just started writing songs: [Excerpt: The Quarry Men, "In Spite of All the Danger"] Apparently Lowe and Hanton hadn't heard the song before they started playing, but they make a decent enough fist of it in the circumstances. Lennon took the lead even though it was McCartney's song -- he said later "I was such a bully in those days I didn’t even let Paul sing his own song." That was about the last time that this lineup of Quarry Men played together. In July, the month that seems likely for the recording, Lowe finished at the Liverpool Institute, and so he drifted away from McCartney and Harrison. Meanwhile Hanton had a huge row with the others after a show, and they fell out and never spoke again. The Quarry Men were reduced to a trio of Lennon, McCartney, and Harrison. But -- possibly the very day after that recording if an unreliable plaque at the studio where they recorded it is to be believed -- something happened which was to have far more impact on the group than the drummer leaving. John Lennon's mother, with whom he'd slowly been repairing his relationship, had called round to visit Mimi. She left the house, and bumped into Nigel Walley, who was calling round to see John. She told him he wasn't there, and that he could walk with her to the bus stop. They walked a little while, then went off in different directions. Walley heard a thump and turned round -- Julia Lennon had been hit by a car and killed instantly. As you can imagine, John's mother dying caused him a huge amount of distress, but it also gave him a bond with McCartney, whose own mother had died of cancer shortly before they met. Neither really spoke about it to each other, and to the extent they did it was with ultra-cynical humour -- but the two now shared something deeper than just the music, even though the music itself was deep enough. Lennon became a much harder, nastier, person after this, at least for a time, his natural wit taking on a dark edge, and he would often drink too much and get aggressive. But life still went on, and John, Paul, and George kept trying to perform -- though the gigs dried up, and they didn't have a drummer any more. They'd just say "the rhythm's in the guitars" when asked why they didn't have one. They were also no longer the Quarry Men -- they didn't have a name. At one point late in the year, they also only had two guitars between the three of them -- Lennon seems to have smashed his in a fit of fury after his mother's death. But he stole one backstage at a talent contest, and soon they were back to having three. That talent show was one run by Carroll Levis, who we talked about before in the episode on "Shakin' All Over". The three boys went on Levis' show, this time performing as Johnny & The Moondogs --  in Manchester, at the Hippodrome in Ancoats, singing Buddy Holly's "Think it Over": [Excerpt: The Crickets, "Think it Over"] Lennon sang lead with his arms draped over the shoulders of Paul and George, who sang backing vocals and played guitar. They apparently did quite well, but had to leave before the show finished to get the last train back to Liverpool, and so never found out whether the audience would have made them the winner, with the possibility of a TV appearance. They did well enough, though, to impress a couple of other young lads on the bill, two Manchester singers named Allan Clarke and Graham Nash. But in general, the Japage Three, a portmanteau of their names that they settled on as their most usual group name at this point, played very little in 1959 -- indeed, George spent much of the early part of the year moonlighting in the Les Stewart Quartet, another group, though he still thought of Lennon and McCartney as his musical soulmates; the Les Stewart Quartet were just a gig.  The three of them would spend much of their time at the Jacaranda, a coffee bar opened by a Liverpool entrepreneur, Allan Williams, in imitation of the 2is, which was owned by a friend of his. Lennon was also spending a lot of time with an older student at his art school, Stuart Sutcliffe, one of the few people in the world that Lennon himself looked up to. The Les Stewart Quartet would end up indirectly being key to the Beatles' development, because after one of their shows at a local youth club they were approached by a woman named Mona Best. Mona's son Pete liked to go to the youth club, but she was fairly protective of him, and also wanted him to have more friends -- he was a quiet boy who didn't make friends easily. So she'd hit upon a plan -- she'd open her own club in her cellar, since the Best family were rich enough to have a big house. If there was a club *in Pete's house* he'd definitely make lots of friends. They needed a band, and she asked the Les Stewart Quartet if they'd like to be the resident band at this new club, the Casbah, and also if they'd like to help decorate it.  They said yes, but then Paul and George went on a hitch-hiking holiday around Wales for a few days, and George didn't get back in time to play a gig the quartet had booked. Ken Brown, the other guitarist, didn't turn up either, and Les Stewart got into a rage and split the group. Suddenly, the Casbah had no group -- George and Ken were willing to play, but neither was a lead singer -- and no decorators either. So George roped in John and Paul, who helped decorate the place, and with the addition of Ken Brown, the group returned to the Quarry Men name for their regular Saturday night gig at the Casbah. The group had no bass player or drummer, and they all kept pestering everyone they knew to get a bass or a drum kit, but nobody would bite. But then Stuart Sutcliffe got half a painting in an exhibition put on by John Moores, the millionaire owner of Littlewoods, who was a big patron of the arts in Liverpool. I say he got half a painting in the exhibition, because the painting was done on two large boards -- Stuart and his friends took the first half of the painting down to the gallery, went back to get the other half, and got distracted by the pub and never brought it. But Moores was impressed enough with the abstract painting that he bought it at the end of the exhibition's run, for ninety pounds -- about two thousand pounds in today's money. And so Stuart's friends gave him a choice -- he could either buy a bass or a drum kit, either would be fine. He chose the bass. But the same week that Stuart joined, Ken Brown was out, and they lost their gig at the Casbah. John, Paul, George and Ken had turned up one Saturday, and Ken hadn't felt well, so instead of performing he just worked on the door. At the end of the show, Mona Best insisted on giving Ken an equal share of the money, as agreed. John, Paul, and George wouldn't stand for that, and so Ken was out of the group, and they were no longer playing for Mona Best. Stuart joining the group caused tensions -- George was fine with him, thinking that a bass player who didn't yet know how to play was better than no bass player at all, but Paul was much less keen. Partly this was because he thought the group needed to get better, which would be hard with someone who couldn't play, but also he was getting jealous of Sutcliffe's closeness to Lennon, especially when the two became flatmates. But John wanted him in the group, and what John wanted, he got. There are recordings of the group around this time that circulate -- only one has been released officially, a McCartney instrumental called "Cayenne", but the others are out there if you look: [Excerpt: The Quarry Men, "Cayenne"] The gigs had dried up again, but they did have one new advantage -- they now had a name they actually liked. John and Stuart had come up with it, inspired by Buddy Holly's Crickets. They were going to be Beatles, with an a. Shortly after the Beatles' first appearance under that name, at the art school student union, came the Liverpool gig which was to have had Eddie Cochran and Gene Vincent headlining, before Cochran died. A lot of Liverpool groups were booked to play on the bill there, but not the Beatles -- though Richy Starkey was going to play the gig, with his latest group Rory Storm and the Hurricanes. Allan Williams, the local promoter, added extra groups to fill out the bill, including Gerry and the Pacemakers, and suddenly everyone who loved rock and roll in Liverpool realised that there were others out there like them. Overnight, a scene had been born. And where there's a scene, there's money to be made. Larry Parnes, who had been the national promoter of the tour, was at the show and realised that there were a lot of quite proficient musicians in Liverpool. And it so happened that he needed backing bands for three of his artists who were going on tour, separately -- two minor stars, Duffy Power and Johnny Gentle, and one big star, Billy Fury. And both Gentle and Fury were from Liverpool themselves. So Parnes asked Allan Williams to set up auditions with some of the local groups. Williams invited several groups, and one he asked along was the Beatles, largely because Lennon and Sutcliffe begged him. He also found them a drummer, Tommy Moore, who was a decade older than the rest of them -- though Moore didn't turn up to the audition because he had to work, and so Johnny "Hutch" Hutchinson of Cass and the Cassanovas sat in with them, much to Hutch's disgust -- he hated the Beatles, and especially Lennon.  Cass of the Cassanovas also insisted that "the Beatles" was a stupid name, and that the group needed to be Something and the Somethings, and he suggested Long John and the Silver Beatles, and that stuck for a couple of shows before they reverted to their proper name. The Beatles weren't chosen for any of the main tours that were being booked, but then Parnes phoned Williams up -- there were some extra dates on the Johnny Gentle tour that he hadn't yet booked a group for. Could Williams find him a band who could be in Scotland that Friday night for a nine-day tour? Williams tried Cass and the Cassanovas, Rory Storm and the Hurricanes, and Gerry and the Pacemakers, but none of them could go on tour at such short notice. They all had gigs booked, or day jobs they had to book time off with. The Beatles had no gigs booked, and only George had a day job, and he didn't mind just quitting that. They were off to Scotland. They were so inspired by being on tour with a Larry Parnes artist that most of them took on new names just like those big stars -- George became Carl Harrison, after Carl Perkins, Stuart became Stuart de Staël, after his favourite painter, and Paul became Paul Ramon, which he thought sounded mysterious and French. There's some question about whether John took on a new name -- some sources have him becoming "Long John", while others say he was "Johnny" Lennon rather than John. Tommy Moore, meanwhile, was just Thomas Moore. It was on this tour, of course, that Lennon helped Johnny Gentle write "I've Just Fallen For Someone", which we talked about last week: [Excerpt: Darren Young, "I've Just Fallen For Someone"] The tour was apparently fairly miserable, with horrible accommodation, poor musicianship from the group, and everyone getting on everyone's nerves -- George and Stuart got into fistfights, John bullied Stuart a bit because of his poor playing, and John particularly didn't get on well with Moore -- a man who was a decade older, didn't share their taste in music, and worked in a factory rather than having the intellectual aspirations of the group. The two hated each other by the end of the tour. But the tour did also give the group the experience of signing autographs, and of feeling like stars in at least a minor way. When they got back to Liverpool, George moved in with John and Stuart, to get away from his mum telling him to get a proper job, and they got a few more bookings thanks to Williams, but they soon became drummerless -- they turned up to a gig one time to find that Tommy Moore wasn't there. They went round to his house, and his wife shouted from an upstairs window, "Yez can piss off, he's had enough of yez and gone back to work at the bottle factory". The now four-piece group carried on, however, and recordings exist of them in this period, sounding much more professional than only a few months before, including performances of some of their own songs. The most entertaining of these is probably "You'll Be Mine", an Ink Spots parody with some absurd wordplay from Lennon: [Excerpt: The Beatles, "You'll Be Mine"] Soon enough the group found another drummer, Norm Chapman, and carried on as before, getting regular bookings thanks to Williams. There was soon a temporary guest at the flat John, Stuart, and George shared with several other people -- Royston Ellis, the Beat poet and friend of the Shadows, had turned up in Liverpool and latched on to the group, partly because he fancied George. He performed with them a couple of times, crashed at the flat, and provided them with two formative experiences -- he gave them their first national press, talking in Record and Show Mirror about how he wanted them to be his full-time group, and he gave them their first drug experience, showing them how to get amphetamines out of inhalers. While the group's first national press was positive, there was soon some very negative press indeed associated with them. A tabloid newspaper wanted to do a smear story about the dangerous Beatnik menace. The article talked about how "they revel in filth", and how beatniks were "a dangerous menace to our young people… a corrupting influence of drug addicts and peddlers, degenerates who specialise in obscene orgies". And for some reason -- it's never been made clear exactly how -- the beatnik "pad" they chose to photograph for this story was the one that John, Stuart, and George lived in, though they weren't there at the time -- several of their friends and associates are in the pictures though. They were all kicked out of their flat, and moved back in with their families, and around this time they lost Chapman from the group too -- he was called up to do his National Service, one of the last people to be conscripted before conscription ended for good. They were back to a four-piece again, and for a while Paul was drumming. But then, as seems to have happened so often with this group, a bizarre coincidence happened. A while earlier, Allan Williams had travelled to Hamburg, with the idea of trying to get Liverpool groups booked there. He'd met up with Bruno Koschmider, the owner of a club called the Kaiserkeller. Koschmider had liked the idea, but nothing had come of it, partly because neither could speak the other's language well. A little while later, Koschmider had remembered the idea and come over to the UK to find musicians. He didn't remember where Williams was from, so of course he went to London, to the 2is, and there he found a group of musicians including Tony Sheridan, who we talked about back in the episode on "Brand New Cadillac", the man who'd been Vince Taylor's lead guitarist and had a minor solo career: [Excerpt: Tony Sheridan, "Why?"] Sheridan was one of the most impressive musicians in Britain, but he also wanted to skip the country -- he'd just bought a guitar on credit in someone else's name, and he also had a wife and six-month-old baby he wanted rid of. He eagerly went off with Koschmider, and a scratch group called the Jets soon took up residence at the Kaiserkeller. Meanwhile, in Liverpool, Derry and the Seniors were annoyed. Larry Parnes had booked them for a tour, but then he'd got annoyed at the unprofessionalism of the Liverpool bands he was booking and cancelled the booking, severing his relationship with Williams. The Seniors wanted to know what Williams was going to do about it.  There was no way to get them enough gigs in Liverpool, so Williams, being a thoroughly decent man who had a sense of obligation, offered to drive the group down to London to see if they could get work there. He took them to the 2is, and they were allowed to get up and play there, since Williams was a friend of the owner. And Bruno Koschmider was there. The Jets hadn't liked playing at Williams' club, and they'd scarpered to another one with better working conditions, which they helped get off the ground and renamed the Top Ten, after Vince Taylor's club in London. So Bruno had come back to find another group, and there in the same club at the same time was the man who'd given him the idea in the first place, with a group. Koschmider immediately signed up Derry and the Seniors to play at the Kaiserkeller.  Meanwhile, the best gig the Beatles could get, also through Williams, was backing a stripper, where they played whatever instrumentals they knew, no matter how inappropriate, things like the theme from The Third Man: [Excerpt: Anton Karas, "Theme from The Third Man"] A tune guaranteed to get the audience into a sexy mood, I'm sure you'll agree. But then Allan Williams got a call from Koschmider. Derry and the Seniors were doing great business, and he'd decided to convert another of his clubs to be a rock and roll club. Could Williams have a group for him by next Friday? Oh, and it needed to be five people. Williams tried Rory Storm and the Hurricanes. They were busy. He tried Cass and the Cassanovas. They were busy. He tried Gerry and the Pacemakers. They were busy. Finally, he tried the Beatles. They weren't busy, and said yes they could go to Hamburg that week. There were a few minor issues, like there not being five of them, none of them having passports, and them not having a drummer. The passports could be sorted quickly -- there's a passport office in Liverpool -- but the lack of a fifth Beatle was more of a problem. In desperation, they turned eventually to Pete Best, Mrs. Best's son, because they knew he had a drum kit. He agreed.  Allan Williams drove the group to Hamburg, and they started playing six-hour sets every night at the Indra, not finishing til three in the morning, at which point they'd make their way to their lodgings -- the back of a filthy cinema.  By this time, the Beatles had already got good -- Howie Casey, of Derry and the Seniors, who'd remembered the Beatles as being awful at the Johnny Gentle audition, came over to see them and make fun of them, but found that they were far better than they had been. But playing six hours a night got them *very* good *very* quickly -- especially as they decided that they weren't going to play the same song twice in a night, meaning they soon built up a vast repertoire. But right from the start, there was a disconnect between Pete Best and the other four -- they socialised together, and he went off on his own. He was also a weak player -- he was only just starting to learn -- and so the rest of the group would stamp their feet to keep him in time. That, though, also gave them a bit more of a stage act than they might otherwise have had. There are lots of legendary stories about the group's time in Hamburg, and it's impossible to sort fact from fiction, and the bits we can sort out would get this podcast categorised as adult content, but they were teenagers, away from home for a long period for the first time, living in a squalid back room in the red light district of a city with a reputation for vice. I'm sure whatever you imagine is probably about right. After a relatively short time, they were moved from the Indra, which had to stop putting on rock and roll shows, to the Kaiserkeller, where they shared the bill with Rory Storm & the Hurricanes, up to that point considered Liverpool's best band. There's a live recording of the Hurricanes from 1960, which shows that they were certainly powerful: [Excerpt: Rory Storm and the Hurricanes, "Brand New Cadillac"] That recording doesn't have the Hurricanes' normal drummer on, who was sick for that show. But compared to what the Beatles had become -- a stomping powerhouse with John Lennon, whose sense of humour was both cruel and pointed, doing everything he could to get a rise out of the audience -- they were left in the dust. A letter home that George Harrison wrote sums it up -- "Rory Storm & the Hurricanes came out here the other week, and they are crumby. He does a bit of dancing around but it still doesn’t make up for his phoney group. The only person who is any good in the group is the drummer." That drummer was Richy Starkey from the Eddie Clayton Skiffle Group, now performing as Ringo Starr. They struck up a friendship, and even performed together at least once -- John, Paul, George, and Ringo acting as the backing group for Lu Walters of the Hurricanes on a demo, which is frustratingly missing and hasn't been heard since. They were making other friends, too. There was Tony Sheridan, who they'd seen on TV, but who would now sometimes jam with them as equals. And there was a trio of arty bohemian types who had stumbled across the club, where they were very out of place -- Astrid Kirscherr, Klaus Voormann, and Jurgen Vollmer. They all latched on to the Beatles, and especially to Stuart, who soon started dating Astrid, despite her speaking no English and him speaking no German. But relations between Koschmider and the Beatles had worsened, and he reported to the police that George, at only seventeen, was under-age. George got deported. The rest of the group decided to move over to the Top Ten Club, and as a parting gift, Paul and Pete nailed some condoms to their bedroom wall and set fire to them. Koschmider decided to report this to the police as attempted arson, and those two were deported as well. John followed a week later, while Stuart stayed in Hamburg for a while, to spend more time with Astrid, who he planned to marry. The other four regrouped, getting in a friend, Chas Newby, as a temporary bass player while Stuart was away. And on the twenty-seventh of December, 1960, when they played Litherland Town Hall, they changed the Liverpool music scene. They were like nothing anyone had ever seen, and the audience didn't dance -- they just rushed to the stage, to be as close to the performance as possible. The Beatles had become the best band in Liverpool. Mark Lewisohn goes further, and suggests that the three months of long nights playing different songs in Hamburg had turned them into the single most experienced rock band *in the world* -- which seems vanishingly unlikely to me, but Lewisohn is not a man given to exaggeration. By this time, Mona Best had largely taken over the group's bookings, and there were a lot of them, as well as a regular spot at the Casbah. Neil Aspinall, a friend of Pete's, started driving them to gigs, while they also had a regular MC, Bob Wooler, who ran many local gigs, and who gave the Beatles their own theme music -- he'd introduce them with the fanfare from Rossini's William Tell Overture: [Excerpt: Rossini, "William Tell Overture"] Stuart came over from Hamburg in early January, and once again the Beatles were a five-piece -- and by now, he could play quite well, well enough, at any rate, that it didn't destroy the momentum the group had gathered. The group were getting more and more bookings, including the venue that would become synonymous with them, the Cavern, a tiny little warehouse cellar that had started as a jazz club, and that the Quarry Men had played once a couple of years earlier, but had been banned from for playing too much rock and roll. Now, the Beatles were getting bookings at the Cavern's lunchtime sessions, and that meant more than it seemed. Most of the gigs they played otherwise were on the outskirts of the city, but the Cavern was in the city centre. And that meant that for the lunchtime sessions, commuters from outside the city were coming to see them -- which meant that the group got fans from anywhere within commuting distance, fans who wanted them to play in their towns. Meanwhile, the group were branching out musically -- they were particularly becoming fascinated by the new R&B, soul, and girl-group records that were coming out in the US. After already having loved "Money" by Barrett Strong, John was also obsessed with the Miracles, and would soon become a fervent fan of anything Motown, and the group were all big fans of the Shirelles. As they weren't playing original material live, and as every group would soon learn every other group's best songs, there was an arms race on to find the most exciting songs to cover. As well as Elvis and Buddy and Eddie, they were now covering the Shirelles and Ray Charles and Gary US Bonds. The group returned to Hamburg in April, Paul and Pete's immigration status having been resolved and George now having turned eighteen, and started playing at the Top Ten club, where they played even longer sets, and more of them, than they had at the Kaiserkeller and the Indra. Tony Sheridan started regularly joining them on stage at this time, and Paul switched to piano while Sheridan added the third guitar. This was also when they started using Preludin, a stimulant related to amphetamines which was prescribed as a diet drug -- Paul would take one pill a night, George a couple, and John would gobble them down. But Pete didn't take them -- one more way in which he was different from the others -- and he started having occasional micro-sleeps in the middle of songs as the long nights got to him, much to the annoyance of the rest of the group. But despite Pete's less than stellar playing they were good enough that Sheridan -- the single most experienced musician in the British rock and roll scene -- described them as the best R&B band he'd ever heard. Once they were there, they severed their relationship with Allan Williams, refusing to pay him his share of the money, and just cutting him out of their careers.  Meanwhile, Stuart was starting to get ill. He was having headaches all the time, and had to miss shows on occasion. He was also the only Beatle with a passion for anything else, and he managed to get a scholarship to study art with the famous sculptor Eduardo Paolozzi, who was now working in Hamburg. Paul subbed for Stuart on bass, and eventually Stuart left the group, though on good terms with everyone other than Paul. So it was John, Paul, George and Pete who ended up making the Beatles' first records. Bert Kaempfert, the most important man in the German music industry, had been to see them all at the Top Ten and liked what he saw. Outside Germany, Kaempfert was probably best known for co-writing Elvis' "Wooden Heart", which the Beatles had in their sets at this time: [Excerpt: Elvis Presley, "Wooden Heart"] Kaempfert had signed Tony Sheridan to a contract, and he wanted the Beatles to back him in the studio -- and he was also interested in recording a couple of tracks with them on their own. The group eagerly agreed, and their first session started at eight in the morning on the twenty-second of June 1961, after they had finished playing all night at the club, and all of them but Pete were on Preludin for the session. Stuart came along for moral support, but didn't play. Pete was a problem, though. He wasn't keeping time properly, and Kaempfert eventually insisted on removing his bass drum and toms, leaving only a snare, hi-hat, and ride cymbal for Pete to play. They recorded seven songs at that session in total. Two of them were just by the Beatles. One was a version of "Ain't She Sweet", an old standard which Gene Vincent had recorded fairly recently, but the other was the only track ever credited to Lennon and Harrison as cowriters. On their first trip to Hamburg, they'd wanted to learn "Man of Mystery" by the Shadows: [Excerpt: The Shadows, "Man of Mystery"] But there was a slight problem in that they didn't have a copy of the record, and had never heard it -- it came out in the UK while they were in Germany. So they asked Rory Storm to hum it for them. He hummed a few notes, and Lennon and Harrison wrote a parody of what Storm had sung, which they named "Beatle Bop" but by this point they'd renamed "Cry For a Shadow": [Excerpt: The Beatles, "Cry For a Shadow"] The other five songs at the session were given over to Tony Sheridan, with the Beatles backing him, and the song that Kaempfert was most interested in recording was one the group had been performing on stage -- a rocked-up version of the old folk song "My Bonnie": [Excerpt: Tony Sheridan and the Beat Brothers, "My Bonnie"] That was the record chosen as the single, but it was released not as by Tony Sheridan and the Beatles, but by Tony Sheridan and the Beat Brothers -- "Beatles", to German ears, sounded a little like "piedels", a childish slang term for penises. The Beatles had made their first record, but it wasn't one they thought much of. They knew they could do better. The next week, the now four-piece Beatles returned to Liverpool, with much crying at Stuart staying behind -- even Paul, now Stuart was no longer a threat for John's attention, was contrite and tried to make amends to him.  On their return to Liverpool, they picked up where they had left off, playing almost every night, and spending the days trying to find new records -- often listening to the latest releases at NEMS, a department store with an extensive record selection. Brian Epstein, the shop's manager, prided himself on being able to get any record a customer wanted, and whenever anyone requested anything he'd buy a second copy for the shelves. As a result, you could find records there that you wouldn't get anywhere else in Liverpool, and the Beatles were soon adding more songs by the Shirelles and Gary US Bonds to their sets, as well as more songs by the Coasters and Ben E. King's "Stand By Me". They were playing gigs further afield, and Neil Aspinall was now driving them everywhere. Aspinall was Pete Best's closest friend -- and was having an affair with Pete's mother -- but unlike Pete himself he also became close to the other Beatles, and would remain so for the rest of his life.  By this point, the group were so obviously the best band on the Liverpool scene that they were starting to get bored -- there was no competition. And by this point it really was a proper scene -- John's old art school friend Bill Harry had started up a magazine, Mersey Beat, which may be the first magazine anywhere in the world to focus on one area's local music scene. Brian Epstein from NEMS had a column, as did Bob Wooler, and often John's humorous writing would appear as well. The Beatles were featured in most issues -- although Paul McCartney's name was misspelled almost every time it appeared -- and not just because Lennon and Harry were friends. By this point there were the Beatles, and there were all the other groups in the area. For several months this continued -- they learned new songs, they played almost every day, and they continued to be the best. They started to find it boring. The one big change that came at this point was when John and Paul went on holiday to Paris, saw Vince Taylor, bumped into their friend Jurgen from Hamburg, and got Jurgen to do their hair like his -- the story we told in the episode on "Brand New Cadillac". They now had the Beatles haircut, though they were still wearing leather. When they got back, George copied their new style straight away, but Pete decided to leave his hair in a quiff. There was nowhere else to go without a manager to look after them. They needed management -- and they found it because of "My Bonnie": [Excerpt: Tony Sheridan and the Beat Brothers, "My Bonnie"] "My Bonnie" was far from a great record, but it was what led to everything that followed. The Beatles had mentioned from the stage at the Cavern that they had a record out, and a young man named Raymond Jones walked into NEMS and asked for a copy of it. Brian Epstein couldn't find it in the record company catalogues, and asked Jones for more information -- Jones explained that they were a Liverpool group, but the record had come out in Germany. A couple of days later, two young girls came into the shop asking for the same record, and now Epstein was properly intrigued -- in his view, if *two* people asked for a record, that probably meant a lot more than just two people wanted it. He decided to check these Beatles out for himself. Epstein was instantly struck by the group, and this has led to a lot of speculation over the years, because his tastes ran more to Sibelius than to Little Richard. As Epstein was also gay, many people have assumed that the attraction was purely physical. And it might well have been, at least in part, but the suggestion that everything that followed was just because of that seems unlikely -- Epstein was also someone who had a long interest in the arts, and had trained as an actor at RADA, the most prestigious actors' college in the UK, before taking up his job at the family store. Given that the Beatles were soon to become the most popular musicians in the history of the world, and were already the most popular musicians in the Liverpool area, the most reasonable assumption must be that Epstein was impressed by the same things that impressed roughly a billion other people over the next sixty years. Epstein started going to the Cavern regularly, to watch the Beatles and to make plans -- the immaculately dressed, public-school-educated, older rich man stood out among the crowd, and the Beatles already knew his face from his record shop, and so they knew something was going on. By late November, Brian had managed to obtain a box of twenty-five copies of "My Bonnie", and they'd sold out within hours. He set up a meeting with the Beatles, and even before he got them signed to a management contract he was using his contacts with the record industry in London to push the Beatles at record companies. Those companies listened to Brian, because NEMS was one of their biggest customers. December 1961, the month they signed with Brian Epstein, was also the month that they finally started including Lennon/McCartney songs in their sets.  And within a couple of weeks of becoming their manager, even before he'd signed them to a contract, Brian had managed to persuade Mike Smith, an A&R man from Decca, to come to the Cavern to see the group in person. He was impressed, and booked them in for a studio session. December 61 was also the first time that John, Paul, George, and Ringo played together in that lineup, without any other musicians, when on the twenty-seventh of December Pete called in sick for a show, and the others got in their friend to cover for him. It wouldn't be the last time they would play together. On New Year's Day 1962, the Beatles made the trek down to London to record fifteen songs at the Decca studios. The session was intended for two purposes -- to see if they sounded as good on tape as they did in the Cavern, and if they did to produce their first single. Those recordings included the core of their Cavern repertoire, songs like "Money": [Excerpt: The Beatles, "Money (Decca version)"] They also recorded three Lennon/McCartney songs, two by Paul -- "Love of the Loved" and "Like Dreamers Do": [Excerpt: The Beatles, "Like Dreamers Do"] And one by Lennon -- "Hello Little Girl": [Excerpt: The Beatles, "Hello Little Girl"] And they were Lennon/McCartney songs, even though they were written separately -- the two agreed that they were going to split the credit on anything either of them wrote. The session didn't go well -- the group's equipment wasn't up to standard and they had to use studio amps, and they're all audibly nervous -- but Mike Smith was still fairly confident that they'd be releasing something through Decca -- he just had to work out the details with his boss, Dick Rowe. Meanwhile, the group were making other changes. Brian suggested that they could get more money if they wore suits, and so they agreed -- though they didn't want just any suits, they wanted stylish mohair suits, like the black American groups they loved so much.  The Beatles were now a proper professional group -- but unfortunately, Decca turned them down. Dick Rowe, Mike Smith's boss, didn't think that electric guitars were going to become a big thing -- he was very tuned in to the American trends, and nothing with guitars was charting at the time. Smith was considering two groups -- the Beatles, and Brian Poole and the Tremeloes, and wanted to sign both. Rowe told him that he could sign one, but only one, of them. The Tremeloes had been better in the studio, and they lived round the corner from Smith and were friendly with him. There was no contest -- much as Smith wanted to sign both groups, the Tremeloes were the better prospect. Rowe did make an offer to Epstein: if Epstein would pay a hundred pounds (a *lot* of money in those days), Tony Meehan, formerly of the Shadows, would produce the group in another session, and Decca would release that. Brian wasn't interested -- if the Beatles were going to make a record, they were going to make it with people who they weren't having to pay for the privilege. John, Paul, and George were devastated, but for their own reasons they didn't bother to tell Pete they'd been turned down. But they did have a tape of themselves, at least -- a professional-quality recording that they could use to attract other labels. And their career was going forward in other ways. The same day Brian had his second meeting with Decca, they had an audition with the BBC in Manchester, where they were accepted to perform on Teenager's Turn, a radio programme hosted by the Northern Dance Orchestra. A few weeks later, on the seventh of March, they went to Manchester to record four songs in front of an audience, of which three would be broadcast: [Excerpt: The Beatles, "Please Mr. Postman (Teenager's Turn)"] That recording of John singing "Please Mr. Postman" is historic for another reason, which shows just how on the cutting edge of musical taste the Beatles actually were -- it was the first time ever that a Motown song was played on the BBC. Now we get to the part of the story that, before Mark Lewisohn's work in his book a few years back, had always been shrouded in mystery. What Lewisohn shows is that George Martin was in fact forced to sign the Beatles, against his will, and that this may have been as a punishment. The Beatles had already been turned down by Parlophone once, based on "My Bonnie", when Brian Epstein walked into the HMV store on Oxford Street in London in mid-February. HMV is now mostly known as a retail chain, Britain's biggest chain of physical media stores, but at the time it was owned by EMI, and was associated with their label of the same name -- HMV stood for "His Master's Voice", and its logo was the same one as America's RCA, with whom it had a mutual distribution deal for many years. As a record retailer, Epstein naturally had a professional interest in other record shops, and he had a friend at HMV, who suggested to him that they could use a disc-cutting machine that the shop had to turn his copy of the Decca tapes into acetate discs, which would be much more convenient for taking round and playing to record labels. That disc-cutter was actually in a studio that musicians used for making records for themselves, much as the Quarry Men had years earlier -- it was in fact the studio where Cliff Richard had cut *his* first private demo, the one he'd used to get signed to EMI.  Jim Foy, the man who worked the lathe cutter, liked what he heard, and he talked with Brian about the group. Brian mentioned that some of the songs were originals, and Foy told him that EMI also owned a publishing company, Ardmore & Beechwood, and the office was upstairs -- would Brian like to meet with them to discuss publishing? Brian said he would like that. Ardmore & Beechwood wanted the original songs on the demo. They were convinced that Lennon and McCartney had potential as songwriters, and that songs like "Like Dreamers Do" could become hits in the right hands. And Brian Epstein agreed with them -- but he also knew that the Beatles had no interest in becoming professional songwriters. They wanted to make records, not write songs for other people to record.  Brian took his new discs round to George Martin at EMI -- who wasn't very impressed, and basically said "Don't call us, we'll call you". Brian went back to Liverpool, and got on with the rest of the group's career, including setting up another Hamburg residency for them, this time at a new club called the Star Club. That Star Club residency, in April, would be devastating for the group -- on Tuesday the tenth of April, the same day John, Paul, and Pete got to Hamburg (George was ill and flew over the next day), Stuart Sutcliffe, who'd been having headaches and feeling ill for months, collapsed and died, aged only twenty-one. The group found out the next day -- they got to the airport to meet George, and bumped into Klaus and Astrid, who were there to meet Stuart's mother from the same flight. They asked where Stuart was, and heard the news from Astrid.  John basically went

Graps and Claps Audio reviews PCW Wrestling World Championships from November 2016, as we look back at Show 3 of the tournament. We also chat about our first trip back to the pubs of Manchester since precautions were put in place, giving you a run through of Port Street Beer House, Northern Monk Refectory and Cask in Ancoats. @oggypart3  @grapsandclaps  @geoffogden2 

Witches, spells, black magic and shape-shifting combine in unsettling ways for this special Halloween episode of Travels Through Time. Britain, 1862. An age of modernity characterised by pioneering projects like the world’s first underground railway in London; hot air balloons soaring to the top of the troposphere; scientists engaging in the new fad for weather “forecasting”. And in the Midlands a new football club, Notts County, are formed – later to become the oldest of all the association football clubs in the world. Yet running in tandem with this thrilling new world was an older, persistent belief in hidden supernatural forces. It was more than a century since Parliament had repealed the laws against witchcraft but, rather than being eradicated by the Enlightenment, folklore remained an active and potent force in everyday life.  This is where we join Dr Thomas Waters, who takes us on a tour through 1862 to see examples of all of this: from the isolated Scottish islands, to the heart of Imperial London. In doing so he provides a striking and memorable portrait of a lesser-known side to the Victorian world. --- Show notes:  Scene One: Spring, 1862. On the tiny Scottish Western Isle of Gigha. James Smith watches as Catherine McGougan “shapeshifts”Scene Two: 13th April 1862, 31 Charles Street, Westminster. 74-year-old Mary King is attacked by her grandson.Scene Three: A little terrace house in Ancoats, Manchester, 1862. A fortune-teller named Alice is doing a consultation for a client, waxing lyrical about mystical things --- People/Social  Presenter: Peter MooreGuest: Dr Thomas WatersEditorial: Paul Lay / Artemis IrvineProduction: Maria Nolan / John Hillman

Welcome to Dubbel Feature Rewind. We are going back to watch old films, with the caveat being one of either Tom or Andrew have never seen it. First up is the 90s classic, Goodfellas. Watched at the excellent Chapletown Picture House and the beer drank at Cask in Ancoats.

Monocle’s Charlie Filmer-Court takes us to Ancoats in Manchester where the northern UK city’s food and drink selection has received a huge boost thanks to the area’s revitalisation.

SPECIAL GUEST Ben Upfold has established himself as one of the leaders in the fitness industry. Ben is co-founder of OperationFitUK and CrossFit Ancoats. He has recently opened a new gym (aka 'a box') in Manchester — a dedicated fitness space designed specifically for high-intensity workouts. HIGHLIGHTS 01:36 Introduction 02:14 Being proactive 04:22 Overcoming procrastination 05:54 Planning for the future 08:22 Achieving more with others 11:37 Bob's experience with CrossFit 17:48 Accountability partners 19:04 Manchester's newest Box 23:32 Close REFERENCES CrossFit Ancoats Manchester www.crossfitancoats.com OperationFitUK Personal Training www.operationfituk.com

SPECIAL GUEST In this week’s show, we meet Elliott Norcliffe — a hair stylist by day and property developer by night. Elliott owns 5 properties, and at the age of 24 he defies the current trend of his generation being unable to save for a deposit and get on the property ladder. Always keen to maximise his day, Elliott will challenge you to make the most of your day too! HIGHLIGHTS 01:50 Being proactive 03:22 Early career 11:44 Getting on the property ladder 16:33 Top tips for time management 22:04 Key lessons and practical advice 23:56 Close REFERENCES NAM Restaurant, 33 Blossom St, Ancoats. Manchester. M4 6AJ. www.nammcr.com Monroes Hair Salon, Powell Street, Halifax, West Yorkshire. www.monroes-hair.co.uk

Back again with Ms Ruth Allan and MR Thom Hetherington, restaurant and bar experts of this parish. Delving into the recent spate of closures, what will happen in the long run, why Ancoats (and Stockport!) is booming, what's exciting coming up, and why lists do (sometimes) matter. With mention of lots of places your host hasn't been or heard of, which just goes to show how out of touch he is.

United Through Time looks at Louis Rocca: the second-generation Italian immigrant who brought Matt Busby to Manchester United and created the country’s first ever organised scouting network.This is the man without whom Manchester United could have been called Manchester Celtic and who helped to set up the Manchester United academy as well as helping to save the club from bankruptcy twice.Louis Rocca dedicated 60 years of his life to Manchester United, starting out as an eight-year-old teaboy and progressing through every role you can imagine. The cornerstones of the club - its name, its stadium, its record of academy players, its colours - were all laid down during Rocca’s time of involvement.United Through Time is the new podcast delving into Manchester United’s long and famous history. Going in chronological order, United Through Time will focus on the most important individuals at the club since Manchester United was founded as Newton Heath in 1878.Hosted by Harry Robinson, two guests are heard on this episode as we cover the themes of Italian re-unification, life in 19th century Britain and much more as well as the more general football stuff.Tony Rea is the utter authority on Italian immigration into Manchester and the Ancoats community which Rocca grew up in. You can read more from him at his website www.ancoatslittleitaly.comPaddy Barclay, meanwhile, has written the “definitive autobiography” on Sir Matt Busby. It’s available to buy online and from all good booksellers.If you enjoy the episode, please take the time to leave us a review on iTunes. You can even do it while you’re listening! You can also follow us on Twitter at @UtdThroughTime or check out our website at unitedthroughtime.com Chronology:00:00:00 Intro00:04:37 Background to Rocca's upbringing00:11:25 How Rocca got involved with Newton Heath 00:16:34 Renaming Newton Heath -> Manchester United00:25:40 Rocca's scouting genius00:32:40 How Rocca signed a player down a mine00:33:26 The story behind Harry Worrall signing for Manchester United00:34:36 Signing a player for 4 freezers of ice cream00:37:57 Signing Johnny Carey00:40:50 Man United's second great financial crisis00:48:00 Manchester United start their famous academy00:49:42 The war at Old Trafford00:53:42 Bringing Matt Busby to Manchester United00:57:57 Providing Busby with a Cup-winning side01:00:37 Rocca's importance to Manchester United today01:03:44 Outro See acast.com/privacy for privacy and opt-out information.

We interviewed founders of Hope Mill Theatre in Ancoats in Series 1, and for Series 2 we are now interviewing their technical manager Alice Longson. After studying drama at university, Alice got into stage managing, and started working more generally in the technical side of theatre. At only 22, she was appointed technical manager at Hope Mill. In this episode, she reflects on her work and her career so far, as well as giving us her thoughts on Manchester and sharing her aspirations for the future - mainly to work in New York at some point!

Manchester b2b Melbourne. Ancoats b2b Adelaide. The Northern Quarter b2b The Northern Territory! Episode 11 is coming all the way from Sydney thanks to nu-disco producer and party starter Downunder Disco. Head over to the website for the interview: https://bit.ly/2tnAnPi

Talking to journalist Ruth Allan and expert Thom Hetherington about new openings, closings, the growth in Ancoats, MIchelin Stars (and lack of), and everything Manchester foodie.

In November 2015, a new fringe theatre opened up in Ancoats, Manchester with the ambition of presenting full-scale commercial productions of musicals. Created by musical theatre performers Joseph Houston and William Whelton, Hope Mill Theatre has since won multiple local and national awards, transferred productions to London and been named in The Stage 100, a list of the most influential people in the whole of UK theatre from The Stage newspaper. In the middle of January 2018, during auditions for Spring Awakening, one of three major musical productions so far announced by Hope Mill Theatre for this year, BTG editor David Chadderton spoke to Joe about the creation, ideals and future plans of this remarkably successful new venue.

HOME Manchester, the new arts organisation formed from the merger between the Library Theatre Company and Cornerhouse Cinema, is filling the time before the opening of its new, purpose-built home in spring 2015 with a series of site-specific productions around the city. The first of these, Angel Meadow, is a collaboration with Dublin-based ANU Productions that looks at the Irish communities in Ancoats who settled there in the late nineteenth century. In this episode, some of the team from ANU talk about the process of creating and performing this devised, site-specific piece and some of the difficulties it has posed. First, we spoke to actors Thomas Reilly and Lloyd Cooney, and then to director Louise Lowe with performers Dee Burke, Will Irvine and Úna Kavanagh. Angel Meadow from ANU Productions will be produced by HOME Manchester in Ancoats with performances from Tuesday 10 to Sunday 29 June 2014. For more information on this and the other site-specific productions in this HOME season—Romeo and Juliet at Victoria Baths and David Greig’s The Events in the office building Number One First Street—see the HOME Manchester web site. (Rehearsal photo by the show's lighting designer Ciaran Bagnall.)