Podcasts about bathroom window

Send us a textIntro song: Mean Mr. Mustard -> Polythene Pam55. Things We Said Today54. Two Of Us53. I Feel Fine52. If I Fell51. It's All Too MuchOutro song: She Came In Through the Bathroom Window

Love Through the Bathroom Window with Barry and Rikki Safchik (Rerun)

PopaHALLics #131 "Won't You Take Me to, Spooky Town!"We return from fall break with some super supernatural offerings featuring that demonic scamp Beetlejuice, a new twist on the Legend of Sleepy Hollow, macabre goings-on in the fashion world—and more! In Theaters:"Beetlejuice, Beetlejuice." Michael Keaton reprises his iconic role in this sequel to the cult classic horror comedy "Beetlejuice" (1988). Catherine O'Hara and Winona Ryder are also back, while new cast members include Jenna Ortega, Willem Dafoe, Justin Theroux, and Monica Bellucci. Streaming:"Will and Harper," Netflix. Will Ferrell and his longtime buddy, former "SNL" head writer Harper Steele, embark on a cross-country road trip after Harper comes out as a trans woman in this documentary.Books:"Tiny Threads," by Lilliam Rivera. In this "slow-burn novel of supernatural suspense," a young woman's dream of working for a famous designer turns into a nightmare: Seeing strange things, hearing voices at night ... "Horseman: A Tale of Sleepy Hollow," by Christina Henry. Henry has written several books that take classic tales in new directions. Here, non-gender-conforming Ben begins to experience terrifying encounters in the spooky woods featured in Washington Irving's tale of hapless Ichabod Crane and the Headless Horseman."The Which Way Tree," by Elizabeth Crook. In this acclaimed novel that may remind you of Charles Portis' classic "True Grit," a teen boy in the remote Texas hill country reluctantly helps his obsessed younger stepsister pursue the panther that seriously mauled her and killed her mother."It Had to be You," by Eliza Jane Brazier. In this sexy thriller, two contract killers hook up on a nighttime train from Florence to Paris. They grapple with their attraction to each other in a high-stakes adventure across Western Europe.Music: For his latest solo tour, singer/songwriter Martin Sexton is performing the Beatles' 1969 album "Abbey Road" in its entirety, from "Come Together" all the way through the 16-minute medley on side 2. In this clip, he plays "She Came in Through the Bathroom Window." Our latest playlist features Martin's own songs and his "soul-marinated voice" (Rolling Stone).Click through the links above to watch, read, and listen to what we're talking about.

The post Beat Club: She Came in Through the Bathroom Window appeared first on NiTfm.

Love Through the Bathroom Window with Barry and Rikki Safchik

Look for ways to help the helpless.Matthew 25:40Truly I tell you, whatever you did for one of the least of these brothers and sisters of mine, you did for me.Support the show

Charles, Pete and Bryan are joined by Cathy Podewell a.k.a Ginger, and writer Ken Stringer as they break down the making of this iconic Season 3 episode! 

This episode we cover Duke's Bad Boys, Perfectly Perfect, Senior Poll, and She Came In Through the Bathroom Window.Trigger warning for depictions of eating disorders in this episode.Follow us on Instagram and Twitter @thetvdeepdive. Check out our Patreon: patreon.com/TheTVDeepDiveEmail us at thetvdeepdive@gmail.com with any comments or suggestions!

When Luis Urías hit a grand slam on Saturday at Yankee Stadium, it was the first time that a Red Sox number nine hitter collected a salami in the Bronx, and only the second time ever for the man at the bottom of the Boston order to go deep against the Yanks with the bases loaded. Luis Rivera had done it at Fenway Park on August 31, 1990, and that was it.Overall, the Yankees still have a 4-2 lead in ninth-hitter grand slams against their rivals, three by pitchers: Red Ruffing in 1933, Don Larsen in 1956 (months before his World Series perfect game, what a year), and Mel Stottlemyre (inside the park) in 1965, all at Yankee Stadium. Fred Stanley took Mike Torrez out of Fenway on June 20, 1978 – sort of the opposite of Larsen, as Torrez would go on to give up Bucky Dent's division-deciding blast over the Green Monster.The Yankees last had their No. 9 batter hit a grand slam in 2021, Gary Sánchez off Baltimore's Keegan Akin. The Red Sox's last No. 9 slam before Urías was… also Urías. Last Thursday. Two days earlier.So, in a span of three days, Urías went from having hit 46 home runs as a major leaguer without a grand slam to 48 homers with two grand slams, both out of the No. 9 hole. Only three players have done that more in an entire career: Rich Reese (for the Twins in 1969, 1970, and 1972), Dick Schofield (for the 1985 and 1986 Angels, and 1994 Blue Jays), and Yuniesky Betancourt (for the 2007 Mariners, then two for the 2010 Royals).Betancourt's pair in 2010 came on July 17 and August 21, but there are 29 players now, including Urías, with two career grand slams out of the No. 9 hole, and 34 days was not the record for temporal proximity there.The record for games between grand slams by a number nine hitter is 0, set by Tony Cloninger when the Atlanta pitcher gave himself all the run support he would need on a first-inning slam off Bob Priddy, grounded out against Priddy in the third, then hit another granny off Ray Sadecki in the fourth. Cloninger gave up a solo shot to Sadecki in the fifth, but got himself a ninth RBI in the eighth, driving in more than half the runs on his way to a 17-3 complete game win.There have been a few other No. 9 hitters with two slams in a season. Brandon Inge had a week for the 2004 Tigers, hitting a grand slam off Cleveland's Jason Anderson on April 23 and Anaheim's Scot Shields on the 27th, the closest anyone got to Cloninger until Urías.In 1996, Kevin Elster hit grand slams out of the nine-hole for the Rangers on April 19 and August 5. Like Don Larsen, Madison Bumgarner had a more memorable moment in the 2014 World Series, but also hit grand slams on April 14 and July 13, both in San Francisco. The following year, Hank Conger hit grand slams for the Astros as the number nine hitter on August 1 and September 4.The players who did it in back-to-back seasons, in addition to Reese and Schofield?* Dizzy Trout (1949 and 1950 Tigers)* Tom Brookens (1987 and 1988 Tigers)* Milt Cuyler (1991 and 1992 Tigers)* Jose Valentin (1994 and 1995 Brewers)* Sean Berry (1995 Expos and 1996 Astros)* Mike Matheny (1996 and 1997 Brewers)* Darren Bragg (1996 and 1997 Red Sox)* Hunter Renfroe (2018 and 2019 Padres)* Raimel Tapia (2018 and 2019 Rockies)* Martín Maldonado (2021 and 2022 Astros)And the ones for whom the second grand slam was a repeat of more years gone by?* Rick Wise (1971 Phillies and 1973 Cardinals)* Casey Blake (2006 and 2008 Cleveland)* Jake Rogers (2021 and 2023 Tigers)* Omar Vizquel (1993 Mariners and 1996 Cleveland)* Byron Buxton (2016 and 2019 Twins)* Julio Lugo (2003 Devil Rays and 2007 Red Sox)* Camilo Pascual (1960 Senators and 1965 Twins)* Denny Neagle (1995 Pirates and 2001 Rockies)* Bob Gibson (1965 and 1973 Cardinals)* Kelly Johnson (2008 Atlanta and 2016 Mets)* Champ Summers (1975 Cubs and 1984 Padres)* Glenallen Hill (1989 Blue Jays and 1998 Cubs)And the record for the longest time between grand slams as a number nine hitter? Jim Sundberg, at Fenway Park for the Rangers off Rick Wise (who should've known to be careful with No. 9 hitters, shouldn't he?) on June 9, 1975, and then 12 years later as a Cubs pinch-hitter, blasting a game-tying slam off Lance McCullers (Sr.) of the Padres, followed by four more Chicago runs for a wild 12-8 triumph. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit willetspen.substack.com/subscribe

I grew up on the beatles! My older siblings would put on Beatles records and play them for days on end! So I know them intimately and that's how I learned how to play guitar! I checked out a book of lyrics and guitar tabs from the Berkeley public library and then taught myself to play guitar like that! Since I grew up on these melodies it was easy to pick up one of these days I will do a compendium of Beatles songs that I know and like to play

1969 war ein bewegendes Jahr in der Geschichte. Neil Armstrong betritt als erster Mensch den Mond, das legendäre Festival Woodstock findet statt, Willy Brandt wird Bundeskanzler und die Beatles veröffentlichen ihr legendäres Album "Abbey Road". Während der Aufnahmen zu "Abbey Road" war die Stimmung in der Band nicht wirklich gut. Die "Get Back"- Sessions, die vor den Aufnahmen zu "Abbey Road" stattfanden und die später als das letzte Beatles Album "Let It Be" veröffentlicht werden sollten, waren sehr stressig und die bandeigene Firma Apple, die ein Jahr vorher gegründet wurde, wuchs den Musikern so langsam über den Kopf. Kurz gesagt: Die Stimmung innerhalb der Band war sehr angespannt. Trotzdem schafften John, Paul, George und Ringo es noch ein letztes Mal gemeinsam ins Studio zu gehen und Höchstleistungen abzurufen. Auf ihrem Album "Abbey Road" verneigen sich die Beatles vor vielen verschiedenen Künstlern ihrer Zeit und lassen sich auch gerne von anderen Songs inspirieren. Zum Beispiel vom Singer-Songwriter James Taylor, Fleetwood Mac oder auch The Who. Unser ehemaliger Kollege Werner Köhler hat über "Abbey Road" gesagt, dass das Besondere an dieser Platte für ihn ist, dass er, wenn er die Platte hört, auch heute noch immer noch Neues an der Platte entdeckt, so viele tolle Details hat dieses Album zu bieten. Mehr Details des Albums hört man vor allem seit 2019. Zum 50-jährigen Jubiläum von "Abbey Road" hat der Sohn des damaligen Produzenten George Martin, Giles Martin das Album nochmal komplett neu abgemischt, also ist mit modernen Möglichkeiten nochmal an jede einzelne Spur gegangen. Das Ergebnis: Die Beatles bleiben die Beatles, an der Musik wurde schließlich nichts geändert, aber jedes einzelne Instrument auf dem Album ist jetzt deutlicher und klarer zu hören, die Finessen des Albums kommen also besser durch und insgesamt wirkt das Album durch den neuen Mix deutlich aufgeräumter. Und auch wenn nicht alle Beatles-Fans es gerne gesehen haben, dass das Material der Band neu bearbeitet wird, Paul McCartney und Ringo Starr haben die Neubearbeitung gerne genehmigt. Ein möglicher Grund für die neue Abmischung kann übrigens auch die Veränderung unserer Hörgewohnheiten sein, erklärt SWR1-Musikredakteurin Katharina Heinius. Viele Menschen hören inzwischen Musik über ihr Smartphone, oder über so kleine Bluetooth-Lautsprecher. "Man sitzt nicht mehr nur zu Hause vor der heimischen Stereoanlage und dem Plattenspieler und legt die Platte auf […], sondern man ist unterwegs", sagt Katharina Heinius. Moderne Musikproduktionen sind viel klarer und präsenter als früher, erklärt Katharina Heinius. Und solche Produktionen sind wichtig, damit Musik auch auf den kleineren Lautsprechern wirken kann. Auch darum hat Giles Martin das "Abbey Road" Album vermutlich neu gemixt, um einer neuen Generation von Beatles-Fans, die unterwegs ist, die Möglichkeit zu geben, das Album auch in einem modernen Lebensstil genießen zu können. 13 Studioalben haben die Beatles zwischen 1963 und 1970 insgesamt aufgenommen und auch wenn sie "Let It Be" als letztes Album veröffentlicht haben, zum letzten Mal gemeinsam im Studio war die Band bei den Aufnahmen zum "Abbey Road" Album. Als letzter gemeinsamer Studiotag der Beatles gilt der 20. August 1969. An dem Tag beendeten sie die Aufnahmen zum Album mit dem Song "I Want You (She's so Heavy)". Das legendäre Plattencover des "Abbey Road" Albums ist übrigens aus einer Notlage heraus entstanden. Eigentlich sollte das Album auch nicht Abbey Road heißen, sondern "Everest", nach dem höchsten Berg der Welt, dem Mount Everest. Dementsprechend sollte das Plattencover auch die vier Musiker auf dem Mount Everest zeigen, der Plan der Beatles auf den Mount Everest zu fliegen hat allerdings nicht geklappt. Warum es nicht geklappt hat und wieso dann aus dem Mount Everest die Abbey Road geworden ist und über ganz viel mehr sprechen wir im Podcast. __________ Über diese Songs vom Album “Abbey Road” wird im Podcast gesprochen 03:52 Mins – “Come Together” 13:09 Mins – “Something” 21:13 Mins – “I Want You” 32:10 Mins – “You Never Give Me Your Money” 35:28 Mins – “Sun King” 38:09 Mins – “Polythene Pam” 38:45 Mins – “She Came in Through the Bathroom Window” 43:01 Mins – “The End / Her Majesty” __________ Über diese Songs wird außerdem im Podcast gesprochen 11:41 Mins – “You Can't Catch Me” von Chuck Berry 14:31 Mins – “Something in the Way She Moves” von James Taylor 17:21 Mins – “Something” von Joe Cocker 34:56 Mins – “Albatros” von Fleetwood Mac 37:26 Mins – “Pinball Wizard” von The Who __________ Shownotes: Webcam in der “Abbey Road” in London: https://www.earthcam.com/world/england/london/abbeyroad/?cam=abbeyroad_uk Besichtigungsmöglichkeiten der “Abbey Road Studios” im August: https://www.abbeyroad.com/crossing Infos zur neu gemischten Jubiläumsausgabe von 2019: https://jpgr.co.uk/a7792112.html Ein Onlineartikel zum Album und dem Plattencover: https://www.spiegel.de/geschichte/abbey-road-zebrastreifen-so-machten-die-beatles-ihn-beruehmt-a-1280828.html Review zu “Abbey Road” bei Allmusic: https://www.allmusic.com/album/mw0000192938 __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Schreibt uns an: meilensteine@swr.de

This week on the Penny Drop, Penny takes you on a tour of her home but she can't stop looking out the windows as she wanders around. Turns out, we can learn a lot about how to ask good questions by looking out windows. Yep, really. (Speaking of questions, if you have a question about how you or your organisation could work with Penny, she'd love a chat! Book a spot here: https://calendly.com/thepennydrop/30min) Want more? No wonder! Head over to www.pennyterry.com to find out about Penny's programs, keynotes, and other podcasts.See omnystudio.com/listener for privacy information.

Episode 394: Bomb In the Bathroom Window (Part 2 of Operation Desert Storm) This week Host Dave Bledsoe sets his crosshairs on a valuable asset, meaning he found a bar where they haven't heard of him. (Yet) On the show this week we come back with Part Two of Operation Desert, the shooty part! Don't worry we would never glorify violence, in fact we find it entirely disturbing. (Except on television, that is cool.) Along the way we learn why Dave doesn't watch horror movies. (He's a big fraidy cat!) Then we dive right into everything that happened once the bombs started dropping. (Bernie Shaw hid under a table!) We then discuss the feared Iraqi SCUD missile. (You can just call it Al!) And of course, who could forget the famous Patriot Missile! (We suppose the Iraqis would like to.) We talk ground combat from the ill fated Khafji Offensive all the way to the Highway of Death! (They had such descriptive names in this war!) Finally, we talk about homecoming, parades and how short a time the discounts at Denny's lasted. (Dave is bitter he didn't get one!) We spent some time how quickly everyone got over liking George HW Bush, and went right back to thinking he was useless. Finally, we talk about consequences and how karma is a real bitch. Our Sponsor this week is Nate's Night Vision, shining a light on savings! We open the show with footage of the luckiest man in Iraq and close with Stephen R. Archambault talking about alternative entries.   Show Theme: Hypnostate Prelude to Common Sense The Show on Twitter: https://twitter.com/TheHell_Podcast The Show on Facebook: https://www.facebook.com/whatthehellpodcast/ The Show on Youtube: https://www.youtube.com/channel/UCjxP5ywpZ-O7qu_MFkLXQUQ www.whatthehellpodcast.com Give us your money on Patreon https://www.patreon.com/Whatthehellpodcast The Show Line: 347 687 9601 Closing Music: https://youtu.be/G6tRQsfueoc We are a proud member of the Seltzer Kings Podcast Network! http://seltzerkings.com/ Citations Needed: The Epic Little Battle of Khafji https://www.airandspaceforces.com/article/0298khafji/ Wikipedia: Highway of Death https://en.wikipedia.org/wiki/Highway_of_Death DESERT STORM PARTY DRAWS HEROES LAKE TO HAVE LARGEST PARADE EVER https://www.orlandosentinel.com/news/os-xpm-1991-05-14-9105140399-story.html "It appeared Washington was under attack": Inside the 1991 Washington military parade https://youtu.be/PDv0ZG0AFDw Uncited Additional Reading:   https://www.theatlantic.com/national/archive/2011/02/the-mother-of-all-battles-20-years-later/71804/ https://timeline.com/photos-gulf-war-cnn-effect-press-manipulation-66680a20cf42 https://www.globalsecurity.org/military/ops/desert_storm-timeline.htm https://en.wikipedia.org/wiki/Media_coverage_of_the_Gulf_War https://en.wikipedia.org/wiki/Al_Hussein_(missile) Learn more about your ad choices. Visit podcastchoices.com/adchoices

Joe Cocker was a staple of the rock world for around 50 years. His career took off with two songs gifted him by The Beatles (“She Came in Through the Bathroom Window”, “With A Little Help from My Friends”) and a brilliant cover of The Box Tops' “The Letter”, and was almost destroyed by the "Mad Dogs and Englishmen" tour, album and film.    This week's “Album You Must Listen to Before You Die” is “Juju” by Siouxsie and the Banshees. This outstanding 1981 work is celebrated as a Gothic masterpiece. Siouxsie's sonorous voice contrasts with John McGeoch's wonderful guitar weaving a tapestry through a huge rhythm section.    Jeff has a rant about the humble pogo stick gaining new life as a 21st Century mode of travel, while Mick talks about “Trainwreck” - a documentary about the disaster that was Woodstock ‘99, a poorly-planned festival meant to celebrate the original Woodstock.  A lot to cover in an hour! Extreme PogoJoe Cocker Playlist

Keith Moon's last days, The Jam and She Came in Through the Bathroom Window

Episode one hundred and forty-eight of A History of Rock Music in Five Hundred Songs looks at “Light My Fire" by the Doors, the history of cool jazz, and Maharishi Mahesh Yogi. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "My Friend Jack" by the Smoke. 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/ Resources As usual, I've put together a Mixcloud mix containing all the music excerpted in this episode and the shorter spoken-word tracks. Information on Dick Bock, World Pacific, and Ravi Shankar came from Indian Sun: The Life and Music of Ravi Shankar by Oliver Craske. Ray Manzarek, John Densmore, and Robby Krieger have all released autobiographies. Densmore's is out of print, but I referred to Manzarek's and Krieger's here. Of the two Krieger's is vastly more reliable. I also used Mick Wall's book on the Doors and Stephen Davis' biography of Jim Morrison. Information about Elektra Records came from Follow the Music by Jac Holzman and Gavan Daws, which is available as a free PDF download on Elektra's website. Biographical information on Maharishi Mahesh Yogi comes from this book, written by one of his followers. The Doors' complete studio albums can be bought as MP3s for £14. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There are two big problems that arise for anyone trying to get an accurate picture of history, and which have certainly arisen for me during the course of this podcast -- things which make sources unreliable enough that you feel you have to caveat everything you say on a subject. One of those is hagiography, and the converse desire to tear heroes down. No matter what one wants to say on, say, the subjects of Jesus or Mohammed or Joseph Smith, the only sources we have for their lives are written either by people who want to present them as unblemished paragons of virtue, or by people who want to destroy that portrayal -- we know that any source is written by someone with a bias, and it might be a bias we agree with, but it's still a bias. The other, related, problem, is deliberate disinformation. This comes up especially for people dealing with military history -- during conflicts, governments obviously don't want their opponents to know when their attacks have caused damage, or to know what their own plans are, and after a war has concluded the belligerent parties want to cover up their own mistakes and war crimes. We're sadly seeing that at the moment in the situation in Ukraine -- depending on one's media diet, one could get radically different ideas of what is actually going on in that terrible conflict. But it happens all the time, in all wars, and on all sides. Take the Vietnam War. While the US was involved on the side of the South Vietnamese government from the start of that conflict, it was in a very minor way, mostly just providing supplies and training. Most historians look at the real start of US involvement in that war as having been in August 1964. President Johnson had been wanting, since assuming the Presidency in November 1963 after the death of John F Kennedy, to get further into the war, but had needed an excuse to do so. The Gulf of Tonkin Incident provided him with that excuse. On August the second, a fleet of US warships entered into what the North Vietnamese considered their territorial waters -- they used a different distance from shore to mark their territorial waters than most other countries used, and one which wasn't generally accepted, but which they considered important. Because of this, some North Vietnamese ships started following the American ones. The American ships, who thought they weren't doing anything wrong, set off what they considered to be warning shots, and the North Vietnamese ships fired back, which to the American ships was considered them attacking. Some fire was exchanged, but not much happened. Two days later, the American ships believed they were getting attacked again, and spent several hours firing at what they believed were North Vietnamese submarines. It was later revealed that this was just the American sonar systems playing up, and that they were almost certainly firing at nothing at all, and some even suspected that at the time -- President Johnson apparently told other people in confidence that in his opinion they'd been firing at stray dolphins. But that second "attack", however flimsy the evidence, was enough that Johnson could tell Congress and the nation that an American fleet had been attacked by the North Vietnamese, and use that as justification to get Congress to authorise him sending huge numbers of troops to Vietnam, and getting America thoroughly embroiled in a war that would cost innumerable lives and billions of dollars for what turned out to be no benefit at all to anyone. The commander of the US fleet involved in the Gulf of Tonkin operation was then-Captain, later Rear Admiral, Steve Morrison: [Excerpt: The Doors, "The End"] We've talked a bit in this podcast previously about the development of jazz in the forties, fifties, and early sixties -- there was a lot of back and forth influence in those days between jazz, blues, R&B, country, and rock and roll, far more than one might imagine looking at the popular histories of these genres, and so we've looked at swing, bebop, and modal jazz before now. But one style of music we haven't touched on is the type that was arguably the most popular and influential style of jazz in the fifties, even though we've mentioned several of the people involved in it. We've never yet had a proper look at Cool Jazz. Cool Jazz, as its name suggests, is a style of music that was more laid back than the more frenetic bebop or hard-edged modal jazz. It was a style that sounded sophisticated, that sounded relaxed, that prized melody and melodic invention over super-fast technical wizardry, and that produced much of what we now think of when we think of "jazz" as a popular style of music. The records of Dave Brubeck, for example, arguably the most popular fifties jazz musician, are very much in the "cool jazz" mode: [Excerpt: The Dave Brubeck Quartet, "Take Five"] And we have mentioned on several occasions the Modern Jazz Quartet, who were cited as influences by everyone from Ray Charles to the Kinks to the Modern Folk Quartet: [Excerpt: The Modern Jazz Quartet, "Regret?"] We have also occasionally mentioned people like Mose Allison, who occasionally worked in the Cool Jazz mode. But we've never really looked at it as a unified thing. Cool Jazz, like several of the other developments in jazz we've looked at, owes its existence to the work of the trumpeter Miles Davis, who was one of the early greats of bop and who later pioneered modal jazz. In 1948, in between his bop and modal periods, Davis put together a short-lived nine-piece group, the Miles Davis Nonette, who performed together for a couple of weeks in late 1948, and who recorded three sessions in 1949 and 1950, but who otherwise didn't perform much. Each of those sessions had a slightly different lineup, but key people involved in the recordings were Davis himself, arranger Gil Evans, piano player John Lewis, who would later go on to become the leader of the Modern Jazz Quartet, and baritone sax player Gerry Mulligan. Mulligan and Evans, and the group's alto player Lee Konitz, had all been working for the big band Claude Thornhill and his Orchestra, a band which along with the conventional swing instruments also had a French horn player and a tuba player, and which had recorded soft, mellow, relaxing music: [Excerpt: Claude Thornhill and his Orchestra, "To Each His Own"] The Davis Nonette also included French horn and tuba, and was explicitly modelled on Thornhill's style, but in a stripped-down version. They used the style of playing that Thornhill preferred, with no vibrato, and with his emphasis on unison playing, with different instruments doubling each other playing the melody, rather than call-and response riffing: [Excerpt: The Miles Davis Nonette, "Venus De Milo"] Those recordings were released as singles in 1949 and 1950, and were later reissued in 1957 as an album titled "Birth of the Cool", by which point Cool Jazz had become an established style, though Davis himself had long since moved on in other musical directions. After the Birth of the Cool sessions, Gerry Mulligan had recorded an album as a bandleader himself, and then had moved to the West Coast, where he'd started writing arrangements for Stan Kenton, one of the more progressive big band leaders of the period: [Excerpt: Stan Kenton, "Young Blood"] While working for Kenton, Mulligan had started playing dates at a club called the Haig, where the headliner was the vibraphone player Red Norvo. While Norvo had started out as a big-band musician, playing with people like Benny Goodman, he had recently started working in a trio, with just a guitarist, initially Tal Farlowe, and bass player, initially Charles Mingus: [Excerpt: Red Norvo, "This Can't Be Love"] By 1952 Mingus had left Norvo's group, but they were still using the trio format, and that meant there was no piano at the venue, which meant that Mulligan had to form a band that didn't rely on the chordal structures that a piano would provide -- the idea of a group with a rhythm section that *didn't* have a piano was quite an innovation in jazz at this time, and freeing themselves from that standard instrument ended up opening up extra possibilities. His group consisted of himself on saxophone, Chet Baker on trumpet, Bob Whitlock on bass and Chico Hamilton on drums. They made music in much the same loose, casual, style as the recordings Mulligan had made with Davis, but in a much smaller group with the emphasis being on the interplay between Mulligan and Baker. And this group were the first group to record on a new label, Pacific Jazz, founded by Dick Bock. Bock had served in the Navy during World War II, and had come back from the South Pacific with two tastes -- a taste for hashish, and for music that was outside the conventional American pop mould. Bock *loved* the Mulligan Quartet, and in partnership with his friend Roy Harte, a notable jazz drummer, he raised three hundred and fifty dollars to record the first album by Mulligan's new group: [Excerpt: Gerry Mulligan Quartet, "Aren't You Glad You're You?"] Pacific Jazz, the label Bock and Harte founded, soon became *the* dominant label for Cool Jazz, which also became known as the West Coast Sound.  The early releases on the label were almost entirely by the Mulligan Quartet, released either under Mulligan's name, as by Chet Baker, or as "Lee Konitz and the Gerry Mulligan Quartet" when Mulligan's old bandmate Konitz joined them. These records became big hits, at least in the world of jazz. But both Mulligan and Baker were heroin addicts, and in 1953 Mulligan got arrested and spent six months in prison. And while he was there, Chet Baker made some recordings in his own right and became a bona fide star. Not only was Baker a great jazz trumpet player, he was also very good looking, and it turned out he could sing too. The Mulligan group had made the song "My Funny Valentine" one of the highlights of its live shows, with Baker taking a trumpet solo: [Excerpt: Gerry Mulligan Quartet, "My Funny Valentine"] But when Baker recorded a vocal version, for his album Chet Baker Sings, it made Baker famous: [Excerpt: Chet Baker, "My Funny Valentine"] When Mulligan got out of prison, he wanted to rehire Baker, but Baker was now topping the popularity polls in all the jazz magazines, and was the biggest breakout jazz star of the early fifties. But Mulligan formed a new group, and this just meant that Pacific Jazz had *two* of the biggest acts in jazz on its books now, rather than just one. But while Bock loved jazz, he was also fascinated by other kinds of music, and while he was in New York at the beginning of 1956 he was invited by his friend George Avakian, a producer who had worked with Miles Davis, Louis Armstrong, and others, to come and see a performance by an Indian musician he was working with. Avakian was just about to produce Ravi Shankar's first American album, The Sounds of India, for Columbia Records. But Columbia didn't think that there was much of a market for Shankar's music -- they were putting it out as a speciality release rather than something that would appeal to the general public -- and so they were happy for Bock to sign Shankar to his own label. Bock renamed the company World Pacific, to signify that it was now going to be putting out music from all over the world, not just jazz, though he kept the Pacific Jazz label for its jazz releases, and he produced Shankar's next album,  India's Master Musician: [Excerpt: Ravi Shankar, "Raga Charu Keshi"] Most of Shankar's recordings for the next decade would be produced by Bock, and Bock would also try to find ways to combine Shankar's music with jazz, though Shankar tried to keep a distinction between the two. But for example on Shankar's next album for World Pacific, Improvisations and Theme from Pather Panchali, he was joined by a group of West Coast jazz musicians including Bud Shank (who we'll hear about again in a future episode) on flute: [Excerpt: Ravi Shankar, "Improvisation on the Theme From Pather Panchali"] But World Pacific weren't just putting out music. They also put out spoken-word records. Some of those were things that would appeal to their jazz audience, like the comedy of Lord Buckley: [Excerpt: Lord Buckley, "Willy the Shake"] But they also put out spoken-word albums that appealed to Bock's interest in spirituality and philosophy, like an album by Gerald Heard. Heard had previously written the liner notes for Chet Baker Sings!, but as well as being a jazz fan Heard was very connected in the world of the arts -- he was a very close friend with Aldous Huxley -- and was also interested in various forms of non-Western spirituality. He practiced yoga, and was also fascinated by Buddhism, Vedanta, and Taoism: [Excerpt: Gerald Heard, "Paraphrased from the Tao te Ching of Lao Tzu"] We've come across Heard before, in passing, in the episode on "Tomorrow Never Knows", when Ralph Mentzner said of his experiments with Timothy Leary and Ram Dass "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" -- Heard was friends with both Huxley and Humphrey Osmond, and in fact had been invited by them to take part in the mescaline trip that Huxley wrote about in his book The Doors of Perception, the book that popularised psychedelic drug use, though Heard was unable to attend at that time. Heard was a huge influence on the early psychedelic movement -- though he always advised Leary and his associates not to be so public with their advocacy, and just to keep it to a small enlightened circle rather than risk the wrath of the establishment -- and he's cited by almost everyone in Leary's circle as having been the person who, more than anything else, inspired them to investigate both psychedelic drugs and mysticism. He's the person who connected Bill W. of Alcoholics Anonymous with Osmond and got him advocating LSD use. It was Heard's books that made Huston Smith, the great scholar of comparative religions and associate of Leary, interested in mysticism and religions outside his own Christianity, and Heard was one of the people who gave Leary advice during his early experiments. So it's not surprising that Bock also became interested in Leary's ideas before they became mainstream. Indeed, in 1964 he got Shankar to do the music for a short film based on The Psychedelic Experience, which Shankar did as a favour for his friend even though Shankar didn't approve of drug use. The film won an award in 1965, but quickly disappeared from circulation as its ideas were too controversial: [Excerpt: The Psychedelic Experience (film)] And Heard introduced Bock to other ideas around philosophy and non-Western religions. In particular, Bock became an advocate for a little-known Hindu mystic who had visited the US in 1959 teaching a new style of meditation which he called Transcendental Meditation. A lot is unclear about the early life of Maharishi Mahesh Yogi, even his birth name -- both "Maharishi" and "Yogi" are honorifics rather than names as such, though he later took on both as part of his official name, and in this and future episodes I'll refer to him as "the Maharishi". What we do know is that he was born in India, and had attained a degree in physics before going off to study with Swami Brahmananda Saraswati, a teacher of the Advaita Vedanta school of Hinduism. Now, I am not a Hindu, and only have a passing knowledge of Hindu theology and traditions, and from what I can gather getting a proper understanding requires a level of cultural understanding I don't have, and in particular a knowledge of the Sanskrit language, so my deepest apologies for any mangling I do of these beliefs in trying to talk about them as they pertain to mid-sixties psychedelic rock. I hope my ignorance is forgivable, and seen as what it is rather than malice. But the teachings of this school as I understand them seem to centre around an idea of non-separation -- that God is in all things, and is all things, and that there is no separation between different things, and that you merely have to gain a deep realisation of this. The Maharishi later encapsulated this in the phrase "I am that, thou art that, all this is that", which much later the Beach Boys, several of whom were followers of the Maharishi, would turn into a song: [Excerpt: The Beach Boys, "All This is That"] The other phrase they're singing there, "Jai Guru Dev" is also a phrase from the Maharishi, and refers to his teacher Brahmananda Saraswati -- it means "all hail the divine teacher" or "glory to the heavenly one", and "guru dev" or "guru deva" was the name the Maharishi would use for Saraswati after his death, as the Maharishi believed that Saraswati was an actual incarnation of God. It's that phrase that John Lennon is singing in "Across the Universe" as well, another song later inspired by the Maharishi's teachings: [Excerpt: The Beatles, "Across the Universe"] The Maharishi became, by his own account, Saraswati's closest disciple, advisor, and right-hand man, and was privy to his innermost thoughts. However, on Saraswati's death the leadership of the monastery he led became deeply contested, with two different rivals to the position, and the Maharishi was neither -- the rules of the monastery said that only people born into the Brahmin caste could reach the highest positions in the monastery's structure, and the Maharishi was not a Brahmin. So instead of remaining in the monastery, the Maharishi went out into the world to teach a new form of meditation which he claimed he had learned from Guru Dev, a technique which became known as transcendental meditation. The Maharishi would, for the rest of his life, always claim that the system he taught was Guru Dev's teaching for the world, not his own, though the other people who had been at the monastery with him said different things about what Saraswati had taught -- but of course it's perfectly possible for a spiritual leader to have had multiple ideas and given different people different tasks. The crucial thing about the Maharishi's teaching, the way it differed from everything else in the history of Hindu monasticism (as best I understand this) is that all previous teachers of meditation had taught that to get the benefit of the techniques one had to be a renunciate -- you should go off and become a monk and give up all worldly pleasures and devote your life to prayer and meditation. Traditionally, Hinduism has taught that there are four stages of life -- the student, the householder or married person with a family, the retired person, and the Sanyasi, or renunciate, but that you could skip straight from being a student to being a Sanyasi and spend your life as a monk. The Maharishi, though, said: "Obviously enough there are two ways of life: the way of the Sanyasi and the way of life of a householder. One is quite opposed to the other. A Sanyasi renounces everything of the world, whereas a householder needs and accumulates everything. The one realises, through renunciation and detachment, while the other goes through all attachments and accumulation of all that is needed for physical life." What the Maharishi taught was that there are some people who achieve the greatest state of happiness by giving up all the pleasures of the senses, eating the plainest possible food, having no sexual, familial, or romantic connections with anyone else, and having no possessions, while there are other people who achieve the greatest state of happiness by being really rich and having a lot of nice stuff and loads of friends and generally enjoying the pleasures of the flesh -- and that just as there are types of meditation that can help the first group reach enlightenment, there are also types of meditation that will fit into the latter kind of lifestyle, and will help those people reach oneness with God but without having to give up their cars and houses and money. And indeed, he taught that by following his teachings you could get *more* of those worldly pleasures. All you had to do, according to his teaching, was to sit still for fifteen to twenty minutes, twice a day, and concentrate on a single Sanskrit word or phrase, a mantra, which you would be given after going through a short course of teaching. There was nothing else to it, and you would eventually reach the same levels of enlightenment as the ascetics who spent seventy years living in a cave and eating only rice -- and you'd end up richer, too. The appeal of this particular school is, of course, immediately apparent, and Bock became a big advocate of the Maharishi, and put out three albums of his lectures: [Excerpt: Maharishi Mahesh Yogi, "Deep Meditation"] Bock even met his second wife at one of the Maharishi's lectures, in 1961. In the early sixties, World Pacific got bought up by Liberty Records, the label for which Jan and Dean and others recorded, but Bock remained in charge of the label, and expanded it, adding another subsidiary, Aura Records, to put out rock and roll singles. Aura was much less successful than the other World Pacific labels. The first record the label put out was a girl-group record, "Shooby Dooby", by the Lewis Sisters, two jazz-singing white schoolteachers from Michigan who would later go on to have a brief career at Motown: [Excerpt: The Lewis Sisters, "Shooby Dooby"] The most successful act that Aura ever had was Sonny Knight, an R&B singer who had had a top twenty hit in 1956 with "Confidential", a song he'd recorded on Specialty Records with Bumps Blackwell, and which had been written by Dorinda Morgan: [Excerpt: Sonny Knight, "Confidential"] But Knight's biggest hit on Aura, "If You Want This Love", only made number seventy-one on the pop charts: [Excerpt: Sonny Knight, "If You Want This Love"] Knight would later go on to write a novel, The Day the Music Died, which Greil Marcus described as "the bitterest book ever written about how rock'n'roll came to be and what it turned into". Marcus said it was about "how a rich version of American black culture is transformed into a horrible, enormously profitable white parody of itself: as white labels sign black artists only to ensure their oblivion and keep those blacks they can't control penned up in the ghetto of the black charts; as white America, faced with something good, responds with a poison that will ultimately ruin even honest men". Given that Knight was the artist who did the *best* out of Aura Records, that says a great deal about the label. But one of the bands that Aura signed, who did absolutely nothing on the charts, was a group called Rick and the Ravens, led by a singer called Screamin' Ray Daniels. They were an LA club band who played a mixture of the surf music which the audiences wanted and covers of blues songs which Daniels preferred to sing. They put out two singles on Aura, "Henrietta": [Excerpt: Rick and the Ravens, "Henrietta"] and "Soul Train": [Excerpt: Rick and the Ravens, "Soul Train"] Ray Daniels was a stage name -- his birth name was Ray Manzarek, and he would later return to that name -- and the core of the band was Ray on vocals and his brothers Rick on guitar and Jim on harmonica. Manzarek thought of himself as a pretty decent singer, but they were just a bar band, and music wasn't really his ideal career.  Manzarek had been sent to college by his solidly lower-middle-class Chicago family in the hope that he would become a lawyer, but after getting a degree in economics and a brief stint in the army, which he'd signed up for to avoid getting drafted in the same way people like Dean Torrence did, he'd gone off to UCLA to study film, with the intention of becoming a filmmaker. His family had followed him to California, and he'd joined his brothers' band as a way of making a little extra money on the side, rather than as a way to become a serious musician. Manzarek liked the blues songs they performed, and wasn't particularly keen on the surf music, but thought it was OK. What he really liked, though, was jazz -- he was a particular fan of McCoy Tyner, the pianist on all the great John Coltrane records: [Excerpt: John Coltrane, "My Favorite Things"] Manzarek was a piano player himself, though he didn't play much with the Ravens, and he wanted more than anything to be able to play like Tyner, and so when Rick and the Ravens got signed to Aura Records, he of course became friendly with Dick Bock, who had produced so many great jazz records and worked with so many of the greats of the genre. But Manzarek was also having some problems in his life. He'd started taking LSD, which was still legal, and been fascinated by its effects, but worried that he couldn't control them -- he couldn't tell whether he was going to have a good trip or a bad one. He was wondering if there was a way he could have the same kind of revelatory mystical experience but in a more controlled manner. When he mentioned this to Bock, Bock told him that the best method he knew for doing that was transcendental meditation. Bock gave him a copy of one of the Maharishi's albums, and told him to go to a lecture on transcendental meditation, run by the head of the Maharishi's west-coast organisation, as by this point the Maharishi's organisation, known as Spiritual Regeneration, had an international infrastructure, though it was still nowhere near as big as it would soon become. At the lecture, Manzarek got talking to one of the other audience members, a younger man named John Densmore. Densmore had come to the lecture with his friend Robby Krieger, and both had come for the same reason that Manzarek had -- they'd been having bad trips and so had become a little disillusioned with acid. Krieger had been the one who'd heard about transcendental meditation, while he was studying the sitar and sarod at UCLA -- though Krieger would later always say that his real major had been in "not joining the Army". UCLA had one of the few courses in Indian music available in the US at the time, as thanks in part to Bock California had become the centre of American interest in music from India -- so much so that in 1967 Ravi Shankar would open up a branch of his own Kinnara Music School there. (And you can get an idea of how difficult it is to separate fact from fiction when researching this episode that one of the biographies I've used for the Doors says that Krieger heard about the Maharishi while studying at the Kinnara school. As the only branch of the Kinnara school that was open at this point was in Mumbai, it's safe to say that unless Krieger had a *really* long commute he wasn't studying there at this point.) Densmore and Manzarek got talking, and they found that they shared a lot of the same tastes in jazz -- just as Manzarek was a fan of McCoy Tyner, so Densmore was a fan of Elvin Jones, the drummer on those Coltrane records, and they both loved the interplay of the two musicians: [Excerpt: John Coltrane, "My Favorite Things"] Manzarek was starting to play a bit more keyboards with the Ravens, and he was also getting annoyed with the Ravens' drummer, who had started missing rehearsals -- he'd turn up only for the shows themselves. He thought it might be an idea to get Densmore to join the group, and Densmore agreed to come along for a rehearsal. That initial rehearsal Densmore attended had Manzarek and his brothers, and may have had a bass player named Patricia Hansen, who was playing with the group from time to time around this point, though she was mostly playing with a different bar band, Patty and the Esquires. But as well as the normal group members, there was someone else there, a friend of Manzarek's from film school named Jim Morrison. Morrison was someone who, by Manzarek's later accounts, had been very close to Manzarek at university, and who Manzarek had regarded as a genius, with a vast knowledge of beat poetry and European art film, but who had been regarded by most of the other students and the lecturers as being a disruptive influence. Morrison had been a fat, asthmatic, introverted kid -- he'd had health problems as a child, including a bout of rheumatic fever which might have weakened his heart, and he'd also been prone to playing the kind of "practical jokes" which can often be a cover for deeper problems. For example, as a child he was apparently fond of playing dead -- lying in the corridors at school and being completely unresponsive for long periods no matter what anyone did to move him, then suddenly getting up and laughing at anyone who had been concerned and telling them it was a joke. Given how frequently Morrison would actually pass out in later life, often after having taken some substance or other, at least one biographer has suggested that he might have had undiagnosed epilepsy (or epilepsy that was diagnosed but which he chose to keep a secret) and have been having absence seizures and covering for them with the jokes. Robby Krieger also says in his own autobiography that he used to have the same doctor as Morrison, and the doctor once made an offhand comment about Morrison having severe health problems, "as if it was common knowledge". His health difficulties, his weight, his introversion, and the experience of moving home constantly as a kid because of his father's career in the Navy, had combined to give him a different attitude to most of his fellow students, and in particular a feeling of rootlessness -- he never owned or even rented his own home in later years, just moving in with friends or girlfriends -- and a lack of sense of his own identity, which would often lead to him making up lies about his life and acting as if he believed them. In particular, he would usually claim to friends that his parents were dead, or that he had no contact with them, even though his family have always said he was in at least semi-regular contact. At university, Morrison had been a big fan of Rick and the Ravens, and had gone to see them perform regularly, but would always disrupt the shows -- he was, by all accounts, a lovely person when sober but an aggressive boor when drunk -- by shouting out for them to play "Louie Louie", a song they didn't include in their sets. Eventually one of Ray's brothers had called his bluff and said they'd play the song, but only if Morrison got up on stage and sang it. He had -- the first time he'd ever performed live -- and had surprised everyone by being quite a good singer. After graduation, Morrison and Manzarek had gone their separate ways, with Morrison saying he was moving to New York. But a few weeks later they'd encountered each other on the beach -- Morrison had decided to stay in LA, and had been staying with a friend, mostly sleeping on the friend's rooftop. He'd been taking so much LSD he'd forgotten to eat for weeks at a time, and had lost a great deal of weight, and Manzarek properly realised for the first time that his friend was actually good-looking. Morrison also told Manzarek that he'd been writing songs -- this was summer 1965, and the Byrds' version of "Mr. Tambourine Man", Dylan's "Like a Rolling Stone", and the Stones' "Satisfaction" had all shown him that there was potential for pop songs to have more interesting lyrical content than "Louie Louie". Manzarek asked him to sing some of the songs he'd been writing, and as Manzarek later put it "he began to sing, not in the booze voice he used at the Turkey Joint, but in a Chet Baker voice". The first song Morrison sang for Ray Manzarek was one of the songs that Rick and the Ravens would rehearse that first time with John Densmore, "Moonlight Drive": [Excerpt: Rick and the Ravens, "Moonlight Drive"] Manzarek invited Morrison to move in with him and his girlfriend. Manzarek seems to have thought of himself as a mentor, a father figure, for Morrison, though whether that's how Morrison thought of him is impossible to say. Manzarek, who had a habit of choosing the myth over the truth, would later claim that he had immediately decided that he and Morrison were going to be a duo and find a whole new set of musicians, but all the evidence points to him just inviting Morrison to join the Ravens as the singer Certainly the first recordings this group made, a series of demos, were under Rick and the Ravens' name, and paid for by Aura Records. They're all of songs written by Morrison, and seem to be sung by Morrison and Manzarek in close harmony throughout. But the demos did not impress the head of Liberty Records, which now owned Aura, and who saw no commercial potential in them, even in one that later became a number one hit when rerecorded a couple of years later: [Excerpt: Rick and the Ravens, "Hello I Love You"] Although to be fair, that song is clearly the work of a beginning songwriter, as Morrison has just taken the riff to "All Day and All of the Night" by the Kinks, and stuck new words to it: [Excerpt: The Kinks, "All Day and All of the Night"] But it seems to have been the lack of success of these demos that convinced Manzarek's brothers and Patricia Hansen to quit the band. According to Manzarek, his brothers were not interested in what they saw as Morrison's pretensions towards poetry, and didn't think this person who seemed shy and introverted in rehearsals but who they otherwise knew as a loud annoying drunk in the audience would make a good frontman. So Rick and the Ravens were down to just Jim Morrison, Ray Manzarek, and John Densmore, but they continued shopping their demos around, and after being turned down by almost everyone they were signed by Columbia Records, specifically by Billy James, who they liked because he'd written the liner notes to a Byrds album, comparing them to Coltrane, and Manzarek liked the idea of working with an A&R man who knew Coltrane's work, though he wasn't impressed by the Byrds themselves, later writing "The Byrds were country, they didn't have any black in them at all. They couldn't play jazz. Hell, they probably didn't even know anything about jazz. They were folk-rock, for cri-sake. Country music. For whites only." (Ray Manzarek was white). They didn't get an advance from Columbia, but they did get free equipment -- Columbia had just bought Vox, who made amplifiers and musical instruments, and Manzarek in particular was very pleased to have a Vox organ, the same kind that the Animals and the Dave Clark Five used. But they needed a guitarist and a bass player. Manzarek claimed in his autobiography that he was thinking along the lines of a four-piece group even before he met Densmore, and that his thoughts had been "Someone has to be Thumper and someone has to be Les Paul/Chuck Berry by way of Charlie Christian. The guitar player will be a rocker who knows jazz. And the drummer will be a jazzer who can rock. These were my prerequisites. This is what I had to have to make the music I heard in my head." But whatever Manzarek was thinking, there were only two people who auditioned for the role of the guitar player in this new version of the band, both of them friends of Densmore, and in fact two people who had been best friends since high school -- Bill Wolff and Robby Krieger. Wolff and Krieger had both gone to private boarding school -- they had both originally gone to normal state schools, but their parents had independently decided they were bad influences on each other and sent them away to boarding school to get away from each other, but accidentally sent them to the same school -- and had also learned guitar together. They had both loved a record of flamenco guitar called Dos Flamencos by Jaime Grifo and Nino Marvino: [Excerpt: Jaime Grifo and Nino Marvino, "Caracolés"] And they'd decided they were going to become the new Dos Flamencos. They'd also regularly sneaked out of school to go and see a jug band called Mother McCree's Uptown Jug Champions, a band which featured Bob Weir, who was also at their school, along with Jerry Garcia and Pigpen McKernan. Krieger was also a big fan of folk and blues music, especially bluesy folk-revivalists like Spider John Koerner, and was a massive fan of the Paul Butterfield Blues Band. Krieger and Densmore had known each other before Krieger had been transferred to boarding school, and had met back up at university, where they would hang out together and go to see Charles Mingus, Wes Montgomery, and other jazz musicians. At this time Krieger had still been a folk and blues purist, but then he went to see Chuck Berry live, mostly because Skip James and Big Mama Thornton were also on the bill, and he had a Damascene conversion -- the next day he went to a music shop and traded in his acoustic for a red Gibson, as close to the one Chuck Berry played as he could find. Wolff, Densmore, Krieger, and piano player Grant Johnson had formed a band called the Psychedelic Rangers, and when the Ravens were looking for a new guitarist, it was natural that they tried the two guitarists from Densmore's other band. Krieger had the advantage over Wolff for two reasons -- one of which was actually partly Wolff's doing. To quote Krieger's autobiography: "A critic once said I had 'the worst hair in rock 'n' roll'. It stung pretty bad, but I can't say they were wrong. I always battled with my naturally frizzy, kinky, Jewfro, so one day my friend Bill Wolff and I experimented with Ultra Sheen, a hair relaxer marketed mainly to Black consumers. The results were remarkable. Wolff, as we all called him, said 'You're starting to look like that jerk Bryan MacLean'". According to Krieger, his new hairdo made him better looking than Wolff, at least until the straightener wore off, and this was one of the two things that made the group choose him over Wolff, who was a better technical player. The other was that Krieger played with a bottleneck, which astonished the other members. If you're unfamiliar with bottleneck playing, it's a common technique in the blues. You tune your guitar to an open chord, and then use a resonant tube -- these days usually a specially-made metal slide that goes on your finger, but for older blues musicians often an actual neck of a bottle, broken off and filed down -- to slide across the strings. Slide guitar is one of the most important styles in blues, especially electric blues, and you can hear it in the playing of greats like Elmore James: [Excerpt: Elmore James, "Dust My Broom"] But while the members of the group all claimed to be blues fans -- Manzarek talks in his autobiography about going to see Muddy Waters in a club in the South Side of Chicago where he and his friends were the only white faces in the audience -- none of them had any idea what bottleneck playing was, and Manzarek was worried when Krieger pulled it out that he was going to use it as a weapon, that being the only association he had with bottle necks. But once Krieger played with it, they were all convinced he had to be their guitarist, and Morrison said he wanted that sound on everything. Krieger joining seems to have changed the dynamic of the band enormously. Both Morrison and Densmore would independently refer to Krieger as their best friend in the band -- Manzarek said that having a best friend was a childish idea and he didn't have one. But where before this had been Manzarek's band with Morrison as the singer, it quickly became a band centred around the creative collaboration between Krieger and Morrison. Krieger seems to have been too likeable for Manzarek to dislike him, and indeed seems to have been the peacemaker in the band on many occasions, but Manzarek soon grew to resent Densmore, seemingly as the closeness he had felt to Morrison started to diminish, especially after Morrison moved out of Manzarek's house, apparently because Manzarek was starting to remind him of his father. The group soon changed their name from the Ravens to one inspired by Morrison's reading. Aldous Huxley's book on psychedelic drugs had been titled The Doors of Perception, and that title had in turn come from a quote from The Marriage of Heaven and Hell by the great mystic poet and artist William Blake, who had written "If the doors of perception were cleansed every thing would appear to man as it is, Infinite. For man has closed himself up, till he sees all things thro' narrow chinks of his cavern" (Incidentally, in one of those weird coincidences that I like to note when they come up, Blake's Marriage of Heaven and Hell had also inspired the book The Great Divorce by C.S. Lewis, about the divorce of heaven and hell, and both Lewis and Huxley died on the same date, the twenty-second of November 1963, the same day John F. Kennedy died). Morrison decided that he wanted to rename the group The Doors, although none of the other group members were particularly keen on the idea -- Krieger said that he thought they should name the group Perception instead. Initially the group rehearsed only songs written by Morrison, along with a few cover versions. They worked up a version of Willie Dixon's "Back Door Man", originally recorded by Howlin' Wolf: [Excerpt: Howlin' Wolf, "Back Door Man"] And a version of "Alabama Song", a song written by Bertholt Brecht and Kurt Weill, from the opera The Rise and Fall of the City of Mahagonny, with English language lyrics by  Elisabeth Hauptmann. That song had originally been recorded by Lotte Lenya, and it was her version that the group based their version on, at the suggestion of Manzarek's girlfriend: [Excerpt: Lotte Lenya, "Alabama Song"] Though it's likely given their tastes in jazz that they were also aware of a recent recording of the song by Eric Dolphy and John Lewis: [Excerpt: Eric Dolphy and John Lewis, "Alabama Song"] But Morrison started to get a little dissatisfied with the fact that he was writing all the group's original material at this point, and he started to put pressure on the others to bring in songs. One of the first things they had agreed was that all band members would get equal credit and shares of the songwriting, so that nobody would have an incentive to push their own mediocre song at the expense of someone else's great one, but Morrison did want the others to start pulling their weight. As it would turn out, for the most part Manzarek and Densmore wouldn't bring in many song ideas, but Krieger would, and the first one he brought in would be the song that would make them into stars. The song Krieger brought in was one he called "Light My Fire", and at this point it only had one verse and a chorus. According to Manzarek, Densmore made fun of the song when it was initially brought in, saying "we're not a folk-rock band" and suggesting that Krieger might try selling it to the Mamas and the Papas, but the other band members liked it -- but it's important to remember here that Manzarek and Densmore had huge grudges against each other for most of their lives, and that Manzarek is not generally known as an entirely reliable narrator. Now, I'm going to talk a lot about the influences that have been acknowledged for this song, but before I do there's one that I haven't seen mentioned much but which seems to me to be very likely to have at least been a subconscious influence -- "She's Not There" by the Zombies: [Excerpt: The Zombies, "She's Not There"] Now, there are several similarities to note about the Zombies record. First, like the Doors, the Zombies were a keyboard-driven band. Second, there's the dynamics of the songs -- both have soft, slightly jazzy verses and then a more straight-ahead rock chorus. And finally there's the verse chord sequence. The verse for "She's Not There" goes from Am to D repeatedly: [demonstrates] While the verse for "Light My Fire" goes from Am to F sharp minor -- and for those who don't know, the notes in a D chord are D, F sharp, and A, while the notes in an F sharp minor chord are F sharp, A, and C sharp -- they're very similar chords. So "She's Not There" is: [demonstrates] While "Light My Fire" is: [demonstrates] At least, that's what Manzarek plays. According to Krieger, he played an Asus2 chord rather than an A minor chord, but Manzarek heard it as an A minor and played that instead. Now again, I've not seen anyone acknowledge "She's Not There" as an influence, but given the other influences that they do acknowledge, and the music that was generally in the air at the time, it would not surprise me even the smallest amount if it was. But either way, what Krieger brought in was a simple verse and chorus: [Excerpt: The Doors, "Light My Fire"] Incidentally, I've been talking about the song as having A minor chords, but you'll actually hear the song in two different keys during this episode, even though it's the same performance throughout, and sometimes it might not sound right to people familiar with a particular version of the record. The band played the song with the verse starting with A minor, and that's how the mono single mix was released, and I'll be using excerpts of that in general. But when the stereo version of the album was released, which had a longer instrumental break, the track was mastered about a semitone too slow, and that's what I'll be excerpting when talking about the solos -- and apparently that speed discrepancy has been fixed in more recent remasterings of the album than the one I'm using. So if you know the song and bits of what I play sound odd to you, that's why. Krieger didn't have a second verse, and so writing the second verse's lyrics was the next challenge. There was apparently some disagreement within the band about the lyrics that Morrison came up with, with their references to funeral pyres, but Morrison won the day, insisting that the song needed some darkness to go with the light of the first verse. Both verses would get repeated at the end of the song, in reverse order, rather than anyone writing a third or fourth verse. Morrison also changed the last line of the chorus -- in Krieger's original version, he'd sung "Come on baby, light my fire" three times, but Morrison changed the last line to "try to set the night on fire", which Krieger thought was a definite improvement. They then came up with an extended instrumental section for the band members to solo in. This was inspired by John Coltrane, though I have seen different people make different claims as to which particular Coltrane record it was inspired by. Many sources, including Krieger, say it was based on Coltrane's famous version of "My Favorite Things": [Excerpt: John Coltrane, "My Favorite Things"] But Manzarek in his autobiography says it was inspired by Ole, the track that Coltrane recorded with Eric Dolphy: [Excerpt: John Coltrane, "Ole"] Both are of course similar musical ideas, and either could have inspired the “Light My Fire” instrumental section, though none of the Doors are anything like as good or inventive on their instruments as Coltrane's group (and of course "Light My Fire" is in four-four rather than three-four): [Excerpt: The Doors, "Light My Fire"] So they had a basic verse-chorus song with a long instrumental jam session in the middle. Now comes the bit that there's some dispute over.  Both Ray Manzarek and Robby Krieger agree that Manzarek came up with the melody used in the intro, but differ wildly over who came up with the chord sequence for it and when, and how it was put into the song. According to Manzarek, he came up with the whole thing as an intro for the song at that first rehearsal of it, and instructed the other band members what to do. According to Krieger, though, the story is rather different, and the evidence seems to be weighted in Krieger's favour. In early live performances of the song, they started the song with the Am-F sharp minor shifts that were used in the verse itself, and continued doing this even after the song was recorded: [Excerpt: The Doors, "Light My Fire (live at the Matrix)"] But they needed a way to get back out of the solo section and into the third verse. To do this, Krieger came up with a sequence that starts with a change from G to D, then from D to F, before going into a circle of fifths -- not the ascending circle of fifths in songs like "Hey Joe", but a descending one, the same sequence as in "She Came in Through the Bathroom Window" or "I Will Survive", ending on an A flat: [demonstrates] To get from the A flat to the A minor or Asus2 chord on which the verse starts, he simply then shifted up a semitone from A flat to A major for two bars: [demonstrates] Over the top of that chord sequence that Krieger had come up with, Manzarek put a melody line which was inspired by one of Bach's two-part inventions. The one that's commonly cited is Invention No. 8 in F Major, BWV 779: [Excerpt: Glenn Gould, "Invention No. 8 in F Major, BWV 779"] Though I don't believe Manzarek has ever stated directly which piece he was inspired by other than that it was one of the two-part inventions, and to be honest none of them sound very much like what he plays to my ears, and I think more than anything he was just going for a generalised baroque style rather than anything more specific. And there are certainly stylistic things in there that are suggestive of the baroque -- the stepwise movement, the sort of skipping triplets, and so on: [Excerpt: The Doors, "Light My Fire"] But that was just to get out of the solo section and back into the verses. It was only when they finally took the song into the studio that Paul Rothchild, the producer who we will talk about more later, came up with the idea of giving the song more structure by both starting and ending with that sequence, and formalised it so that rather than just general noodling it was an integral part of the song. They now had at least one song that they thought had the potential to be a big hit. The problem was that they had not as yet played any gigs, and nor did they have a record deal, or a bass player. The lack of a record deal may sound surprising, but they were dropped by Columbia before ever recording for them. There are several different stories as to why. One biography I've read says that after they were signed, none of the label's staff producers wanted to work with them and so they were dropped -- though that goes against some of the other things I've read, which say that Terry Melcher was interested in producing them. Other sources say that Morrison went in for a meeting with some of the company executives while on acid, came out very pleased with himself at how well he'd talked to them because he'd been able to control their minds with his telepathic powers, and they were dropped shortly afterwards. And others say that they were dropped as part of a larger set of cutbacks the company was making, and that while Billy James fought to keep them at Columbia, he lost the fight. Either way, they were stuck without a deal, and without any proper gigs, though they started picking up the odd private party here and there -- Krieger's father was a wealthy aerospace engineer who did some work for Howard Hughes among others, and he got his son's group booked to play a set of jazz standards at a corporate event for Hughes, and they got a few more gigs of that nature, though the Hughes gig didn't exactly go well -- Manzarek was on acid, Krieger and Morrison were on speed, and the bass player they brought in for the gig managed to break two strings, something that would require an almost superhuman effort. That bass player didn't last long, and nor did the next -- they tried several, but found that the addition of a bass player made them sound less interesting, more like the Animals or the Rolling Stones than a group with their own character. But they needed something to hold down the low part, and it couldn't be Manzarek on the organ, as the Vox organ had a muddy sound when he tried to play too many notes at once. But that problem solved itself when they played one of their earliest gigs. There, Manzarek found that another band, who were regulars at the club, had left their Fender keyboard bass there, clipped to the top of the piano. Manzarek tried playing that, and found he could play basslines on that with his left hand and the main parts with his right hand. Krieger got his father to buy one for the group -- though Manzarek was upset that they bought the wrong colour -- and they were now able to perform without a bass player. Not only that, but it gave the group a distinctive sound quite unlike all the other bands. Manzarek couldn't play busy bass lines while also playing lead lines with his right hand, and so he ended up going for simple lines without a great deal of movement, which added to the hypnotic feel of the group's music – though on records they would often be supplemented by a session bass player to give them a fuller sound. While the group were still trying to get a record deal, they were also looking for regular gigs, and eventually they found one. The Sunset Strip was *the* place to be, and they wanted desperately to play one of the popular venues there like the Whisky A-Go-Go, but those venues only employed bands who already had record deals. They did, though, manage to get a residency at a tiny, unpopular, club on the strip called The London Fog, and they played there, often to only a handful of people, while slowly building in confidence as performers. At first, Morrison was so shy that Manzarek had to sing harmony with him throughout the sets, acting as joint frontman. Krieger later said "It's rarely talked about, but Ray was a natural born showman, and his knack for stirring drama would serve the Doors' legacy well in later years" But Morrison soon gained enough confidence to sing by himself. But they weren't bringing in any customers, and the London Fog told them that they were soon going to be dropped -- and the club itself shut not long after. But luckily for the group, just before the end of their booking, the booker for the Whisky A-Go-Go, Ronnie Haran walked in with a genuine pop star, Peter Asher, who as half of Peter & Gordon had had a hit with "A World Without Love", written by his sister's boyfriend, Paul McCartney: [Excerpt: Peter and Gordon, "A World Without Love"] Haran was impressed with the group, and they were impressed that she had brought in a real celebrity. She offered them a residency at the club, not as the headlining act -- that would always be a group that had records out -- but as the consistent support act for whichever big act they had booked. The group agreed -- after Morrison first tried to play it cool and told Haran they would have to consider it, to the consternation of his bandmates. They were thrilled, though, to discover that one of the first acts they supported at the Whisky would be Them, Van Morrison's group -- one of the cover versions they had been playing had been Them's "Gloria": [Excerpt: Them, "Gloria"] They supported Them for two weeks at the Whisky, and Jim Morrison watched Van Morrison intently. The two men had very similar personalities according to the other members of the Doors, and Morrison picked up a lot of his performing style from watching Van on stage every night. The last night Them played the venue, Morrison joined them on stage for an extended version of “Gloria” which everyone involved remembered as the highlight of their time there. Every major band on the LA scene played residencies at the Whisky, and over the summer of 1966 the Doors were the support act for the Mothers of Invention, the Byrds, the Turtles, the Buffalo Springfield, and Captain Beefheart and the Magic Band. This was a time when the Sunset Strip was the centre of Californian musical life, before that centre moved to San Francisco, and the Doors were right at the heart of it. Though it wasn't all great -- this was also the period when there were a series of riots around Sunset Strip, as immortalised in the American International Pictures film Riot on Sunset Strip, and its theme song, by the Standells: [Excerpt: The Standells, "Riot on Sunset Strip"] We'll look at those riots in more detail in a future episode, so I'll leave discussing them for now, but I just wanted to make sure they got mentioned. That Standells song, incidentally, was co-written by John Fleck, who under his old name of John Fleckenstein we saw last episode as the original bass player for Love. And it was Love who ensured that the Doors finally got the record deal they needed. The deal came at a perfect time for the Doors -- just like when they'd been picked up by the Whisky A Go-Go just as they were about to lose their job at the London Fog, so they got signed to a record deal just as they were about to lose their job at the Whisky. They lost that job because of a new song that Krieger and Morrison had written. "The End" had started out as Krieger's attempt at writing a raga in the style of Ravi Shankar, and he had brought it in to one of his increasingly frequent writing sessions with Morrison, where the two of them would work out songs without the rest of the band, and Morrison had added lyrics to it. Lyrics that were partly inspired by his own fraught relationship with his parents, and partly by Oedipus Rex: [Excerpt: The Doors, "The End"] And in the live performance, Morrison had finished that phrase with the appropriate four-letter Oedipal payoff, much to the dismay of the owners of the Whisky A Go Go, who had told the group they would no longer be performing there. But three days before that, the group had signed a deal with Elektra Records. Elektra had for a long time been a folk specialist label, but they had recently branched out into other music, first with the Paul Butterfield Blues Band, a favourite of Robby Krieger's, and then with their first real rock signing, Love. And Love were playing a residency at the Whisky A Go Go, and Arthur Lee had encouraged Jac Holzman, the label's owner, to come and check out their support band, who he thought were definitely worth signing. The first time Holzman saw them he was unimpressed -- they sounded to him just like a bunch of other white blues bands -- but he trusted Arthur Lee's judgement and came back a couple more times. The third time, they performed their version of "Alabama Song", and everything clicked into place for Holzman. He immediately signed the group to a three-album deal with an option to extend it to seven. The group were thrilled -- Elektra wasn't a major label like Columbia, but they were a label that nurtured artists and wouldn't just toss them aside. They were even happier when soon after they signed to Elektra, the label signed up a new head of West Coast A&R -- Billy James, the man who had signed them to Columbia, and who they knew would be in their corner. Jac Holzman also had the perfect producer for the group, though he needed a little persuading. Paul Rothchild had made his name as the producer for the first couple of albums by the Paul Butterfield Blues Band: [Excerpt: The Paul Butterfield Blues Band, "Mary Mary"] They were Robby Krieger's favourite group, so it made sense to have Rothchild on that level. And while Rothchild had mostly worked in New York, he was in LA that summer, working on the debut album by another Elektra signing, Tim Buckley. The musicians on Buckley's album were almost all part of the same LA scene that the Doors were part of -- other than Buckley's normal guitarist Lee Underwood there was keyboard player Van Dyke Parks, bass player Jim Fielder, who had had a brief stint in the Mothers of Invention and was about to join Buffalo Springfield, and drummer Billy Mundi, who was about to join the Mothers of Invention. And Buckley himself sang in a crooning voice extremely similar to that of Morrison, though Buckley had a much larger range: [Excerpt: Tim Buckley, "Aren't You the Girl?"] There was one problem, though -- Rothchild didn't want to do it. He wasn't at all impressed with the band at first, and he wanted to sign a different band, managed by Albert Grossman, instead. But Holzman persuaded him because Rothchild owed him a favour -- Rothchild had just spent several months in prison after a drug bust, and while he was inside Holzman had given his wife a job so she would have an income, and Holzman also did all the paperwork with Rothchild's parole officer to allow him to leave the state. So with great reluctance Rothchild took the job, though he soon came to appreciate the group's music. He didn't appreciate their second session though. The first day, they'd tried recording a version of "The End", but it hadn't worked, so on the second night they tried recording it again, but this time Morrison was on acid and behaving rather oddly. The final version of "The End" had to be cut together from two takes, and the reason is that at the point we heard earlier: [Excerpt: The Doors, "The End"] Morrison was whirling around, thrashing about, and knocked over a TV that the engineer, Bruce Botnick, had brought into the studio so he could watch the baseball game -- which Manzarek later exaggerated to Morrison throwing the TV through the plate glass window between the studio and the control room. According to everyone else, Morrison just knocked it over and they picked it up after the take finished and it still worked fine. But Morrison had taken a *lot* of acid, and on the way home after the session he became convinced that he had a psychic knowledge that the studio was on fire. He got his girlfriend to turn the car back around, drove back to the studio, climbed over the fence, saw the glowing red lightbulbs in the studio, became convinced that they were fires, and sprayed the entire place with the fire extinguisher, before leaving convinced he had saved the band's equipment -- and leaving telltale evidence as his boot got stuck in the fence on the way out and he just left it there. But despite that little hiccup, the sessions generally went well, and the group and label were pleased with the results. The first single released from the album, "Break on Through", didn't make the Hot One Hundred: [Excerpt: The Doors, "Break on Through"] But when the album came out in January 1967, Elektra put all its resources behind the album, and it started to get a bit of airplay as a result. In particular, one DJ on the new FM radio started playing "Light My Fire" -- at this time, FM had only just started, and while AM radio stuck to three-minute singles for the most part, FM stations would play a wider variety of music. Some of the AM DJs started telling Elektra that they would play the record, too, if it was the length of a normal single, and so Rothchild and Botnick went into the studio and edited the track down to half its previous seven-and-a-half-minute length. When the group were called in to hear the edit, they were initially quite excited to hear what kind of clever editing microsurgery had been done to bring the song down to the required length, but they were horrified when Rothchild actually played it for them. As far as the group were concerned, the heart of the song was the extended instrumental improvisation that took up the middle section: [Excerpt: The Doors, "Light My Fire"] On the album version, that lasted over three minutes. Rothchild and Botnick cut that section down to just this: [Excerpt: The Doors, "Light My Fire (single edit)"] The group were mortified -- what had been done to their song? That wasn't the sound of people trying to be McCoy Tyner and Elvin Jones, it was just... a pop song.  Rothchild explained that that was the point -- to get the song played on AM radio and get the group a hit. He pointed out how the Beatles records never had an instrumental section that lasted more than eight bars, and the group eventually talked them

A discussion about what we've learned—and what's still missing—from the eight-hour release. When it comes to unseen Beatles material, greed is good. Like Peter Jackson, we want to see a 12-hour Director's Cut.

This episode starts with Paul's November 3, 2021 NPR interview by Terry Gross, describing his concerns and subsequent feelings about the three-part docuseries. Among the musical highlights: in-studio crafting of ‘Don't Let Me Down', ‘For You Blue', ‘She Came in Through the Bathroom Window', ‘Two of Us', ‘Get Back (Commonwealth)' and ‘Dig It'.

Today we find a ghost finger is very unwelcome when we are in the shower, and then we travel to Corpus Christie, Texas to meet Mr. Badthing!   Patreon  https://www.patreon.com/user?u=18482113 MERCH STORE!!! https://tinyurl.com/y8zam4o2 Amazon Wish List https://www.amazon.com/hz/wishlist/ls/28CIOGSFRUXAD?ref_=wl_share   Help Promote Dead Rabbit! Dual Flyer https://i.imgur.com/OhuoI2v.jpg "As Above" Flyer https://i.imgur.com/yobMtUp.jpg “Alien Flyer” By TVP VT U https://imgur.com/gallery/aPN1Fnw   Links: EP 145 - The Hairy Devils Of The Southwest (Floating Head episode) https://deadrabbitradio.libsyn.com/ep-145-the-hairy-devils-of-the-southwest Ancient Aliens Debunked https://youtu.be/j9w-i5oZqaQ Ghost Finger through the Bathroom Window? https://www.reddit.com/r/Thetruthishere/comments/s0a72w/ghost_finger_through_the_bathroom_window/ Archive https://archive.is/xWNQk     Albert Rosales HUMANOID SIGHTING REPORTS 1000-2007 (Ozarks Native Amputation story) http://genderi.org/albert-rosales-humanoid-sighting-reports-1000-2007.html 1516: Mr. “Bad Thing” comes to the Ozarks Region https://www.thinkaboutitdocs.com/1516-mr-badthing-comes-to-the-ozarks-region/ Folklore vs. the Reality of Inner Earth Beings with Michael Mott https://www.gaia.com/video/folklore-vs-reality-inner-earth-beings-michael-mott Avavares Tribe https://accessgenealogy.com/texas/avavares-tribe.htm English Translations of La relación (in chronological order) https://exhibits.library.txstate.edu/cabeza/exhibits/show/cabeza-de-vaca/further-study/english-translations-of-la-rel Interpreting the Territories of the Coastal Natives Described by Cabeza de Vaca http://www.texascounties.net/articles/discovery-of-texas/cabezadevaca-coastalnatives.htm   ------------------------------------------------ Logo Art By Ash Black Opening Song: "Atlantis Attacks" Closing Song: "Bella Royale" Music By Simple Rabbitron 3000 created by Eerbud Thanks to Chris K, Founder Of The Golden Rabbit Brigade Dead Rabbit Archivist Some Weirdo On Twitter AKA Jack YouTube Champ Stewart Meatball The Haunted Mic Arm provided by Chyme Chili Thanks to Fabio N! Pintrest https://www.pinterest.com/basque5150/jason-carpenter-hood-river/ http://www.DeadRabbit.com Email: DeadRabbitRadio@gmail.com Twitter: @DeadRabbitRadio Facebook: www.Facebook.com/DeadRabbitRadio TikTok: https://www.tiktok.com/@deadrabbitradio Jason Carpenter PO Box 1363 Hood River, OR 97031   Paranormal, Conspiracy, and True Crime news as it happens! Jason Carpenter breaks the stories they'll be talking about tomorrow, assuming the world doesn't end today. All Contents Of This Podcast Copyright Jason Carpenter 2018 - 2022    

Content Warning: Dark Themes, Language, Violence, Alcohol Abuse ------ After taking some time to decompress after their time in Tallahassee, Sara trains a new monster hunter while Ari and Ray Ray fight to solve problems that can't be solved with a video game controller. ------ In today's announcements we include a promo for the podcast The Waffling Taylors (@wafflingTaylors on Twitter). ------ Follow us on Instagram, Twitter, and TikTok @shrimpandcrits. You can follow our linktree (https://linktr.ee/ShrimpandCrits) to our website, merch store, and much much more. Please subscribe, rate and review us on any podcatchers where you listen. If you'd like to get in touch, feel free to do so by email (shrimpandcritspodcast@gmail.com) or post (PO Box 60934 Nashville TN, 37216) ------ Also if you want to engage with us daily and SO MANY wonderful podcasts, follow this link to join us on Discord on the CastJunkie server. https://discord.gg/YfjznngQ6z ------ All music written and produced by Shrimp and Crits except "A Clumsy Psychiatrist" by L'Orange. Special thanks to Christopher Bell for Mixing and Production assistance.

Beatie Wolfe interviews the world-class curator and creator of 'David Bowie Is' Victoria Broackes about her work revolutionising exhibitions for London's V&A Museum with shows including The Supremes, Annie Lennox, Pink Floyd, You Say You Want A Revolution? to now her directing the London Design Biennale. Listen to this show that takes you from the Boilerhouse to Bowie via the thread of opening up worlds. Orange Juice for the Ears with “musical weirdo and visionary” (Vice) Beatie Wolfe explores the power of music across Space, Science, Art, Health, Film & Technology by talking to the leading luminaries in each field from Nobel Prize winners to multi-platinum producers and hearing the music that has most impacted them, their “Orange Juice for the Ears”. Beatie Wolfe is an artist who has beamed her music into space, been appointed a UN Women role model for innovation, and held an acclaimed solo exhibition at the V&A Museum. Named by WIRED as one of “22 people changing the world,” Beatie Wolfe is at the forefront of pioneering new formats for music that bridge the physical and digital, which include: a 3D vinyl for the palm of your hand; a wearable record jacket – cut by Bowie/Hendrix's tailor out of fabric woven with Wolfe's music – and most recently the world's first live 360 AR stream from the quietest room on earth. Wolfe is also the co-founder of a “profound” (The Times) research project looking at the power of music for people living with dementia. Victoria Broackes' Orange Juice for the Ears... First song that imprinted? “Ode to Billy Joe” by Bobbie Gentry / First album that shaped who you are? “She Came In Through the Bathroom Window” by The Beatles - from the album Abbey Road / The music you would send into Space? "Life on Mars?" by David Bowie / The song you would have at your memorial? “As” by Stevie Wonder / The album you would pass onto the next generation? "Here, There and Everywhere” by The Beatles - from the album Revolver // This show first aired live on dublab radio. The podcast was mastered by Dean Martin Hovey. --- Support this podcast: https://anchor.fm/dublab-radio/support

(Bathroom Window)https://www.instagram.com/p/CUDlcBTFn5e/

It's senior ditch day and David & the girl's heads to Six Flags, Brandon, Dylan, & Steve meet a woman who messes up the plans they had for the day. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/90210/support

It's Senior Ditch Day! The girls and David head to Six Flags while the guys deal with a Burt Reynolds fan club at the Peach Pit. Share your thoughts on this and upcoming episodes by following us on Twitter @HereWeG0Pod and please rate, subscribe and share this show wherever you get your podcasts!

It’s Jason Priestly’s directorial debut! And we’re going on some field trips. The guys deal with a Burt Reynolds fan club and a con artist, and the girls ride some roller coasters and deal with a different con artist. But the real question this week, is Caitlin haunted? Follow us on Twitter and Instagram @backtopodcast Email us at backtopodcast@gmail.com Leave us a review on iTunes for a special shout-out at the end of the episode!

I know what they sound like when they got the virus! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/blowin-steam/support

In our first chapter in this podcast series, we explore the creation story that surrounds the song Golden Slumbers, which is found on the second side of the Abbey Road album. In our discovery process, we find ourselves traveling back in time – of all things!Indeed, we need to go back, some 400 – 650 years, to discover the genesis of the lyrics to this song on the Abbey Road album.You might exclaim; 400 – 650 years!? Really?Well, here's a heck of a question for you. What is the connection of ALL of the following, to Paul McCartney's song, Golden Slumbers? A poem written by Thomas Dekker in the year 1599 AD Canterbury Tales , finished by Chaucer in 1400 AD The Decameron, written by Giovanni Boccaccio, who died in 1375 AD the Black Death, in Tuscany, in the 1300's the Covid-19 crisis of today? Find out by listening to Chapter 1 of this podcast series celebrating the life and music of Paul McCartney. The answer will surprise you. And what is more, in this discovery journey, we explore how it was that Paul knew how to construct the underlying chord progressions for this song and why they move us so. Believe it or not, the answer to this question can be found in the songs, Twist and Shout and She Came in Through the Bathroom Window.To boot, we finish the first podcast in this series with an introduction to another creation story – this time for the song, Eleanor Rigby. In this exploration, we discover the connections of Eleanor Rigby to these songs: “Ferry ‘Cross the Mersey” (remember Gerry and the Pacemakers?), and “Mellow Yellow”, Donovan's best-selling pop hit. Do you remember him? We do!

In our first chapter in this podcast series, we explore the creation story that surrounds the song Golden Slumbers, which is found on the second side of the Abbey Road album. In our discovery process, we find ourselves traveling back in time – of all things! Indeed, we need to go back, some 400 – 650 years, to discover the genesis of the lyrics to this song on the Abbey Road album. You might exclaim; 400 – 650 years!? Really? Well, here’s a heck of a question for you. What is the connection of ALL of the following, to Paul McCartney’s song, Golden Slumbers? A poem written by Thomas Dekker in the year 1599 AD Canterbury Tales , finished by Chaucer in 1400 AD The Decameron, written by Giovanni Boccaccio, who died in 1375 AD the Black Death, in Tuscany, in the 1300’s the Covid-19 crisis of today? Find out by listening to Chapter 1 of this podcast series celebrating the life and music of Paul McCartney. The answer will surprise you. And what is more, in this discovery journey, we explore how it was that Paul knew how to construct the underlying chord progressions for this song and why they move us so. Believe it or not, the answer to this question can be found in the songs, Twist and Shout and She Came in Through the Bathroom Window. To boot, we finish the first podcast in this series with an introduction to another creation story – this time for the song, Eleanor Rigby. In this exploration, we discover the connections of Eleanor Rigby to these songs: “Ferry ‘Cross the Mersey” (remember Gerry and the Pacemakers?), and “Mellow Yellow”, Donovan’s best-selling pop hit. Do you remember him? We do!

Episode 1: Golden SlumbersIn our first chapter in this podcast series, we explore the creation story that surrounds the song Golden Slumbers, which is found on the second side of the Abbey Road album. In our discovery process, we find ourselves traveling back in time – of all things!Indeed, we need to go back, some 400 – 650 years, to discover the genesis of the lyrics to this song on the Abbey Road album.You might exclaim; 400 – 650 years!? Really?Well, here's a heck of a question for you. What is the connection of ALL of the following, to Paul McCartney's song, Golden Slumbers? A poem written by Thomas Dekker in the year 1599 AD Canterbury Tales , finished by Chaucer in 1400 AD The Decameron, written by Giovanni Boccaccio, who died in 1375 AD the Black Death, in Tuscany, in the 1300's the Covid-19 crisis today (as of the publishing of this podcast episode)? Find out by listening to Chapter 1 of this podcast series celebrating the life and music of Paul McCartney. The answer will surprise you. And what is more, in this discovery journey, we explore how it was that Paul knew how to construct the underlying chord progressions for this song and why they move us so. Believe it or not, the answer to this question can be found in the songs, Twist and Shout and She Came in Through the Bathroom Window.To boot, we finish the first podcast in this series with an introduction to another creation story – this time for the song, Eleanor Rigby. In this exploration, we discover the connections of Eleanor Rigby to these songs: “Ferry ‘Cross the Mersey” (remember Gerry and the Pacemakers?), and “Mellow Yellow”, Donovan's best-selling pop hit. Do you remember him? We do!SongsThe End; Lennon and McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott, Matt Twain)Golden Slumbers; Lennon and McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott, Matt Twain)Ferry Cross the Mersey ; Gerry Marsden; performed by Joe Anastasi and Mike Sugar, of Stroll Down Penny LaneTwist and Shout; Bert Russel & Phil Medley, performed by Joe Anastasi and Mike Sugar, ofStroll Down Penny LaneShe Came in through the Bathroom Window; Lennon and McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott, and Matt Twain)Eleanor Rigby; Lennon and McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott, and Matt Twain)Mellow Yellow; Donovan; performed by Joe Anastasi and Mike Sugar, of Stroll Down Penny LaneA Hard Day's Night; Lennon and McCartney, performed by Mike Sugar, of Stroll Down Penny LaneSourcesThe Cradle Song; Thomas Dekker; 1599Patient Grissel; Thomas Dekker, with Henry Chettle and William Haughton; 1603Canterbury Tales; Geoffrey Chaucer; 1400The Decameron, The Human Comedy; Giovanni Boccaccio; 1348–53St. Nicholas's Songs, with illustrations; Waldo Seldon Pratt; The Century Co., New York; The Devinne Press; Golden Slumbers Kiss Your Eyes; W. J. Henderson p, 177; 1885. McCartney , Christopher Sandford; Carroll and Graf Publishers; 2006Paul McCartney, the Life, Philip Norman; Little Brown and Company; 2016Songwriting Secrets of the Beatles, Dominic Pedler; Omnibus Press; 2003This is Your Brain on Music, The Science of a Human Obsession; Daniel J. Levitin; Plume; 2007The World Through a Lens, an Intimate Look at Italy's Saffron Harvest; Susan Wright; The New York Times; May 12, 2020A Hard Day's Night, directed by Richard Lester; written by Alun Owen; 1964Voice ActorsJoe AnastasiMike SugarThis show is part of Pantheon Podcasts

In our first chapter in this podcast series, we explore the creation story that surrounds the song Golden Slumbers, which is found on the second side of the Abbey Road album. In our discovery process, we find ourselves traveling back in time – of all things! Indeed, we need to go back, some 400 – 650 years, to discover the genesis of the lyrics to this song on the Abbey Road album. You might exclaim; 400 – 650 years!? Really? Well, here’s a heck of a question for you. What is the connection of ALL of the following, to Paul McCartney’s song, Golden Slumbers? A poem written by Thomas Dekker in the year 1599 AD Canterbury Tales , finished by Chaucer in 1400 AD The Decameron, written by Giovanni Boccaccio, who died in 1375 AD the Black Death, in Tuscany, in the 1300’s the Covid-19 crisis of today? Find out by listening to Chapter 1 of this podcast series celebrating the life and music of Paul McCartney. The answer will surprise you. And what is more, in this discovery journey, we explore how it was that Paul knew how to construct the underlying chord progressions for this song and why they move us so. Believe it or not, the answer to this question can be found in the songs, Twist and Shout and She Came in Through the Bathroom Window. To boot, we finish the first podcast in this series with an introduction to another creation story – this time for the song, Eleanor Rigby. In this exploration, we discover the connections of Eleanor Rigby to these songs: “Ferry ‘Cross the Mersey” (remember Gerry and the Pacemakers?), and “Mellow Yellow”, Donovan’s best-selling pop hit. Do you remember him? We do! Songs The End; Lennon and McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott, Matt Twain) Golden Slumbers; Lennon and McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott, Matt Twain) Ferry Cross the Mersey ; Gerry Marsden; performed by Joe Anastasi and Mike Sugar, of Stroll Down Penny Lane Twist and Shout; Bert Russel & Phil Medley, performed by Joe Anastasi and Mike Sugar, ofStroll Down Penny Lane She Came in through the Bathroom Window; Lennon and McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott, and Matt Twain) Eleanor Rigby; Lennon and McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott, and Matt Twain) Mellow Yellow; Donovan; performed by Joe Anastasi and Mike Sugar, of Stroll Down Penny Lane A Hard Day’s Night; Lennon and McCartney, performed by Mike Sugar, of Stroll Down Penny Lane Sources The Cradle Song; Thomas Dekker; 1599 Patient Grissel; Thomas Dekker, with Henry Chettle and William Haughton; 1603 Canterbury Tales; Geoffrey Chaucer; 1400 The Decameron, The Human Comedy; Giovanni Boccaccio; 1348–53 St. Nicholas’s Songs, with illustrations; Waldo Seldon Pratt; The Century Co., New York; The Devinne Press;  Golden Slumbers Kiss Your Eyes; W. J. Henderson p, 177; 1885.  McCartney , Christopher Sandford; Carroll and Graf Publishers; 2006 Paul McCartney, the Life, Philip Norman; Little Brown and Company; 2016 Songwriting Secrets of the Beatles, Dominic Pedler; Omnibus Press; 2003 This is Your Brain on Music, The Science of a Human Obsession; Daniel J. Levitin; Plume; 2007 The World Through a Lens, an Intimate Look at Italy’s Saffron Harvest;  Susan Wright; The New York Times; May 12, 2020 A Hard Day’s Night, directed by Richard Lester; written by Alun Owen; 1964 Voice Actors Joe Anastasi Mike Sugar This show is part of Pantheon Podcasts

Inspired by real life events, this two-minute medley component is actually a gem that features some amazing musical performances by the boys.

Watch this video on YouTubeThis episode is first  available on YouTube and later as a podcast.Subscribe; https://www.youtube.com/channel/UCP2uxR5HAOlBRdGg8RtYLOg?sub_confirmation=1

Voici le cent trente-septième opus d'"En Cadence", une émission mensuelle consacrée aux grands thèmes éternels de la musique populaire : l'amour, les voyages, les filles, les wagons ou les bonbons.50 ans après la sortie du dernier album enregistré par les Beatles, nous vous proposons un hommage titre par titre à un disque qui aurait du s'appeler "Everest", du nom des cigarettes de leur ingénieur son… Mais qui a finalement pris le nom de la rue du studio, Abbey Road, parce que c'est vrai que c'était plus facile pour prendre la photo de la pochette.Liste des morceaux :01. Triode - Come Together02. Booker T. & the M.G.'s - Something03. Martha Reeves & the Vandellas - Something04. Gérard Saint Paul - Bang bang Maxwell05. Eva Olmerová - Tvou Lásku06. Los Loud Jets - El Jardín del pulpo07. The Alexander Review - I Want You08. Nina Simone - Here Comes the Sun09. Gary McFarland - Because10. Herbie Mann - You Never Give Me Your Money11. Sarah Vaughan - You Never Give Me Your Money12. Percy Faith - The Sun King13. Frankie Howerd - Mean Mr. Mustard14. Roy Wood - Polythene Pam15. Joe Cocker - She Came In Through the Bathroom Window16. Fred Bongusto - Per niente al mondo17. Carmen McRae - Carry That Weight18. The London Symphony Orchestra - The End19. The Residents - Beyond the Valley of a Day in the Life20. Brian Sewell - Her MajestyÉcouter

"Listen to that Mal"......Doubletracked vocals by Paul.

The post Beat Club: She Came in Through the Bathroom Window appeared first on NiTfm.

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Christian History Series #5: He Came In through the Bathroom Window (Part 6) Most Christians have heard about the twelve ragtag followers Jesus picked out to be his disciples. But many don’t know about those he saved in the subsequent centuries. In this fifth installment of our class, Lenny looks at two key figures who both had a tremendous impact in shaping Christian thought. Athanasius was a staunch defender of the Trinity, even though he faced decades of resistance and persecution. Augustine went from a carnal pagan to a cultist to one of the most influential thinkers in all Christendom—one whose arguments even shut down the New Atheists today. About the Hidden Riches of Christian History SeriesThe Hidden Riches of Christian History lecture series takes you on a journey of exploration from the Resurrection to the Reformation. Along the way, we will hear remarkable stories and discover incredible insights into some of the most significant people and events that helped shape our faith into the world-transforming force it is today. Part 6 of 6

Christian History Series #5: He Came In through the Bathroom Window (Part 5) Most Christians have heard about the twelve ragtag followers Jesus picked out to be his disciples. But many don’t know about those he saved in the subsequent centuries. In this fifth installment of our class, Lenny looks at two key figures who both had a tremendous impact in shaping Christian thought. Athanasius was a staunch defender of the Trinity, even though he faced decades of resistance and persecution. Augustine went from a carnal pagan to a cultist to one of the most influential thinkers in all Christendom—one whose arguments even shut down the New Atheists today. About the Hidden Riches of Christian History SeriesThe Hidden Riches of Christian History lecture series takes you on a journey of exploration from the Resurrection to the Reformation. Along the way, we will hear remarkable stories and discover incredible insights into some of the most significant people and events that helped shape our faith into the world-transforming force it is today. Part 5 of 6

Christian History Series #5: He Came In through the Bathroom Window (Part 4) Most Christians have heard about the twelve ragtag followers Jesus picked out to be his disciples. But many don’t know about those he saved in the subsequent centuries. In this fifth installment of our class, Lenny looks at two key figures who both had a tremendous impact in shaping Christian thought. Athanasius was a staunch defender of the Trinity, even though he faced decades of resistance and persecution. Augustine went from a carnal pagan to a cultist to one of the most influential thinkers in all Christendom—one whose arguments even shut down the New Atheists today. About the Hidden Riches of Christian History SeriesThe Hidden Riches of Christian History lecture series takes you on a journey of exploration from the Resurrection to the Reformation. Along the way, we will hear remarkable stories and discover incredible insights into some of the most significant people and events that helped shape our faith into the world-transforming force it is today. Part 4 of 6

Christian History Series #5: He Came In through the Bathroom Window (Part 3) Most Christians have heard about the twelve ragtag followers Jesus picked out to be his disciples. But many don’t know about those he saved in the subsequent centuries. In this fifth installment of our class, Lenny looks at two key figures who both had a tremendous impact in shaping Christian thought. Athanasius was a staunch defender of the Trinity, even though he faced decades of resistance and persecution. Augustine went from a carnal pagan to a cultist to one of the most influential thinkers in all Christendom—one whose arguments even shut down the New Atheists today. About the Hidden Riches of Christian History SeriesThe Hidden Riches of Christian History lecture series takes you on a journey of exploration from the Resurrection to the Reformation. Along the way, we will hear remarkable stories and discover incredible insights into some of the most significant people and events that helped shape our faith into the world-transforming force it is today. Part 3 of 6

Christian History Series #5: He Came In through the Bathroom Window (Part 2) Most Christians have heard about the twelve ragtag followers Jesus picked out to be his disciples. But many don’t know about those he saved in the subsequent centuries. In this fifth installment of our class, Lenny looks at two key figures who both had a tremendous impact in shaping Christian thought. Athanasius was a staunch defender of the Trinity, even though he faced decades of resistance and persecution. Augustine went from a carnal pagan to a cultist to one of the most influential thinkers in all Christendom—one whose arguments even shut down the New Atheists today. About the Hidden Riches of Christian History SeriesThe Hidden Riches of Christian History lecture series takes you on a journey of exploration from the Resurrection to the Reformation. Along the way, we will hear remarkable stories and discover incredible insights into some of the most significant people and events that helped shape our faith into the world-transforming force it is today. Part 2 of 6

Christian History Series #5: He Came In through the Bathroom Window (Part 1) Most Christians have heard about the twelve ragtag followers Jesus picked out to be his disciples. But many don’t know about those he saved in the subsequent centuries. In this fifth installment of our class, Lenny looks at two key figures who both had a tremendous impact in shaping Christian thought. Athanasius was a staunch defender of the Trinity, even though he faced decades of resistance and persecution. Augustine went from a carnal pagan to a cultist to one of the most influential thinkers in all Christendom—one whose arguments even shut down the New Atheists today. About the Hidden Riches of Christian History Series The Hidden Riches of Christian History lecture series takes you on a journey of exploration from the Resurrection to the Reformation. Along the way, we will hear remarkable stories and discover incredible insights into some of the most significant people and events that helped shape our faith into the world-transforming force it is today. Part 1 of 6

FEATURE: COLD BLOOD - by Cold Blood from February 1970 I’m a Good Woman — This is the first song on the album, and gives a great flavor of both the vocalist and the talented horn section. Watch Your Step — The Hammond organ leads off this jam. The band sounds like it is channeling James Brown on this track, and has a screaming sax solo. I Just Want to Make Love to You — Yep. You know this song. This is the stripped down, bluesy original version of the song that would later be made famous by Nazareth. You Got Me Hummin' — This was the biggest hit for Cold Blood, hitting its high at number 52. This song features solo jams from the organ and the bass. INTERESTING FACT: Cold Blood played one of the last songs at the Filmore West. SOUNDTRACK: Theme from the Movie PATTON. — George C. Scott's Academy award-winning portrayal of General George S. Patton would in some ways define the General. STAFF PICKS: ** Joe Cocker - “Bathroom Window” ** — This is Cocker's remake of the famous Beatles song. The song itself is based off the experience of Beatles' singer Paul McCartney. Apparently, groupies broke into his house through the bathroom window and stole various keepsakes. **Lennon/Ono with the Plastic Ono Band - “Instant Karma!” (We All Shine On) ** — This track went from idea to released song in an incredible 10 days. Lennon's departure from the Beatles was immanent, and he wanted to get a single out as quickly as possible. **Mark Lindsay - “Arizona” ** —This solo outing is from the artist better known as the front man for Paul Revere and the Raiders. The song lyrics chronicle the singer's quest to get his hippie girlfriend, “Arizona” to give up her wanderlust ways and settle down with him. Norman Greenbaum - “Spirit in the Sky” — This track was actually released in late 1969 and was still quite popular as it made it furthest on the charts at #3 in February of 1970. Although it mentions Jesus and Christian themes, Greenbaum was actually Jewish. He was inspired after he heard a gospel song from Porter Wagoner on TV. FUN/NOT FUN FACT: it is frequently played at funerals. LAUGH TRACK: Yoko Ono - “Who Has Seen the Wind?” — Folks, I don't know what we can say about this B-side from Instant Karma, other than you can appreciate how frustrating it must have been for Paul McCartney and the other Beatles as the group headed towards their breakup.

James and Morris Carey share their experiences as award-winning, licensed contractors through their popular weekly radio program, On the House. With wit, enthusiasm and clarity, the Carey Brothers offer money-saving tips on building, remodeling, and repairing homes.

episode seventy-four-b / i mean, if all *this* doesn't, at some level, amount to a delirious obsession with details in art direction, what, exactly does it amount to? / i wish i could claim i'd realised today was Leon Kowlaski's incept date but i didn't it'll it started to crop up on my Twitter feed / & luckily i recorded a fuck ton* of rain that day /   *by which i mean to say about fifteen minutes

Is John cantankerous? That's one of several theories put forth by Pastor Eric Brown and Thomas Lemke as they discuss Jesus' appearances before the disciples, Thomas the apostle's skeptical challenge, and the "ending" to John's gospel (...or is it?).[ download ] Copyright Higher Things®, Higher Things - Dare to be Lutheran. Support the work of Higher Things.

Who better to discuss this episode of Beverly Hills 90210 than its director ... oh, and the series star Jason Priestley! His new film Zoom is in theaters now, and of course we've loved him since first seeing him onscreen as Brandon Walsh in 1990. Jason is also currently starring in the series Private Eyes and Raising Expectations, with Molly Ringwald. You can still donate to our fundraising campaign for the Geena Davis Institute on Gender in Media, and Jewish Family Service of Los Angeles, for exciting rewards at gofundme.com/donnamartingrad

We have a really exciting guest coming up to discuss Beverly Hills, 90210 season 3, episode 26, "She Came in Through the Bathroom Window," but because of scheduling issues we won't be able to release the next podcast episode until later this week. Please enjoy this thematically inspired musical interlude, and thank you for your patience!

Andrew Schulz and Charlamagne Tha God discuss the week's events including Charlamagne on Colbert, North Carolina's H2 Bill, why people can't agree to disagree and more!!!

As Donna single-handedly apprehends a Magic Mountain mugger, Brandon, Steve, and Dylan get embroiled in the misadventures of the unluckiest charter tour company assistant that ever there was! JOIN THE AWT CLUB

As Donna single-handedly apprehends a Magic Mountain mugger, Brandon, Steve, and Dylan get embroiled in the misadventures of the unluckiest charter tour company assistant that ever there was! See acast.com/privacy for privacy and opt-out information.

We quit the police department and got ourselves a steady job talking about "She Came in Through the Bathroom Window!" See acast.com/privacy for privacy and opt-out information.

Psych, afrobeat, & glam! Live mix from DJ Darcey at the last Back Stock night @ Molasses Books. http://houseofscrewball.com/About The Poppy Family - "There's No Blood In Bone The Kinks - "Wicked Annabella" Third Eye - "Brother" Love - "My Little Red Book" Tea Company - "You Keep Me Hangin On" The Strangers - "Two To Make A Pair" Spiritual Singers - "African People" Ike and Tina Turner - "She came in through the Bathroom Window" Fela Kuti and the Africa 70 - "Upside Down" El Rego Et Ses Commandos - "Se Na Min" LLionga, Rikki - "Sunshine Love" Os Brazões - "Canastra Real" Yuya Uchida & The Flowers - "White Room" The Velvet Underground - "Here She Comes Now" The Small Faces - "My Mind's Eye" Love - "Bummer In The Summer" The Mamas & the Papas - "Somebody Groovy" Shocking Blue - "Little Cooling Planet" The Zombies - "I Love You" Os Mutantes - "Bat Macumba" The Move - "Flowers In The Rain" David Bowie - "Lady Stardust" T.Rex - "Life's A Gas" Selda Bagcan - "Gitme" Ramesh - "Sharm Booseh"

00:00 I Am the Walrus (2.2.02 - Park West, Chicago, Illinois) 05:08 The Emperor^ (2.13.02 - Axis, Bloomington, Indiana) 17:11 Coming In From the Cold (2.2.02 - Park West, Chicago, Illinois) 23:00 Der Bluten Kat > 38:03 She Came In Through the Bathroom Window > 41:51 Der Bluten Kat (2.1.02 - Canopy Club, Urbana, Illinois) 46:16 Acoustic duet* (2.2.02 - Park West, Chicago, Illinois) 53:58 Make Me (2.27.02 - Stella Blue, Asheville, North Carolina) 56:41 Walk the Proud Land (2.6.02 - Copper Dragon, Carbondale, Illinois) 60:23 The Fussy Dutchman > 67:23 Tomorrow Never Knows (2.27.02 - Stella Blue, Asheville, North Carolina) Total Broadcast Length 70:58 Notes: ^ with Michael "Mad Dog" Mavridoglou; without Jake (flu) * Brendan and Jake on acoustics; with Is There Anybody Out There? (Pink Floyd) and Ten Years Gone (Led Zeppelin) jams; with Norwegian Wood teases

On the heels of an acclaimed tour of east and south, Furthur has just announced dates for their summer tour. It seemed to me to be only fitting to feature the band this week for those of you who may not have been fortunate enough to catch them so far this year, as well as those of you lucky enough to have seen them. This week I'm going to feature music from two of their recent shows, first from a show in Pittsburgh, then from Phil Lesh's birthday show in New York City. I encourage you to visit http://www.furthur.net"> where you can read about their tour plans, and purchase recordings of all their recent shows.   Furthur2011-03-30Peterson Events CenterPittsburgh, PAFrom Set 1:Feel Like A Stranger(12:04)Till The Morning Comes(5:58)Loose Lucy(7:52)Pride of Cucamonga(6:30)Colors Of The Rain(9:03) FurthurBest Buy TheaterNew York City, NY2011-03-15 You Never Give Me Your Money (1) > Sun King (1) > Mean Mr. Mustard (1) > Polythene Pam (1) > She Came in Through the Bathroom Window (1) > Golden Slumbers (1) > Carry That Weight (1) > The End (1) Built to Last1) Beatles cover, first time played (completes the sequential performance of the Abbey Road album that started on the first night of this tour in Boston; this was Phil Lesh's 71st birthday)  You can listen to this week's Deadpod http://traffic.libsyn.com/deadshow/deadpod0401511.mp3">here:http://traffic.libsyn.com/deadshow/deadpod041511.mp3">http://traffic.libsyn.com/deadshow/deadpod041511.mp3 Thanks for listening and for your SUPPORT!

Learn whether you should repair or replace a rusted bathroom window.  Find out why a tiled-in window in a bathroom might be worth treating to get rid of the rust instead of removing the window. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Learn whether you should repair or replace a rusted bathroom window.  Find out why a tiled-in window in a bathroom might be worth treating to get rid of the rust instead of removing the window. Learn more about your ad choices. Visit podcastchoices.com/adchoices

What is the dog eating, Bathroom Window, Money, Tyra Banks, Kristen Stewart, Smells, Ahhh, Awesome Epic, Swass, Ball Talk, Blazers, Channing, Kobe, Sailing, Blasphemy, NFL Gesture, Argument, BRIAN FROM THE PUNK GROUP, Roy Asburn, Shit Show News, Shaving Vaginas, THE PUNK GROUP WORLD PREMIERE  

Podcast reading of 'She Came in Through the Bathroom Window' The post She Came In Through The Bathroom Window appeared first on Adam Maxwell's Fiction Lounge.

Nice combination of Mimi (no relation) and Paul's retelling of a traumatic experience. His underwear was stolen ! Those were the days, imagine now being able to just jump over the fence and climb into any rockstar's house........