Podcast appearances and mentions of august bank holiday

Albert Johnson on Ross on Wye Cider & Perry Offerings This is the 3rd time we have featured Albert Johnson because it is always a treat to hear about the happenings at Ross on Wye Cider and Perry. In particular, we catch up on the accommodations on site for visitors and of course the wide range of single varietal ciders. Albert Johnson In this Cider Chat Visitor Experiences and Accommodations Discussion on camping, bed & breakfast options, and orchard chalets. Includes details on the Yew Tree pub and its offerings. Cider Offerings and Unique Styles Explanation of single varietal ciders, dry cider philosophy, and production techniques. Events and Festivals Highlights of monthly cider clubs, Ciderganza, Summertime Soiree, and the Ross Cider Fest. Cider Pairing Insights Recommendations for pairing cider with specific dishes, including creamy pastas, fish, and spicy curries. Social Media and Community Engagement Albert's approach to outreach via tastings, social media, and fostering personal connections. Future Plans and Challenges Focus on growth strategies, challenges in the UK cider market, and maintaining the unique identity of Ross on Wye. Conclusion and Final Thoughts Reflection on the importance of community, passion for cider, and welcoming visitors to Ross on Wye. B&B Breakfast by Aunt Hillary at Broome Farm B&B Event Calendar at Ross Ross Cider Fest: Starts the Thursday after the August Bank Holiday (varies yearly, e.g., August 28 in 2025). Ciderganza: Easter weekend. Summertime Soiree Ross-tober-fest: Contact for Ross on Wye Cider and Perry Company Yew Tree Pub, Ross on Wye Cider and Perry Co. Website: rosscider.com Mentions in this Cider Chat Totally Cider Tour to the UK – send an email to info@ciderchat.com to get on the wait list for this 2025 tour taking place August 25-31, 2025 Snowcapped Cider | Colorado CiderCon2025 Promo Code –  Once you get to the registration form, towards the end of the first page you'll reach a section in the form that says “additional registration information” and there is a question: If you have a coupon, please enter code here (case-sensitive): CiderChat Past Episodes with Albert Johnson 410: International Perry Panel | CiderCon 2024 404: Ross Cider and Perry is Lit! 194: The Reason for Being | Ross on Wye Cider & Perry, UK

Welcome to the first instalment of the 2024 Garbage POD / TGP NOMINAL Christmas Crossover In Part 1: Mark Taylor catches up with Ruth Mayhew. Who is the Senior Community & Events Officer for Aylesbury Town Council. To recap the 2024 Live In The Park festival, which took place over the August Bank Holiday. During the event Mark chatted with some of the bands & artists that took part. There is also music from bands & artists that Mark spoke with. And there are Seasons Greetings from friends of the show & celebrities. Visit: https://tgpnominal.weebly.com/tgp-nominal-113-115-christmas-crossover.html to explore this episode. TGP NOMINAL Podcast has permission to use the audio from Live In The Park 2024.

St. Thomas's Hospital was first dedicated to serving the poor, the destitute and homeless and though it has become a world renowned teaching hospital it has remained open ever since. It is seeming and appropriate that the wall that cradles the hospital close to the Thames and faces the Houses of Parliament is still decorated with painted hearts and messages commemorating the thousands who died in the Covid epidemic that began in January of  2020

pWotD Episode 2672: All In (2024) Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 310,686 views on Sunday, 25 August 2024 our article of the day is All In (2024).The 2024 All In, also promoted as All In London at Wembley Stadium or simply All In London, was a professional wrestling pay-per-view (PPV) event produced by the American promotion All Elite Wrestling (AEW). It was the second annual All In by AEW, and third All In overall. The event took place on August 25, 2024, at Wembley Stadium in London, England, coinciding with the United Kingdom's August Bank Holiday weekend.Twelve matches were contested at the event, including three on the Zero-Hour pre-show. In the main event, Bryan Danielson defeated Swerve Strickland in a Title vs. Career match to win the AEW World Championship in Swerve's first submission loss in AEW. In other prominent matches, Mercedes Moné defeated Dr. Britt Baker, D. M. D. to retain the AEW TBS Championship, Will Ospreay defeated MJF to win the AEW International Championship, and "The Glamour" Mariah May defeated "Timeless" Toni Storm to win the AEW Women's World Championship. The event also featured the AEW debut of former WWE wrestler Ricochet, the return of Jamie Hayter, who had been out with an injury since November 2023, and appearances by Sting and Grizzled Young Veterans (James Drake and Zack Gibson). The event also featured the in-ring return of English wrestler Nigel McGuinness following his retirement in 2011 and subsequent transition into color commentary.This recording reflects the Wikipedia text as of 01:33 UTC on Monday, 26 August 2024.For the full current version of the article, see All In (2024) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Amy.

Cookie's afternoon show

PigeonPresents...Believe ! August Bank Holiday'24Hello everyone , I hope you're all well and happy.Once again , another month & two cheeky playlists! I guess having an unexpected week off work in the middle of August has its advantages haSo this playlist starts off quiet chilled. Found some good reworks of old tracks that I LOVE! Then (in my head) I slowly work up the speed and intensity. I love Shift K3Y (Thanks Amie) & Duke Dumont right in the middle. Then my love for something deeper to finish. As someone told me today , we like it deep at the end ! Cheeky haha!Then my final track I found on someone else's podcast. I had never heard this remake and its got such an amazing sound, which fits me perfectly! Praise be

Kilkee Beach is the venue for a big game of tag rugby this August Bank Holiday weekend. On Saturday (10th August, 2:30pm), Limerick Leprechauns will take on Kilkee Falling Stars. The game is in aid of the Limerick Dragons. For more on this, Alan Morrissey was joined by Amanda Jordan, PRO for the Limerick Dragons, Vidette Ryan Molyneaux, Chairperson for the Limerick Dragons and Mary O'Sullivan, Breast Cancer Ambassador .

Earlier this week, we heard all about the Scariff Harbour Festival.  This year's event, which will take place over the August Bank Holiday weekend promises a range of events, including riverside activities, music and lots more.   The festival will be opened by the first black mayor of Northern Ireland, the newly elected Mayor of Derry & District of Strabane, SDLP Cllr Lilian Seenoi Barr.

James Lawless, Minister of State at the Department of Transport, outlines the details of the Road Safety Authority and An Garda Síochána August Bank Holiday weekend road safety appeal.

The Scariff Harbour Festival will take place over the August Bank Holiday weekend. A range of events are planned for the festival, including riverside activities, music and lots more. The festival will be opened by the first black mayor of Northern Ireland, the newly elected Mayor of Derry & District of Strabane, SDLP Cllr Lilian Seenoi Barr. To find out more, Alan Morrissey was joined by committee member, Harry O'Meara. Photo (c): Scariff Harbour Festival via Facebook

Siobhan McClean aka shiv is an Irish-Zimbabwean producer, singer-songwriter of neo-soul, RnB and lo-fi hip-hop who has shared two songs from the forthcoming debut album the defiance of a sadgirl this September, 'Limerence' and 'Cherry Pie', the latter featuring Kojaque, and produced by Gaptoof.I spoke to Shiv about the nature of collaborating and connecting with different artists and producers for this episode of the Nialler9 podcast, ahead of Shiv's set at All Together Now Festival this August Bank Holiday weekend, where Shiv plays on the Jameson Connects The Circle Stage at 7pm on the Friday night. Shiv will be debuting a special song and joined by her collaborator on the song James Vincent McMorrow.The forthcoming album is a reflection of the personal upheaval she experienced, including a breakup, leaving a major label, parting ways with her manager, and moving countries. Shiv talks about how studying psychology has influenced her songwriting.Shiv also talks about her influences and we focus on songs from Kanye, James Vincent McMorrow, Dijon, Ari Lennox, and Negro Impacto (see below).The Jameson Connects: The Circle stage at All Together Now features some Nialler9 favourites including Optimo, Just Mustard, The Murder Capital, qbanaa, Aby Coulibaly, Morgano, Sloucho, Rachael Lavelle and more.* Support Nialler9 on Patreon to hear all full episodes, get event discounts, playlists, ad-free episodes and join our Discord community.Listen on Apple | Android | ACAST | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed Hosted on Acast. See acast.com/privacy for more information.

Catriona Power who is a member of Clare Macra na Feirme will represent Clare Macra at the Queen of the Castle Festival during this August Bank Holiday weekend. To discuss her participation and to tell us more about the festival, Caitriona Power joined Alan Morrissey in-studio. Picture (c): Queen of the Castle Festival via Eventbrite

Welcome to The 2023 edition of The Garbage POD / TGP NOMINAL Christmas Crossover! Mark Taylor travels back to his hometown to catch up with Ruth Mayhew who is the Senior Community & Events Officer for Aylesbury Town Council to recap the 2023 Live In The Park festival which took place over the August Bank Holiday. During the event chatted with some of the bands, artists, charities & organisations that took part. There is also music from bands & artists that Mark spoke with. As well as a festive treat from friend of the show 'Lezley-ann Shaw' Visit: https://tgpnominal.weebly.com/tgp-nominal-103---christmas-crossover-2023.html to explore this episode.

UK Property Market Weekly Report - Week ending Sunday, 17th September 2023 Despite the doom-mongers and economic obstacles, the UK property market has built on last week's rebound from its typical August Bank Holiday downturn. The fly in the ointment is overvaluing. Estate Agents are still overcooking the suggested asking prices of many new properties coming on the market. In the weekly YouTube Show this week, special guest Bryan Mansell and Chris Watkin talk about how the number of UK properties on the market for sale has increased by 88.5% in the last 20 months (343.3k on 1st January '22 to 647.2k on 1st September' 23), yet the number of sales has dropped by 20.1% in the same time frame. YouTube Link for the weekly' UK Property Market Stats Show' here https://youtu.be/dv2wC0KuguQ These are the key statistics. · New Properties to the Market (Listings): The number of listings last week was 34,280. The 2023 YTD running weekly average stands strong at 32,695. · Average Listing Price: The average listing price was significantly higher for the third week to £466,472. The 2023 running weekly average of £432,261. · Price Reductions: 24,874 price reductions were seen last week, the highest weekly number since June 2018. The 2023 running weekly average is 19,842. · Average Asking Price of Properties Being Reduced: This week's average asking price of reduced properties dropped almost £13k to £415,972. The 2023 running weekly average of £402,704. · Number of Properties Sold (Gross Sales): Gross sales increased from last week's Gross sales figures. Total number of gross sales in the UK last week was 20,647. For comparison, the 2023 running weekly average is 21,841 weekly sales (stc). · Average Asking Price of Properties Sold STC this Week: The average asking price of the properties selling last week was £341,026. The 2023 running weekly average of £357,608. · Sale Fall Throughs: Sale Fall Thrus dropped significantly last week to a 27.64% sale fall thru rate (Sale fall Thru Rate % is the number of sales fall Thrus for the week expressed as a percentage of Gross Sales for the week). The 2023 running weekly average is 25.49% (although, don't forget, in Q4 2022, the average was North of 38%). The seven-year long-term average is 24.3%. · Net Sales This Week: Net Sales jumped by 4.82% from the week before to 14,940 (and that's off the back of an increase of 17.35% from the week before that). The 2023 running weekly average is 16,414. · Net Sales Year-to-Date: Despite the challenges, the year-to-date net sales of 607k showcase despite the challenging economic news, the market is 9.8% behind the 2017/8/9 average YTD for net sales Download the Graphs & Charts here https://we.tl/t-8jOuqHMWSv In the last 20 minutes of the show, there is the usual local focus, and this week it is on Hull.

UK Property Market Weekly Report - Week ending Sunday, 10th September 2023 Despite the economic challenges and headwinds of the economy, the British property market bounced back from its usual August Bank Holiday dip with vigour regarding listings and sales. In a nutshell, the UK Property Market YTD is running at 90.5% of the 2017/8/9 average regarding net sales, a level every estate agent in the country would have taken at the start of the year. In this weeks YouTube show ‘The UK Property Market Stat Show', this week's special guest is Ben Madden YouTube Link https://youtu.be/YuwkvvbqiU8 These are the key statistics & scores on the doors of the past week's UK Property Market (Monday, September 4th to Sunday, September 10th, 2023): · New Properties to the Market (Listings): The number of listings bounced back from last weeks 26,778 to 34,006. The 2023 YTD running weekly average stands strong at 32,651. · Average Listing Price: The average listing price jumped significantly for the second week to £472,907. Throughout the Summer it has been drifting slowly downwards from the £450k's to the early £400k's. As explained in the show, we don't know if this is a blip or a trend of more expensive houses coming in the market. The 2023 running weekly average of £431,311. · Price Reductions: A total of 24,315 price reductions were seen last week, a big jump from last week's 17,740 (probably because many estate agents were on holiday the week before). The 2023 running weekly average is 19,702. · Average Asking Price of Properties Being Reduced: This week's average asking price of properties being reduced jumped almost £15k to £429,004. The 2023 running weekly average of £402,325. · Number of Properties Sold (Gross Sales): Gross sales jumped 18.6% from last weeks Gross sales figures (although they had dropped by 14.7% from the week before that). Total number of car sales in the UK last week was 20,271. For comparison, the 2023 running weekly average is 21,874 sales (stc) per week. · Average Asking Price of Properties Sold STC this Week: The average asking price of the properties selling last week was £357,270. The 2023 running weekly average of £358,069. · Sale Fall Throughs: Sale Fall Thrus jumped up slightly last week to a 29.69% sale fall thru rate (Sale fall Thru Rate % are the number Sale fall Thrus for the week expressed as a percentage of Gross Sales for the week). The 2023 running weekly average is 25.43% (although don't forget in Q4 2022 the average was North of 38%). 7 year long term average is 24.3%. · Net Sales This Week: Net Sales jumped by 17.35% from the week before to 14,252 (although don't forget they did drop 14.6% the week before that because of the August Bank Holiday). The 2023 running weekly average is 16,455. · Net Sales Year-to-Date : Despite the challenges, the year-to-date net sales of 592k showcase despite the tough economic news, the market is only 9.5% behind the 2017/8/9 average YTD for net sales Final thoughts, what is particularly interesting is that whilst we should look at the national figures (and in the YouTube Stat show), the regional figures, there are some towns and cities up and out the UK that are following neither the regional nor national picture. There are instances with neighbouring towns, one's whose town's property market is on fire and it's a sellers market, and the other town, who has a frozen property market where its quite clearly a buyers market. In the last 20 minutes of the show, there is the usual local focus, and this week it is on Norwich. Graphs & Charts can be downloaded here - https://we.tl/t-ZPc81WxNhs

My original plan was not to fish until the first weekend in September. The weather over the August Bank Holiday weekend was full of thunderstorms, etc., and not particularly good for days out. With a week of school holidays left to go, the family was happy to let me out for a couple of nights. It was worth a try, at least. So, with no particular swim in mind, I decided to take a drive around Meadow Lake, as I'd not seen it since late March. It was full of weed this year and I really needed to know how bad it was for the coming winter. --- Send in a voice message: https://podcasters.spotify.com/pod/show/richard-handel/message

VoS live on stage at WHOOVERVILLE 14 with guests GARY RUSSELL, TIM TRELOAR, JONATHON CARLEY and STEVE HATCHER. First broadcast on FAB RADIO INTERNATIONAL at 19:00 on September 10th 2023 As an Archive TV fan, I'm always very impressed whenever I hear about any kind of organized event where fans of a certain type of television gather together to celebrate and appreciate any kind of archive television show. This is, after all, how we keep the memory of these classic series alive and pass on the knowledge of them to future generations. Some series, of course, have a bigger following than others, and are able to offer much larger events for people who love those shows to gather together, and so we get huge events that celebrate the great series that almost everybody in the “NOT WE” world have at least heard of like STAR TREK, THE PRISONER, and, of course DOCTOR WHO. Now, in STEVE HATCHER and ANDREW-MARK THOMPSON, we have a couple of regular contributors to this show who also happen to be the movers and shakers behind one of the more popular, inclusive, and friendly annual DOCTOR WHO conventions, in that every year on the Saturday after the AUGUST BANK HOLIDAY – pandemics permitting – for the past decade and a half or so, they've organized – with the help of their loyal fan group known as the WHOOVERS - a one-day gathering in DERBY for fans of DOCTOR WHO that is known as WHOOVERVILLE – and they've recently released their fourteenth WHOOVERVILLE into the world on SATURDAY THE SECOND OF SEPTEMBER 2023. Happily STEVE was also able in their busy schedule to arrange an afternoon slot for me to attempt to record this VISION ON SOUND so I could once again try to do a live show in front of an audience, with several of the guests who had been invited to WHOOVERVILLE made available to talk to me. Rather less happily, on the day, and entirely due to my own shortcomings, the gremlins got into the recording equipment, and so the sound quality of the following is rather sadly not the greatest, but hopefully you'll be able to hear enough of what this fantastic quartet of guests had to talk about on the day. And so, after hearing me explaining to the audience a little bit about what I think VISION ON SOUND is all about, you'll also hear STEVE HATCHER co-hosting the discussion with me from the safety of a necessary armchair, with GARY RUSSELL, JONATHON CARLEY, and TIM TRELOAR joining us on stage. GARY RUSSELL was the editor of Doctor Who Magazine between 1992 and 1995 and the original executive producer for Big Finish Productions from 1998 to 2006, and has written many Doctor Who comics and novels. In recent years he has been executive producer of one of the groups working on animations of missing Doctor Who stories. JONATHON CARLEY voiced the War Doctor and the Twelfth Doctor in the Doctor Who Lockdown webcast Doctors Assemble! In 2021, he took over the role of The War Doctor for Big Finish and has delighted audiences with his extraordinarily accurate recreation of the late Sir John Hurt, and you may also recognize him from the recent series THE POWER OF PARKER. TIM TRELOAR's interpretation of the Third Doctor has garnered great acclaim since 2015, including from many of those who worked with Jon Pertwee on television. Beyond Doctor Who, he has appeared in TV shows such as Casualty, Lewis, The Bill, Midsomer Murders, Doctors and Russell T. Davies' Mine All Mine. You may have seen him recently in Agatha Christie's Why Didn't They Ask Evans? and the six-part BBC miniseries WOLF. So, let's transport ourselves back to SEPTEMBER the SECOND 2023, and the stage of CINEMA TWO in THE QUAD in DERBY for our live discussion at WHOOVERVILLE 14. PLEASE NOTE - For Copyright reasons, musical content sometimes has to be removed for the podcast edition. All the spoken word content remains (mostly) as it was in the broadcast version. Hopefully this won't spoil your enjoyment of the show.

UK Property Market Weekly Report - Week ending Sunday, 3rd September 2023 Over the Summer Bank Holiday, a period typically marked by quieter stats, the UK Property Market showcased its enduring strength. Even amidst economic challenges, it shone as a pillar of stability, silencing doubters with its steadfast performance In this weeks YouTube show ‘The UK Property Market Stat Show', this week's special guest is Kristian Stott YouTube Link https://youtu.be/5xf3L5Dnv-Y These are the key statistics & scores on the doors that paint a picture of the past week's (Week 34) UK Property Market (Monday, August 28th to Sunday, September 3rd, 2023): · New Properties to the Market (Listings): A reduced number of listings (26,728) made their debut last week. If you watch the show that you will see that this always happens in week 35 when we have August Bank Holiday weekend. The 2023 running weekly average stands strong at 32,612. · Average Listing Price: The average listing price jump significantly this week to £433,996, as it has been slowly dropping in the last few weeks too there £390k's / early £400s. Its still lower than 2023 running weekly average of £430,122. · Price Reductions: A total of 17,740 price reductions were seen last week, again lower than the most recent monthly average of 20,022 per week, but again the Bank Holiday would've had an affect on this. The 2023 running weekly average stays at 19,571. · Average Asking Price of Properties Being Reduced: This week's average asking price of £416,771 with the 2023 running weekly average of £401,540. · Number of Properties Sold (Gross Sales): Gross sales are down by 14.7% this week at 17,091 for the week - yet, if you watch the YouTube show you will see sales always drop on August Bank Holiday. The 2023 running weekly average of 21,920 sales (stc) per week. · Average Asking Price of Properties Sold STC this Week: The average asking price of the properties selling last week was £347,971 (almost identical to the week before, and the week before that.) The 2023 running weekly average of £358,092). The average asking price of the properties going to sale agreed has dropped 6% since May 2023 · Sale Fall Throughs: Sale Fall Thrus dropped last week to 28.95% sale fall thru rate (Sale fall Thrus expressed as a percentage of Gross Sales for the week). The 2023 running weekly average is 25.31% (although don't forget in Q4 2022 the average was North of 38%) · Net Sales This Week: Because Gross Sales were lower, then of course Net Sales will be lower. 12,144 net sales were achieved. Considering we are in the holiday period, this falls in line with the 2023 running weekly average of 16,517. · Net Sales Year-to-Date : Despite the challenges, the year-to-date net sales of 565k showcase despite the tough economic news, the market is only 9.2% behind the 2017/8/9 average YTD for net sales Despite the skepticism and uncertainties, the UK property market demonstrates its resilience, holding strong even when challenged by difficult circumstances. This weeks local focus is on Aylesbury in the last 20 minutes

First broadcast on FAB RADIO INTERNATIONAL at 19:00 on August 27th 2023 Like a lot of other archive TV fans, over the years I've accumulated a lot of Telly-related ephemera, much of which seems destined to sit around undisturbed in dark corners of the house waiting for me to notice that it's there. Anyway, in a recent rare moment of churning, I randomly picked up a copy of the RADIO TIMES that was in a festering stack in a forgotten corner of the room. That particular edition was dated 24 – 30 AUGUST 1996, and, because it had STAR TREK on the cover, I thought it might be fun to whizz through it with WARREN CUMMINGS, and so I gave him a call, and I think you'll find the next hour quite a lot of fun as we natter about pretty much everything from Cabbage patch dolls to Bilbo Baggins, Sister Wendy and the Saturday Banana, and all manner of television that was broadcast across one not quite forgotten August Bank Holiday weekend over a quarter of a century ago. PLEASE NOTE - For Copyright reasons, musical content sometimes has to be removed for the podcast edition. All the spoken word content remains (mostly) as it was in the broadcast version. Hopefully this won't spoil your enjoyment of the show.

Owen Clarke of acclaimed London-based synthpop band Hot Chip speaks to Headliner about their new single Fire Of Mercy, featuring Yunè Pinku, their favourite live moments so far this year, and headlining the upcoming Scorrier House Festival in Cornwall over the August Bank Holiday weekend.

Moira Hannon looks ahead to what's on this Bank holiday weekend.

Champion Chatter - Season 02 Episode 29 A first ever All-ireland Camogie Final appearance for Clare's second team who finally make their long-awaited breakthrough to the Premier Junior decider this Sunday against neighbours Tipperary (12.50pm). Eoin and James talk to players and management ahead of this landmark occasion. Back in the Banner, it was a huge full opening weekend of senior, intermediate and Junior A hurling championship fare while there's also a comprehensive preview of this weekend's football equivalents. The Masked Predictor hurling race also heats up while football representatives are sought for all 12 senior football clubs. 0:00-3:00 - Intro 3:00-14:35 - Clare Junior Camogie Captain Sinead O'Keeffe has helped her side to finally reach the promised land of Croke Park this Sunday. The Kilmaley native outlines Clare's second string's journey to get to this lofty stage against Tipperary in the All-Ireland Premier Junior Final. 14:35-21:40 - The Clare Tipperary rivalry is most felt at the Killaloe/Ballina border where Clare Junior Camogie Coach Brendan Foley is accustomed to the banter and buzz at the bridge that divides the counties. 21:40-55:27 - The Clare Senior Hurling Championship got into full gear at the weekend, with the feats and consequences of each of the eight matches discussed in detail by analysts Ger O'Connell and Kevin McNamara. 55:27-1.03:42 - Derek Dormer weighs in on the winners and losers of the weekend's TUS Senior Hurling Championship action. 1.03:42-1.45:03 - All five Adult Football Championships commence over a busy August Bank Holiday weekend, with Kieran Madigan and Derek Dormer reuniting in studio to assess the chances of all 12 teams at senior level. 1.45:03-1.49:25 - The Masked Predictor results from from the opening round of the Alternative Senior Hurling Championship and a search for representatives for the senior football equivalent are sought by Eoin and James. 1.49:25-1.55:45 - Kieran Madigan stays on to delve into the groups and main candidates for the TUS Intermediate Football Championship race which also throws-in this Saturday. 1.55:45- Round Up of Ireland's Womens World Cup conclusion, this weekend's major fixtures along with a new chapter for Ailish Considine and athletics and swimming news.

For one day only during the August Bank Holiday, Robert's Cove Vintage Festival brings crowds from all over to have an absolute ball. Jim Griffin of Griffin's Potatoes had all the details when he chatted with Conor Tallon! Hosted on Acast. See acast.com/privacy for more information.

On The Literary Life podcast today, Cindy Rollins, Angelina Stanford and Thomas Banks begin their series on The Great Divorce by C. S. Lewis. Today you are going to get a crash-course in Medievalism through Lewis' story, and we hope you will enjoy this book as much as our hosts do. Angelina kicks off the discussion even while sharing her commonplace quote, sharing some information about the epigraph and front matter. She gives us some historical context, both for where this books comes in Lewis' own timeline, as well as some ideas of the journey of the soul and medieval dream literature. Thomas gives some background on Prudentius and his allegorical work The Psychomachia. Angelina goes into some comparisons between The Great Divorce and Dante's Divine Comedy. Thomas talks about Nathanial Hawthorne's short story The Celestial Railroad as a satire of Pilgrim's Progress. Also, if you haven't read and listened to E. M. Forster's Celestial Omnibus, see Episode 17. As they get into discussing the Preface, Thomas give us some information on William Blake. We will be back next week with a discussion on Chapters 2-6. Be sure to check out Thomas' upcoming mini-class on G. K. Chesterton taking place live from June 26th through July 7th. Register at HouseofHumaneLetters.com today! Commonplace Quotes: We do not obtain the most precious gifts by going in search of them but by waiting for them. Man cannot discover them by his own powers and if he sets out to seek for them he will find in their place counterfeits of which he will be unable to discern the falsity. Simone Weil, from “Reflections on the Right Use of School Studies with a View to the Love of God“ A poet is not a man who says “look at me”, but rather a man who points at something and says “look at that.” C. S. Lewis No, there is no escape. There is no heaven with a little of hell in it–no plan to retain this of that of the devil in our hearts or our pockets. Out Satan must go, every hair and feather. George MacDonald, from “Unspoken Sermons: The Last Farthing“ MCMXIV by Philip Larkin Those long uneven lines Standing as patiently As if they were stretched outside The Oval or Villa Park, The crowns of hats, the sun On moustached archaic faces Grinning as if it were all An August Bank Holiday lark; And the shut shops, the bleached Established names on the sunblinds, The farthings and sovereigns, And dark-clothed children at play Called after kings and queens, The tin advertisements For cocoa and twist, and the pubs Wide open all day– And the countryside not caring: The place names all hazed over With flowering grasses, and fields Shadowing Domesday lines Under wheat's restless silence; The differently-dressed servants With tiny rooms in huge houses, The dust behind limousines; Never such innocence, Never before or since, As changed itself to past Without a word–the men Leaving the gardens tidy, The thousands of marriages, Lasting a little while longer: Never such innocence again. Book List: The Princess and Curdie by George MacDonald The Personal Heresy by C. S. Lewis and E. M. Tillyard The Aeneid by Virgil The Divine Comedy by Dante Pilgrim's Progress by John Bunyan The Holy War by John Bunyan Ourselves by Charlotte Mason A Preface to Paradise Lost by C. S. Lewis The Scarlett Letter by Nathaniel Hawthorne Songs of Innocence and Experience by William Blake Paradise Lost by John Milton Wee Free Men by Terry Pratchett That Hideous Strength by C. S. Lewis The Weight of Glory by C. S. Lewis Support The Literary Life: Become a patron of The Literary Life podcast as part of the “Friends and Fellows Community” on Patreon, and get some amazing bonus content! Thanks for your support! Connect with Us: You can find Angelina and Thomas at HouseofHumaneLetters.com, on Instagram @angelinastanford, and on Facebook at https://www.facebook.com/ANGStanford/ Find Cindy at morningtimeformoms.com, on Instagram @cindyordoamoris and on Facebook at https://www.facebook.com/cindyrollins.net/. Check out Cindy's own Patreon page also! Follow The Literary Life on Instagram, and jump into our private Facebook group, The Literary Life Discussion Group, and let's get the book talk going! http://bit.ly/literarylifeFB

Welcome to Part 1 of The 2022 The Garbage POD / TGP NOMINAL Christmas Crossover. This years show is so big, we had split it into two episodes! In part 1, we rewind back to August Bank Holiday for Aylesbury Town Council's Live In The Park Music Festival. Which is one of our highlights of the year. We catch up with Ruth Mayhew who is the Senior Events Officer for Aylesbury Town Council. Chat with Live In The Park's compare Dez Kay as well as some of the bands / artists who performed at the event. We even have music from a few of the bands / Artists who very kindly sent sent us tracks to play into the show. “So Happy holidays, Buckle Up and Let's Launch This Episode Into The Podisphere” Visit: https://tgpnominal.weebly.com/tgp-nominal-94--95---christmas-crossover-2022.html to explore this episode

August Bank Holiday. Cumbria. Muncaster Castle. A barn. It isn't where you would expect a music festival. Krankenhaus Festival, organised by alternative rock legends Sea Power, is part of a growing trend of microfestivals across the UK. With larger festivals seemingly interested more in maximising profits than fan experience, more people are looking elsewhere for a weekend away. While thousands packed into fields in Reading, Daresbury and East London, around 800 travelled to the Lake District for their live music fix, attracted by a unique lineup, activities including bird watching and steam train journeys, and a picturesque location. To find out more about putting on the festival and his experience of the weekend, Ben Harrison-Hyde interviewed Sea Power guitarist Martin Noble.

Recorded backstage at the August Bank Holiday blowout, we've tracked down some big names and Dork faves for a festival focused catch up, including Fontaines D.C., Bastille, Madison Beer, Pale Waves, Chloe Moriondo, Black Honey and Dylan. 

In ep 157, Rob Daniel is flying solo and talking about those films that rocked his August Bank Holiday weekend at the Arrow Video FrightFest film festival. So listen in to find out his opinions on the new Dario Argento movie, the latest film from Neil (Dog Soldiers, The Descent) Marshall, which film had the best gore, which brought a tear to the eye, and which movie a woman in front of him found unwatchable. It wasn't a gorefest film, either... For many, the scariest thing about this episode will be that Rob Wallis is not in it. Fear not, he will be back next ep. For more information on FrightFest, click here: www.frightfest.co.uk If you like what you hear or have any feedback, why not rate and review us wherever you listen to your podcasts? To follow the Robs on Twitter head to: https://twitter.com/rob_a_daniel https://twitter.com/robertmwallis To follow the podcast, head to: https://twitter.com/MovieRobcast Rob D wrote a book about Martin Scorsese's Cape Fear. If you want to check that out, click here: https://www.amazon.co.uk/Cape-Fear-Devils-Advocates-Daniel/dp/1800857020 To read Rob D's writing go to: https://www.electric-shadows.com/ To read Rob W's writing go to: http://ofallthefilmsites.com/ Also, check out our sister podcast, Another Time, MacLeod!, which goes through the 1986 movie Highlander scene by glorious scene. Click here for links: https://anchor.fm/macleodtime Follow Another Time, MacLeod on Twitter here: https://twitter.com/MacleodTime

What is a Bank holiday? Why do we have Bank Holidays? What do people do on Bank Holidays? Most importantly, what am *I* doing on this August Bank Holiday. Listen to this little episode and all will be revealed. I also have a question for all listeners; have you ever tried to teach a dog to read? If so, let me know your findings. The reason for this question is, of course, in the podcast, and it makes perfect sense. Enjoy your every day.  You can find me on Instagram: @FlemingNeverDiesYou can find my Turkish account here: @JamesBond_TurkiyeYou can e-mail me: AlbionNeverDies@Gmail.comCheck out my Youtube channel: https://www.youtube.com/britishculture Support the show

With the August Bank Holiday there's a bunch of great new shows, including a compelling comeback role for Aidan Turner and a high-tech thriller that messes with your mind Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Extra checkpoints are set for Clare's roads this August Bank Holiday weekend. A Roads Policing Enforcement Operation across the county is getting underway this lunchtime and will remain in place until 10pm on Monday.

Previously on Morning Focus, we chatted about the 20 Best Places To Holiday in Ireland competition run by the Irish Times, in conjunction with Fáilte Ireland. On Monday's Morning Focus, Alan Morrissey was joined by Jarlath O'Dwyer, CEO of Burren Tourism Network to speak about The Burren being chosen in the top five best places to holiday in Ireland. The overall winner of the competition will be announced on the August Bank Holiday weekend. Photo (c) by Nicolas Hoelscher from Getty Images via Canva

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

Joe is joined by our own Máire Nolan, who did research about hotel availability in Limerick for the August Bank Holiday. Joe also speaks to Steven O'Connor, manager of the Strand hotel, about the hospitality sector this summer. See acast.com/privacy for privacy and opt-out information.

We're back with a brand new #TrueCrime podcast as we look into the murder of Joan Woodhouse, whose body was discovered in Arundel Park, West Sussex on Tuesday August 10th, 1948. She had been raped and strangled. But why was she at that location? She had told everybody she was going in the opposite direction to the North of England to visit her family. So what happened to her on that scorching hot August Bank Holiday weekend? Join us both, as we travel to the scene of the murder to uncover the truth, talk to a number of experts, family connections and look into a literal ‘case of mystery'. Can we uncover what really happened? Researched and presented by John & Sally. Produced and Edited by Peter Beeston. Narration by Angela Ness.

Episode 124 of The Movie Robcast delves deep into the dark heart of FrightFest 2021. The UK's biggest horror film festival was back in the cinema this August Bank Holiday weekend, with a gorenucopia of sinister cinematic treats to entertain fans. In this in-depth review of the festival you will hear intros to various movies, plus the opening festival speech from horror authority Mark Kermode. At 22.15 Richard Waters and Alison Scarff discuss their movie Bring Out the Fear, one of Rob Daniel's Top 10 films at the festival this year. Another Top 10 favourite was When the Screaming Starts, and you can hear from the makers of that movie at 39.30. Also joining Rob D on the episode is horror journalist Lucy Buglass, who was good enough to talk FrightFest on the Bank Holiday Monday, and then return for a follow-up chat a few days later. Lucy appears at 45.28 and 58.23. Films reviewed in this episode include The Last Thing Mary Saw, The Advent Calendar, Evie, The Sadness, Sound of Violence, Bring Out the Fear, When the Screaming Starts, The Found Footage Phenomenon, No Man of God and more. FrightFest official site: www.frightfest.co.uk FrightFest Twitter: @FrightFest Lucy Buglass is on Twitter @lucyjadebuglass When the Screaming Starts links: Teaser trailer link - https://youtu.be/O4HlbFxDqOc Film Socials - Instagram + Facebook @WhenTheScreamingStart Twitter @WhenScreaming Conor Boru - Instagram + Twitter @ConorBoru Ed Hartland - Instagram @EdHartland Twitter @Ed_Hartland Jared Rogers - Instagram + Twitter @JaredRogersWord Dom Lenoir - Instagram @DirectorDomLenoir Twitter @DirDomLenoir Horror Podcast Ed is a part of - https://www.hermanosofhorror.com/ Filmmaking Podcast Dom is a part of - https://thefilmmakerspodcast.com/ Bring Out the Fear links: Teaser trailer: https://www.youtube.com/watch?v=s9N2gjo7xPE Twitter: Film - @BringOutTheFear Richard Waters – @RichMWaters Alison Scarff - @Scarffachu If you like what you hear or have any feedback, why not rate and review us wherever you listen to your podcasts? To follow the Robs on Twitter head to: https://twitter.com/rob_a_daniel https://twitter.com/robertmwallis To follow the podcast, head to: https://twitter.com/MovieRobcast To read Rob D's writing go to: https://www.electric-shadows.com/ To read Rob W's writing go to: http://ofallthefilmsites.com/

We were doing so well.....and then!!!

I am a product of my environment

It's the latest, Welcome to Yorkshire, ‘Talkshire' podcast, chatting to celebrated celebrities and fantastic folk about Yorkshire. Growing up in the county, filming here, touring with top shows, places to visit, living the Yorkshire life and so much more. We caught up with author, adventurer and TV's Yorkshire Vet about being inspired by watching All Creatures Great and Small, following in James Herriot's footsteps and even enjoying the same Yorkshire view … Sutton Bank, of course! Julian chats about growing up in Castleford and following his dream to be a North Yorkshire vet, getting face to face with a whole range of animals from big bulls to petite pets, plus a giant tortoise at the Yorkshire Wildlife Park and Peppa Pig at Cannon Hall Farm for 5 on the Farm during the August Bank Holiday weekend. Find out about his favourite Yorkshire days out, from coast to countryside, plus some impressive sporting achievements … including a world record!!!! Be entertained and inspired … it's the Welcome to Yorkshire ‘Talkshire' podcast.

This episode of Greenbelt's ‘Somewhere To Believe In' podcast takes a different form. It's a one-off.It knits together 45-minutes of reflection, conversation, music and prayer in the form of a listen-and-share service to mark the festival's 2021 August Bank Holiday weekend incarnation (its 48th) – when only a fraction of the wider Greenbelt community could actually physically be together at the Prospect Farm pop-up camping gathering. The hope is that the audio form of the service will give everyone the chance to share and be connected in a unifying act of remembrance – wherever they are. Ideally, the audio is designed to be shared in and listened to at 11am on Sunday 29th August. But, of course, it can be listened to at any time. Again and again.The podcast takes its title from a wonderful poem by the poet Roger Robinson. It also features music from Soul Sanctuary Gospel Choir and the Wild Goose Resources Group, conversations with activists from Christian Aid, Trussell Trust and Refuweegee and readings and prayers led by Greenbelt's from all corners of the UK. It is lovingly curated and narrated by Pádraig Ó Tuama – poet, theologian, and conflict mediator. (Pádraig also presents 'Poetry Unbound', a podcast from On Being studios.)____ORDER OF SERVICEDownload the order of service here____SUPPORTLast year – despite our not being together – you gave an incredible £33,000 in response to our service appeal. This year, let's see if we can top that generosity!This year, your generous giving will be split 50/50 once again.50% will go towards the vital work that our partners Christian Aid and Trussell Trust do to challenge, advocate, develop and support – globally and domestically.And 50% will stay with us here at Greenbelt as we work to make sure the festival remains sustainable in these most challenging of times. So we can be back in the fields at Boughton House for a fully-fledged festival in 2022 – and beyond.Give here____LINKS AND RESOURCESPádraig Ó TuamaRoger RobinsonSoul Sanctuary Gospel ChoirChristian Aid in South SudanTrussell TrustGlasgow protesters praised for blocking UK immigration officersRefuweegeeWild Goose Resource Group____FEATURED TRACKS‘Lenten Psalm Tone' by Soul Sanctuary‘Heaven Shall Not Wait' by WGRG, Iona Community‘People Get Ready' by Soul Sanctuary Gospel Choir____00:00 - Prayer for the earth00:35 - Welcome to ‘The Job of Paradise'01:49 - ‘The Job of Paradise' read by Roger Robinson02:30 - Pádraig speaks to Roger Robinson10:33 - Prayer for the artists11:35 - ‘Psalm 27' by Soul Sanctuary Gospel Choir16:26 - Chine McDonald and James Wani on aid in South Sudan (Christian Aid)21:32 - Prayer for those affected by war22:34 - Pádraig and Jonathan Lees on food banks (Trussell Trust)27:19 - Scriptural reading28:31 - Confession29:50 - Prayer for those responsible for racism30:26 - ‘Heaven Shall Not Wait' by Wild Goose Resource Group32:39 - Pádraig speaks to Selina Hales (Refuweegee) about Glasgow immigration standoff38:21 - ‘Heaven Shall Not Wait' by Wild Goose Resource Group38:56 - Prayer for friendship39:40 - ‘People Get Ready' by Soul Sanctuary Gospel Choir42:34 - Prayer for our societies43:17 - A chance for conversation and response43:57 - Welcome back44:13 - Giving45:19 - Blessing46:15 - Thank you and credits____WITH HUGE THANKS TO ALL OF OUR CONTRIBUTORSSERVICE WRITER, NARRATOR AND HOSTPádraig Ó Tuama is a poet, theologian, and conflict mediator. He presents PoetryUnbound, a podcast from On Being studios.Website: padraigotuama.comTwitter: @duanallaGUEST ARTISTRoger Robinson is a writer, educator, and performer. His most recent collection ofpoems, A Portable Paradise, won the TS Eliot prize in 2020.Website: rogerrobinsononline.comTwitter: @rrobinson72GUEST ACTIVISTSSelina Hales is the Founder and Director of Refuweegee, a Glasgow-based charityequipping the local community to welcome and support refugees and asylumseekers making their homes in the city.Website: refuweegee.co.ukTwitter: @SelinaHalesGreenbelt Partner Christian Aid is a UK-based charity whose mission is thecreation of a world where everyone can live a full life, free from poverty.Chine McDonald is Christian Aid's Head of Public Engagement. She was inconversation with James Wani, Christian Aid's country director in South Sudan.Website: christianaid.org.ukTwitter: @ChineMcDonald @christian_aidGreenbelt Partner The Trussell Trust is a charity working to eliminate poverty andhunger in the UK. They support a nationwide network of Foodbanks.Jonathan Lees is manager at Epsom FoodbankWebsite: trusselltrust.orgTwitter: @jonathanlees55 @TrussellTrustMUSICSoul Sanctuary Gospel Choir is a London-based gospel choir committed to creatingand sharing gospel music of the highest standard, especially in the places wheregospel's power to raise the human spirit is most needed. You can find more of theirmusic via their website.Website: soulsanctuarygospel.comTwitter: @soulsanctuarygcLenten Psalm ToneMusic Edwin Fawcett, Lyrics Psalm 26/27 copyright Grail Psalter, performed bySoul Sanctuary Gospel Choir, from the album With All Your Soul (2013).People Get ReadyMusic and Lyrics Curtis Mayfield, arranged Peter Yarde Martin, performed by SoulSanctuary Gospel ChoirWild Goose Resource Group (WGRG) is a semi-autonomous project of the IonaCommunity. The Iona Community is a dispersed Christian community working forpeace, social justice, the rebuilding of community and the renewal of worship.Website: iona.org.ukTwitter: @ionacommunityHeaven Shall Not WaitWords: John L. Bell & Graham MauleMusic: John L. Bell copyright © 1987 WGRG, Iona Community, Glasgow.wildgoose.scotRecording from the CD ‘Heaven Shall Not Wait' copyright ℗ 1991 WGRG, IonaCommunity, Glasgow.PRAYERS AND READERSUriel, Felice and Evodie Thornbury – young family members of the Hilfield FriaryFranciscan Community in DorsetVicky and Eve Allen, Greenbeters from East LothianGeraint Rees, Greenbelter and CODA festival team member from Rhondda Cynon TafProducerPaul NorthupEngineerJosh Clipsham, Greenbelt VolunteerRecorded Talks and Podcast TeamRecordistJake Bussell, Greenbelt VolunteerRecorded Talks and Podcast TeamPublisherDaisy Ware-Jarett, Greenbelt DigitalComms OfficerAdditional supportEmily Rawling, Executive Assistant andCopy Editor for Pádraig Ó Tuama____https://www.greenbelt.org.uk/ See acast.com/privacy for privacy and opt-out information.

In 2020 1 in 6 adoptions in England were to same-sex couples, and with the Manchester Pride Festival due to take place over the August Bank Holiday weekend, we thought it would be a great time to talk about adoption and LGBT+. In this episode we speak to Lee, who, along with his husband adopted their little boy. Just to note that the name he refers to in this interview has been changed for the safety of all involved. If you're thinking about adoption then we would love to hear from you. You can call our information line on 01204 336096 or visit our website which is www.adoptionnow.org.uk. You can find us across the usual social media channels just search ‘Adoption Now' and you will be sure to find us.

In 2020 1 in 6 adoptions in England were to same-sex couples, and with the Manchester Pride Festival due to take place over the August Bank Holiday weekend, we thought it would be a great time to talk about adoption and LGBT+. In this episode we speak to Heather and her partner Emma, we talk about their adoption story and why they came to adopt. If you're thinking about adoption then we would love to hear from you. You can call our information line on 01204 336096 or visit our website which is www.adoptionnow.org.uk. You can find us across the usual social media channels just search ‘Adoption Now' and you will be sure to find us.

This is the British Triathlon Paralympic Podcast with everything you need to know about paratriathlon at the Tokyo 2020 Paralympic Games. In this latest special edition of the podcast with British Triathlon, we hear from ParalympicsGB athletes Claire Cashmore, George Peasgood, Alison Peasgood, Dave Ellis and Michael Taylor on their preparation and hopes for Tokyo 2020 in 2021. We also ask guide Hazel MacLeod about her role, and the partnership she needs to have alongside Rio bronze medallist Melissa Reid, who goes again in Japan. Head coach for the Paralympic Programme at British Triathlon, Jonathon Riall, discusses the challenges of getting a team ready in the midst of a global pandemic, while ParalympicsGB chef de mission Penny Briscoe, the woman in charge of the whole British team, reveals how plans continue to change ahead of the Games on August 24. ParaTri takes place over the August Bank Holiday weekend - find out much more on the new dedicated Paralympics page on the British Triathlon website https://www.britishtriathlon.org/the-games/paralympics(

What a week it was for Orange with two massive parties within 7 days. Firstly, there was Orange Freedom on the 19th of July, Fire's re-opening party (following a 16 month closure because of the global pandemic), and then we rounded off the As One Festival on Sunday night with another Orange.The next one will be in five weeks' time at the end of the August Bank Holiday weekend. To keep you going until then, here's a brand new podcast from one of the DJs who played at both those Orange parties, Zach Burns:

What a week it was for Orange with two massive parties within 7 days. Firstly, there was Orange Freedom on the 19th of July, Fire's re-opening party (following a 16 month closure because of the global pandemic), and then we rounded off the As One Festival on Sunday night with another Orange.The next one will be in five weeks' time at the end of the August Bank Holiday weekend. To keep you going until then, here's a brand new podcast from one of the DJs who played at both those Orange parties, Zach Burns:

Tragically, last week we saw a total of seven drownings on the island of Ireland in seven days, the majority of which were on inland waterways. This morning Minister of State in the Department of Transport, Hildegarde Naughton is launching a new water safety appeal ahead of the August Bank Holiday weekend. Listen and subscribe to Newstalk Breakfast on Apple Podcasts or Spotify. Download, listen and subscribe on the Newstalk App.     You can also listen to Newstalk live on newstalk.com or on Alexa, by adding the Newstalk skill and asking: 'Alexa, play Newstalk'.

We caught up with international adventurer, TV's Ben Fogle, about his love of exploring the globe. He's climbed Everest and rowed across the Atlantic Ocean … BUT he LOVES Yorkshire.Ben chats about filming in the county, his constant companion (Storm the Labrador), Tales from the Wilderness, meeting Yorkshire shepherdess Amanda Owen and her family (9 children!) and too many animals to count, what to expect from 5 On the Farm at Cannon Hall Farm over the August Bank Holiday weekend (he's appearing alongside many top names, including the All Creatures Great and Small cast), plus he shares snippets of his favourite places in Yorkshire to visit … think Whitby, The Dales and the North York Moors, amongst other lovely locations. Even Dr Who gets a mention! Be inspired … it's the new Welcome to Yorkshire ‘Talkshire' podcast.

Allyson Williams MBE was born and raised in cosmopolitan Trinidad with Carnival as a way of life. Part of the Windrush Generation, she responded to the call from the British Government for Commonwealth workers to help rebuild Britain following WWII, and in 1969 she joined the NHS to train as a midwife. She later married Vernon Williams, one of Notting Hill Carnival’s founding members, and in 1980 they formed the renowned Genesis mas band. For the past 40 years, Allyson has played an instrumental role in the development of Notting Hill Carnival and in 2008 was invited to become a member of the Board of Trustees. She still performs on the streets of Notting Hill every August Bank Holiday with the Genesis band, which is now lead by their children, echoing the generations before. The Windrush migrants who founded Notting Hill Carnival brought with them an explosion of music, dance and art that transformed British culture, and the masqueraders who inherited the passion for the art form continue to unite communities, champion inclusion and celebrate freedom.    Allyson was awarded an MBE for her services to the midwifery profession in 2002 and was recently featured in British Vogue for her contributions to Notting Hill Carnival.  

Discutimos 10 muletillas más, además de las 10 del episodio 37 de la semana pasada, para añadir a tus habilidades de conversación en inglés. :)© 2020 por Language Answers, Ltd. Música por Master_Service de FiverrFoto de una carta y bolígrafo para Youtube por Felix Lichtenfeld de PixabayLos Recursos de Investigación:El Consejo Cultural"Bank Holidays in United Kingdon 2020" por OfficeHolidays.comTambién - "Mothering Day in United Kingdom in 2021"              - "Early May Bank Holiday in United Kingdom in 2021"               - "Spring Bank Holiday in United Kingdom in 2021"              - "Remembrance Sunday in United Kingdom in 2020"              - "Boxing Day (in lieu) in United Kingdom in 2020"              - "Good Friday in United Kingdom in 2021"              - "Easter Monday in United Kingdom in 2021"              - "August Bank Holiday in United Kingdom in 2021"              - "Whit Monday Around the World in 2021""Las mejores fiestas de Reino Unido" por OK Estudiante"El May Day en Inglaterra" por Inglaterra en Casa el 30 de abril, 2013"May Day" por Britannica, actualizada el 1 de marzo, 2020"Why Does the U.K. Celebrate Boxing Day — and What Is It?"por Julia Mullaney, el 26 de diciembre, 2018, por CheatSheet.comEl Episodio "15 muletillas en inglés que debes conocer," por YULIYA GEIKHMAN y WENDY CHÁVEZ de FluentU"Cómo usar MULETILLAS en inglés" por El Blog Para Aprender Inglés el 7 de junio de 2020"These common Spanish fillers will help you sound more natural in conversations," by Daria Hudec from Speak Easy, posted May 18, 2020."Spanish Filler Words: 19 Small but Powerful Words to Sound More Native," by Katie from Joy of Langauges (with guest Nacho), posted November 24, 2018"Fill in the Gaps: 13 Common Spanish Filler Words You've Gotta Learn," by Hannah Greenwald from FluentU"41 Spanish Conversational Connectors For Authentic-Sounding Spanish," from I Will Teach You a LanguageEpisodios Mencionados Episodio 20: Vocabulario del OtoñoEpisodio 26: ¡Feliz Navidad!Episodio 27: ¡Feliz 2020!

Discutimos 10 muletillas más, además de las 10 del episodio 37 de la semana pasada, para añadir a tus habilidades de conversación en inglés. :) © 2020 por Language Answers, Ltd. Música por Master_Service de Fiverr Foto de una carta y bolígrafo para Youtube por Felix Lichtenfeld de Pixabay Los Recursos de Investigación: El Consejo Cultural "Bank Holidays in United Kingdon 2020" por OfficeHolidays.com También - "Mothering Day in United Kingdom in 2021" - "Early May Bank Holiday in United Kingdom in 2021" - "Spring Bank Holiday in United Kingdom in 2021" - "Remembrance Sunday in United Kingdom in 2020" - "Boxing Day (in lieu) in United Kingdom in 2020" - "Good Friday in United Kingdom in 2021" - "Easter Monday in United Kingdom in 2021" - "August Bank Holiday in United Kingdom in 2021" - "Whit Monday Around the World in 2021" "Las mejores fiestas de Reino Unido" por OK Estudiante "El May Day en Inglaterra" por Inglaterra en Casa el 30 de abril, 2013 "May Day" por Britannica, actualizada el 1 de marzo, 2020 "Why Does the U.K. Celebrate Boxing Day — and What Is It?"por Julia Mullaney, el 26 de diciembre, 2018, por CheatSheet.com El Episodio "15 muletillas en inglés que debes conocer," por YULIYA GEIKHMAN y WENDY CHÁVEZ de FluentU "Cómo usar MULETILLAS en inglés" por El Blog Para Aprender Inglés el 7 de junio de 2020 "These common Spanish fillers will help you sound more natural in conversations," by Daria Hudec from Speak Easy, posted May 18, 2020. "Spanish Filler Words: 19 Small but Powerful Words to Sound More Native," by Katie from Joy of Langauges (with guest Nacho), posted November 24, 2018 "Fill in the Gaps: 13 Common Spanish Filler Words You’ve Gotta Learn," by Hannah Greenwald from FluentU "41 Spanish Conversational Connectors For Authentic-Sounding Spanish," from I Will Teach You a Language Episodios Mencionados Episodio 20: Vocabulario del Otoño Episodio 26: ¡Feliz Navidad! Episodio 27: ¡Feliz 2020! Todos vínculos a: https://share.transistor.fm/s/4cd5346c?preview=true