Podcasts about baby let

01-Baby Let's Go To Mexico-Sir Douglas Quintet 02-Doug Sahm-I Can't Go Back To Austin 03-Where_Were_You_When_I_Needed_You-Augie Meyers 04-Flaco Jimenez and Rick Trevino-I_Am_a_Mexican 05-Fredy Fender-Vaya_con_dios 06-Freddy_Fender_--_You_ll_Lose_A_Good_Thing 07-Little_Bit_Is_Better_Than_Nada-Texas Tornados 08-The Gambler-Kenny Rogers 09-The Gambler-Boby Bare 10-Ned_LeDoux_Chris_LeDoux_-_One_Hand_In_The_Riggin 11-Chris_Ledoux-Cadillac_Ranch 12-Dolly_Parton_-_If_You_Hadn_t_Been_There 13´-Leon Payne - Lost Highway(Filipo Marco) 14-Oh What A Beautiful World · Willie Nelson · Rodney Crowell

On this episode DCMWG starts with relay runner Kaelen Tucker being attacked with a metal baton whilst running a relay race (8:25), a lot of Doechii discourse lately only means she's here to stay (24:40), have you or a loved one ever been love bombed? (48:42), Claressa Shields takes to Instagram to detail how lightskinned women hate on her online (1:02:30) & more. Get your real life advice from Mona on the show! Dial 267-225-2492 and leave a question for a chance to have your voicemail answered on an episode. JOIN THE NEW DCMWG PLUS COMMUNITY FOR BONUS EPISODES, AD-FREE LISTENING & OTHER EXCLUSIVE CONTENT CLICK HERE: https://dcmwg.supportingcast.fm This episode is sponsored by Bilt. Start earning points on rent you're already paying by going to joinbilt.com/DCMWG This episode is sponsored by Factor. Go to FactorMeals.com/FactorPodcast to get 50% off your first box and free shipping.  Executive Producers for Breakbeat: Dave Mays & Brett Jeffries Executive Producer: Don't Call Me White Girl Producer: Tom Flies Production: Creative Mind Productions: Vernon Ray (@AllMoneyShots) & Rebel Hill Productions: Zack James (@ZJames_RHC) Instagram: @BreakbeatMedia @DontCallMeeWhiteGirl @PhelpsJugo @TomFlies Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textIn this episode, hosts Deb, Pete, and Jess delve into Garth Brooks' 10th studio album, "Gunslinger," focusing on the third and fourth tracks. What emotions or personal experiences does "Ask Me How I Know" evoke for YOU? Do you relate to Garth's storytelling songs? Or do YOU  appreciate fun, flirty Garth like "Baby Let's Lay Down and Dance" more? Share your thoughts with us on social media!Support the showFind us at:Facebook: facebook.com/garthologycastTwitter: twitter.com/garthologycastInstagram: instagram.com/garthologycastWebsite: Garthology.comEmail us at: garthologycast@gmail.com

NEW FOR MARCH 1, 2025 Picking all manner of things twice a month . . . Picking A Winner- The Best Radio You Have Never Heard Vol. 503 1. Dam That River - Alice In Chains 2. Higher Ground - Red Hot Chili Peppers 3. Cause We've Ended As Lovers (live) - Jeff Beck 4. Vanish - Blueburst 5. Reptile (live) - The Church 6. Starman - David Bowie 7. Beds Are Burning (live unplugged) - Midnight Oil 8. Jealous Again (unplugged) - Black Crowes 9. See How We Are (live unplugged) - X 10. Baby Let's Swing / The Last Thing You Said / Don't Tie My Hands - Todd Rundgren 11. Harlem Nocturne - The Lounge Lizards 12. Blue Suit - Two Loons For Tea 13. I Know A Place - Petula Clark 14. Half Asleep At The Wheel (live) - Corky Siegel 15. Middle Class - The Uptown Rulers 16. All Along The Watch Tower (live) - The Allman Brothers Band 17. Shortyville - Trombone Shorty 18. Hope You're Feeling Better - Santana 19. Baby's On Fire (live) - 801 20. Is Once Enough (live) - Jean-Luc Ponty 21. White Room (live) - Cream 22. Gimme Shelter (alt) - The Rolling Stones 23. Renee Remains The Same - Material Issue 24. Left Of The Dial - The Replacements 25. Further Excerpts From: My Secret Garden - Depeche Mode The Best Radio You Have Never Heard. Beyond your widest musical dreams.. Accept No Substitute. Click to leave comments on the Facebook page.

There's a new Adriana Herrera book out this month, so that means we get to have one of our very favorites back on the pod to talk about not only her banger of a book, A Tropical Rebel Gets the Duke, but also about historical in general! This week, we talk about historicals, in general, about why everyone seems to think they're dying (spoiler: they're not!), and do some myth busting on perceptions of the historical romance. We're extremely grateful to friend of the pod Alexandria Bellefleur for offering up her collected data on historical romance and readers -- check out her books (listed below), as well, and come back next week for more historical recs!If you want more Fated Mates in your life, please join our Patreon, which comes with an extremely busy and fun Discord community! Join other magnificent firebirds to hang out, talk romance, and be cool together in a private group full of excellent people. Learn more at patreon.com.Our next read along is Julie Anne Long's What I Did For a Duke, available in print, ebook, and audio at Amazon, Barnes & Noble, Kobo, Apple Books or wherever you get your books.Enter the Macmillan Audio sweepstakes to win one of five free audiobook copies of Chloe C. Peñaranda's The Night is Defying. The Books A Tropical Rebel Gets the Duke by Adriana HerreraPerks of Loving a Wallflower by Erica Ridley Proper English by KJ CharlesMy Lady's Lover by Nicola Davidson The Duchess Hunt by Lorraine HeathThe Gilded Heiress by Joanna ShupeThe Duke Gets Desperate by Diana QuincyLove, Death, and Lanterns by Jeanne LinA Duke, the Lady, and a Baby by Vanessa Riley The Duke Gets Even by Joanna ShupeThe Magpie Lord by KJ CharlesWicked and the Wallflower by Sarah MacLeanThe Luckiest Lady in London by Sherry ThomasThe Prince of Broadway by Joanna ShupeThe Bride by Julie GarwoodLet Us...

veronika and kyle are back and they are once again joined by mitch wood! They get into their experience at "the brutalist", memoir book titles, and of course some musical improvisation. NEVERMIND MERCH: https://nevermindpod.com/ LIVE SHOWS!!: https://linktr.ee/veronika_iscool KYLE'S STUFF: https://trampolinewear.com/ Patreon: https://bit.ly/nevermindpatreon     mitch: @mitchwood_ https://www.instagram.com/mitchwood_ veronika: @veronika_iscool https://www.instagram.com/veronika_iscool/ kyle: @kylefornow https://www.instagram.com/kylefornow/ nevermind: @nevermindpod https://www.instagram.com/nevermindpod/ we're still getting good at this, but it's about to get even better.

So look at us now. It's finally Christmas and we're covering Let It Snow Baby… Let It Reindeer by Relient K. We bruised our hands decking the halls last year, and now we're discussing Relient K's sprawling 2007 Christmas record. We're not sure whether to call this a reissue or a compilation, but we won't let that technicality keep us In Like A Lion. From all of us here at Church Jams Now, Merry Christmas, here's to many more!If you like what you hear, please rate, review, subscribe, and follow!Connect with us here:Email: contact@churchjamsnow.comSite: https://www.churchjamsnow.com/IG: @churchjamsnowTwitter: @churchjamsnowFB: https://www.facebook.com/churchjamsnowpodcastPatreon: https://www.patreon.com/churchjamsnowpodcast

Hosts Fran Chismar and Tom Knezick are back with a brand new episode of The Buzz.  There is a lot of follow up this week!  “That's Hot” leads to a tasty treat.  “This or That” sows seeds and keeps the leaves.  “Take it of Leaf it” has Tom and Fran on the same page...we think.  Did we give you a shoutout this week?  Intro music by RJ Comer, Outro music by Dave Bennett. That's Hot – Fran's Plant / Tom's Plant Read Fran's Article / Read Tom's Article Visit Hoppy Valley Farm Here. Have a question or a comment?  Call (215) 346-6189 Have a comment?  Email info@nativeplantshealthyplanet.com Follow Native Plants Healthy Planet – Website / Instagram / Facebook / YouTube Follow Fran Chismar Here. Buy a T-shirt, spread the message, and do some good. Visit Old store Here. Visit New store Here!

***YES, still dealing with the static that this new riverside.fm has with episodes. So sorry about that!

The ladies discuss getting tested, sex on the spectrum, how booty American-dubbed anime is, and more! Thanks for listening, we love you! Email: CoochieQs@gmail.com IG: codenamecoochie

In this episode of ayawithin, we're diving deep into all things sex. Aya gets personal, sharing how growing up in Utah with teen parents shaped her sexual awareness. As she embarked on her spiritual journey, she felt a profound calling to connect with her womb on a deeper level. Aya opens up about the powerful shift she experienced transitioning from hormonal to non-hormonal birth control. This episode is sponsored by Natural Cycles, and as a gift to our community, use code SHELBS at naturalcycles.com to get 15% off your annual subscription, plus a free thermometer. Instagram:  Personal - https://www.instagram.com/sshelbs/ Podcast - https://www.instagram.com/ayawithin/ Tiktok:  https://www.tiktok.com/@soshelbs https://www.tiktok.com/@ayawithin Youtube:  https://www.youtube.com/channel/UCGOD2QlFksgcrSMXBcOya0w Website:  https://www.soshelbs.com Services Provided:  Personal & Branding Coaching  Content Creation  Brand Management Workshops & Retreats 

We've been deconstructing the so-called "7 Deadly Sins" — and today we talk about LUST!The non-affirming church makes rules telling you that you're lustful—your beautiful relationships are demeaned and reduced to being about lust—because they're no room in the church to affirm you.And we ask: Why the heck does it matter what your religious leaders? Why do people's live turn on this approval or not approval of these authority figures?This is our 150th episode… and we are going to have some fun with lust!Let's do this.Support the Show.

We talk about what motivates and drives us in life. --- Support this podcast: https://podcasters.spotify.com/pod/show/pj-oneal/support

Second Date Update: Take it off baby!!! Let's go!  Learn more about your ad choices. Visit megaphone.fm/adchoices

Second Date Update: Take it off baby!!! Let's go!  Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Elvis Presley embraced sexuality from the start. Rock n roll was not tame music, and neither were his early performances.So much so that he was nicknamed Elvis 'the pelvis' after early TV performances.But were his personal relationships and relationship with sexuality like? How did his relationship with his mother influence him? And how was his relationship with a 14 year old Priscilla seen at the time?Joining Kate today is Alanna Nash, author of Baby Let's Play House: Elvis Presley And The Women Who Loved Him, to help us find out more.This episode was edited by Tom Delargy. The producer was Stuart Beckwith. The senior producer was Charlotte Long.Enjoy unlimited access to award-winning original documentaries that are released weekly and AD-FREE podcasts. Get a subscription for £1 per month for 3 months with code BETWIXT sign up at https://historyhit/subscription/You can take part in our listener survey here.

We know about the book of Daniel and the Daniel fast but let's look at the Daniel's Fruits

Singles Going Around- Elvis at 706 Union Ave: Sun RecordingsTo sum up what Peter Guralnick once wrote- "If Elvis had never recorded after his 1955 session, those recordings would have been as legendary as the recordings of Robert Johnson". Because after the Sun recordings; RCA took the hillbilly out of him.*"My Happiness" (1953)"That's When Your Heartaches Begin" (1953)"That's All Right" (1954)"Blue Moon of Kentucky" (1954)"I Don't Care If the Sun Don't Shine" (1954)"Good Rockin' Tonight" (1954)"Milkcow Blues Boogie" (1954)"You're a Heartbreaker" (1954)"I'm Left, You're Right, She's Gone" (1955)"Baby Let's Play House" (1955)"Mystery Train" (1955)"I Forgot to Remember to Forget" (1955)"Blue Moon" (1954)"Just Because" (1954)"Tryin' to Get to You" (1955)"When It Rains, It Really Pours" (1955)taken from 45's and a EP*Thanks Mike

BMS Episode 108This episode features grooves from Luther Vandross, Tavares, Chaka Khan, Jill Scott, Heatwave, and many more!DJ Rhythm Dee hosts a recurring segment known as the Black Magic Sounds. The show will feature the smooth grooves of Neo-Soul, and Jazz, as well as Funk, R&B, Disco, Soulful House, Slow Jams, and anything that moves you. It's all about feeling the music and hearing some tracks that were forgotten or entirely new to you.Remember when music was Music!PLAYLIST1. The Rush/Luther Vandross2. Some Love/Chaka Khan3. Finesse/Glenn Jones4. Mine All Mine/Cashflow5. She's My Shining Star/Fatback Band6. Never Had a Love Like This Before/Tavares7. Free/Deniece Williams8. Baby/Jeffery Osborne9. Baby Let's Go/Narada Michael Walden10. It's So Nice/Cornell C.C. Carter11. You're The Best/Thing Sound of Superbad12. Family Reunion/Jill Scott13. Fingerprints/Hil St. Soul14. Company (f/Carmichael Musiclover) Melba Moore15. Happiness Togetherness/Heatwave16. I Owe You One/Shalamar17. Rejoice /The Emotions

Justin and Bec explore Elvis' "marathon" sessions from June 1970, starting with laying the groundwork for the return to Nashville's RCA Studio B, pondering why Elvis may not have chosen to return to Chips Moman's American Sound in Memphis. Instead Elvis is joined this time by a new band led by his live guitarist James Burton but otherwise comprised largely of country-soul players who had worked alongside producer Felton Jarvis in Muscle Shoals, Alabama, including Chip Young, Jerry Carrigan, David Briggs, Norbert Putnam and Charlie McCoy, and rather than a meticulous planned session with Chips' guiding vision... they tear through dozens of songs across four nights, with a follow-up session later that September. Part 1 focuses on the establishing information and the first two nights, June 4-5 and June 5-6, 1970.  For Song of the Week, Bec highlights "I Met Her Today," the understated Don Robertson ballad that was cut in 1961's Pot Luck sessions but held until the hodgepodge Elvis For Everyone album four years later. Meanwhile, Justin goes way back to the Sun era, selecting the middle child single "Milkcow Blues Boogie" - couched between Good Rockin' Tonight and Baby Let's Play House, yet containing that same genius melding of blues (it was written and originated by Kokomo Arnold) and country (also highly popularized by western swing artists like Bob and Johnnie Lee Wills) in a new rockabilly style as anything else he did at Sun. If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy. 

THE RISE & FALL OF ELVIS PRESLEY! Give online therapy a try at https://betterhelp.com/reelrejects Start your Shopify journey at https://www.Shopify.com/rejects Elvis Full Movie Reaction Watch Along: https://www.patreon.com/thereelrejects With Dune 2, The Bob Marley Biopic, & the Academy Awards on the Horizon, Andrew Gordon & John Humphrey check out the film that transformed Austin Butler's voice forever!! Directed by Baz Luhrmann (Moulin Rouge!, Romeo + Juliet, The Great Gatsby) & Starring Austin Butler (Once Upon a Time in Hollywood) as Elvis aka The King of Rock 'n Roll alongside Tom Hanks (Forrest Gump, Castaway, Captain Phillips, Big) as Col. Tom Parker, with David Wenham (The Lord of the Rings: The Two Towers, The Return of the King, 300), Kodi Smit-McPhee (Dawn of the Planet of the Apes, X-Men: Apocalypse, The Power of the Dog, Deadpool 2), Richard Roxburgh (Van Helsing), Dacre Montgomery (Power Rangers, Stranger Things), Gary Clark Jr. (Luke Cage, Chef) & More! Andrew & John react to all the most memorable scenes & best songs including Elvis' First Concert, Suspicious Minds, Hound Dog / Sister Rosetta Tharpe, "Trouble" at Russwood Park, Club Handy on Beale Street, Baby Let's Play House, Blue Suede Shoes, Can't Help Falling in Love, & Beyond! How does Baz Luhrmann's style suit the legacy of such a complicated figure & where does Austin Butler fall in the Pantheon of great Elvis performances? How does this compare to the likes of Walk the Line, Rocketman, Ray, & others?? #Elvis #AustinButler #ElvisPresley #BazLuhrmann #TomHanks #RockNRoll #History #Biopic #FirstTimeWatching #MovieReaction #MovieReactionFirstTimeWatching   Follow Andrew Gordon On Socials: Instagram: https://www.instagram.com/agor711/?hl=en Twitter: https://twitter.com/Agor711 Support The Channel By Getting Some REEL REJECTS Aparrel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB: https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER: https://twitter.com/thereelrejects Follow GREG On INSTAGRAM & TWITTER: INSTAGRAM: https://www.instagram.com/thegregalba/ TWITTER: https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Hey all you stoners, burners and potheads, welcome back to the show!  Mr and Mrs Weedman have some great news...the show is now available with video, woohoo!  You can listen on all platforms and watch on both YouTube and Spotify.  This week they bring you some interesting topics from the studio.  Mr Weedman covers the munchies from weed, he digs into a piece on "bad weed" in the legal market space, and delivers cannabis news from near and far.  Mrs Weedman has another dry January piece that discusses what's healthier - weed or booze, a fun article about weed's impact on sex, and more insight on the highly talked about topic of rescheduling cannabis.  Thanks for listening and as always, hit us up!TWITTER: @weedman420podIG: @weedman420chronicles2.0YouTube: Weedman420 ChroniclesEMAIL:  weedman420chronicles@gmail.comSHOP/SCHWAG: www.eightdecades.comIG: @eightdecadesEMAIL: eightdecadesinfo@gmail.com#ImHigh #Cannabis #StomptheStigma #HomeGrow #FreethePlant #Stoners #Burners #Potheads #Vipers #CannabisEducation #CannabisResearch #Weed #Marijuana #LegalizeIt #CannabisNews #CBD #Terpenes  #Podcast #CannabisPodcast #eightdecades #LPP #Lifestyle #HealthyLifestyle #NaturalMedicine #PlantMedicine #News #Research #MedicalMarijuana #Infused #420 #Education #Health #Wellness #WorldNews #Gardening #budtender #kief #hemp #dabs #hash #joints #edibles #gummies #tincture #vapes #esters #pauliesayssmokesmart Article Links:* https://www.sciencealert.com/scientists-think-theyve-figured-out-how-cannabis-triggers-the-munchies* https://www.eatingwell.com/alcohol-vs-edibles-8418680* https://www.greenstate.com/perspective/bad-weed/* https://www.benzinga.com/markets/cannabis/24/01/36480859/five-questions-about-weed-and-sex-youve-always-wanted-to-ask-a-professional-sexologistCOPYRIGHT 2021 WeedMan420Chronicles©

HO HO HO!!! It's the extended LAST episode of the season! Today we share our favourite holiday tunes with you! We talk about how a song Stacey wrote was the lip-synch battle on Drag Race, we think back about our highs and lows of the year, and Kayla has a strange and depressing relationship with Christmas. We talk professional photographers, social media when you're in your 30s, and we decided we hate the saying “don't ever give up on your dreams”. Stacey is going on a potentially dangerous ship, we talk delicious holiday food, Christmas movies, and how Benedict Cumberbatch should be embarrassed. Should we go to New York City for Christmas? Do elephants and sharks go on PLANES??? Close out the year with us as we talk about anything and everything on our mind for the end of 2023! Woo hoo!  WARNING: Don't let your kids listen or it will ruin everything.  Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Gurdip and Justin finally do an episode they've been threatening to do for some time now, exploring the work of Italian DJ Agostino Carollo, aka "Spankox," who in the late 00s began remixing Elvis songs that had fallen into the European public domain and ended up getting the endorsement of EPE/Graceland for his first two albums, making them technically official releases... an endorsement subsequently lost for the third, holiday-themed project.  The guys cover those first three albums, and also touch upon an obscure 2003 Elvis-inspired movie project, "DJ Hound Dog," that Spankox worked on and produced before turning in his "Baby Let's Play House" remix, as well as what else he's been remixing in recent years since he has mostly stopped producing new Elvis mixes. Even people who don't like remixes might find this episode interesting and funny - and if you really don't like these remixes specifically, you may feel a little schadenfreude by the time we get to "Christmas Remixes." In the news segment, the guys also briefly discuss the announcement of "Priscilla" coming to digital platforms (FYI this episode was recorded prior to the announcement of Cailee Spaenee being nominated for a Golden Globe), "Elvis' Golden Records" rising up into the Top 50 country albums chart earlier this month, and Justin give my initial impressions of the new book "Elvis and The Colonel: An Insider's Look at the Most Legendary Partnership in Show Business" by Greg McDonald and Marshall Terrill.  For Song of the Week, Gurdip picks the home recording "Sweet Leilani," most famously done by Bing Crosby, and Justin decided to go with the holiday season theme and highlight the lesser-appreciated "It Won't Seem Like Christmas Without You" from the 1971 "Elvis Sings the Wonderful World of Christmas" album.  If you enjoy TCBCast, please consider supporting the show over at Patreon.com/TCBCast. If you are unable to support us via Patreon, but want to support us another way, please make sure to leave a positive review or mention our show to another like-minded music/movie history enthusiast.

Dive into the diverse array of cruises in this episode of the Brannon Files, from traditional sailings to repositioning cruises and explore the unique experiences they offer. Join our hosts, Brandee and Shannon Lake (Brannon), as they discuss their cruise experiences of relaxation, adventure, and cultural immersion. This episode sets sail to showcase how cruising is what you make it. So, if you're considering cruising as your next vacation escapade or simply fascinated by the allure of life at sea, join us on The Brannon Files - "Sail Away" for an immersive exploration into the world of cruising, where every wave holds a new adventure and every port brings new wonders to discover.

It's good to be back.

The Dome Foamers discuss an incredible win against the Twins and heading to our 7th (yes 7th) straight ALCS!

The college football season is finally here and it's glorious. We make our week 1 picks and talk about other stuff. None of this matters.

| Sweet Nothings (Remix)  | Justin Novak & Decosta Boyce  | You're The One (feat. Pierrine Burgarella)  | Tommy Glasses | Endless Pleasure  | Deslin Ami Kaba | Higher  | Deslin Ami Kaba | Oh! (The Sarsaparilla Mix)  | Princess Freesia | If You Want My Love (Original Mix)  | The Quantize Brothers & Mishell Ivon | Let It Flow  | M.Tunes.B | Hey You (feat. Magoo)  | Maeva Borzakian | Shout Out  | Kim Tavar | Hold Tight  | Kim Tavar | For The Girls  | Victoria Story | Montecarlo  | Papik feat. Nicole Magolie | Freeway (feat. Cleveland P. Jones & U-Nam) (Soul Jazz Mix)  | Stokes & Machine | Deja Vu (Blue Lab Beats Remix)  | Reel People feat. Raheem DeVaughn | TNT  | Haile Supreme & Statik Selektah | Calling All Ladies  | Eddie F presents Miss Jones | Love Language  | Angie Stone | No Denying  | R.A.E. | Are You Getting Enough (The Degrees Remix)  | Natalie Duncan | Your Love Is What The World Needs  | The Black Dove | Beautiful  | Chris Ballin | Hold Tight  | Nicolaas feat. Kallitechnis | Childish (Radio Edit)  | JChosen | Without You  | The Sextones | Just A Little Bit  | Chris Shards feat. Gloria Tells | Kremas  | Jessica Antoine | Come Up  | The Roswell Universe  | Cocoa  | Kevin Ross | You And Me  | Ten - 63 | Say We'll Stay  | Ten - 63 | Nights (Feel Like Gettin' Down) (The Realm Remix)  | Rich Beggar | Addicted (Clean Version)  | Rose Gold | How Do We Grow  | Mavis Swan Poole | Clouds  | Marie Dahlstrom | A Good Life  | Marie Dahlstrom | Baby Let's Go (Funk Radio Version)  | Narada Michael Walden feat. Dear Silas | Everything You Do (feat. AJ Luke)  | Jarez | Life Is Good  | Chan Hall feat. Judah Sealy | The Man  | Laolu | Live With That  | Shannon Lauren Callihan | Drum Roll  | Destiny La Vibe Music | Mile Away  | Laolu | Don't Be Cruel  | Plus | Steppin' With My Baby  | Ray Lavender | All Night Long (Do That Thizzle)  | Steven Russell Harts | Better  | Ty Juan feat. Juanita Wynn | Going Stepping  | Jarvis Greene | Infatuated (Gedi Edit)  | Austyn King

There are few words more destructive to our dreams than: BUT. The way you use that word on your fertility journey is either working FOR you OR against you. There is no in between. Learn how to use it wisely AND stop allowing it to be the reason YOU block your baby. This is gonna […] The post EP221 “Buts” Blocking Baby: Let's Unf*ck That appeared first on Rosanne Austin.

This post was authored by Rosanne on Rosanne Austin. There are few words more destructive to our dreams than: BUT. The way you use that word on your fertility journey is either working FOR you OR against you. There is no in between. Learn how to use it wisely AND stop allowing it to be the reason YOU block your baby. This is gonna […] The post EP221 “Buts” Blocking Baby: Let’s Unf*ck That appeared first on Rosanne Austin.

Keeping  Disco alive with fresh new releases by Shapeshifters, Lizzo and Horse Meat Disco with the classics by Donna Summer, Pet Shop Boys and Evelyn King.  LET'S GO! Thanks for listening.   FEEDBACK & INQUIRIES CALL (702) 608-8445   -Valentino Rose ----more----   SET LIST: LIZZO - ABOUT DAMN TIME HOT CHOCOLATE - EVERY 1'S A WINNER BEE GEES - NIGHT FEVER HORSE MEAT DISCO - LET'S GO DANCING (FEAT. AMY DOUGLAS) THE SHAPESHIFTERS - SLIPPERY PEOPLE (FEAT. RAMONA RENEA & FIORIOUS) EVELYN KING - LOVE COME DOWN LOVE DE-LUXE - HERE COMES THAT SOUND AGAIN DONNA SUMMER - HOT STUFF DONNA SUMMER - BAD GIRLS MODERN ROMANCE - EVERYBODY SALSA/SALSA RHAPSODY JIMMY SOMERVILLE - YOU MAKE ME FEEL (MIGHTY REAL) [WILLIAM ORBIT REMIX] PET SHOP BOYS - NEW YORK CITY BOY GIBSON BROTHERS - QUE SERA MI VIDA

This week's episode is with my dear friend Aisha Marshall, Forbes 30 Under 30 honoree, founder of the Butterfly SZN podcast and Whxte Atelier a fine jewelry brand! We talk about a ton and the main themes are: Embracing and owning your butterfly season, healing, and growing through your own cocoon phase. Stepping into your divine feminine era and letting your walls down so you can be seen and witnessed in your humanness. Slowing down and digging into your heart to process and assign meaning to your feelings and be vulnerable in real time. The Ego Death and letting go of past traumas in order to be born new and find who you really are. Making your voice, self-worth, and truth louder by celebrating yourself, trusting your path, and marketing yourself.  Did the podcast resonate for you?! Send me a DM or screenshot this episode + share to your stories and let me know your biggest takeaway! Be sure to tag me (@samaltieri) + Aisha (@aisha) in your stories. It means the world to me when you share my podcast, so thank you, I appreciate you a ton!!!

This week on What the Chel, we've got a playoff preview in store for you! We discuss the teams in round one: what's been working for them, how they avoid elimination, and who the standout players to watch are. We also discuss news, answer questions, and give some hockey history and our three stars of the week. It's our longest episode yet, so settle in and enjoy! Please subscribe on whatever podcast platform you use, and leave us a rating and review! It means so much and helps us out a ton. Follow us everywhere @whatthechelpodIntro by: @itsbubboThanks for listening!

RHUGT, RHONJ, BravoCon and more! There's plenty to discuss as Christian kicks off the weekend and gives an update on what life is like back in North Carolina. Are you buying tickets for BravoCon 2023? Follow Christian on Instagram: https://www.instagram.com/christiangraysnow/Follow Christian on Twitter: https://twitter.com/theCGSshowCheck out Christian's Shop: http://www.theslutpigshop.com/A Hurrdat Media Production. Hurrdat Media is a digital media and commercial video production company based in Omaha, NE. Find more podcasts on the Hurrdat Media Network and learn more about our other services today on HurrdatMedia.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

TW// we do talk about death, life and addiction in this episode so please feel free to fast forward if our questions of things that we don't know offend you- As this is not our attention, we do our best to verbally process. We pray for the answers to the questions that you need are answered and are sending our thoughts and love to those families affected by any and all tragedies. So many things were discussed in this delayed #SundaySpill with my galpal Steph! We are not only catching up with each other but also in regards to our Top three pop culture pieces of News from the Fall/Winter of 2022 (thanks mostly to @people, @bachelornation and a general @Google search for our resources this time) and well into January 2023 just doing our best to get back on track with one of your favorite episdes of #thebabeafpod. We definitely discuss some delicate topics and some 'i wonder who, how or why this has happened' to certain celebrities and well known starts in trying to understand the processes of their lives. Not all episodes are rainbows and sunshine so we do our best to bring you the most up to date information on that pop culture news. We thank you for the bottom of our hearts to coming along on this learning journey with us as we dive into the details of Celebrities and what we love about them, no matter what.

Episode Details: In this week's episode, Hollie comes by herself to talk about how wild it can be to be a psychic for a living and also as a daily aspect of your character. Do you have a question for Hollie? Leave us a voice message at https://anchor.fm/smallshiftspodcast or email us at smallshiftspodcast@gmail.com. Home for the Healer Podcast, hosted by Hollie Renea, is a place back home for healers. It is a spiritual podcast with depth and a bit it humor lol Each episode deep dives into spiritual topics related to psychic development, how to be an incredible healer in business and life, along with daily tasks I may come upon. Powered and distributed by Anchor https://anchor.fm/smallshiftspodcast Small Shifts: @Smallshiftspodcast Connect with Hollie Renea: https://linktr.ee/holliereneaxo Created & Produced by: Divinely Vivian & Hollie Renea Hosted by: Hollie Renea & Divinely Vivian --- Send in a voice message: https://podcasters.spotify.com/pod/show/smallshiftspodcast/message

Support the podcast by clicking the link below! https://linktr.ee/Newmoonwellbeing Love you, and thanks for being here!  --- Send in a voice message: https://anchor.fm/newmoonwellbeing/message

Quick little We Don't Know Wrestling this week as life and other (fun) projects are taking up real estate. I talk about the continuing saga of TransGraps, my disappointment in AEW, and how I will miss FanFyte so much.

This week God decided to give me the task of redefining the word Pride .. Culture teaches pride .. they want us to be prideful in all we do but did we forget that pride is not only one of the deadly sins .. it's the first one. Pride removes God from the situation. It places us in control and we're not… i promise this is a good one.. just hear me out

It's so easy for someone on the outside looking in to tell you to get over something. Honestly that's what we all wanna do. No one wants to go through life with negative feelings. And when it comes to dating these experience can cut deep. Dee shares three things that you can do to help ease the pain you were experiencing. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/dating-while-black/message

Heyyy ya'll we made it! Season 3 is here! Join Sam and Lady Q as they fill you in on what's been new with them since the break after season 2. They'll play a bit of catch-up before diving deep into this weeks topic of MOTIVATION. Being a millennial is hard, being an adult is even harder- how are we staying motivated, especially when we don't feel like it? Tune in to find out. Follow the Show: @adultingunscripted// @quaneshaboo// @yourfamsam via IG Feel free to slide in our DMs with any questions or comments for our Q&S segment or email us at adultingunscripted@gmail.com   

Today's episode is a FIERY conversation about leveling the F up in our lives! Listen in for some valuable questions you can ask yourself to help determine if it is, in fact, a level up season for you! 

It's summertime, and Grace and Lizzie are dreaming of getaways both near and far. In this episode, they discuss their best tips for all kinds of trips, from camping to Airbnbs to hotels. Some old posts from Lizzie's blog that might be helpful:Finding the right camping or glamping siteTips for an extra-special camping experienceHow to stay in a hotel with a dog

Two Cow Garage "The Heart and the Crown"Richard Swift "Broken Finger Blues"JD McPherson "Just Around The Corner"Kitty Wells "Guilty Street"Adia Victoria "Devil Is A Lie"Blue Mountain "Bloody 98"Fats Domino "When I Was Young"Memphis Slim "We're Gonna Rock"Wilco "Falling Apart (Right Now)"Elvis Costello & the Roots "Sugar Won't Work"Eilen Jewell "Back to Dallas"Rick Danko "What A Town"Eddie Hinton "Brand New Man"Hot Water Music "Trusty Chords"Joan Shelley "Over and Even"Superchunk "Endless Summer"Joseph "Come On Up To The House"LaVern Baker "Bumble Bee"Little Brother Montgomery "Michigan Water Blues"Bob Dylan "Precious Angel"Labi Siffre "I Got The..."Kendrick Lamar "Auntie Diaries"Hank Crawford "Sister Sadie"Arthur Gunter "Baby Let´s Play House"The 40 Acre Mule "16 Days"Old 97's "Rollerskate Skinny"Nina Simone "Do I Move You?"Koko Taylor "I'd Rather Go Blind"Jack White "If I Die Tomorrow"Drive-By Truckers "Forged In Hell And Heaven Sent"R.E.M. "Swan Swan H"Cory Branan "Imogene"Sister O.M. Terrell "Life Is a Problem"Jkutchma & the Five Fifths "Sundown, Usa"Carl Perkins "Poor Boy Blues"Blue Lu Barker "I'll Give You Some Tomorrow"John Prine "Sweet Revenge"Buddy Guy "Outskirst of Town"Junior Walker & The All Stars "Way Back Home"Wynonie Harris "Mr Blues Is Coming To Town"Billie Holiday Orchestra "Summertime"Lucero "That Much Further West"

Welcome back, let's get motivated together! Share this episode with a friend and let's all motivate each other together. Motivation: How To Get Started What Is Motivation --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

This week Dylan and Matt break down the Relient K Christmas Cover album "Let it Snow, Baby... Let it Reindeer". This one is a classic for both Dylan and Matt so they explain WHY this is a must listen every December. Find out more at https://christmas-365.pinecast.co This podcast is powered by Pinecast. Try Pinecast for free, forever, no credit card required. If you decide to upgrade, use coupon code r-4222c3 for 40% off for 4 months, and support Christmas 365.

This week's episode looks at “Tomorrow Never Knows”, the making of Revolver by the Beatles, and the influence of Timothy Leary on the burgeoning psychedelic movement. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Keep on Running" by the Spencer Davis Group. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata A few things -- I say "Fairfield" at one point when I mean "Fairchild". While Timothy Leary was imprisoned in 1970 he wasn't actually placed in the cell next to Charles Manson until 1973. Sources differ on when Geoff Emerick started at EMI, and he *may* not have worked on "Sun Arise", though I've seen enough reliable sources saying he did that I think it's likely. And I've been told that Maureen Cleave denied having an affair with Lennon -- though note that I said it was "strongly rumoured" rather than something definite. Resources As usual, a mix of all the songs excerpted in this episode is available at Mixcloud.com. 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. For information on Timothy Leary I used a variety of sources including The Most Dangerous Man in America by Bill Minutaglio and Steven L. Davis; Timothy Leary: Outside Looking In by Robert Forte; The Starseed Signals by Robert Anton Wilson; and especially The Harvard Psychedelic Club by Don Lattin. I also referred to both The Tibetan Book of the Dead and to The Psychedelic Experience. Leary's much-abridged audiobook version of The Psychedelic Experience can be purchased from Folkways Records. Sadly the first mono mix of "Tomorrow Never Knows" has been out of print since it was first issued. The only way to get the second mono mix is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Revolver. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start this episode, I'd like to note that it deals with a number of subjects some listeners might find upsetting, most notably psychedelic drug use, mental illness, and suicide. I think I've dealt with those subjects fairly respectfully, but you still may want to check the transcript if you have worries about these subjects. Also, we're now entering a period of music history with the start of the psychedelic era where many of the songs we're looking at are influenced by non-mainstream religious traditions, mysticism, and also increasingly by political ideas which may seem strange with nearly sixty years' hindsight. I'd just like to emphasise that when I talk about these ideas, I'm trying as best I can to present the thinking of the people I'm talking about, in an accurate and unbiased way, rather than talking about my own beliefs. We're going to head into some strange places in some of these episodes, and my intention is neither to mock the people I'm talking about nor to endorse their ideas, but to present those ideas to you the listener so you can understand the music, the history, and the mindset of the people involved, Is that clear? Then lets' turn on, tune in, and drop out back to 1955... [Opening excerpt from The Psychedelic Experience] There is a phenomenon in many mystical traditions, which goes by many names, including the dark night of the soul and the abyss. It's an experience that happens to mystics of many types, in which they go through unimaginable pain near the beginning of their journey towards greater spiritual knowledge. That pain usually involves a mixture of internal and external events -- some terrible tragedy happens to them, giving them a new awareness of the world's pain, at the same time they're going through an intellectual crisis about their understanding of the world, and it can last several years. It's very similar to the more common experience of the mid-life crisis, except that rather than buying a sports car and leaving their spouse, mystics going through this are more likely to found a new religion. At least, those who survive the crushing despair intact. Those who come out of the experience the other end often find themselves on a totally new path, almost like they're a different person. In 1955, when Dr. Timothy Leary's dark night of the soul started, he was a respected academic psychologist, a serious scientist who had already made several substantial contributions to his field, and was considered a rising star. By 1970, he would be a confirmed mystic, sentenced to twenty years in prison, in a cell next to Charles Manson, and claiming to different people that he was the reincarnation of Gurdjieff, Aleister Crowley, and Jesus Christ. In the fifties, Leary and his wife had an open relationship, in which they were both allowed to sleep with other people, but weren't allowed to form emotional attachments to them. Unfortunately, Leary *had* formed an emotional attachment to another woman, and had started spending so much time with her that his wife was convinced he was going to leave her. On top of that, Leary was an alcoholic, and was prone to get into drunken rows with his wife. He woke up on the morning of his thirty-fifth birthday, hung over after one of those rows, to find that she had died by suicide while he slept, leaving a note saying that she knew he was going to leave her and that her life would be meaningless without him. This was only months after Leary had realised that the field he was working in, to which he had devoted his academic career, was seriously broken. Along with a colleague, Frank Barron, he published a paper on the results of clinical psychotherapy, "Changes in psychoneurotic patients with and without psychotherapy" which analysed the mental health of a group of people who had been through psychotherapy, and found that a third of them improved, a third stayed the same, and a third got worse. The problem was that there was a control group, of people with the same conditions who were put on a waiting list and told to wait the length of time that the therapy patients were being treated. A third of them improved, a third stayed the same, and a third got worse. In other words, psychotherapy as it was currently practised had no measurable effect at all on patients' health. This devastated Leary, as you might imagine. But more through inertia than anything else, he continued working in the field, and in 1957 he published what was regarded as a masterwork -- his book Interpersonal Diagnosis of Personality: A Functional Theory and Methodology for Personality Evaluation. Leary's book was a challenge to the then-dominant idea in psychology, behaviourism, which claimed that it made no sense to talk about anyone's internal thoughts or feelings -- all that mattered was what could be measured, stimuli and responses, and that in a very real sense the unmeasurable thoughts people had didn't exist at all. Behaviourism looked at every human being as a mechanical black box, like a series of levers. Leary, by contrast, analysed human interactions as games, in which people took on usual roles, but were able, if they realised this, to change the role or even the game itself. It was very similar to the work that Eric Berne was doing at the same time, and which would later be popularised in Berne's book Games People Play. Berne's work was so popular that it led to the late-sixties hit record "Games People Play" by Joe South: [Excerpt: Joe South: "Games People Play"] But in 1957, between Leary and Berne, Leary was considered the more important thinker among his peers -- though some thought of him as more of a showman, enthralled by his own ideas about how he was going to change psychology, than a scientist, and some thought that he was unfairly taking credit for the work of lesser-known but better researchers. But by 1958, the effects of the traumas Leary had gone through a couple of years earlier were at their worst. He was starting to become seriously ill -- from the descriptions, probably from something stress-related and psychosomatic -- and he took his kids off to Europe, where he was going to write the great American novel. But he rapidly ran through his money, and hadn't got very far with the novel. He was broke, and ill, and depressed, and desperate, but then in 1959 his old colleague Frank Barron, who was on holiday in the area, showed up, and the two had a conversation that changed Leary's life forever in multiple ways. The first of the conversational topics would have the more profound effect, though that wouldn't be apparent at first. Barron talked to Leary about his previous holiday, when he'd visited Mexico and taken psilocybin mushrooms. These had been used by Mexicans for centuries, but the first publication about them in English had only been in 1955 -- the same year when Leary had had other things on his mind -- and they were hardly known at all outside Mexico. Barron talked about the experience as being the most profound, revelatory, experience of his life. Leary thought his friend sounded like a madman, but he humoured him for the moment. But Barron also mentioned that another colleague was on holiday in the same area. David McClelland, head of the Harvard Center for Personality Research, had mentioned to Barron that he had just read Diagnosis of Personality and thought it a work of genius. McClelland hired Leary to work for him at Harvard, and that was where Leary met Ram Dass. [Excerpt from "The Psychedelic Experience"] Ram Dass was not the name that Dass was going by at the time -- he was going by his birth name, and only changed his name a few years later, after the events we're talking about -- but as always, on this podcast we don't use people's deadnames, though his is particularly easy to find as it's still the name on the cover of his most famous book, which we'll be talking about shortly. Dass was another psychologist at the Centre for Personality Research, and he would be Leary's closest collaborator for the next several years. The two men would become so close that at several points Leary would go travelling and leave his children in Dass' care for extended periods of time. The two were determined to revolutionise academic psychology. The start of that revolution didn't come until summer 1960. While Leary was on holiday in Cuernavaca in Mexico, a linguist and anthropologist he knew, Lothar Knauth, mentioned that one of the old women in the area collected those magic mushrooms that Barron had been talking about. Leary decided that that might be a fun thing to do on his holiday, and took a few psilocybin mushrooms. The effect was extraordinary. Leary called this, which had been intended only as a bit of fun, "the deepest religious experience of my life". [Excerpt from "The Psychedelic Experience"] He returned to Harvard after his summer holiday and started what became the Harvard Psilocybin Project. Leary and various other experimenters took controlled doses of psilocybin and wrote down their experiences, and Leary believed this would end up revolutionising psychology, giving them insights unattainable by other methods. The experimenters included lecturers, grad students, and people like authors Allen Ginsberg and William Burroughs, jazz trumpeter Maynard Ferguson, and Alan Watts, who popularised Zen Buddhism in the West. Dass didn't join the project until early 1961 -- he'd actually been on the holiday with Leary, but had arrived a few days after the mushroom experiment, and nobody had been able to get hold of the old woman who knew where to find the mushrooms, so he'd just had to deal with Leary telling him about how great it was rather than try it himself. He then spent a semester as a visiting scholar at Berkeley, so he didn't get to try his first trip until February 1961. Dass, on his first trip, first had a revelation about the nature of his own true soul, then decided at three in the morning that he needed to go and see his parents, who lived nearby, and tell them the good news. But there was several feet of snow, and so he decided he must save his parents from the snow, and shovel the path to their house. At three in the morning. Then he saw them looking out the window at him, he waved, and then started dancing around the shovel. He later said “Until that moment I was always trying to be the good boy, looking at myself through other people's eyes. What did the mothers, fathers, teachers, colleagues want me to be? That night, for the first time, I felt good inside. It was OK to be me.” The Harvard Psilocybin Project soon became the Harvard Psychedelic Project. The term "psychedelic", meaning "soul revealing", was coined by the British psychiatrist Humphrey Osmond, who had been experimenting with hallucinogens for years, and had guided Aldous Huxley on the mescaline trip described in The Doors of Perception. Osmond and Huxley had agreed that the term "psychotomimetic", in use at the time, which meant "mimicking psychosis", wasn't right -- it was too negative. They started writing letters to each other, suggesting alternative terms. Huxley came up with "phanerothyme", the Greek for "soul revealing", and wrote a little couplet to Osmond: To make this trivial world sublime Take half a gramme of phanerothyme. Osmond countered with the Latin equivalent: To fathom hell or soar angelic Just take a pinch of psychedelic Osmond also inspired Leary's most important experimental work of the early sixties. Osmond had got to know Bill W., the founder of Alcoholics Anonymous, and had introduced W. to LSD. W. had become sober after experiencing a profound spiritual awakening and a vision of white light while being treated for his alcoholism using the so-called "belladonna cure" -- a mixture of various hallucinogenic and toxic substances that was meant to cure alcoholism. When W. tried LSD, he found it replicated his previous spiritual experience and became very evangelistic about its use by alcoholics, thinking it could give them the same kind of awakening he'd had. Leary became convinced that if LSD could work on alcoholics, it could also be used to help reshape the personalities of habitual criminals and lead them away from reoffending. His idea for how to treat people was based, in part, on the ideas of transactional analysis. There is always a hierarchical relationship between a therapist and their patient, and that hierarchical relationship itself, in Leary's opinion, forced people into particular game roles and made it impossible for them to relate as equals, and thus impossible for the therapist to truly help the patient. So his idea was that there needed to be a shared bonding experience between patient and doctor. So in his prison experiments, he and the other people involved, including Ralph Metzner, one of his grad students, would take psilocybin *with* the patients. In short-term follow-ups the patients who went through this treatment process were less depressed, felt better, and were only half as likely to reoffend as normal prisoners. But critics pointed out that the prisoners had been getting a lot of individual attention and support, and there was no control group getting that support without the psychedelics. [Excerpt: The Psychedelic Experience] As the experiments progressed, though, things were becoming tense within Harvard. There was concern that some of the students who were being given psilocybin were psychologically vulnerable and were being put at real risk. There was also worry about the way that Leary and Dass were emphasising experience over analysis, which was felt to be against the whole of academia. Increasingly it looked like there was a clique forming as well, with those who had taken part in their experiments on the inside and looking down on those outside, and it looked to many people like this was turning into an actual cult. This was simply not what the Harvard psychology department was meant to be doing. And one Harvard student was out to shut them down for good, and his name was Andrew Weil. Weil is now best known as one of the leading lights in alternative health, and has made appearances on Oprah and Larry King Live, but for many years his research interest was in mind-altering chemicals -- his undergraduate thesis was on the use of nutmeg to induce different states of consciousness. At this point Weil was an undergraduate, and he and his friend Ronnie Winston had both tried to get involved in the Harvard Psilocybin Project, but had been turned down -- while they were enthusiastic about it, they were also undergraduates, and Leary and Dass had agreed with the university that they wouldn't be using undergraduates in their project, and that only graduate students, faculty, and outsiders would be involved. So Weil and Winston had started their own series of experiments, using mescaline after they'd been unable to get any psilocybin -- they'd contacted Aldous Huxley, the author of The Doors of Perception and an influence on Leary and Dass' experiments, and asked him where they could get mescaline, and he'd pointed them in the right direction. But then Winston and Dass had become friends, and Dass had given Winston some psilocybin -- not as part of his experiments, so Dass didn't think he was crossing a line, but just socially. Weil saw this as a betrayal by Winston, who stopped hanging round with him once he became close to Dass, and also as a rejection of him by Dass and Leary. If they'd give Winston psilocybin, why wouldn't they give it to him? Weil was a writer for the Harvard Crimson, Harvard's newspaper, and he wrote a series of exposes on Leary and Dass for the Crimson. He went to his former friend Winston's father and told him "Your son is getting drugs from a faculty member. If your son will admit to that charge, we'll cut out your son's name. We won't use it in the article."  Winston did admit to the charge, under pressure from his father, and was brought to tell the Dean, saying to the Dean “Yes, sir, I did, and it was the most educational experience I've had at Harvard.” Weil wrote about this for the Crimson, and the story was picked up by the national media. Weil eventually wrote about Leary and Dass for Look magazine, where he wrote “There were stories of students and others using hallucinogens for seductions, both heterosexual and homosexual.” And this seems actually to have been a big part of Weil's motivation. While Dass and Winston always said that their relationship was purely platonic, Dass was bisexual, and Weil seems to have assumed his friend had been led astray by an evil seducer. This was at a time when homophobia and biphobia were even more prevalent in society than they are now, and part of the reason Leary and Dass fell out in the late sixties is that Leary started to see Dass' sexuality as evil and perverted and something they should be trying to use LSD to cure. The experiments became a national scandal, and one of the reasons that LSD was criminalised a few years later. Dass was sacked for giving drugs to undergraduates; Leary had gone off to Mexico to get away from the stress, leaving his kids with Dass. He would be sacked for going off without permission and leaving his classes untaught. As Leary and Dass were out of Harvard, they had to look for other sources of funding. Luckily, Dass turned William Mellon Hitchcock, the heir to the Mellon oil fortune, on to acid, and he and his brother Tommy and sister Peggy gave them the run of a sixty-four room mansion, named Millbrook. When they started there, they were still trying to be academics, but over the five years they were at Millbrook it became steadily less about research and more of a hippie commune, with regular visitors and long-term residents including Alan Ginsberg, William Burroughs, and the jazz musician Maynard Ferguson, who would later get a small amount of fame with jazz-rock records like his version of "MacArthur Park": [Excerpt: Maynard Ferguson, "MacArthur Park"] It was at Millbrook that Leary, Dass, and Metzner would write the book that became The Psychedelic Experience. This book was inspired by the Bardo Thödol, a book allegedly written by Padmasambhava, the man who introduced Buddhism to Tibet in the eighth century, though no copies of it are known to have existed before the fourteenth century, when it was supposedly discovered by Karma Lingpa. Its title translates as Liberation Through Hearing During the Intermediate State, but it was translated into English under the name The Tibetan Book of the Dead, as Walter Evans-Wentz, who compiled and edited the first English translation was, like many Westerners who studied Buddhism in the early part of the twentieth century, doing so because he was an occultist and a member of the Theosophical Society, which believes the secret occult masters of the world live in Tibet, but which also considered the Egyptian Book of the Dead -- a book which bears little relationship to the Bardo Thödol, and which was written thousands of years earlier on a different continent -- to be a major religious document. So it was through that lens that Evans-Wentz was viewing the Bardo Thödol, and he renamed the book to emphasise what he perceived as its similarities. Part of the Bardo Thödol is a description of what happens to someone between death and rebirth -- the process by which the dead person becomes aware of true reality, and then either transcends it or is dragged back into it by their lesser impulses -- and a series of meditations that can be used to help with that transcendence. In the version published as The Tibetan Book of the Dead, this is accompanied by commentary from Evans-Wentz, who while he was interested in Buddhism didn't actually know that much about Tibetan Buddhism, and was looking at the text through a Theosophical lens, and mostly interpreting it using Hindu concepts. Later editions of Evans-Wentz's version added further commentary by Carl Jung, which looked at Evans-Wentz's version of the book through Jung's own lens, seeing it as a book about psychological states, not about anything more supernatural (although Jung's version of psychology was always a supernaturalist one, of course). His Westernised, psychologised, version of the book's message became part of the third edition. Metzner later said "At the suggestion of Aldous Huxley and Gerald Heard we began using the Bardo Thödol ( Tibetan Book of the Dead) as a guide to psychedelic sessions. The Tibetan Buddhists talked about the three phases of experience on the “intermediate planes” ( bardos) between death and rebirth. We translated this to refer to the death and the rebirth of the ego, or ordinary personality. Stripped of the elaborate Tibetan symbolism and transposed into Western concepts, the text provided a remarkable parallel to our findings." Leary, Dass, and Metzner rewrote the book into a form that could be used to guide a reader through a psychedelic trip, through the death of their ego and its rebirth. Later, Leary would record an abridged audiobook version, and it's this that we've been hearing excerpts of during this podcast so far: [Excerpt: The Psychedelic Experience "Turn off your mind, relax, float downstream" about 04:15] When we left the Beatles, they were at the absolute height of their fame, though in retrospect the cracks had already begun to show.  Their second film had been released, and the soundtrack had contained some of their best work, but the title track, "Help!", had been a worrying insight into John Lennon's current mental state. Immediately after making the film and album, of course, they went back out touring, first a European tour, then an American one, which probably counts as the first true stadium tour. There had been other stadium shows before the Beatles 1965 tour -- we talked way back in the first episodes of the series about how Sister Rosetta Tharpe had a *wedding* that was a stadium gig. But of course there are stadiums and stadiums, and the Beatles' 1965 tour had them playing the kind of venues that no other musician, and certainly no other rock band, had ever played. Most famously, of course, there was the opening concert of the tour at Shea Stadium, where they played to an audience of fifty-five thousand people -- the largest audience a rock band had ever played for, and one which would remain a record for many years. Most of those people, of course, couldn't actually hear much of anything -- the band weren't playing through a public address system designed for music, just playing through the loudspeakers that were designed for commentating on baseball games. But even if they had been playing through the kind of modern sound systems used today, it's unlikely that the audience would have heard much due to the overwhelming noise coming from the crowd. Similarly, there were no live video feeds of the show or any of the other things that nowadays make it at least possible for the audience to have some idea what is going on on stage. The difference between this and anything that anyone had experienced before was so great that the group became overwhelmed. There's video footage of the show -- a heavily-edited version, with quite a few overdubs and rerecordings of some tracks was broadcast on TV, and it's also been shown in cinemas more recently as part of promotion for an underwhelming documentary about the Beatles' tours -- and you can see Lennon in particular becoming actually hysterical during the performance of "I'm Down", where he's playing the organ with his elbows. Sadly the audio nature of this podcast doesn't allow me to show Lennon's facial expression, but you can hear something of the exuberance in the performance. This is from what is labelled as a copy of the raw audio of the show -- the version broadcast on TV had a fair bit of additional sweetening work done on it: [Excerpt: The Beatles, "I'm Down (Live at Shea Stadium)"] After their American tour they had almost six weeks off work to write new material before going back into the studio to record their second album of the year, and one which would be a major turning point for the group. The first day of the recording sessions for this new album, Rubber Soul, started with two songs of Lennon's. The first of these was "Run For Your Life", a song Lennon never later had much good to say about, and which is widely regarded as the worst song on the album. That song was written off a line from Elvis Presley's version of "Baby Let's Play House", and while Lennon never stated this, it's likely that it was brought to mind by the Beatles having met with Elvis during their US tour. But the second song was more interesting. Starting with "Help!", Lennon had been trying to write more interesting lyrics. This had been inspired by two conversations with British journalists -- Kenneth Allsop had told Lennon that while he liked Lennon's poetry, the lyrics to his songs were banal in comparison and he found them unlistenable as a result, while Maureen Cleave, a journalist who was a close friend with Lennon, had told him that she hadn't noticed a single word in any of his lyrics with more than two syllables, so he made more of an effort with "Help!", putting in words like "independence" and "insecure". As he said in one of his last interviews, "I was insecure then, and things like that happened more than once. I never considered it before. So after that I put a few words with three syllables in, but she didn't think much of them when I played it for her, anyway.” Cleave may have been an inspiration for "Norwegian Wood (This Bird Has Flown)". There are very strong rumours that Lennon had an affair with Cleave in the mid-sixties, and if that's true it would definitely fit into a pattern. Lennon had many, many, affairs during his first marriage, both brief one-night stands and deeper emotional attachments, and those emotional attachments were generally with women who were slightly older, intellectual, somewhat exotic looking by the standards of 1960s Britain, and in the arts. Lennon later claimed to have had an affair with Eleanor Bron, the Beatles' co-star in Help!, though she always denied this, and it's fairly widely established that he did have an affair with Alma Cogan, a singer who he'd mocked during her peak of popularity in the fifties, but who would later become one of his closest friends: [Excerpt: Alma Cogan, "Why Do Fools Fall in Love?"] And "Norwegian Wood", the second song recorded for Rubber Soul, started out as a confession to one of these affairs, a way of Lennon admitting it to his wife without really admitting it. The figure in the song is a slightly aloof, distant woman, and the title refers to the taste among Bohemian British people at the time for minimalist decor made of Scandinavian pine -- something that would have been a very obvious class signifier at the time. [Excerpt: The Beatles, "Norwegian Wood (This Bird Has Flown)"] Lennon and McCartney had different stories about who wrote what in the song, and Lennon's own story seems to have changed at various times. What seems to have happened is that Lennon wrote the first couple of verses while on holiday with George Martin, and finished it off later with McCartney's help. McCartney seems to have come up with the middle eight melody -- which is in Dorian mode rather than the Mixolydian mode of the verses -- and to have come up with the twist ending, where the woman refuses to sleep with the protagonist and laughs at him, he goes to sleep in the bath rather than her bed, wakes up alone, and sets fire to the house in revenge. This in some ways makes "Norwegian Wood" the thematic centrepiece of the album that was to result, combining several of the themes its two songwriters came back to throughout the album and the single recorded alongside it. Like Lennon's "Run For Your Life" it has a misogynistic edge to it, and deals with taking revenge against a woman, but like his song "Girl", it deals with a distant, unattainable, woman, who the singer sees as above him but who has a slightly cruel edge -- the kind of girl who puts you down when friends are there,  you feel a fool, is very similar to the woman who tells you to sit down but has no chairs in her minimalist flat. A big teaser who takes you half the way there is likely to laugh at you as you crawl off to sleep in the bath while she goes off to bed alone. Meanwhile, McCartney's two most popular contributions to the album, "Michelle" and "Drive My Car", also feature unattainable women, but are essentially comedy songs -- "Michelle" is a pastiche French song which McCartney used to play as a teenager while pretending to be foreign to impress girls, dug up and finished for the album, while "Drive My Car" is a comedy song with a twist in the punchline, just like "Norwegian Wood", though "Norwegian Wood"s twist is darker. But "Norwegian Wood" is even more famous for its music than for its lyric. The basis of the song is Lennon imitating Dylan's style -- something that Dylan saw, and countered with "Fourth Time Around", a song which people have interpreted multiple ways, but one of those interpretations has always been that it's a fairly vicious parody of "Norwegian Wood": [Excerpt: Bob Dylan, "Fourth Time Around"] Certainly Lennon thought that at first, saying a few years later "I was very paranoid about that. I remember he played it to me when he was in London. He said, what do you think? I said, I don't like it. I didn't like it. I was very paranoid. I just didn't like what I felt I was feeling – I thought it was an out and out skit, you know, but it wasn't. It was great. I mean he wasn't playing any tricks on me. I was just going through the bit." But the aspect of "Norwegian Wood" that has had more comment over the years has been the sitar part, played by George Harrison: [Excerpt: The Beatles, "Norwegian Wood"] This has often been called the first sitar to be used on a rock record, and that may be the case, but it's difficult to say for sure. Indian music was very much in the air among British groups in September 1965, when the Beatles recorded the track. That spring, two records had almost simultaneously introduced Indian-influenced music into the pop charts. The first had been the Yardbirds' "Heart Full of Soul", released in June and recorded in April. In fact, the Yardbirds had actually used a sitar on their first attempt at recording the song, which if it had been released would have been an earlier example than the Beatles: [Excerpt: The Yardbirds, "Heart Full of Soul (first version)"] But in the finished recording they had replaced that with Jeff Beck playing a guitar in a way that made it sound vaguely like a sitar, rather than using a real one: [Excerpt: The Yardbirds, "Heart Full of Soul (single)"] Meanwhile, after the Yardbirds had recorded that but before they'd released it, and apparently without any discussion between the two groups, the Kinks had done something similar on their "See My Friends", which came out a few weeks after the Yardbirds record: [Excerpt: The Kinks, "See My Friends"] (Incidentally, that track is sometimes titled "See My Friend" rather than "See My Friends", but that's apparently down to a misprint on initial pressings rather than that being the intended title). As part of this general flowering of interest in Indian music, George Harrison had become fascinated with the sound of the sitar while recording scenes in Help! which featured some Indian musicians. He'd then, as we discussed in the episode on "Eight Miles High" been introduced by David Crosby on the Beatles' summer US tour to the music of Ravi Shankar. "Norwegian Wood" likely reminded Harrison of Shankar's work for a couple of reasons. The first is that the melody is very modal -- as I said before, the verses are in Mixolydian mode, while the middle eights are in Dorian -- and as we saw in the "Eight Miles High" episode Indian music is very modal. The second is that for the most part, the verse is all on one chord -- a D chord as Lennon originally played it, though in the final take it's capoed on the second fret so it sounds in E. The only time the chord changes at all is on the words "once had" in the phrase “she once had me” where for one beat each Lennon plays a C9 and a G (sounding as a D9 and A). Both these chords, in the fingering Lennon is using, feel to a guitarist more like "playing a D chord and lifting some fingers up or putting some down" rather than playing new chords, and this is a fairly common way of thinking about stuff particularly when talking about folk and folk-rock music -- you'll tend to get people talking about the "Needles and Pins" riff as being "an A chord where you twiddle your finger about on the D string" rather than changing between A, Asus2, and Asus4. So while there are chord changes, they're minimal and of a kind that can be thought of as "not really" chord changes, and so that may well have reminded Harrison of the drone that's so fundamental to Indian classical music. Either way, he brought in his sitar, and they used it on the track, both the version they cut on the first day of recording and the remake a week later which became the album track: [Excerpt: The Beatles, "Norwegian Wood (This Bird Has Flown)"] At the same time as the group were recording Rubber Soul, they were also working on two tracks that would become their next single -- released as a double A-side because the group couldn't agree which of the two to promote. Both of these songs were actual Lennon/McCartney collaborations, something that was increasingly rare at this point. One, "We Can Work it Out" was initiated by McCartney, and like many of his songs of this period was inspired by tensions in his relationship with his girlfriend Jane Asher -- two of his other songs for Rubber Soul were "I'm Looking Through You" and "You Won't See Me".  The other, "Day Tripper",  was initiated by Lennon, and had other inspirations: [Excerpt: The Beatles, "Day Tripper"] John Lennon and George Harrison's first acid trip had been in spring of 1965, around the time they were recording Help! The fullest version of how they came to try it I've read was in an interview George Harrison gave to Creem magazine in 1987, which I'll quote a bit of: "I had a dentist who invited me and John and our ex-wives to dinner, and he had this acid he'd got off the guy who ran Playboy in London. And the Playboy guy had gotten it off, you know, the people who had it in America. What's his name, Tim Leary. And this guy had never had it himself, didn't know anything about it, but he thought it was an aphrodisiac and he had this girlfriend with huge breasts. He invited us down there with our blonde wives and I think he thought he was gonna have a scene. And he put it in our coffee without telling us—he didn't take any himself. We didn't know we had it, and we'd made an arrangement earlier—after we had dinner we were gonna go to this nightclub to see some friends of ours who were playing in a band. And I was saying, "OK, let's go, we've got to go," and this guy kept saying, "No, don't go, finish your coffee. Then, 20 minutes later or something, I'm saying, "C'mon John, we'd better go now. We're gonna miss the show." And he says we shouldn't go 'cause we've had LSD." They did leave anyway, and they had an experience they later remembered as being both profound and terrifying -- nobody involved had any idea what the effects of LSD actually were, and they didn't realise it was any different from cannabis or amphetamines. Harrison later described feelings of universal love, but also utter terror -- believing himself to be in hell, and that world war III was starting. As he said later "We'd heard of it, but we never knew what it was about and it was put in our coffee maliciously. So it really wasn't us turning each other or the world or anything—we were the victims of silly people." But both men decided it was an experience they needed to have again, and one they wanted to share with their friends. Their next acid trip was the one that we talked about in the episode on "Eight Miles High", with Roger McGuinn, David Crosby, and Peter Fonda. That time Neil Aspinall and Ringo took part as well, but at this point Paul was still unsure about taking it -- he would later say that he was being told by everyone that it changed your worldview so radically you'd never be the same again, and he was understandably cautious about this. Certainly it had a profound effect on Lennon and Harrison -- Starr has never really talked in detail about his own experiences. Harrison would later talk about how prior to taking acid he had been an atheist, but his experiences on the drug gave him an unshakeable conviction in the existence of God -- something he would spend the rest of his life exploring. Lennon didn't change his opinions that drastically, but he did become very evangelistic about the effects of LSD. And "Day Tripper" started out as a dig at what he later described as weekend hippies, who took acid but didn't change the rest of their lives -- which shows a certain level of ego in a man who had at that point only taken acid twice himself -- though in collaboration with McCartney it turned into another of the rather angry songs about unavailable women they were writing at this point. The line "she's a big teaser, she took me half the way there" apparently started as "she's a prick teaser": [Excerpt: The Beatles, "Day Tripper"] In the middle of the recording of Rubber Soul, the group took a break to receive their MBEs from the Queen. Officially the group were awarded these because they had contributed so much to British exports. In actual fact, they received them because the Prime Minister, Harold Wilson, had a government with a majority of only four MPs and was thinking about calling an election to boost his majority. He represented a Liverpool constituency, and wanted to associate his Government and the Labour Party with the most popular entertainers in the UK. "Day Tripper" and "We Can Work it Out" got their TV premiere on a show recorded for Granada TV,  The Music of Lennon and McCartney, and fans of British TV trivia will be pleased to note that the harmonium Lennon plays while the group mimed "We Can Work it Out" in that show is the same one that was played in Coronation Street by Ena Sharples -- the character we heard last episode being Davy Jones' grandmother. As well as the Beatles themselves, that show included other Brian Epstein artists like Cilla Black and Billy J Kramer singing songs that Lennon and McCartney had given to them, plus Peter Sellers, the Beatles' comedy idol, performing "A Hard Day's Night" in the style of Laurence Olivier as Richard III: [Excerpt: Peter Sellers, "A Hard Day's Night"] Another performance on the show was by Peter and Gordon, performing a hit that Paul had given to them, one of his earliest songs: [Excerpt: Peter and Gordon, "A World Without Love"] Peter Asher, of Peter and Gordon, was the brother of Paul McCartney's girlfriend, the actor Jane Asher. And while the other three Beatles were living married lives in mansions in suburbia, McCartney at this point was living with the Asher family in London, and being introduced by them to a far more Bohemian, artistic, hip crowd of people than he had ever before experienced. They were introducing him to types of art and culture of which he had previously been ignorant, and while McCartney was the only Beatle so far who hadn't taken LSD, this kind of mind expansion was far more appealing to him. He was being introduced to art film, to electronic composers like Stockhausen, and to ideas about philosophy and art that he had never considered. Peter Asher was a friend of John Dunbar, who at the time was Marianne Faithfull's husband, though Faithfull had left him and taken up with Mick Jagger, and of Barry Miles, a writer, and in September 1965 the three men had formed a company, Miles, Asher and Dunbar Limited, or MAD for short, which had opened up a bookshop and art gallery, the Indica Gallery, which was one of the first places in London to sell alternative or hippie books and paraphernalia, and which also hosted art events by people like members of the Fluxus art movement. McCartney was a frequent customer, as you might imagine, and he also encouraged the other Beatles to go along, and the Indica Gallery would play an immense role in the group's history, which we'll look at in a future episode. But the first impact it had on the group was when John and Paul went to the shop in late 1965, just after the recording and release of Rubber Soul and the "Day Tripper"/"We Can Work It Out" single, and John bought a copy of The Psychedelic Experience by Leary, Dass, and Metzner. He read the book on a plane journey while going on holiday -- reportedly while taking his third acid trip -- and was inspired. When he returned, he wrote a song which became the first track to be recorded for the group's next album, Revolver: [Excerpt: The Beatles, "Tomorrow Never Knows"] The lyrics were inspired by the parts of The Psychedelic Experience which were in turn inspired by the Tibetan Book of the Dead. Now, it's important to put it this way because most people who talk about this record have apparently never read the book which inspired it. I've read many, many, books on the Beatles which claim that The Psychedelic Experience simply *is* the Tibetan Book of the Dead, slightly paraphrased. In fact, while the authors use the Tibetan Book of the Dead as a structure on which to base their book, much of the book is detailed descriptions of Leary, Dass, and Metzner's hypotheses about what is actually happening during a psychedelic trip, and their notes on the book -- in particular they provide commentaries to the commentaries, giving their view of what Carl Jung meant when he talked about it, and of Evans-Wentz's opinions, and especially of a commentary by Anagarika Govinda, a Westerner who had taken up Tibetan Buddhism seriously and become a monk and one of its most well-known exponents in the West. By the time it's been filtered through so many different viewpoints and perspectives, each rewriting and reinterpreting it to suit their own preconceived ideas, they could have started with a book on the habitat of the Canada goose and ended with much the same result. Much of this is the kind of mixture between religious syncretism and pseudoscience that will be very familiar to anyone who has encountered New Age culture in any way, statements like "The Vedic sages knew the secret; the Eleusinian Initiates knew it; the Tantrics knew it. In all their esoteric writings they whisper the message: It is possible to cut beyond ego-consciousness, to tune in on neurological processes which flash by at the speed of light, and to become aware of the enormous treasury of ancient racial knowledge welded into the nucleus of every cell in your body". This kind of viewpoint is one that has been around in one form or another since the nineteenth century religious revivals in America that led to Mormonism, Christian Science, and the New Thought. It's found today in books and documentaries like The Secret and the writings of people like Deepak Chopra, and the idea is always the same one -- people thousands of years ago had a lost wisdom that has only now been rediscovered through the miracle of modern science. This always involves a complete misrepresentation of both the lost wisdom and of the modern science. In particular, Leary, Dass, and Metzner's book freely mixes between phrases that sound vaguely scientific, like "There are no longer things and persons but only the direct flow of particles", things that are elements of Tibetan Buddhism, and references to ego games and "game-existence" which come from Leary's particular ideas of psychology as game interactions. All of this is intermingled, and so the claims that some have made that Lennon based the lyrics on the Tibetan Book of the Dead itself are very wrong. Rather the song, which he initially called "The Void", is very much based on Timothy Leary. The song itself was very influenced by Indian music. The melody line consists of only four notes -- E, G, C, and B flat, over a space of an octave: [Demonstrates] This sparse use of notes is very similar to the pentatonic scales in a lot of folk music, but that B-flat makes it the Mixolydian mode, rather than the E minor pentatonic scale our ears at first make it feel like. The B-flat also implies a harmony change -- Lennon originally sang the whole song over one chord, a C, which has the notes C, E, and G in it, but a B-flat note implies instead a chord of C7 -- this is another one of those occasions where you just put one finger down to change the chord while playing, and I suspect that's what Lennon did: [Demonstrates] Lennon's song was inspired by Indian music, but what he wanted was to replicate the psychedelic experience, and this is where McCartney came in. McCartney was, as I said earlier, listening to a lot of electronic composers as part of his general drive to broaden his mind, and in particular he had been listening to quite a bit of Karlheinz Stockhausen. Stockhausen was a composer who had studied with Olivier Messiaen in the 1940s, and had then become attached to the Groupe de Recherche de Musique Concrète along with Messiaen, Pierre Boulez, Edgard Varese and others, notably Pierre Schaeffer and Pierre Henry. These composers were interested in a specific style of music called musique concrète, a style that had been pioneered by Schaeffer. Musique concrète is music that is created from, or at least using, prerecorded sounds that have been electronically altered, rather than with live instruments. Often this would involve found sound -- music made not by instruments at all, but by combining recorded sounds of objects, like with the first major work of musique concrète, Pierre Schaeffer's Cinq études de bruits: [Excerpt: Pierre Schaeffer, "Etude aux Chemins de faire" (from Cinq études de bruits)] Early on, musique concrète composers worked in much the same way that people use turntables to create dance music today -- they would have multiple record players, playing shellac discs, and a mixing desk, and they would drop the needle on the record players to various points, play the records backwards, and so forth. One technique that Schaeffer had come up with was to create records with a closed groove, so that when the record finished, the groove would go back to the start -- the record would just keep playing the same thing over and over and over. Later, when magnetic tape had come into use, Schaeffer had discovered you could get the same effect much more easily by making an actual loop of tape, and had started making loops of tape whose beginnings were stuck to their ending -- again creating something that could keep going over and over. Stockhausen had taken up the practice of using tape loops, most notably in a piece that McCartney was a big admirer of, Gesang der Jeunglinge: [Excerpt: Karlheinz Stockhausen, "Gesang der Jeunglinge"] McCartney suggested using tape loops on Lennon's new song, and everyone was in agreement. And this is the point where George Martin really starts coming into his own as a producer for the group. Martin had always been a good producer, but his being a good producer had up to this point mostly consisted of doing little bits of tidying up and being rather hands-off. He'd scored the strings on "Yesterday", played piano parts, and made suggestions like speeding up "Please Please Me" or putting the hook of "Can't Buy Me Love" at the beginning. Important contributions, contributions that turned good songs into great records, but nothing that Tony Hatch or Norrie Paramor or whoever couldn't have done. Indeed, his biggest contribution had largely been *not* being a Hatch or Paramor, and not imposing his own songs on the group, letting their own artistic voices flourish. But at this point Martin's unique skillset came into play. Martin had specialised in comedy records before his work with the Beatles, and he had worked with Peter Sellers and Spike Milligan of the Goons, making records that required a far odder range of sounds than the normal pop record: [Excerpt: The Goons, "Unchained Melody"] The Goons' radio show had used a lot of sound effects created by the BBC Radiophonic Workshop, a department of the BBC that specialised in creating musique concrète, and Martin had also had some interactions with the Radiophonic Workshop. In particular, he had worked with Maddalena Fagandini of the Workshop on an experimental single combining looped sounds and live instruments, under the pseudonym "Ray Cathode": [Excerpt: Ray Cathode, "Time Beat"] He had also worked on a record that is if anything even more relevant to "Tomorrow Never Knows". Unfortunately, that record is by someone who has been convicted of very serious sex offences. In this case, Rolf Harris, the man in question, was so well-known in Britain before his arrest, so beloved, and so much a part of many people's childhoods, that it may actually be traumatic for people to hear his voice knowing about his crimes. So while I know that showing the slightest consideration for my listeners' feelings will lead to a barrage of comments from angry old men calling me a "woke snowflake" for daring to not want to retraumatise vulnerable listeners, I'll give a little warning before I play the first of two segments of his recordings in a minute. When I do, if you skip forward approximately ninety seconds, you'll miss that section out. Harris was an Australian all-round entertainer, known in Britain for his novelty records, like the unfortunately racist "Tie Me Kangaroo Down Sport" -- which the Beatles later recorded with him in a non-racist version for a BBC session. But he had also, in 1960, recorded and released in Australia a song he'd written based on his understanding of Aboriginal Australian religious beliefs, and backed by Aboriginal musicians on didgeridoo. And we're going to hear that clip now: [Excerpt. Rolf Harris, "Sun Arise" original] EMI, his British label, had not wanted to release that as it was, so he'd got together with George Martin and they'd put together a new version, for British release. That had included a new middle-eight, giving the song a tiny bit of harmonic movement, and Martin had replaced the didgeridoos with eight cellos, playing a drone: [Excerpt: Rolf Harris, "Sun Arise", 1962 version ] OK, we'll just wait a few seconds for anyone who skipped that to catch up... Now, there are some interesting things about that track. That is a track based on a non-Western religious belief, based around a single drone -- the version that Martin produced had a chord change for the middle eight, but the verses were still on the drone -- using the recording studio to make the singer's voice sound different, with a deep, pulsating, drum sound, and using a melody with only a handful of notes, which doesn't start on the tonic but descends to it. Sound familiar? Oh, and a young assistant engineer had worked with George Martin on that session in 1962, in what several sources say was their first session together, and all sources say was one of their first. That young assistant engineer was Geoff Emerick, who had now been promoted to the main engineer role, and was working his first Beatles session in that role on “Tomorrow Never Knows”. Emerick was young and eager to experiment, and he would become a major part of the Beatles' team for the next few years, acting as engineer on all their recordings in 1966 and 67, and returning in 1969 for their last album. To start with, the group recorded a loop of guitar and drums, heavily treated: [Excerpt: "Tomorrow Never Knows", loop] That loop was slowed down to half its speed, and played throughout: [Excerpt: "Tomorrow Never Knows", loop] Onto that the group overdubbed a second set of live drums and Lennon's vocal. Lennon wanted his voice to sound like the Dalai Lama singing from a mountaintop, or like thousands of Tibetan monks. Obviously the group weren't going to fly to Tibet and persuade monks to sing for them, so they wanted some unusual vocal effect. This was quite normal for Lennon, actually. One of the odd things about Lennon is that while he's often regarded as one of the greatest rock vocalists of all time, he always hated his own voice and wanted to change it in the studio. After the Beatles' first album there's barely a dry Lennon solo vocal anywhere on any record he ever made. Either he would be harmonising with someone else, or he'd double-track his vocal, or he'd have it drenched in reverb, or some other effect -- anything to stop it sounding quite so much like him. And Geoff Emerick had the perfect idea. There's a type of speaker called a Leslie speaker, which was originally used to give Hammond organs their swirling sound, but which can be used with other instruments as well. It has two rotating speakers inside it, a bass one and a treble one, and it's the rotation that gives the swirling sound. Ken Townsend, the electrical engineer working on the record, hooked up the speaker from Abbey Road's Hammond organ to Lennon's mic, and Lennon was ecstatic with the sound: [Excerpt: The Beatles, "Tomorrow Never Knows", take one] At least, he was ecstatic with the sound of his vocal, though he did wonder if it might be more interesting to get the same swirling effect by tying himself to a rope and being swung round the microphone The rest of the track wasn't quite working, though, and they decided to have a second attempt. But Lennon had been impressed enough by Emerick that he decided to have a chat with him about music -- his way of showing that Emerick had been accepted. He asked if Emerick had heard the new Tiny Tim record -- which shows how much attention Lennon was actually paying to music at this point. This was two years before Tim's breakthrough with "Tiptoe Through the Tulips", and his first single (unless you count a release from 1963 that was only released as a 78, in the sixties equivalent of a hipster cassette-only release), a version of "April Showers" backed with "Little Girl" -- the old folk song also known as "In the Pines" or "Where Did You Sleep Last Night?": [Excerpt: Tiny Tim, "Little Girl"] Unfortunately for Emerick, he hadn't heard the record, and rather than just say so he tried bluffing, saying "Yes, they're great". Lennon laughed at his attempt to sound like he knew what he was talking about, before explaining that Tiny Tim was a solo artist, though he did say "Nobody's really sure if it's actually a guy or some drag queen". For the second attempt, they decided to cut the whole backing track live rather than play to a loop. Lennon had had trouble staying in sync with the loop, but they had liked the thunderous sound that had been got from slowing the tape down. As Paul talked with Ringo about his drum part, suggesting a new pattern for him to play, Emerick went down into the studio from the control room and made some adjustments. He first deadened the sound of the bass drum by sticking a sweater in it -- it was actually a promotional sweater with eight arms, made when the film Help! had been provisionally titled Eight Arms to Hold You, which Mal Evans had been using as packing material. He then moved the mics much, much closer to the drums that EMI studio rules allowed -- mics can be damaged by loud noises, and EMI had very strict rules about distance, not allowing them within two feet of the drum kit. Emerick decided to risk his job by moving the mics mere inches from the drums, reasoning that he would probably have Lennon's support if he did this. He then put the drum signal through an overloaded Fairfield limiter, giving it a punchier sound than anything that had been recorded in a British studio up to that point: [Excerpt: The Beatles, "Tomorrow Never Knows", isolated drums] That wasn't the only thing they did to make the record sound different though.  As well as Emerick's idea for the Leslie speaker, Ken Townsend had his own idea of how to make Lennon's voice sound different. Lennon had often complained about the difficulty of double-tracking his voice, and so Townsend had had an idea -- if you took a normal recording, fed it to another tape machine a few milliseconds out of sync with the first, and then fed it back into the first, you could create a double-tracked effect without having to actually double-track the vocal. Townsend suggested this, and it was used for the first time on the first half of "Tomorrow Never Knows", before the Leslie speaker takes over. The technique is now known as "artificial double-tracking" or ADT, but the session actually gave rise to another term, commonly used for a similar but slightly different tape-manipulation effect that had already been used by Les Paul among others. Lennon asked how they'd got the effect and George Martin started to explain, but then realised Lennon wasn't really interested in the technical details, and said "we take the original image and we split it through a double-bifurcated sploshing flange". From that point on, Lennon referred to ADT as "flanging", and the term spread, though being applied to the other technique. (Just as a quick aside, some people have claimed other origins for the term "flanging", and they may be right, but I think this is the correct story). Over the backing track they added tambourine and organ overdubs -- with the organ changing to a B flat chord when the vocal hits the B-flat note, even though the rest of the band stays on C -- and then a series of tape loops, mostly recorded by McCartney. There's a recording that circulates which has each of these loops isolated, played first forwards and then backwards at the speed they were recorded, and then going through at the speed they were used on the record, so let's go through these. There's what people call the "seagull" sound, which is apparently McCartney laughing, very distorted: [Excerpt: Tomorrow Never Knows loop] Then there's an orchestral chord: [Excerpt: Tomorrow Never Knows loop] A mellotron on its flute setting: [Excerpt: Tomorrow Never Knows loop] And on its string setting: [Excerpt: Tomorrow Never Knows loop] And a much longer loop of sitar music supplied by George: [Excerpt: Tomorrow Never Knows loop] Each of these loops were played on a different tape machine in a different part of Abbey Road -- they commandeered the entire studio complex, and got engineers to sit with the tapes looped round pencils and wine-glasses, while the Beatles supervised Emerick and Martin in mixing the loops into a single track. They then added a loop of a tamboura drone played by George, and the result was one of the strangest records ever released by a major pop group: [Excerpt: The Beatles, "Tomorrow Never Knows"] While Paul did add some backwards guitar -- some sources say that this is a cut-up version of his solo from George's song "Taxman", but it's actually a different recording, though very much in the same style -- they decided that they were going to have a tape-loop solo rather than a guitar solo: [Excerpt: The Beatles, "Tomorrow Never Knows"] And finally, at the end, there's some tack piano playing from McCartney, inspired by the kind of joke piano parts that used to turn up on the Goon Show. This was just McCartney messing about in the studio, but it was caught on tape, and they asked for it to be included at the end of the track. It's only faintly audible on the standard mixes of the track, but there was actually an alternative mono mix which was only released on British pressings of the album pressed on the first day of its release, before George Martin changed his mind about which mix should have been used, and that has a much longer excerpt of the piano on it. I have to say that I personally like that mix more, and the extra piano at the end does a wonderful job of undercutting what could otherwise be an overly-serious track, in much the same way as the laughter at the end of "Within You, Without You", which they recorded the next year. The same goes for the title -- the track was originally called "The Void", and the tape boxes were labelled "Mark One", but Lennon decided to name the track after one of Starr's malapropisms, the same way they had with "A Hard Day's Night", to avoid the track being too pompous. [Excerpt: Beatles interview] A track like that, of course, had to end the album. Now all they needed to do was to record another thirteen tracks to go before it. But that -- and what they did afterwards, is a story for another time. [Excerpt, "Tomorrow Never Knows (alternate mono mix)" piano tag into theme music]

Before They Were Beatles Episode 06: The Day Paul Met John For this episode, we focus on one single day. The date is 6th July 1957 - some say the most important day in the Beatles story. The day that Paul McCartney was introduced to John Lennon. The music heard in this episode includes: The Quarrymen - In Spite of All The Danger The Original Quarrymen (2017) - Midnight Special John Lennon - Blue Suede Shoes Quarrymen (recreation from the movie Nowhere Boy) - Maggie Mae Quarrymen (from Beatles Anthology) - That'll Be The Day Paul McCartney - TwentyFlight Rock Eddie Cochran - Twenty Flight Rock (from The Girl Can't Help It) Quarrymen - Puttin on the Style & Baby Let's Play House (recorded on 6th July 1957) You can find full versions of the music heard in this episode in the dedicated Before They Were Beatles Podcast YouTube channel at: https://youtube.com/playlist?list=PLP0CDQdLe-G141LlqyBu8rC8ap6voBhZe If you would like to make a comment or ask a question you can follow the podcast Twitter account at @BeforeBeatles, or email me at alan@beforetheywerebeatles.com You can also find copies of the original Before They Were Beatles book on Amazon in hardcover, paperback, and Kindle editions #BeforeTheyWereBeatles Let us know what you think! Email the show at contact@longboxcrusade.com This podcast is a member of the LONGBOX CRUSADE NETWORK: Visit the WEBSITE: http://www.longboxcrusade.com/ Follow on TWITTER: https://twitter.com/BeforeBeatles https://twitter.com/LongboxCrusade Follow on INSTAGRAM: https://www.instagram.com/longboxcrusade Like the FACEBOOK page: https://www.facebook.com/LongboxCrusade Subscribe to the YouTube Channel: https://goo.gl/4Lkhov Subscribe to the main LBC network podcast feed on iTunes at: https://itunes.apple.com/us/podcast/the-longboxcrusade/id1118783510?mt=2 Or the single podcast feed for Before They Were Beatles at: https://podcasts.apple.com/us/podcast/before-they-were-beatles/id1561234606 Thank you for listening and we hope you have enjoyed this episode of Before They Were Beatles. --- Send in a voice message: https://anchor.fm/longbox-crusade/message