Podcasts about The Beachcombers

*This was a special edition of Geopolitics & Empire made possible by The People's Reset, consider donating to The People's Reset as a thank you: https://thegreaterreset.org/donate Author John C.A. Manley discusses his fantastic dystopian and science fiction novels Much Ado About Corona: A Dystopian Love Story and All the Humans are Sleeping (The Metaverse Trilogy). Watch on BitChute / Brighteon / Rokfin / Rumble / Substack Geopolitics & Empire · John C.A. Manley: Dystopian Love Stories & Science Fiction in the Age of Corona #515 *Support Geopolitics & Empire! Become a Member https://geopoliticsandempire.substack.com Donate https://geopoliticsandempire.com/donations Consult https://geopoliticsandempire.com/consultation **Visit Our Affiliates & Sponsors! Above Phone https://abovephone.com/?above=geopolitics easyDNS (use code GEOPOLITICS for 15% off!) https://easydns.com Escape The Technocracy course (15% discount using link) https://escapethetechnocracy.com/geopolitics PassVult https://passvult.com Sociatates Civis (CitizenHR, CitizenIT, CitizenPL) https://societates-civis.com Wise Wolf Gold https://www.wolfpack.gold/?ref=geopolitics Websites Blazing Pine Cone Publishing https://blazingpinecone.com Jordan Henderson Fine Art https://www.jordanhendersonfineart.com About John C.A. Manley “Sometimes fiction is the best way to get the truth across. Shakespeare and Charles Dickens knew that and so does John C. A. Manley," says Patrick Corbett, retired Hollywood director and former producer for W-5, Beachcombers and Dateline. Manley writes philosophical fiction with a unique blend of gravitas and humour. Readers describe his novels as "so completely engaging that you find yourself alternately laughing, gasping, hanging on for dear life" and a "definite page-turner." He is the author "Much Ado About Corona" (a controversial novel about the contagion of non-compliance) and "All the Humans Are Sleeping" (a dystopian tale about a farmer, a robot and the end of the world). He lives in Stratford, Ontario, Canada with his son Jonah. His wife Nicole passed away in 2022. He is currently working on "Brave New Normal." *Podcast intro music is from the song "The Queens Jig" by "Musicke & Mirth" from their album "Music for Two Lyra Viols": http://musicke-mirth.de/en/recordings.html (available on iTunes or Amazon)

*This was a special edition of Geopolitics & Empire made possible by The People's Reset, consider donating to The People's Reset as a thank you: https://thegreaterreset.org/donate Author John C.A. Manley discusses his fantastic dystopian and science fiction novels Much Ado About Corona: A Dystopian Love Story and All the Humans are Sleeping (The Metaverse Trilogy). Watch on BitChute / Brighteon / Rokfin / Rumble / Substack Geopolitics & Empire · John C.A. Manley: Dystopian Love Stories & Science Fiction in the Age of Corona #515 *Support Geopolitics & Empire! Become a Member https://geopoliticsandempire.substack.com Donate https://geopoliticsandempire.com/donations Consult https://geopoliticsandempire.com/consultation **Visit Our Affiliates & Sponsors! Above Phone https://abovephone.com/?above=geopolitics easyDNS (use code GEOPOLITICS for 15% off!) https://easydns.com Escape The Technocracy course (15% discount using link) https://escapethetechnocracy.com/geopolitics PassVult https://passvult.com Sociatates Civis (CitizenHR, CitizenIT, CitizenPL) https://societates-civis.com Wise Wolf Gold https://www.wolfpack.gold/?ref=geopolitics Websites Blazing Pine Cone Publishing https://blazingpinecone.com Jordan Henderson Fine Art https://www.jordanhendersonfineart.com About John C.A. Manley “Sometimes fiction is the best way to get the truth across. Shakespeare and Charles Dickens knew that and so does John C. A. Manley," says Patrick Corbett, retired Hollywood director and former producer for W-5, Beachcombers and Dateline. Manley writes philosophical fiction with a unique blend of gravitas and humour. Readers describe his novels as "so completely engaging that you find yourself alternately laughing, gasping, hanging on for dear life" and a "definite page-turner." He is the author "Much Ado About Corona" (a controversial novel about the contagion of non-compliance) and "All the Humans Are Sleeping" (a dystopian tale about a farmer, a robot and the end of the world). He lives in Stratford, Ontario, Canada with his son Jonah. His wife Nicole passed away in 2022. He is currently working on "Brave New Normal." *Podcast intro music is from the song "The Queens Jig" by "Musicke & Mirth" from their album "Music for Two Lyra Viols": http://musicke-mirth.de/en/recordings.html (available on iTunes or Amazon)

43:52 – Neal invadvertently creates a bespoke music radio jingle while trying to prove a point, takes a refreshingly positive look at the Dark Ages, proposes an innovative new scam vulnerability discount, tells his future self some home truths and discusses understanding The Beachcombers, belch symmetry, how radio forgot what hello means, Arthur Guinness' Oprah […]

The first scene of the new Fox and Global series Murder in a Small Town is set at that most sacred of Canadian television landmarks: the diner from The Beachcombers, Mollys Reach. Seated inside, shooting a first date scene, are two actors representing several generations of Canadian acting royalty: Kristin Kreuk, the Vancouver lass who went from Edgemont to Smallville to Beauty and the Beast to Burden of Truth to starring in this fifth network series, Opposite her is Rossif Sutherland. The late, great Donald was his dad; Kiefer his half brother. No pressure.Series creator and writer Ian Weir (also Canadian) screwed up and made Rossif a Chief of Police, not a Mountie. Kristin plays a librarian/muse, not Anne of Green Gables. Otherwise, almost everything else about this series is so Canadian it apologises. Sorry.Even one of our greatest homegrown actors, R.H. Thomson, plays a dead body in the pilot. That is so Canadian.Kreuk, one of the most popular guests ever at brioux.tv: the podcast, talks about all of this and more. Get comfy on a chesterfield, open a bag of ketchup chips, and join us.

Neal invadvertently creates a bespoke music radio jingle while trying to prove a point, takes a refreshingly positive look at the Dark Ages, proposes an innovative new scam vulnerability  discount, tells his future self some home truths and discusses understanding The Beachcombers, belch symmetry, how radio forgot what hello means, Arthur Guinness' Oprah Winfrey moment, when the vet was your family mechanic, Henry Ford versus Dr Kellogg's brother versus Dr Kellogg, planning your family's horse and cart needs, how law enforcement interacts with your cat, the wheel rotation scam, appreciating Shakespeare plays as much as dog stories, people who drink Cidona, Breaking Bad for children, 3-2-1 Contact,  The Bloodhound Gang, when a bathroom door takes you out of the fantasy, The Famous Five, the listener who can't forget, what Lucozade is for, swinging from a crane, bloodwork as an occupation. this podcast's quality control regime, a one pant primer and more. Lost Episodes Appeal: IntoYourHead.ie/Lost  Message the Show:  IntoYourHead.ie/Contact IYH Shorts: IntoYourHead.ie/Shorts License: Creative Commons Attribution-NonCommercial-NoDerivs 4.0 International – Attribution: Neal O'Carroll via IntoYourHead.ie – Far future humans in flying space cars can search the Wayback Machine for Archive.IntoYourHead.ie to view archives companion site. Please also invent a way to let me know if it works.

Neal inadervently creates a bespoke music radio jingle while trying to prove a point, takes a refreshingly positive look at the Dark Ages, proposes an innovative new scam vulnerability  discount, tells his future self some home truths and discusses understanding The Beachcombers, belch symmetry, how radio forgot what hello means, Arthur Guinness' Oprah Winfrey moment, when the vet was your family mechanic, Henry Ford versus Dr Kellogg's brother versus Dr Kellogg, planning your family's horse and cart needs, how law enforcement interacts with your cat, the wheel rotation scam, appreciating Shakespeare plays as much as dog stories, people who drink Cidona, Breaking Bad for children, 3-2-1 Contact,  The Bloodhound Gang, when a bathroom door takes you out of the fantasy, The Famous Five, the listener who can't forget, what Lucozade is for, swinging from a crane, bloodwork as an occupation. this podcast's quality control regime, a one pant primer and more. Lost Episodes Appeal: IntoYourHead.ie/Lost  Message the Show:  IntoYourHead.ie/Contact IYH Shorts: IntoYourHead.ie/Shorts License: Creative Commons Attribution-NonCommercial-NoDerivs 4.0 International – Attribution: Neal O'Carroll via IntoYourHead.ie

Why Canada's housing market hit the brakes in July (1:53) Guest: Karen Yolevski, COO, Royal LePage Randy Bachman on 50 years since Not Fragile and returning to the PNE (15:16) Guest: Randy Bachman, musician, lead vocals and lead guitarist of Bachman-Turner Overdrive Disney argues wrongful death suit should be tossed because plaintiff signed up for a Disney+ trial (31:58) Guest: David Horton, a law professor at University of California, Davis 'Disgusted' immigration minister looking into revoking citizenship of Toronto terror suspect (47:42) Guest: Andrew Griffith, former director at Immigration and Citizenship Canada How a Beachcombers superfan restored one of the show's relics (1:03:46) Guest: Deano Fatovic, Sunshine Coast resident and self-described Beachcombers “superfan” A revealing peek inside the world of neurosurgery (1:21:05) Guest: Theodore Schwartz, Professor of Neurological Surgery, Weill Cornell Medicine, author of Gray Matters: A Biography of Brain Surgery

Will the B.C government be able to help solve challenges in our food sector? GUEST: Dr. Lenore Newman, Director of the Food and Agriculture Institute at the University of the Fraser Valley How would B.C United's provincial income tax cuts work, if elected? GUEST: Keith Baldrey, Global B.C Legislative Bureau Chief Millennial angst - what's driving young people to vote Conservative? GUEST: Geri Mayer-Judson, Show Contributor, Steven Chang and Talia Miller, Producers West Van District folds to B.C government and allows multi-unit housing in single family lots GUEST: Mark Sager, District of West Vancouver Mayor A Gibsons resident's plans to restore iconic boat from The Beachcombers TV series GUEST: Deano Fatovic, Gibsons resident and lifelong fan of The Beachcombers Learn more about your ad choices. Visit megaphone.fm/adchoices

GUEST: Deano Fatovic, Gibsons resident and lifelong fan of The Beachcombers Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on the pod, the gang settles in to the project and describes their experience with Gord's 3rd solo release, The Grand Bounce.Transcript:Track 1:[0:01] Hey, it's Justin. You know and love us on the Discovering Downey podcast, right? So come hang out with us in person for the finale. Join us for Long Slice Brewing Presents, a celebration of Gord Downey at The Rec Room in downtown Toronto on Friday, July 19th. Craig is coming from Vancouver. Kirk is coming from LA. I'm driving from Vermont. And JD is like walking down the street or wherever he lives in Toronto. Tickets are available now on our website at discovererndowney.com. And when you get your tickets, that means you can come hang out with us and our very special guest, Patrick Downey. And you can bid on some incredibly cool silent auction items, all while jamming along with tragically hip cover band The Almost Hip. And most importantly, helping us raise money for the Gord Downey Fund for Brain Cancer Research. Crack open a long slice, put on some Gord tunes, take a journey with us on Discovering Downey, and then crack open another long slice on July 19th and hang out with us in the 6th. I always wanted to sound cool and say that. For more information, follow us on all the socials and visit DiscoveringDowny.com. Cheers.Track 2:[1:23] Thanksgiving. Victims and their victim-ears sit down to Turkey hungry for punishment full of mercury fullimate, serene after the screaming. Grace makes the mouth make shapes it's never made before. We give thanks for the poetry we read and write all day. For freeing us to drink with impunity a toast to no punishment replaces Amen. The prayer is swallowed away for the silence and the quiet carving serene after the was screaming, a little violent, but turkey nevertheless.Track 1:[2:08] Welcome, music lovers. Long Slice Brewery presents Discovering Downey.Track 2:[2:16] Hey, it's J.D. here and welcome back to Discovering Downey. This is an 11-part opus with a focus on Mr. Gord Downey, the late frontman of the Tragically Hip, but somebody who also gave to the world an extensive solo discography. Eight records in total. But have you heard them? That was what I sought out when I enlisted my friends Craig, Justin, and Kirk to discover Downey. These three are giant Tragically Hip fans, but they had little to no exposure with Gord's solo oeuvre. So every week, we get together and listen to one of the records in chronological order and see what we think. Did we miss out? Or did we make the right choice? We're going to find out on Discovering Downey. This week, we're going to dive into Gord's third solo release. This, with The Country of Miracles, it is the grand bounce. Now let's go to the team.Track 1:[3:27] Justin St. Louis, how are you doing this week? Week i'm worn out man and uh i'm ready for this thing to to take over my life tonight and just be back in the normal and enjoy the music and enjoy talking about it with you guys love it yeah kirk where are you headed off to next yeah actually heading off to the big apple nyc i'm uh going to be chaperoning my uh my youngest and they're going to be performing at carnegie so very proud pops Pops. And, uh, we just got back from a really cool trip in Memphis and Nashville and they did really, you know, they did fantastic there. So I've been surrounded by music and, um, that's inspired me, but I'm gonna, you know, concur with Justin and say, I'm definitely looking forward to a discussion about this album. I mean, uh, it's been a pretty cool journey so far, but this, I think this is gonna, this album is going to spark a pretty good conversation in my opinion. So, but doing well and looking forward to traveling again. It'll be interesting for sure. Craig, how are things on the left coast, motherfucker?Track 1:[4:36] Not too bad. Just got back from a family trip to Disneyland that was six years in the making. We tried it, you know, in 2020 and it didn't work out. And so we finally made it down with the kids and spent a few days in LA at the end of the trip and was lucky enough to have Kirk from Chino drive all the way out to LAX and we hooked up for.Track 1:[4:59] Little conversation and yeah, it was cool. It was a good time. Yeah. So first time meeting in person, which was a great night. It was really cool. Yep. No, it worked out actually great. I just got back from that trip with a choir that I'd mentioned and then, uh, hadn't seen my mom in a bit and she was actually staying, um, uh, doing some pet sitting at a house in garden Grove that had some good memories. So it kind of was a half, half the distance to LAX. So it worked out perfect to go and meet you and and i appreciated uh appreciated you giving up some time from your family for a little bit to have a good conversation so and i know it'll carry over tonight well this week on discovering downey we're here to discuss and dissect the june 2010 released from gord and his band the country of miracles consisting of the usual suspects canadian musicians oh.Track 2:[5:48] Man i'm gonna butcher this julie duaron right is that right yeah so she's on vocals guitar and bass then there is gourd's frequent collaborator josh finlayson.Track 1:[6:02] Dale morningstar on lead guitar dave clark on drums and dr p on keyboards chris walla a former member of death cab for cutie turned the knobs on this release but where do you start with the grand bounce it's been seven years and three albums since Gord's last outing, and The Country of Miracles sounds as though they've been chomping at the bit to jam with Gord yet again. This album, to me, is a band album as much as it is a Gord solo affair. As a result, it sounds more cohesive than the previous two releases. While it rarely reaches the heights of Battle of the Nudes, it is a remarkably consistent effort. It's worth noting that the songs on The Grand Bounce seem more structured and maybe even more thought out as three to four minute rock songs that are reminiscent of Gord's day job, The Tragically Hip. There's an energy on this record that's palpable. Perhaps it's the shorthand of working with the same band for three consecutive records?Track 2:[6:58] I'm not sure, but it's there. Now, once we get into the songs on this 50 minute, 13 song opus.Track 1:[7:06] It's tough not to get caught up in the sonic presence that Walla brings to the table. There's a depth to the maturity, And I'll use the term again, a cohesiveness that wasn't as pronounced on the prior two efforts. While the grand bounce is a perfectly fine listen, it's only after letting it grow on you. For me, it sat growing on me since I did the fully and completely podcast. And that to me is when it shows its real prowess, creating earworms and hooks that reel you in and invite you over for dinner just to hang out with the music.Track 1:[7:40] But what do our friends Craig, Justin, and Kirk have to say about the Grand Bounce? Let's not waste any more time and get right to them. Kirk from Chino, talk to me about your first experience with the Grand Bounce. Yeah, well, after we had finished up talking about Battle of the Nudes, I had had some travel for work, and then I was getting some other stuff ready for a very busy week. So I didn't get to jump on to a listen right away. I mean, it was a number of days. But I was doing a walk at night and, you know, cool walk with the dog and had it in my AirPods. And just right away, I was really taken by it. I really felt the maturity of it, you know, very reminiscent of what you had mentioned, JD, in your lead up to, you know, the discussion about the album is it just had a maturity to it. The band, it felt like a band album, exactly what you said. and I, as much as I loved the first two albums, I just felt a comfort. Like the whole time I've listened to this album, which is, I don't know, maybe 15, 20 times at this point, it just, it's a warm blanket to me. It's like, it now is okay.Track 1:[8:57] It's okay, I can like Gord Downie as a solo artist. You know, I just had a great experience with it. I really, really loved it. I could spend a lot of time talking, but I want to hear what the other guys have to say about it. Well, Craig, what do you think? Yeah, this was really a grower for me. I wasn't sure when I first put this on. I didn't think I would like it as much as I do. And overall, I really love this album. I have maybe a couple of critiques, which we'll get to later. Later but my my journey with this album actually goes back to 2015 when you may remember jd that we had a bunch of target stores open in canada in whenever 2010 maybe and they only lasted about four or five years and they went went under and when they were closing down they had cds on sale for five dollars you can get any it could get any cd and i happened upon the grand balance and And actually the next album we'll be doing next week and pick those both up for five bucks. And they sat on open for many years and I just opened them for this podcast. So I I'm lucky enough to have an actual podcast.Track 1:[10:05] Physical copy and the liner notes that came in them so i may be able to offer a few little nuggets um one i would just want to mention off the top chris walla is actually mentioned as a member when it says the country of miracles are and it lists all the members plus him so i believe he was playing guitar on wow much of the album wow very cool some of those videos he was playing so that i'm not surprised by that and i love that thank you for sharing because this is actually the only album that I couldn't get. I tried to get vinyl of everything, but I don't have a CD. So everything has been streaming or online.Track 1:[10:41] And I watched several videos with interviews and he talked specifically about the inlet, the vocal or the lyrics. And you just showed a picture of it, Craig, and it's not the standard sizing that you normally get. So I appreciate you sharing that. That was pretty cool. And I think also what I learned with this album is again, just to trust Trust, you know, Gord, you know, you may not like it right away, but give this album a good listen if you haven't before. It took longer to grow on me than the other two, but highly recommended. Yeah i think a good strategy with this record is to listen the fuck out of it for like two or three days and then put it on the shelf for a week and then pick it up and there's something like kirk was saying that's comforting about it you come back to it and you're like whoa this is really fucking way more hooky than i imagined when i first listened to it but let's uh talk to our friend mr st louis what do you say on the matter of discovering downey v the grand bounce So I also had the word warmth written down, and I did take your strategy, JD, of I listened to it probably 10 times. I started immediately after recording our last episode, which is how I had done the previous. I was like, okay, this is not Battle of the Nudes.Track 1:[12:04] And I immediately heard what I thought was Bob rock sound. But then I realized this isn't Bob rock sound and neither were those other two albums. This is the era that Gord was in with the hip and all of the Bob rock haters probably owe him an apology because this is the type of stuff that Gord was writing at that time. And so it did feel familiar and it did feel comforting and it did feel warm and I liked it. I also, you know, during this time, um, when the album came out i was listening to kings of leon and mumford and sons and stuff like that and there's a lot of that in this in this sound and i you know i was a uh death cab for cutie fan at the time and you know postal service and all that stuff i mean so it was very contemporary for for when it came out and it felt like it belonged in that 2010 range but.Track 1:[12:58] For me, it was a big letdown after Battle of the Nudes, because that album was so damn good. And because we didn't have seven years between recording these episodes for our musical tastes to change, it was like, whoa, this is a massive shift from what we had just digested into this new album. I don't hate it, but I don't think I love it.Track 1:[13:20] Wow. Yeah. I don't see it as such a massive shift. It's going to be interesting as we get into the track by track. Should we do that now, gentlemen? Let's go for it. Let's do it. Okay, the first track on the record is a great one for me in the sense that winter has ended. But when I think about winter, I think about that. I think about Gord standing on the edge of Riverdale Park and having somebody discuss this east wind with him, this strong east wind that blows in and is very cold. And we're going to hear from Craig first on this one. So, Craig, what do you think of the east wind? This is the one song off the album I was familiar with. I had seen maybe a video, I'd heard it quite a few times, and I love it. I think it's a great opener. I want to point something out really quickly that you guys wouldn't necessarily know without the liner notes, but there are Roman numerals, one through four, throughout the album. And at first I thought maybe it was to do with the record I thought maybe the four-sided record which it is, I looked it up but the.Track 1:[14:29] There's three songs per side on the records, and it doesn't quite jive with the numbers in the booklet. So what I think is, I've come up with a little story around, this isn't a concept album by any means, but it's definitely got a story to it. And so I've actually listed what I think the story is about, and I think section one is about a move. And so you've probably done the research too and and gourd at the time was moving up to glenora on the um on the great one of the great lakes so this this first section i think all the songs kind of relate to moving uh the east wind maybe not as much but also interestingly enough the east wind is the only song that doesn't have lyrics printed out in the booklet and i'm not really sure why that would be what yeah so there's a quote at the top it does say the the quote about the east wind is the laziest wind, but right under that is track two. And if you saw some of the video research or YouTube, he talked about it was a neighbor who was a farmer who was describing the east wind, the laziest wind.Track 1:[15:40] So I found that very interesting, Craig, when you proposed the theory of the story. Because I could think to several of the different interviews and different discussions about different songs and how he's definitely pinpointing some real life things that are happening. Like you mentioned the move and, and, uh, obviously some discussions about relationships and, and then he's got his kids involved in some of these songs too. So you may be onto something, my friend. Another theory theory I have is that maybe this song is meant to be like a little bit of an introduction sort of before the story starts. And maybe that's why it didn't have the lyrics in here or maybe it's a misprint who knows, but the song itself musically is, is great. Uh, very much a band jamming again, like we're used to from the previous two albums, but just more layering, more production.Track 1:[16:30] I really love how the guitars are layered. From my count, there's five guitar players on this track, including one who I couldn't find any mention of anywhere on the internet. Someone named Edgar Lewis played guitar, and I believe he plays the guitar at the end, the little guitar melody, the sort of New Order style melody at the end. I couldn't find anything about who he might be. The name Edgar, of course, made me think of Gord's middle name. So not sure if there's a connection there. But yeah, I could not track this person down online. Anybody out there knows who Edgar, what his name is? I apologize. What's his name again? Edgar Lewis or Louie.Track 1:[17:10] Edgar Louie. If you know who Edgar Louie is, shoot us an email at discoveringdowneyatgmail.com. I wonder if he's an acquaintance of Chris Swala. Possibly. Although they did record in Kingston, so it would have been quite the trip for one little guitar melody. But yeah, maybe he was someone working in the studio. Maybe he's a friend of the band or who knows. But yeah, the Chris Walla production is very noticeable on this song. The way things are, you know, I think Gord even mentions in an interview, he just keeps layering things every few bars and very evident. The drums are a good example of this in the song. They come in kind of lightly, but they're still pretty intense. And then the toms come in, and you've got that really almost tribal beat for the first few bars once the whole band kicks in. And then you get just sort of a regular beat. But it's always driving forward. There's always momentum with the drums. It's always picking up momentum right through the end of the song and really strong playing all together. Such a solid song. I think the second part of that build, when I first heard it, was like, oh, this is sort of like maybe some of the tone that was on Battle of the Newts, where it was kind of subdued and subdued.Track 1:[18:31] Just there. And then there's this massive sound, which really works. I do love the song a lot. And I believe you that there's five guitars in it. Um, cause if you have earbuds in and turn it up, you, you feel it. Yeah. And while the chords are quite simple, when you really listen, there's actually a lot going on, even with Gord's guitar. And I feel like on this album, he has matured as a player. You can tell, you know, he's got another seven years of experience and we never did really talk about on the previous episodes his guitar playing but when he first started playing guitar in the hip it was a bizarre thing to watch his strumming patterns it was so awkward to watch him as a guitar player and i'm not even sure he was really too much in the mix back in the early days but he has grown so much as a guitar player he's playing a lot in open tunings i believe i've read that open c was his favorite so i think a lot of the songs on this album or an open C. I noticed in the videos he was playing a Tele for much of this session rather than acoustic.Track 1:[19:33] And yeah, there is a lot of subtleties to the guitar playing, even though it's basically two chords through the whole song. I was going to mention, Craig, and we've all obviously did our research and saw the YouTube, but the bathhouse sessions when they were recording. And, and I'm honestly, it's like, it's a question to this group. They, they were all isolated, but they were all playing live. And you had mentioned how much he was playing guitar. And in the, that little six part series, I loved how Gord was so committed to playing guitar, as you had mentioned. Like there was typically when you're recording an album like you want to do the the vocal and the guitar separately and he was nope i'm going to do it together because the guitar strumming was creating some of the cadence of the vocals and and i loved how or i felt like that was demonstrated there so i think that's a great point that you brought up craig that he was really focused on that playing yeah that makes this album easier to sing to we had mentioned whether i don't remember if it was on air or off air, but we had all had trouble singing along with the first two albums. And this one is much more poppy and rhythm driven. And I think you're absolutely right, Kirk, that him playing the guitar as he sings and it's in every take really kind of made that happen. I also did notice if you, it's really low in the mix, but when this track first starts, somebody says, no more takes.Track 1:[21:01] Like, we have to do it this time, you know? I really, I picked up on that and I enjoyed it, especially after watching that six part series. I'm gonna jump on your story theme, Craig, and Moon Over Glenora.Track 1:[21:14] The next song on the album.Track 1:[24:18] I absolutely love this song right and he talks about the ferry ride and that really goes along when you think of the east wind and being off the lake and then now talking about the ferry, uh justin what'd you think about this song oh man this song solidified my crush on julie this is, such a great track and the duet through every word and then the live performances of this song that i I was able to find on the, on the hips now for plan a record, there's one lyric that's, we don't want to do it. We want to be it talking about the music and they are absolutely the music while they're playing the song. And it's just a lot of fun. And it's like a, it's like going to a club show, which it probably was. I really did love the song. And for me, the ferry ride across Lake Champlain is just a part of life here when you're going over to New York and it just, just talking about the spotlight, finding the ice in the water. I've been on that ferry and the song is really, I think, about two people falling in love, not knowing that they're falling in love. And they're kind of bickering and arguing about it. And they get outside in the ferry and it's cold and it's terrible and you got to stay warm, so let's complain about something.Track 1:[25:29] And they talk about the wolf and they've killed the wolf by the end of the ferry ride. You know um it's the the imagery is really cool and the dead lake right isn't that the last the ocean is dead the ocean is dead yeah yeah it's a great little song i really do love it but i think the star is julie and this really she's fantastic yeah i uh story-wise i actually had almost the opposite thought to me it was maybe um a couple falling out of love and maybe this is the the cracks are starting to show. Like maybe it's not totally fractured yet. And again, I'm not saying that this is about Gord or, you know, I don't know too much about his personal life, but I do know parts of this are inspired obviously by true events, you know, the move to Glenora. Did anyone watch the interview with Gord with Kim Mitchell? If you guys even know who that is? Yeah, I did. Do you know who he is?Track 1:[26:26] Well i had to look it up i didn't know who he was immediately and i got confused because it was that little two-part interview and he had mentioned something about being and i think like saint paul minnesota and it threw me off because it said toronto but then in the second part they they confirmed they were talking in toronto um the one thing sorry and i hopefully i don't derail your thought but the one thing that i loved on that particular interview is the reverence that gordon had for that particular guy so i definitely had to look him up you know to see the songs that he was involved with and and he was uh you know as he mentioned in that he's a hero so sorry go ahead i just wanted to bring him up because he's a you know a classic canadian artist i'm wearing my my cancon shirt here and uh he was definitely a a big part of you know the music scene here in in the 80s and 90s i guess i brought it up because um this was a song that he mentioned really loving that you know kim really loved it also i found it really interesting I'd never heard this before, but Gord references a song that the two of them wrote together.Track 1:[27:29] And by the sounds of it, it's a song that was never released. So it sounds like Kim Mitchell had a song he wrote and then Gord wrote the words too. And so there may be an unreleased song out there, or maybe if a listener's heard this or has any idea how to track this down, I'd love to hear it. So that was my only thing I wanted to add. Oh, and also Dale does some really really cool guitar, little shots on, on this sort of beat two and four. And then he does these little muted scrub scrubs. I'm not even sure how to.Track 1:[27:58] How to put in words what that sound is i'm you know what i mean kind of like a pick almost like a pick slide into the the bends i mean i don't know it it's almost it's a it's a technique it's not it's a rhythmic pattern that he's doing yeah and with with some notes in there but they're sort of muted but anyways i thought that added some nice accent but i agree with with you justin that julie really steals the show on this one it's such a good song on many of the songs on this album that combination of voice, to me, that was what I had mentioned earlier about how much I enjoyed this album, is when you feel that the band is now a band and you feel that connection. But we are so used to hearing Gord as part of the hip and that amazing combination of vocals that he has, you know, with Paul and then obviously with the guitar phrasing and how the hip is the hip and you can hear that. And I think with the vocals that he has with her on many of these albums, but especially on this particular album and several of these songs, to me, that really solidified like, okay, this is a great combination of musicians that are doing fantastic things. So I so appreciated this song.Track 1:[29:19] Another, Gord has that ability to do like an upbeat rhythm and kind of like Pascal's Submarine that we talked about in the last album, where it's kind of a dark subject, but it's a very upbeat song. So I really felt that with this particular song. I couldn't help but think, as he said, the ocean is, as they were repeating, the ocean is dead at the end. I was just thinking about all the water songs that Gord has and how water must be his Roman empire. There are a couple things that come up on this album over and over. Water is one, color is another.Track 1:[29:57] Um, and day and night is a third thing. There was a fourth, I can't remember right now, but there was some definite themes through the entire album. Kirk, what did you think when you first heard as a mover? What I loved specifically about as a mover is the buildup. I think Justin may have referenced in, in some of the, those interviews where, um, how the production was every four bars, you got to get something new. So this really was uh okay you know you get the train feeling that's going on it's that moving it's the transformation it's the sorry not transformation but him him relocating to glenora as we'd mentioned now we're going into this as a mover and you know this these lyrics not just specifically for this song but for for this all album and i think in one of our messages together.Track 1:[30:53] It was hard to pin down some connections on some of these there there are some that are that are there but I agree with that that that guidance on that so as a mover to me loved it you know the sarcasm hey baby want to kiss closes it out with that that that particular theme and it's It's a driving, great rhythmic song. Another thing that was clear in my memory in some of the interviews that we got to see was he was so excited about this album in that it was genre-less, right? You can't just say it's a country album. You can't just say it's a pop album. You can't just say it's a jazz album. It has a little bit of everything. And he even talked about touring for this particular album, that they were doing a bunch of festivals and that they were jazz festival, a pop festival, a rock festival. It was different. So he was pretty proud of that fact. And I got that feeling with that as a mover. Justin, what was your take on the song? So I found a note somewhere that when Gord was writing this album, he was reading a book about Custer. And the title of the album, The Grand Bounce refers to a phrase that was coined during the Custer's involvement, whatever, in the 1860s. Whenever they deserted the cavalry, they called it the Grand Bounce. And desertion and moving and all this stuff really tie in together and –.Track 1:[32:22] This song is kind of what really sparked my thinking about that. Like, you know, this is, there's something happening here and yes, the, the train, you feel like you're on a train as soon as the song starts. And, um, it's definitely a different sound. This song is way different than anything that Gord had put out previously. And I know, again, I, it, it kind of rubbed me the wrong way a little bit. I mean, I've, I've come into all this with an open mind, but it was like, what is he trying to do here? It didn't, the production of this album, And the sound of the songs just did not match up with the first two albums. And this doesn't even match up with anything else that's on this album. And my first reaction was, is he trying too hard with this song to sound different? But it certainly has grown on me. But the theme of moving and desertion and the grand bounce itself, this song tied the album title together for me. Craig, what do you think? In the lyrics, you've got the wife, you know, not wanting to move and you've got the kids wanting to move all that, you know, wanting to go everywhere. And he says he's in the middle, he's got no opinion. So I kind of like that tension in here. I also love the line where he rhymes pressure and less sure. Oh, and he does it in this low register the second time through?Track 1:[33:44] I'm even less sure. And when he says it, he's almost talking it. It's so great. Yeah. And I know I mentioned to you guys in text that when I first heard this song, I was not a fan.Track 1:[33:58] And JD, you were a bit surprised by that. And then it just grew and grew and grew on me. Like more than any other song on the album. I love the song now. I really was not a fan at first. Just love the whole feel of it. And the little drum shuffle with the brushes. And i think what i didn't like at first was just the chorus there was something weird about just those words as a mover it's just not very smooth sounding it doesn't roll off yeah and so that that kind of bothered me at first but really it's whatever feelings i had about it have totally changed now i think it's totally yeah it's a really cool song i was with you that you know At first, I just didn't like it. But then I remembered the song is now 14 years old. And when it came out, I was listening to Mumford & Sons and I was into that sound. And this could be on one of their albums.Track 1:[34:50] And I had to force myself to transport back to that time period. And I would have loved the song back then. And also the, you know, the title as a, as a mover, it made me think like a double meaning could be like a mover is also a dancer. And the next song we have is the dance and its disappearance. And this was another song that I didn't love at first. It's still not one of my favorites on the album, but once I read the lyrics, once I got into the CD booklet and started trying to figure out what it was about, I started to appreciate it a lot more. And so I just want to read you this quick quote in the booklet. There's a quote from Crystal Pite, who I believe is a dancer. And she writes.Track 1:[35:38] It is an extreme expression of the present, a perfect metaphor for life. And it goes on. Once I kind of got what that phrase meant, it just started making sense. And when you watch the live videos of this song, every single performance of this, Gord has something to say about people in the audience with their cell phones. And he's very appreciative when there's not too many people with their cell phones. And he talks about, if you're filming this on a cell phone, you're getting 10% of the experience. Put it away.Track 1:[36:08] And there was one show in Victoria and I wrote down what he said. He says, you like that things disappear as they're happening. I don't see any phones in the air trying to capture 10%. Your brain can handle it. Let it resonate. Let it sink in. Wait till tomorrow, the day after, it'll be all right. Yeah. And I love that message. Yeah, me too.Track 1:[36:26] Fuck. Kirk? This song, when I first heard it, and we've had this discussion on some of the other albums, You know, can this be a hip song? And that opening little riff on this particular song was very hip-like. And there was another interview that I had looked up, I think Alan Cross was his name. And he had even had mentioned that on this particular, he wrote simply a hip-like song. So I think that was one thing that I appreciated is there was not any fear anymore. Like, it's okay because I am the guy who writes the stuff for the hip. So there's going to be songs that sound hip like, and I think he embraced it. But I think that I, the thing that I loved about this, and as I mentioned on the other songs and you guys as well is the, the harmonies with, with, with Julie on this, like that's okay. This is Gord Downie. This is that sound where with the hip it's, this is what I sound like when I sing with Paul or whoever's doing the backup. And I believe that he really captured that in this album, but that song as well. So that was one thing that I noted in my research on this particular song. I think this is my favorite tune on the record.Track 1:[37:41] Gord had that theme, let it disappear into the night and let it happen, use it up. That is a decades-long theme in whatever he's done, and I love the message. I also love the word a squirrel. Holy crap. What a great way to convey that you can't settle down. My mind a squirrel. Holy crap. Did anyone else look up Sudbury yellow? Speaking of colors, I mentioned earlier that color is a huge theme throughout the whole thing. Also tying into the cover art, which was actually a painting by Gord Downie himself. So I think art was much on his mind during the recording of this album. And there is different mentions of colours in so many different songs. So Sudbury Yellow references the colour of the staircase at Sudbury Hall in England. And when you look up a picture of it, it's a very striking yellow. It's actually pretty neat to look up. And also another great So he rhymes the word orange with door hinge. Yeah. Blood orange with door hinge. Yeah. That's great. And I did notice the color theme throughout this and, and art is again, a decades long theme with, with Gordon. And there are many more examples through and we'll get to that.Track 1:[38:57] Well, let's stick with you, Justin, and move forward to The Hard Canadian. When I think of this song, I always, I can close my eyes and I picture, this is going to be lost on the two Americans, I apologize, but I picture Relic from The Beachcombers as The Hard Canadian.Track 1:[39:16] Beachcombers was a CBC show based in the West Coast, and there were some hard-living fishermen type, and there was one character who was sort of a scoundrel, and his name was Relic, And he just looked like a hard Canadian. He looks like the lyrics to this song. But Justin, what do you think of the hard Canadian?Track 1:[39:34] So I had two trains of thought on this. And one was that I thought Gord might have been singing about himself and just the fuck you today kind of thing. But I also thought it was about the weather, maybe in the winter. And go out to the plains and it's brutal out there. And the hard Canadian weather doesn't care about you. You know, and yeah, so the hard Canadian in my weather theory is the hard Canadian don't give a damn about you. What's a windswept face to the elusive presence of the sun to the hard Canadian? Like, you know, it's winter all the time in some places. It's dark all the time in some places, you know, north of 60, right? And it's the line, whether he's just mean or willfully dense, like the weather is controlling itself. self. It was like Mother Nature or whatever is doing this on purpose to test you. Let's see if you come out the other side. Again, the art theme, there's the quote, and it's in quotations from life nothing to death nothing, refers to a piece of art by Frank Stella, which is, forgive my Spanish here, but de la nada vida a la nada muerte. Is that how you'd say it? But that's what it translates to, from life nothing to death nothing. And it's this massive piece of art that's It's very 1965 looking and it's just another theme in there. And I don't know how it ties in other than it's a.Track 1:[40:59] You know, foreboding dark quote. That's just my, I don't know. That's my interpretation of it. But you know, Gord obviously was going through some stuff too. And, and it, it felt like this was almost a third person narrative of a first person point of view. There was two songs on the album that I'm familiar with. The hard Canadian is the first time I heard it. I had definitely had heard it before, but had not, you know, process that it was not a hip song. I think I thought it was like a deep cut hip song or something when I heard it years ago. But the other one is, and I know we'll talk about it, The Night Is Forgetting.Track 1:[41:36] He would sing it when he would do hip songs. He would sing some of his gourd songs. So when I read that story or heard about that story, I'm like, I know I've heard that song before when they played out here in LA or whatever. So, but anyway, the hard Canadian, what he had mentioned was it was Mike, Mike Clattenberg trailer park boys. That's that, that's it's one of the series that I haven't watched. I've watched letter Kenny and I've watched, you know, several other Canadian, but I have not watched the trailer park boys. And he had mentioned that it was one of the guys I guess is one of the creators and he's like yeah I got this new thing and it's hard Canadian it's dope and and so when I'd heard that description I immediately thought of like if you guys are familiar with letter Kenny like Wayne is he's hard Canadian it's just gonna smoke a you know go out and smoke and have a puppers have a dart yeah having a dart exactly so that that was the imagery that I got from it I want to point out that this is the first song in section number two lyrically in the lyric booklet.Track 1:[42:39] And I just noticed that there's a quote here from Walter von Tilburg Clark, night is like a room. It makes the little things in your head too important. And I just realized that's the second verse of the East wind. And then I glanced forward section three has the lyric from the third verse. So the lyrics from the East wind are in here, but they're, they're heading each sections. And so in my mind, and they're quotes from other authors. Is that what it is? Yeah. It was, um, he said that song was made up of the East wind I'm talking about was made up of quote, like three quotes that he, that he loved. And I had seen that somewhere. Yes. And so the hard Canadian to me is like what JD said, like I'm picturing like a relic type. I had a baseball coach when I was a kid who he's this older guy and he always had like this about one inch left of a, of a homemade smoke. And, uh, and that, that line where he says, takes a puff of puff of nothing and pick something from his tongue. Like I just picture Mr. Heller, my baseball coach who, you know, for four years, you know, first 10 minutes of practice, you don't wear a glove. You're, you're passing the baseball just with bare hands and, and just thinking back to those, those times, there was another line that I want to bring up the silences.Track 1:[43:55] He don't listen to them. Do you think that's a reference to Pascal? Maybe that's interesting. Uh, I hadn't thought that, But because I'm thinking now my mind is a squirrel and I, I'm almost thinking this is about, you know, that, that, you know, rural Canadian, um, you know, like a relic type. And in my mind, Gord is trying to say maybe that, that there's more, more to that person than, than maybe meets the eye. I don't be so quick to judge when he says he, he blurs the image, drags his brush through the wet pigment. To me that line saying you know don't be so quick to judge the hard canadian well right at the end he mentions remembering someone too and that's absolutely you know makes sense and i know a lot of hard frenchmen that are from quebec that have been through hell and you get down to it and they're just you know beautiful soft men inside but you got to get through seven layers of onion to get there.Track 1:[44:56] And that really ties perfectly into the next song, which is Gone.Track 1:[48:41] Because it has a very similar story behind it, which I'll get into it a little bit. But Kirk, what were your thoughts on Gone? Yeah, no, I love that you actually had mentioned that you're going to get into more of the meaning of it. Because I have some thoughts and ideas, but what I really wanted to talk about on this particular one, from the musician side, that I absolutely loved about it is – I'll give the note that I wrote. And I can't remember exactly who it was that mentioned it to Gord, but he said it sounded like a moose in the distance.Track 1:[49:16] And when you listen to this tune, which is a beautiful tune, another great example of the harmonies, it's another one where you just hear the range of Gord's vocals that are just phenomenal and how he can cover the spectrum with that. But the fact that Dale Morningstar was using a theremin and had several different layers of the theremin recorded on that and you hear it. And then when you get confirmation of it, you go back and listen to it and you go, oh, wow. Right. Because there's only a few songs out there that we all know and love that have the theremin. Right. There's only what the Beach Boys and Led Zeppelin or the, you know, have have really pulled it off. So it's cool to see them jump out from a musician standpoint, musicianship standpoint.Track 1:[50:05] The other thing that I wanted to mention before, and I definitely want to hear Craig's thoughts on the meaning of it, was that Gord had mentioned in one of his interviews that this and I think The Night Is Forgetting, he called it the grandma and the grandpa. So he'd had these songs for a long time and he'd matured with them. And so I think that that anticipation of so much time between the two albums, but then having songs that came, you know, at different points along the way. And I just felt like this one had, it had marinated and it was, what was presented was what had, he had settled on, because I think that happens anyone who's done music creation. You're, you write it with a thought, a producer takes a look at it, an engineer takes a look at it, the rest of the band, and it becomes something different.Track 1:[50:55] Anyway, Craig, your thoughts on some of the meaning behind it. In the booklet, there's a quote from a Polish writer named Bruno Schultz. And it says, He had not been rooted in any woman's heart. He could not merge with any reality and was therefore condemned to float eternally on the periphery of life in half real regions on the margins of existence. And apparently this was in reference to his own father. So again, coming out of the last song, it seems to kind of tie into that idea of, at the end of The Hard Canadian, where there's someone he was remembering. So this idea of, there's actually the lyric in the song, gone and feeling half real on the edge of your life. And that ties directly to that quote. quote musically the bridge that there's a building bridge with uh julie singing backup and.Track 1:[51:48] Really really great songwriting and this was another song that really grew on me it's just such a catchy kind of fun fun song uh justin what did you think no i loved it right from the beginning it yeah it builds and it starts really slow and then it gets really slow again in the middle and it's quiet. I didn't dive too deeply into the lyrics, but there's definitely, you know, this is a life story kind of thing. And maybe at the end of it. Yeah. I just, I really love the way the song made me feel and that's only surface deep, but sometimes that's all you need in a song. And I don't know, I could listen to this one over and over. And I have. Okay. Kirk, how about the drowning machine? What are your thoughts there? I think we have another nautical disaster, could we call it, on this next song? Yeah, yeah. Through Drowning Machine. Drowning Machine. Until I actually looked it up, I didn't really know what it was talking about. But apparently, the Drowning Machine is like a common name for a weir, which is a low head dam, which if you've seen pictures of them, basically what happens is the water just cycles. And just if you get if you end up going over one of these dams you're.Track 1:[53:02] Pretty much not getting out and so gourd had apparently read a story about um about some girls being saved from the the bow river in alberta and um there was actually i i kind of looked up this this bow river and there's this this notorious um spot on the river where where i believe it said had 14 deaths in 30 years and they actually had a there one story there was there was actually a boom across so if you if you're totally out of you know if you miss all the signs and you you keep going down you can grab on to this boom at one point a storm had washed it washed it away and so a couple of men died in in i believe 2007 because the the boom had been washed out and so finally they did some construction and they and they have now made it into uh an area called the Harvey, this is called the Harvey passage. And apparently people go there to do white water rafting. And there's actually two kind of, um, passages that go through now two channels, uh, at different levels of, you know, for, for different levels of experience, um, for, for rafters. I had, I had done some research on the, um, Glenora song and there's a very treacherous river that it's like, Hey, don't go there, fly over it.Track 1:[54:20] And this reminded me of, reading about that, it reminded me of Niagara Falls, just the immense force of the water at the bottom. And you're not going to get out of there if you go over the falls.Track 1:[54:37] We had a deer camp when I was a kid on the Huntington Gorge here in Vermont. And there's a plaque with a list of 30 or so names of all the people that have died in the gorge. And our deer camp was the spot where the state police would fish the bodies out of the river every time there was one that ended up there you know we we couldn't get to the to the camp because they would use the front porch to be their their base of operations oh yeah wild and i i have to say at the end um there is some lead guitar at the end by dale that really at this point in the album when I was, especially on first listen, when I wasn't totally jiving with some of the earlier tracks, this song was the one that immediately I loved, like right off the bat. And hearing that guitar when Dale finally cuts loose and really leans into that dissonance, I felt like, okay, I'm starting to get this. And Kirk, what did you think of this? Yeah, I am fascinated, obviously, with Gord's fascination with water and the nautical side of things. But again, I think this song was just another great example of their time together and how they really... And I don't know if you guys noticed this.Track 1:[55:58] I don't think they played this on that six-part one, but I really enjoyed that it wasn't like a monarchy. You know, it wasn't Gord was given direction. It was everyone was involved. And I really loved the different parts that you would see with Chris Swala and his just subtle, nice guy production tips. So, um, I really love that interaction of, of how now that they've been done.Track 1:[56:25] A couple albums together and now it had been a little bit. And I also read something about how, yeah, they wanted to definitely get that indie vibe and they definitely wanted to have a variety of different styles of music, but how they also, you know, they're also very accomplished musicians and they've spent some time with some big bands and have played in some pretty, pretty big arena. So they could bring that to the songwriting and, and, and, and the music within this. So, and I really felt that too, moving into Yellow Days, which was the next one.Track 1:[1:00:51] I love this tune. This tune to me, and maybe I'm hearing something wrong, but there was almost kind of like a jazz bossa nova, just a real kind of amazing groove to it. And I also loved hearing about the story about Josie Dye, I think was her name. And they had had a passing at a festival way back when, when I think she was a hip fan and he was just walking around and that that that's That's actually part of the lyrics in this particular tune. But I love this song. He talks about it in some of the interviews and the descriptions about just the Canadian summers and how much the Canadians love that summer, but it goes by so quick.Track 1:[1:01:36] And so they're really just trying to make the most of every time they have good weather and they have a good moment and also keeping with Craig's color theme, which I love that you brought that up and along with the storytelling that's going on uh you know this is the here we are and and enjoying that summertime and almost reminiscent of them recording this album right for the two weeks i think in august and in 09 so justin did you dig this song yeah because we have the same summer and winter pattern that that you guys would up north today you know inside baseball we're not recording this in the summer when this is coming out we're recording it well before and it was the first warm day this year and I wore shorts and it was only 61 degrees outside. It was very windy. I shouldn't have had shorts on. But you take those moments and you wrap your life around them when you can get them. And 61 felt like 81 today. And I know the Canada gray because we have that here. It's Canada gray. Even as it's warm today, it's Canada gray outside. And just the imagery of it is wonderful. wonderful yeah and i mentioned the earlier the you know the theme of of days and nights so you know that's very obvious here uh and going into the next song and um.Track 1:[1:02:53] A couple of things, Kirk, when you were saying, you know, that beat at the start, I had the same thing. I was actually trying last night to figure out what type of beat this really was. The word that came to my mind was Calypso, but then I looked it up and it was not correct. But like this South American, like it's something I've heard. Bossa Nova was what came to my mind. So, you know, Calypso Bossa Nova, it's definitely a Caribbean feel. And, you know, the fact that it's on a Gord album, you know, again, just really talks to, you know, we had your hardcore on the last one and now we're doing Calypso Bossa Nova, you know, jazz type stuff. It's brilliant in my opinion. It reminded me of my grandmother's organ, you know, had those big tab buttons that there's a there's a pre-programmed beat and it's really bad not that the song's bad but on the organ it is yeah kirk your story about the you know everyone you know in this you know having so few.Track 1:[1:03:54] Summer days in certain parts of canada it reminds me of back in 96 my band was was in winnipeg we were playing you know this show at a you know the club that all the you know the all the decent bands played at and so we were really excited about playing this this club and uh it was on a weekend we thought like this is great and it turns out it was the the long weekend in august and everyone in town leaves for the for the lakes and there was nobody in town like not just for our show but anywhere it was just bizarre so those are the the yellow days of winnipeg well let's Let's continue on with you, Craig. Keep this wagon wheel going and talk about Night is Forgetting, which is a great title. Yeah. So, so again, the day, day and night theme and we go from yellow days and tonight is forgetting.Track 1:[1:04:46] And it was really bugging me this song because I'm like, I know that I know this song and I couldn't figure it out. And then I felt so stupid a week ago when I actually looked in my, on my phone and I had the hip version of this, which is from about, I think 2005, it was just a single. As far as I know, it was just released out of nowhere. It was, uh, I think it was left over from in between evolution. Okay. So, so I did have it. So I definitely been listening to it, you know, in the past, but it never was a song that, that interested me very much. So this one again, grew on me. I think I prefer this version now. It's, it's a little more upbeat. I love the piano. So, so shout out to Dr. P, John Press, who I don't think we mentioned last, last episode, but he is such a great player. I actually looked him up last night. I couldn't find too much about him online.Track 1:[1:05:38] And he is so tasteful. He never overplays until this is like, it was almost like someone said to me, you know, just, just let loose. And you can actually see, I'm sure you guys saw on the, on the bathhouse videos, you can see him rehearsing this on his own, kind of coming up with a part and man, he nails those, those runs. It's very impressive. It's so good. So I wrote, or I heard, and I could have definitely stole it, but I heard piano flurries. And that's exactly what it sounds like as a piano flurry when it starts driving. That's exactly what my note says. Yeah, piano flurries. And the one line that stuck out with me or to me was the dew drops on the luminous veil. And I know he mentioned this in the Alan Cross interview and the luminous veil being the suicide barriers they put up on the Bloor Street street viaduct in Toronto. I guess it was a place where there was just mass amounts of suicides, just 500 suicides and they finally put up this barrier.Track 1:[1:06:41] It's a 10 minute walk from my house, the Luminous Vale. When you guys come here, I'll show you the Luminous Vale. At night, it's very pretty, but in sort of a, I don't even know, like an eerie way because Because the sections that hold the guy wires up all look like crosses. Yeah, it's heavy, man. And so my last thing about this song, in one of the interviews, Gord, he mentions that he read a quote from, I believe, Thomas Jefferson saying something about war is forgetting another country's resources.Track 1:[1:07:19] And he said, I just replaced war with night. On the hip version of this, he actually does sing war is forgetting in the last chorus. us. So he changes that for this version. But I was actually looking up quotes from Jefferson last night. I didn't find anything that resembled such an idea. So if any listeners know what he was referencing here, I'd love to hear from you. So when Gord passed, there was an interview on some news, whatever, with Ron McLean from the CBC, or I don't know if he's the CBC anymore, more, but I knew him from Hockey Night in Canada growing up. And what I think was a quote that Gord said, but I've never been able to find it attributed to Gord, was, night takes the chances, day the reward. I love that quote. And he wrote an op-ed about Gord's passing that included that line as well. And it's just a beautiful line. And I sort of.Track 1:[1:08:19] Think of myself with my work that way. I sleep three hours a night just because that's how my body works. And I'm up till one in the morning and then I get up at 5.30. But I also love that forgetting and forgetting are really just a great sound in the song that can be interpreted in any possible way. Yes, I love that part of it. And as I mentioned earlier, this was one of the songs that I know I had heard before. And honestly, until I just recently had either read or heard that it was a hip song or that it was used on a couple of hip shows, I feel 100% positive that one of the shows that I saw, they played this. I haven't gone back and look at all the set list yet, but I feel pretty confident of that. So yeah. But just love the musicality of the song. I mean, that's the only thing I would add is just the musicality is insane. I have created this little thing that I've called Gord's Annunciation Era, where he's got a section of his career with a hip where he absolutely nails every letter in every word. And think of the lonely end of the rink, and it's a very hard – and this song is a great example of that. You know he says every letter in every word in every phrase and it's just a it's very distinct this this section of maybe eight or ten years of his career whether it's with the hip or solo.Track 1:[1:09:46] And I just love how he really makes his body be an instrument with words. And also the line, he says, weird undercurrent, we're undercurrent. And again, another reference to water in a way, but just thought that was a neat little turn of phrase there. Yeah, he's so good at that. And he changes just little tiny tweaks throughout this album in many different songs with words and lyrics and how he, it sounds the same on first two or three listens. And then you realize, oh no, this is a completely different set of words. Christmastime in Toronto, he did that too on the last album. And at the very end of this song, I love how he's singing over and over. Night is forgetting and then forgetting. And then there's one time when they totally phrase it differently. There's pauses.Track 1:[1:10:37] Do you know what I mean? I mean, the very last line, I think it is just a neat little, I love songs that have just one little quirk like that. Yes, yes, absolutely. You know what? It really goes back to, I'll be leaving you or I'll be leaving you tonight. I mean, right from the beginning, right? It's just a really cool trick that he's always done. Well, another, one of the other tricks that he's famous for is invoking his children and lullabying them. The next song, Moon Show Your Lashes, to me is just the process of writing some of these lullabies and things about his children. That's what it means to me. Mr. St. Louis, how about you? I took it as his battle with insomnia, you know, which is also a common theme throughout his career.Track 1:[1:11:25] And yes, I definitely picked up on the thing. Like, you know, there's a, there's a book that my wife and I love called go the fuck to sleep, you know, talking about your kids, like just give us a break, man. And tonight, in fact, before we recorded, my daughter was taking a bath and she's trying to speak Spanish and she's yelling it and asking my wife questions in the other room in Spanish. And I walked in and Linda looks up at me and whispers, she needs to shut the fuck up. You know, just those moments of give it a rest, kid. But I think that it could be interpreted either way that like, yeah, he's talking about his kids. Like just, okay, relax. We get it. moon slow your lashes.Track 1:[1:12:09] But, you know, I think, The way that I took it was more of Gord by the lamp with a notepad trying to come up with the next song and wondering, you know, there's the line, what must he think? And no more, I think he thinks. And kind of judging himself or his work before it's even completed and just not being able to reconcile that. For what it's worth, I love the lyrics in this song. I friggin' hate the tune. I hate this song.Track 1:[1:12:39] It's so annoying. And I don't know what it is about it. And it's such an earworm. And it's the one I can't get out of my head. I can't stand the song. Get out of here. Wow. Actually just blown away by what Justin said, because I absolutely love the tune. Me too. And I think it's that 2010s, as you mentioned, you know, like there's such a massive influence from all of them individually as artists, but obviously Death Cab and that influence, but I think what they were listening to at the time. And so I mentioned that I really liked this album. So, you know, there's, there's no real duds on it for me. So, I mean, there's little things of course that I could critique, but to me, this particular album and, and, and even this song like this, this one's really up there. For me you know i'm still trying to decide what's going to be my favorite song from this and it's the first time that i didn't know instantaneously i particularly i enjoyed you know again just how it made me feel it gave me that that just that cool this is where we're at in this this time in music like it was it was it had it has some heavy lyrics but it it's i mean not crazy heavy but it was an upbeat song, I think, overall. So I appreciated it. So there was a story, Gord, in one of the interviews online I found.Track 1:[1:14:01] Talks about a radio essay he was listening to by, by someone named Neil McDonald. And he was talking about a woman who would go up to a place called high level Alberta. So when they, when he says high level in the, in the book, in, in, in the song, I had noticed in the booklet, it was capitalized. So it actually is a place up in Northern Alberta. And this woman would go up to um, Northern Alberta and, um, make, make some money. You can probably imagine how she's making her money and, and she would do this in order to support her kids. And, uh, and then when she got back to her kids, I just want to want to hold and smell. And another crazy example of how Gord writes these like incredibly upbeat, like you hear it and you fall in love with it because it makes you feel good, but it's dark AF.Track 1:[1:14:52] It's just got some real, real, real just black undertones in some of it, but the music just keeps you going. And that line that says, when, not if, after, when I get out of high level, when, not if. Yeah. And forget the, in the bridge, I think it is the forget the hawks, jaguars, the knife lickers and creeps. And yeah, it just really changed my perspective of the song and and yeah that that juxtaposition between the the sort of cute music and the dark lyrics some some more themes of um you know burgundy the color burgundy dance dance so again dance is the the one earlier that i was forgetting when i was talking about themes so themes on this album water you've got day and night you've got color and you've got dance and this song has a couple of those things in it and and to me it was like you know the things we do for our family oh like i like i said i i really love the story in the song and the lyrics and trying to figure out what i think i thought but just the tune i can't do it i don't know why man i'm sorry i'm i'm i'm not totally crazy about this song uh it's not my lead i'm actually we passed by my my least favorite without me saying but but to me um The Hard Canadian is the weak link on this album. To me, it's just a... Oh, wow. Yeah, it's just... I think it's the chord progression has just so been done before. Yeah, I'm not in love with it either. And that's the one song that I was familiar with on this album. This song, I wasn't too much of a fan of at first, but I do really like it now. It has grown on me, especially I think hearing that story. Well, are we ready to jump into Retrace?Track 1:[1:20:11] This song, my note, it just says vocally amazing. That's the note I have.Track 1:[1:20:18] I'm sure there's an amazing meaning behind the whole song. I really don't care. I just want to hear Gord sing the main line. I retrace my steps. And it just puts me in this amazing, wonderful, just warm place like we talked about in the beginning. And even Gord in some of his interviews talked about how the process and these songs were company to him. And that's what I felt with this retrace, this tune. And again, another great pairing from harmonies and also great build. And also, as we'd mentioned before, where that whole theory of every four bars coming up with something new, the retrace song, it definitely had additions and installations to create this. I just, yeah, maybe I'm dating myself, but I don't know if you guys are familiar with the band, the Smithereens.Track 1:[1:21:17] Kind of had a Smithereens vibe to it. Had a Lou Reed vibe to it. I know that there'

TV shows don't just write and produce themselves. That takes showrunners! Two of the best in Canada have been Mark Ellis and Stephanie Morgenstern, the husband and wife team behind such hits as Flashpoint, X Company and Transplant.Their latest is the new Wednesday night CBC police drama Allegiance. The series stars Supinder Wraich as promising rookie cop Sabrina Sohal. She's teamed with a savvy police veteran played by Enrico Colantoni, my previous guest on brioux.tv : the podcast. Stephen Lobo also stars as Sabrina's wrongfully accused politician father.On this episode, I'm joined by Mark Ellis, who talks about the importance of casting,  writing and setting this series in Surrey, B.C. Ellis also talks about how he really didn't have much of a sense of Canadian identity until his family returned to Canada from England when he was a lad and he started watching The Beachcombers."I thought, okay, this is Canada," says Ellis. "Here we are in a boat with Nick and Relic and we're racing down the sunshine coast... and I thought, well, this is a lovely place." Hear how Mark is bringing that vision up to date now with Allegiance.

Grant Lawrence (Host-CBC Radio Top 20, Author, Musician) is as Canadian as it gets! Whether it's hosting a weekly radio show on Canada's Broadcast Corporation counting down the Top 20 songs in the country, coaching his son's hockey team, writing a book (he's written 5), going toe to toe with people on Beachcombers' trivia or watching and supporting his uber-talented singer/songwriter wife Jill Barber while she tours, are there enough hours in the day? It's one of my favorite chats I've done so far! What does Grant "Do?" How "Did" he do it? What "Will" he do next? Plus we spend 10 minutes talking about the benefits of playing minor hockey, how can you not listen? #cbc #hockey #canada

Guest host Rebecca Zandbergen speaks with Andy Yan and Alex Bozikovic about the federal government's role in solving Canada's housing crisis, Doom and Quake creator John Romero reflects on how video games have changed culture, CBC's Duncan McCue shares his documentary about The Beachcombers actor Pat John, and scientist and autism activist Temple Grandin makes her case for nurturing visual thinkers like her. Find more at at https://www.cbc.ca/sunday

Vancouver animation production house Slap Happy Cartoons is developing & producing the series The Beachcombers Animated! Slap Happy is well known for its animated series made for families and kids.  Guest: Josh Mepham - One of the four partners for Slap Happy 

Was he born in California or Canada? Even Hart Hanson's not 100% sure but here's what we do know: he has created hit TV shows in both countries, including the longest-running drama ever at Fox, Bones. Pt. 1 of this two-part conversation looks at his start in Canada as a writer on The Beachcombers through his work as a writer and producer on Neon Ryder, North of 60 and as the creator of Traders. Hart talks about earning degrees at The University of Toronto and The University of British Columbia, the summer he rode his bicycle clear across Canada and how he was able to get on Beachcombers star Bruno Gerussi's good side. Anyone interested in pursuing a career in the crazy business of television, on either side of the border, should listen to this gifted storyteller. Also recommended if you're just interested in pursuing your dream. Next week on Part 2: Hanson goes to America and enjoys success with Judging Amy, Joan of Arcadia and especially Bones.

Keith John Moon was born to working-class parents in Wembley, London, England, on the 23rd August 1946. At the age of 12, he joined the Sea Cadet Corp and was given his first musical instrument, the bugle. He left school by 15 and was in his first band, The Beachcombers; this was around the summer of 1963. There was a rumor that Keith was self-taught, but history says otherwise, he was shown how to play by the late Carlo Little (1938-2005), Carlo was the original drummer in The Rolling Stones and David Sutch's band, The Savages. Keith died in London on 7 September 1978, from an accidental overdose of the prescription drug Heminevrin, prescribed to combat alcoholism. IMDb. (n.d.). Keith Moon. IMDb. https://www.imdb.com/name/nm0007127/bio/  ‌ #Viewerdiscretion  #theaftermath #aftermath #love #TFLers #tweegram  #20likes #amazing #smile #follow4follow #like4like #look #instalike #igers #picoftheday #food #instadaily #instafollow #followme #girl #iphoneonly #instagood #bestoftheday #instacool #instago #all_shots #follow #webstagram #colorful #style #swag #amazing #followme #all_shots #textgram #family #instago #igaddict #awesome #girls #instagood #my #bored #baby #music #red #green #water #harrystyles #bestoftheday #black #party #white #yum #flower #2012 #night #instalove #niallhoran #jj_forum #love #instagood #me #tbt #cute #follow #followme #photooftheday #happy #tagforlikes #beautiful #self #girl #picoftheday #like4like #smile #friends #fun #like #fashion #summer #instadaily #igers #instalike #food #love #photooftheday #portrait #baby #me #instamood #cute #friends #hair #swag #igers #picoftheday #girl #guy #beautiful #fashion #instagramers #follow #smile #follow4follow #like4like #look #instalike #igers #picoftheday #food #instadaily #instafollow #followme #girl #iphoneonly #instagood #bestoftheday #instacool #instago #all_shots #follow #webstagram #colorful #style #swag #amazing #followme #all_shots #textgram #family #instago #igaddict #awesome #girls #instagood #my #bored #baby #music #red #green #water #harrystyles #bestoftheday #black #party #white #yum #flower #2012 #night #instalove #niallhoran #jj_forum #love #instagood #me #tbt #cute #follow #followme #photooftheday #happy #tagforlikes #beautiful #self #girl #picoftheday #like4like #smile #friends #fun #like #fashion #summer #instadaily #igers #instalike #food #love #photooftheday #portrait #baby #me #instamood #cute #friends #hair #swag #igers #picoftheday #girl #guy #beautiful #fashion #instagramers #follow #smile #pretty #followme #photo #life #funny #cool #hot #bored #girls #iphonesia#movies #theatre #video #movie #film #films #videos #actor #actress #cinema #dvd #amc #instamovies #star #Hollywood #goodmovie #instagood #flick #flicks #instaflick #instaflicks #27club #Cobain#explore #fridayfuckery #podcastlife #podcasts #youtube #book #deus #podcasthost #radio #90s #apple #applepodcasts #author #bringingthefuckery #comedy  #death  #keithmoon #keithmoon #thewho #rogerdaltrey #petetownshend #johnentwistle #s #classicrock #rock #mygeneration #quadrophenia #smusic #thewhoband #music #keithmoonforever #rocknroll #rockmusic #ledzeppelin #mods #tommy #britishinvasion #vinyl #whosnext #rockandroll #drums #mod #vinylcollection #drummer #srock #woodstock #who #guitar #whoareyou #pinballwizard #hardrock #thewhofans #vinylcommunity #bass #keithmoonlives #thewhorockband #moontheloon #thehighnumbers #vinylrecords #thekidsarealright #thebeatles #sixties #tommythewho #thewhosellout #wearethemods #thewhoofficial #modsandrockers #vintage #therollingstones #robertplant #wontgetfooledagain #babaoriley #sfashion #rockband #keithmoonfan #jimihendrix #aquickone #podcast #podcasting #podcastersofinstagram #podcasts #spotify #podcastlife #podcaster #music #youtube #radio #comedy #hiphop #applepodcasts #love #podcasters #podcastshow #itunes #spotifypodcast #newpodcast #interview #entrepreneur #motivation #applepodcast #s #radioshow #art #dj #newepisode #covid #rap --- Send in a voice message: https://podcasters.spotify.com/pod/show/daniel-hudson9/message

1 - The Weary Traveler (Der müde Bummeler) - Orchestra Zonofon - 19112 - I've Ranged, I've Roamed and I've Travelled - Jimmie Rodgers - 19293 - Traveling Blues - Ted Weems and his Orchestra - 19244 - The Boarding House Bells are Ringing - Carolina Twins - 19285 - Stay a Little Longer - Bob Wills and his Texas Playboys - 19456 - Bell Hop Blues - Al Bernard - 19197 - Shuffle Boogie Bellhop - Tommy Lloyd and The Strollin' Cowboys - 19518 - A Porter's Song to a Chambermaid - Fats Waller and his Rhythm - 19369 - Room Five-Hundred-and-Four - Anne Lenner with the Savoy Hotel Orpheans - 194110 - Second Class Hotel - Jesse Rodgers with El Patio Trio - 193711 - Kanakanui Hotel - Eddie Valencia's Beachcombers - 193512 - She Had to Go and Lose It at the Astor - Johnny Messner and his Orchestra - 193913 - The Mountjoy Hotel - William McElligott - 193814 - Commercial Traveler's March - Edison Concert Band - 190115 - Arkansas Traveler - Lee Bedford, Jr. and The Big D Ranch Hands - 194716 - Hawaiian Hotel March - Charles Kama and his Moana Hawaiians - 194017 - There's a Small Hotel - Larry Stewart with Jack Shilkret and his Orchestra - 193618 - There's a Small Hotel - Vincent Lopez and his Suave Swing Orchestra - 1939

Reanna Evoy has a playful spirit and imagination that just can't be replicated or replaced. Her life and work are beautiful reflections of being born creative and free—she cofounded Butter Magazine with friend Kris Blizzard, was art director of Enroute Magazine, creative director of Aldo Shoes and Kit and Ace, and is now cofounder of creative studio Super Bonjour.She was born in Ontario, but the family moved shortly after to Vancouver—her young, fun parents were fans of The Beachcombers and wanted to go west as a result. Reanna flew back to Ontario to spend summers with her Ukrainian grandparents on an organic farm outside of a small town, wearing babushkas and clogs to churn butter, farm, bee keep, build sheds, climb trees, be with animals & break bread with neighbours. As a shy and quiet teen, art was her expression—she painted fruits purple, drew complete fashion collections, and was obsessed with print magazines. Despite artistic leanings, she went into science at university and floundered. She made a switch after a conversation with her mother, who asked Reanna what brought her joy, pointing out that she was an artist at heart. She then went into art history, with a minor in fine art—her goal, at the time, was to become a curator. It was discovering Starbucks that ignited her interest in design—and she soon fell in love with branding.     In this conversation, we explore her culturally rich childhood; what she loves about curation and world-building; the things she learned creating a print magazine; her chapter as Aldo's creative director and working with top photographers like Cass Blackbird and Tim Barber; how major shoots for brands are orchestrated; the way spirituality, meditation & breathwork helps Reanna channel creativity; how Super Bonjour finds what makes clients shine through ‘brand therapy'; living joyously as connected humans in a capitalist world; and much more. [TIMESTAMPS]6:56 - Growing up15:58 - Her parents17:03 - Where she thinks she got her artistic side from27:03 - How she got into design30:30 - Butter Magazine33:14 - Her chapter in Montreal37:14 - Her time in Australia and what happened after39:20 - How professional shoots operate46:46 - What made her grow the most during her career49:19 - Genesis of Super Bonjour51:39 - Brand therapy56:58 - How has her passion for spirituality made her a better person in her own life57:13 - How do we live more joyfully in today's society01:03:17 - Does she feel like an artist01:03:37 - What in culture is fascinating her right now01:05:41 - What does a rejuvenating space look like to her01:14:41 - Does her work ethic come from her grandfather paying for school01:16:46 - What does it feel like when she is aligned with her truest form01:19:55 - Final question 01:19:55 - Where to find her and Super Bonjour[Today's Sponsors]Before Company: https://beforecompany.com/discount/CRAFT10 - get 10% off your entire order; one-time use per customer; no expiry dateotō healing: https://www.instagram.com/otohealing/ - email otohealing at gmail.com to get 10% off your initial sound therapy session

TV Guide CANADA June 3-9, 1978 Edmonton-N.Alberta Edition This week Ken welcomes actor and proud Canadian Samantha Ferris (Supernatural, The 4400). Ken and Samantha discuss who Ken has never been Canada, Vancouver's production community, Hollywood North, CBC, The Beachcombers, 21 Jump St., Wiseguy, X-Files, why Sci-Fi films in Canada, starting as a weather girl, Rainy Janey, being a talk radio host, rock jocks, Danny Bonaduce, how everyone thinks Sam is a guy, becoming an actor later in life, getting "tits in a suit" jobs, reporter roles, Along Came a Spider, Monica Potter, not getting the mom roles, embracing getting the strong women roles, laugh track sitcoms, loving Happy Days, Fish, Barney Miller, Three's Company, Good Times, The Jeffersons, The Partridge Family, M*A*S*H being your comfort food, MeTV, meeting Jaime Farr and Loretta Swit, meeting your heroes, not meeting your heroes, working Conventions, embarrassing moments, how great Cassandra Peterson is, not having access to celebrities, talk shows, seeing your heroes age, how bad it was when people didn't get royalties, Jimmy "JJ" Walker, Don Most, doing video game voices, Borderlands, motion cap, PONG, Supernatural superfans, looking voluptious on camera, not being able to watch yourself in things, Beggers and Choosers, sex scenes with Jim Belushi, Cindy Williams, Gabe Kaplan, Corbin Bernsen being very into himself, actors badly behaved, crapping on a dress literally, child actors, Curtis Armstrong being the greatest, Jim Beaver as the nicest man alive, showing up and knowing your lines, never piss off the people who are supposed to make you look good, directing advice, actors who are odd but might be assholes, only remembering the bad, and the absolute greatness of Chris Isaak. 

We hear a tune from an album celebrating it's 60th anniversary this year from Duane Eddy in our Good Time segment on this week's Catching A Wave.  Beth Riley has a cool deep track from The Beach Boys in her Surf's Up: Beth's Beach Boys Break.  We board the Catching A Wave Time Machine for the week of August 11th, 1963 to hear some tunes on the KRLA playlist and we drop a coin in the Jammin' James Jukebox to hear our selection of the week (Walter Egan).  Plus, we've got rockers from Davie Allan & The Arrows, Mark Malibu & The Wasagas, The Doltones, McKinley James, Beachcombers, The Jackets, The Atlantics, The Association and The Courettes, Midnight Rodeo, Panda Bear and Sonic Boom and Wanted Man!   Intro music bed: "Catch A Wave"- The Beach Boys   Mark Malibu & The Wasagas- "Hellbent For Speed" The Association/The Courettes- "Never My Love" The Doltones- "Deeper Swell" Wanted Man- "Coastin'" Panda Bear and Sonic Boom- "Gettin' To The Point"   "Good Time" segment: Duane Eddy 60th Anniversary of "Twangin'" Up A Storm (1963) Duane Eddy- "Guitar Child"   McKinley James- "Marie Marie" (live) Beachcombers- "Barracuda"   Surf's Up: Beth's Beach Boys Break: The Beach Boys- "Cabinessence" Follow "Surf's Up: Beth's Beach Boys Break" HERE   The Atlantics- "Bass Strait" Davie Allan & The Arrows- "The Next Dimension" Midnight Rodeo- "Creature's Dream"   Catching A Wave Time Machine Week of August 11th, 1963 KRLA Los Angeles, CA #20 Link Wray- "Jack The Ripper" #13 Al Casey- "Surfin' Hootenanny" #1 The Beach Boys- "Surfer Girl"   Jammin' James Jukebox selection of the week: Walter Egan- "She's So Tough"   The Jackets- "Misery Of Man"   Outro Music Bed: Eddie Angel- "Deuces Wild"

Is it a snake? Is it a sea serpent? No! This creature, looking like the star of an alien film, is an enormous eel! Beachcombers discover many fascinating finds, but this was more than Jace Tunnell, director of Mission-Aransas National Estuarine Research Reserve in Port Aransas, was expecting as he walked the beach Jan. 23 on Mustang Island. He regularly shares snippets about things that wash up on the beach — from shells to rubber gloves, toys, and marine creatures such as starfish and seabirds — on the Mission-Aransas Reserve Facebook page. This eel — about 4 feet long —...Article Link

Novedades y noticias. Suena lo nuevo de The Damned o The Jackets y anunciamos las primeras bandas del Blockparty Arganzuela o el regreso de Wau y los Arrrghs!!!. Conectamos con Nueva York para que Rocio Verta Wray nos hable de una de sus últimas producciones en NY HED Studio. Playlist; BAD NERVES “Baby drummer” (ST, 2020) CIVIC “New Vietnam” (New Vietnam, 2018) THE DAMNED “The invisible man” (adelanto próximo álbum) THE JACKETS “Misery of man” (7’’, 2023) THE MOCKS “Not ready” (7’’, 2021) MULTI HOMEN “Eu tenho febre” (ST, 2023) THE GRUESOMES “Way down below” (Gruesomania, 1987) WAU Y LOS ARRRGHS!!! “Bli blu bla” (¡Viven!, 2008) WAU Y LOS ARRRGHS!!! “Nunca la quise” (Cantan en español, 2005) Versión y original; THE STARFIRES “I never loved her” (1965) MIKE MOK and THE EM-TONES “My baby is a wino” (2022) NY HED Studio presenta; PILOT ON MARS “Checkadee” THE BEACHCOMBERS “Barracuda” (2023) THE BEACHCOMBERS “Purple peanuts” (1963) THE MANAKOORAS “Quiet village” (Steel jungle, 2022) Escuchar audio

Host Piya Chattopadhyay speaks with Anne Applebaum about the state of U.S.-Russia relations and the future of the war in Ukraine, Mattea Roach talks about life after Jeopardy!, Duncan McCue shares his documentary about The Beachcombers actor Pat John, and we break down "bureaucratese" in the latest installment of our ongoing language series, Word Processing. Discover more at https://www.cbc.ca/sunday

Ever heard of The Beachcombers? If not, you were probably born after 1990. If you have, then, well, you're old. Kidding! Sort of.The Beachcombers aired on CBC Television from 1972 to 1990, making it arguably Canada's longest running scripted television series, ever. (Degrassi is the other contender.)For some reason only the gods understand, CBC hasn't run an episode since Dec. 12, 1990.In the inaugural episode of COASTERS, producer Sophie Woodrooffe looks at the show's impact on a town that will forever be attached to The Beachcombers, whether it wants to be, or not. Editorial, sound and technical assistance from CANADALAND's Jonathan Goldsbie and Tristan CapacchioneIntro and outro music by Blue Dot SessionsPodcast cover art and website design by Laura Service Hosted on Acast. See acast.com/privacy for more information.

The Beachcombers was a wildly long-running series, by any measure. With 387 episodes, the CBC dramedy had more installments than CSI, and five times as many as Schitt's Creek. For nearly two decades, it was just always there — until one day it wasn't. Since the last episode aired in 1990, The Beachcombers has largely been forgotten, its title reduced to a punchline.But there's one place that can't forget. Producer Sophie Woodrooffe pays a visit to Gibsons, BC, the town that takes The Beachcombers more than a little seriously.Link: Coasters, Sophie Woodroofe's upcoming podcast miniseries about BC's Sunshine Coast, for which this episode was originally created.Sponsors: Oxio, HellofFresh Hosted on Acast. See acast.com/privacy for more information.

TV guy Bill Brioux talks about the 50th anniversary of the Beachcombers, and SNL bomb, the 72 Summit Series doc and the best TV shows of all time / Jays clinch / A Canadian wins on the PGA tour / Trump sues CNN / Herschel Walker is a skunk / Dan Duran the anchorman

Another milestone in Canadian television is reached with the 50th anniversary of the launch of The Beachcombers. Jackson Davies, who played constable Constable through most of the 18-season run as well as two reboot movies in the early 2000's looks back at the iconic series. The CBC drama starred Bruno Gerussi-- who plays Nick Adonidas -- and Pat John -- who played Jesse -- as a pair of adventurous log wranglers working the B.C. coastline.True story: Conan O'Brien, before he became a late night talk show host, was on a visit to Vancouver with writer pal Greg Daniels (who went on to co-create the American version of The Office). The two of them happened upon a Beachcombers episode on the TV in their hotel room. They became so transfixed with John's halting delivery and original TV presence that they tracked him down, and, posing as American producers, paid him a visit!Davies tells that story and many more, including a look back at some of his later credits, including his work on Tom Greene's notorious flick of the '90s, "Freddy Got Fingered."

The Boozy Blondes take to their bikes to pedal you to some of their favorite St. Augustine Beach bars including Little Margies, The Embassy Suites Castaway Cantina pool bar, Jack's BBQ, Tides Oyster Company (the old Dunes Cracker), Salt Life, Beachcombers, Sunset Grille, Mango Mango's, The Taco Shop, Cafe 11 and Panama Hatties. Check out our Boozy Blonde blog for bonus content and exclusive links to what we reference in this episode. https://boozyblondes.com/blog/ Enjoy social drinking? Join the party on our social media to find out the Drink of the Episode, Giveaways and more: https://boozyblondes.com https://www.instagram.com/boozy.blondes https://www.facebook.com/boozyblondes/ https://www.youtube.com/@boozyblondespodcast Support us through our Affiliate Links: Winc (wine club) https://winc.mivh.net/c/2968324/584021/9573 Drizly (liquor delivery) https://drizly.sjv.io/c/3042410/841291/9425 H-Proof (hangover cure) https://lddy.no/126cf --- Support this podcast: https://podcasters.spotify.com/pod/show/boozyblondes/support

Guateque playero a ritmo de 60’s rocknroll. Una sesión en donde bailaremos en la arena, cogeremos olas, tocaremos bongos, abriremos cervezas y nos deleitaremos observando músculos, bañadores o preciosos bikinis. Playlist; (sintonía) THE BEACHCOMBERS “The wheelie” ANNETE “Beach party” CITY SURFERS “Beach ball”” WAYNE HOLLERS “Dancing in the sand” RENE AND RAY “Surfboard” BIKINI BEACH CAST “Bikini beach” SPINNERS “Surfer monkey” SURFSIDERS “When I grow up” LARRY BRIGHT “Surfin’ queen” BRUCE JOHNSTON “Maztland” THE FOUR DIMENSIONS “Sand surfin’” THE GONZOS “Church key” THE BIKINIS “Bikini” RICKY DEAN “Bikini” HOUND DOGS “Beach girl” THE SURFETTES “Sammy the sidewalk surfer” THE BEACH BOYS and THE HONEYS “Runaway with me” THE BEACH BOYS “Alley oop” RONNIE AND THE DAYTRONAS “Beach Boy” THE SUPERSTOCKS “Muscle beach party” DAVID GATES “Okie surfer” BOB KEENE ORCHESTRA “Twist and freeze” RICKY DEAN “Little Betty limbo” CLIFF RICHARDS “On the beach” BOBBY DARIN with SHORTY LONG ORCHESTRA “Beachcomber” DAVE MYERS and the SURFTONES “Aquavelva” Escuchar audio

How fast is Monkeypox spreading and what can be done about it, The best magicians in the world gather in Canada for the first time, A look at the life and legacy of The Beachcombers actor Pat John &   Researchers discover whale sharks are the world's largest omnivores - July 28th, 2022   How fast is Monkeypox spreading and what can be done about it Guest: Jason Tetro, Host of the Super Awesome Science Show   The best magicians in the world gather in Canada for the first time  Guest: Greg Frewin, Canadian magician and winner of the 1994 FISM World Championships of Magic    A look at the life and legacy of The Beachcombers actor Pat John  Guest: Jackson Davies, Canadian actor and Pat John's Beachcombers co-star     Researchers discover whale sharks are the world's largest omnivores   Guest: Dr. Mark Meekan, Senior Principal Research Scientist, Australian Institute of Marine Science, The University of Western Australia

Guest: Jackson Davies, Canadian actor and Pat John's Beachcombers co-star 

Summer is in full swing and this hour is full of hot tunes!  Beth Riley goes to the beach with a deep track by The Beach Boys in her Surf's Up: Beth's Beach Boys Break.  We also continue our year long 10th Anniversary celebration of their 29th album, That's Why God Made The Radio with another track from that one.  As always, we drop a coin in the Jammin' James Jukebox to hear our selection fo the week.  Plus, we've got songs from Beachcombers, The Eye Five, Los Daytonas, GO-GO Rillas, Robotron, Drifting Sand, Surfnado Tiki Squad, His Lordship, The Mellons, The ChuGuysters, The Fuzziyama Surfers, La Luz, The Sparks Boys, It's Only Roy, The Fathoms and Hipbone Slim!   Intro music bed: "Catch A Wave"- The Beach Boys   Hipbone Slim- "Legless" The Fuzziyama Surfers- "Fuzziyama Beat" Robotron- "Bizarr-o-tron" It's Only Roy- "Gentle Soul (I Can Still Hear You) La Luz- "The Pines (Instrumental)" The ChuGuysters- "Double Trap" The Mellons- "So Much To Say" The Sparks Boys- "Wipe Out"   Surf's Up: Beth's Beach Boys Break: The Beach Boys- "Goin' To The Beach" Follow "Surf's Up: Beth's Beach Boys Break" HERE   Los Daytonas- "Go T. Bucket!" GO-GO Rillas- "Rob The Banana Train" His Lordship- "I Live In The City" Surfnado Tiki Squad- "Burrito's Way"   10th Anniversary Celebration of The Beach Boys- That's Why God Made The Radio The Beach Boys- "Beaches In Mind"   The Eye Five- "Sun Song"   Jammin' James Jukebox selection of the week: The Eagles- "Pipeline"   Beachcombers- "Kahuna" Drifting Sand- "Best Summer Ever" The Fathoms- "Tracking Bigfoot"   Outro music bed: Eddie Angel- "Deuces Wild"

John Moore joins Ken Connors to discuss Dave Coulier talking about possibly being the guy Alanis Morrisette was singing about, Henry Winkler describes disappointing meeting with Mick Jagger and Jessie from The Beachcombers dies.

Many parents of very young children are breathing a sigh of relief as Health Canada approves the Moderna vaccine for kids under five. We'll talk to the president of the Canadian Medical Association, Dr. Katharine Smart. And in our second half, we're joined by Beachcombers actor Jackson Davies to remember his co-star Pat John, a member of the shíshálh Nation, who passed away this week.

Don filmed hundreds of documentaries across Canada and around the world including Sesame Street, Children of the World and The Nature of Things. Turning to dramatic productions he worked on dozens of TV series including the Beachcombers, 21 Jumps Street and MacGyver. Don retired after fourteen fulfilling years as an instructor at an international film school.

After a significant milestone (or time in this case), it's important to take a look back and see all the great places and people we've talked about. Of the great restaurants and fun times discussed throughout Tampa Bay, which ones still hold up? Is the relish tray at Beachcombers still as delicious? Is Vesuvio at Bella's Cafe still the mindblowing dessert it was? Is the Strawberry Festival better than the Florida State fair? We also mourn the loss of some of our favorites dineries throughout Tampa Bay. Whether pandemic took them down, or simply they moved on to better things.

Richie Allen, también conocido como Richard Podolor, falleció el pasado 9 de marzo. Compositor, productor, ingeniero de sonido y excepcional guitarrista de sesión, Podolor, se convirtió en uno de los más deliciosos creadores de la edad dorada de la música surf. Un músico de formación clásica que supo captar en su guitarra encantada la inmensidad del océano y la melancolía de las olas. Playlist; (sintonía) RICHIE ALLEN and THE PACIFIC SURFERS “The quiet surf” (1963) THE SUPER STOCKS “Midnight run” (1964) RICHIE ALLEN “Stranger from Durango” (1960) SANDY NELSON “Let there be drums” (1961) THE BEACHCOMBERS “Lone survivor” (1962) RICHIE ALLEN and THE PACIFIC SURFERS “Surfer’s slide” (1963) RICHIE ALLEN and THE PACIFIC SURFERS “The rising surf” (1963) RICHIE ALLEN and THE PACIFIC SURFERS “Surfer’s delight” (1963) RICHIE ALLEN and THE PACIFIC SURFERS “Undercurrent” (1963) THE SUPERSTOCKS “Ventura” (1964) THE SUPER STOCKS “Newport beach” (1964) THE SUPER STOCKS “Oceanside” (1964) THE HONDELLS “Haulin’ Honda” (1964) THE GHOULS “Coffin nails” (1964) THE GHOULS “Dracula’s theme” (1964) THE CHOCOLATE WATCHBAND “Expo 2000” (1967) THE CHOCOLATE WATCHBAND “Dark side of the mushroom” (1967) THE SUPER STOCKS “The last walk” (1964) RICHIE ALLEN and THE PACIFIC SURFERS “Surf man” (1963) Escuchar audio

Kirk Buchner and Chris Bournea look at Kirk's home country with the oldest episode of The Beachcombers; one of the most successful shows in Canadian history.

David Hayes (Slagter) is an extremely accomplished chief engineer and mixer who has worked in various recording studios, including Toronto Sound, Little Mountain Sound and Pinewood Studios. David was the co-owner of Rock Beach Studios (now Blue Frog Studio) and has engineered for many well-known artists such as Klaatiu, Dr. Music, Paul Janz, Headpins (w/Darby Mills), and Chilliwack. In this chat with Dan Hare, David reveals: why he moved from drumming to sound engineering; the differences in engineering at various studios; why he worked at studios in various countries including Russia; his top three regrets, and much more.

This week Ken welcomes actor Carly Pope to the show. Ken and Carly discuss The Great White North, chasing Winter, being in the wrong place at the right time, Vancouver, Canadian indie film, Toronto, Canadian Content, Dave Thomas in White Coats, 1980s Nickelodon's massive amount of Canadian content, Read All About It, Mr. Dressup, The Beachcombers, Danger Bay, Molly Parker, how Ken is nobody to take life advice from, Disturbing Behavior, shooting in Romania, David Nutter, Popular, how nobody walks in LA, Bob's Big Boy, cigarette ads telling you to avoid inhaling, Larry's barks, The Polka Dot Door, not coming from an acting background, How 1987 is an amazing year for movies, Harry and the Hendersons, The Lost Boys, ALF, puppets, thinking of it before ET, being spooned by the Yeti, loving genre movies but avoiding being in them, wondering if the addition of cell phones would kill the plot of a movie, Better Off Dead, Die Hard, crossword puzzles, being on Family Feud against the cast of Freaks & Geeks, Double Dare, Funhouse, I'm Telling, Finders Keepers, going to a TV taping of Kids' Street, winning a Cleo award, an actual funny commercial, The California Raisins, Johnny Harris in Still Standing, Friday Night Lights, rewatching Pulp Fiction for comfort, Return to Oz, Watcher in the Woods, how it's almost always The Peanut Butter Solution, and being emotionally scarred by The Hugga Bunch.

In this episode, Founder of the Rizing Tide Foundation, Heidi Jannenga, returns to the podcast to talk about fostering diversity in the physical therapy industry. Today, Heidi talks about the incredible work being done by the Rizing Tide Foundation, the process of awarding scholarships, and future Rizing Tide developments. Which changes still need to be made in the industry? Hear about the growing student debt problem, how you can get involved with Rizing Tide, and get Heidi's advice to her younger self, all on today's episode of The Healthy, Wealthy & Smart Podcast.   Key Takeaways “Almost every single one of them [students] were working full-time jobs at the same time as going to PT school. Some of them, more than one job.” “There's a huge segment of the folks that answered that survey that have more than $150,000 of debt post-graduation.” “It takes a lot to try to balance the price of education to what we actually are getting paid as clinicians.” “A rising tide raises all boats.” “Be open-minded to a path that you may not have thought that you might go down.” “If something aligns with your vision and values, then go for it.”   More about Heidi Jannenga Dr. Heidi Jannenga, PT, DPT, ATC, is the founder of the Rizing Tide Foundation, which seeks to inspire more diversity and inclusiveness in the physical therapy industry. Each year, Rizing Tide presents scholarships to five promising BIPOC (Black, Indigenous, and people of color) students who are on the path to earning their Doctorate of Physical Therapy (DPT) or furthering their PT education by pursuing a residency program. In addition, Heidi is a physical therapist and the co-founder and Chief Clinical Officer of WebPT, a nine-time Inc. 5000 honoree and the leading software solution for physical, occupational, and speech therapists.  As a member of the board and senior management team, Heidi advises on WebPT's product vision, company culture, branding efforts and internal operations, while advocating for rehab therapists, women leaders, and entrepreneurs on a national and international scale. Since the company launched in 2008, Heidi has guided WebPT through exponential growth. Today, it's the fastest-growing physical therapy software in the country, employing over 600 people and serving more than 90,000 therapy professionals - equating to an industry-leading 40% market-share. In 2017, Heidi was honored by Health Data Management as one of the most powerful women in IT, and she was a finalist for EY's Entrepreneur of the Year. In 2018, she was named the Ed Denison Business Leader of the Year at the Arizona Technology Council's Governor's Celebration of Innovation. In addition to serving on numerous non-profit leadership boards, Heidi is a proud member of the YPO Scottsdale Chapter and Charter 100 as well as an investor with Golden Seeds, which focuses on women-founded or led organizations. Heidi is a mother to her 10-year-old daughter Ava and enjoys traveling, hiking, mountain biking and practicing yoga in her spare time.   Suggested Keywords Healthy, Wealthy, Smart, Physiotherapy, Representation, Scholarships, Diversity, Inclusivity, BIPOC, Student Debt, Education, Opportunity,   Resources Higher Education? By Andrew Hacker and Claudia Dreifus. Apply for a Rizing Tide Scholarship.   To learn more, follow Heidi at: Website:          https://rizing-tide.com Twitter:            @HeidiJannenga LinkedIn:         Heidi Jannenga   Subscribe to Healthy, Wealthy & Smart: Website:                      https://podcast.healthywealthysmart.com Apple Podcasts:          https://podcasts.apple.com/us/podcast/healthy-wealthy-smart/id532717264 Spotify:                        https://open.spotify.com/show/6ELmKwE4mSZXBB8TiQvp73 SoundCloud:               https://soundcloud.com/healthywealthysmart Stitcher:                       https://www.stitcher.com/show/healthy-wealthy-smart iHeart Radio:               https://www.iheart.com/podcast/263-healthy-wealthy-smart-27628927   Read the full Transcript Here:  SUMMARY KEYWORDS rising tide, scholarship, pt, students, people, heidi, industry, physical therapist, foundation, profession, podcast, scholarship program, year, works, residency programs, physical therapy, pts, residency, crest, education   00:07 Welcome to the healthy, wealthy and smart podcast. Each week we interview the best and brightest in physical therapy, wellness and entrepreneurship. We give you cutting edge information you need to live your best life healthy, wealthy and smart. The information in this podcast is for entertainment purposes only and should not be used as personalized medical advice. And now, here's your host, Dr. Karen Litzy.   00:35 Hey everybody, welcome back to the podcast. I'm wishing you all a very happy New Year and welcome to the first episode of 2022. We've got a great one in store. But first, a big thank you to Net Health for sponsoring today's podcast episode. So when it comes to boosting your clinics, online visibility, reputation and referrals, Net Health Digital Marketing Solutions has the tools you need to beat the competition. They know you want your clinic to get found get chosen and get five star reviews. So they have a new offer. If you sign up and complete a marketing audit to learn how digital marketing solutions can help your clinic win. They will buy lunch for your office. If you're already using NET Health's private practice EMR, be sure to ask about his new integration, head over to net help.com forward slash li T zy to sign up for your complimentary marketing audit. Okay, on today's episode I'm really excited to have back on the podcast Dr. Heidi J. Nanga. She is the founder of the rising tide Foundation which seeks to inspire more diversity and inclusiveness in the physical therapy industry. Each year rising tide presents scholarships to five promising bipoc students who are on the path to earning their doctorate of physical therapy, or furthering their PT education by pursuing a residency program. In addition, Heidi is a physical therapist and the Co Founder and Chief Clinical Officer of web PT, a nine Time Inc 5000 honoree and the leading software solution for physical occupational speech therapist. As a member of the board and senior management team Heidi advises on web PTS, product vision company culture branding, efforts, and internal operations while advocating for rehab therapist women leaders and entrepreneurs on a national international scale. Since the company launched in 2008, Heidi has guided web PT through exponential growth. Today, it's the fastest growing physical therapy software in the country employing over 700 people serving more than 90,000 therapy professionals, equating to an industry leading 40% market share. In 2017, Heidi was honored by health data management as one of the most powerful women in it. She was a finalist for he wise Entrepreneur of the Year in 2018. She was named Ed Dennison, Business Leader of the Year at the Arizona Technology Council's governor's celebration of innovation. In addition to serving on numerous nonprofit leadership boards, Heidi's a proud member of the YPO Scottsdale chapter and charter 100 as well as an investor with golden seats which focuses on women founded or led organizations. She is also the mother's 10 year old daughter Ava enjoys traveling hiking, mountain biking and practicing yoga in her spare time when that spare time is I don't know. So today we are talking about the rising tide Foundation. And if you are a physical therapist and you are hoping to go into residency or you're in your residency, you must listen to this episode because you can win a scholarship from the rising tide foundation. If you're listening to this today, Monday, you have until Friday in order to to submit an application to the rising tide foundation to get a scholarship for your residency. So get on it people a big thank you to Heidi and everyone enjoyed today's episode. Hey, Heidi, welcome back to the podcast. Happy to have you back on.   04:02 Hey, Karen, so great to be here. Thanks so much for having me.   04:05 And so today we're going to be talking about a foundation called the rising tide foundation. So what is it and why did you decide to start this foundation?   04:19 Well, thanks so much for having me on. And to be able to talk about this because it really is a has been a labor of love. And a true way for me to give back to a profession that has given so much to me. The Rising Tide foundation really started after a few years of us doing the real estate of rehab therapy industry report which you and I have talked about on this podcast, and every year. There doesn't seem to be a change into two major things that we ask the serve the people that we survey, one was what you mentioned student debt, and actually, not that it hasn't changed, it's actually increasing. And that's a big burden, as you can imagine, to an industry. And then second was actually the biggest emphasis, which is the the, the lack of diversity within our profession. And being a person who identifies as a person of color. The fact that we have this lack of diversity has been a real, real issue, that hasn't made much change, despite, you know, the APTA and others sort of bringing attention to the issue. But the percentages as far as what the makeup of our profession looks like, has not changed has not really changed at all, in the last five years that we've been doing that survey. And so that was really the two major impetus behind me starting this foundation, I've been lucky enough to have financial success with web pt. And so had started the rising tide Foundation, not knowing what I wanted to do with the foundation back at the end of 2019. And then with everything that happened through 2020, it just sort of hit me over the head that this is something that I can personally make a difference in, within our profession. And   06:39 what exactly does the rising tide foundation do?   06:45 It is a scholarship program. So we have two tracks of scholars. We have the crest Scholarship, which is actually geared towards new and new students coming into the profession. And so we provide $14,000 scholarships to three participants, or three scholars, three scholarship winners, that is renewable for the three years PT school, and then we have to serve scholarships, which actually is for physical therapists who are going on to residency programs. And those are $10,000 each, for the one your usual one year program of residency. How, how   07:41 are these winners chosen? What give us a peek sort of behind the curtains, if you will, as to how the process works, so that if people listening to this, whether you are a physical therapy student, or you are one of those people like Gosh, I really want to do a residency, but I don't know how I can make it work financially. So how can these folks apply to the program and and like I said, gives a little peek behind the curtain on how it all works?   08:12 Sure, well, first and foremost, you have to qualify and so if you go to rising dash tide.com, you will find all of the specific sort of qualifications that are required. So for example, for the crest scholarship, you are either an undergraduate who is applying or an undergraduate who is applying to PT school. So you have will have graduated from an undergraduate with an undergraduate degree going on to DPT program, or you're a PTA that's entering into a PTA Bridge Program, which is there's only a couple of schools that do that. But we are also providing scholarships for any PTA who they want to go on to get their DPT so there is a actual physical, like documentation style application, which you have to fill out as well as writing three short essay that include questions like What inspired you to become a physical therapist? And, you know, what does it mean to be a community member? And then also, you know, we really wanted to dive into the essence of who the scholars are. Because we feel like we want to invest in professionals who who are really going to want to make a difference in the profession. So the last question is talking about sort of a failure that you've experienced in your life and what you've really learned from that training. Did you know dive into a little vulnerability and understanding of who they are at the core of the person. And so you also need some letters of recommendation, and transcripts in the normal sort of thing that you might think about in going through a scholarship. So once you you send all of that information. We have a selection committee, which I'm really, really proud of. I was honored to gather quite a few thought leaders from the industry including a fossa, Joe Badea, Maria Gonzalez seen Sharon Wang is actually not from the industry. We wanted to bring together our selection committee, which I call our Beachcombers, hopefully see that sort of nautical theme here. Wendy HARO, who is a software engineer actually works with me with PT, Moyer Tillery, who is also a PT, and then Jean shamrock rod. And those folks make up our our base comers who were to which our selection committee, so we scour all of the applications that come in for each one of the scholarship programs. And we narrow it down to around 10 finalists, and each of the finalists and have to go through an actual live video interview with the selection committee. And from there, we then get the really tedious and hard, difficult decision to narrow it down to the three winners. We just went through the crash scholarship selection process, and it was absolutely amazing. And, and we we were able to narrow it down. But having been our first process, it was just an incredible experience. And we had so many great applicants that we actually ended up awarding five scholarship winners, three of the full scholar, scholarship cross winners, and then we actually started two new sub winners, which are the what we're calling our rising stars, which actually got $5,000 scholarship towards their tuition and, and fees, they might be paying towards PT school.   12:35 That's amazing. And how many people applied for the crest scholarship?   12:44 Yeah, you know, Karen, you know, all about startups right in that first, first year, you kind of are working out the kinks, you're trying to figure out the right processes to have in place. And we had a fairly short window of about 60 days, 45 to 60 days that we opened up the application process this year, for our first cohort of crest winners. And our goal was to get 20 applicants. And after a social media polish and the PR, including, you know, me talking on a few podcast, we actually got 40 applicants which I was so so thrilled about. So we doubled the number that we wanted, then, obviously through that process, it's was so great that we couldn't actually just narrow down to three. So we actually awarded five scholarships and I I just wanted to give a shout out to the amazing scholars that did winner that are part of this first first cohort we had three winners from Northwestern University, Ruth Morales Flores is actually a second year students. Ricky Loki, who is a first year in Jackie Hua, who was a first year as well, just phenomenal, phenomenal students. And Alicia lead from Washington, St. Louis University and Tyrrel McGee, from Regis University. So a really broad spectrum of really interesting and thoughtful students who I know are going to make huge impact on the industry moving forward.   14:29 And you know, you had mentioned that part of the application process was interviews. So a lot you had the members of the committee interviewing 10 Different students and you're reading through 40 different essays. So what did you learn about the PT education system through hearing from all of these applicants and the eventual winners of the scholarship program?   14:59 Well, for First and foremost, as I mentioned, one of the goals and the mission of rising tide is all about improving the diversity of the workforce within our industry. And so, obviously, you know, the number of students that have been accepted to PT school in order to really receive this scholarship and qualify for the scholarship has to be people of color. And so the fact that we were able to get the number of scholarships applications that we did, in such a short period of time, was amazing to me. And, and I attribute a lot of that to the physical therapy, schools really putting diversity as a high priority in terms of their recruiting process of really also trying to change the face of who we are, and to become less homogenous, and more reflective of the society in which we live in. And so that was a real, I want to say, eye opener, but but pleasant surprise, that, you know, despite the fact that we haven't seen the numbers change, that it is something that is a huge priority, and is now after a few years of changing processes, and changing how the recruiting, where they're recruiting from and how they're actually going through the actual student selection process. For example, there are many schools now that are either eliminating, or D prioritizing SAP scores as an entry component, or GRE scores as it goes into graduate school, as a as a component of the process, and putting a higher priority on interview and essays and other things and more more, I guess, tangible areas of interest as they go through the, the selection process for their incoming classes. And so that was a that was really positive for me to really hear that. But it more than that, it was the passion that the students had for the industry. You know, I don't think much has changed in terms of why people get interested in the PT field, most of them had had experiences, whether it was personal or with family members, that really sparked that inspiration to to go into the PT field. Some of the other things that were just amazing about these students is almost every single one of them were working full time jobs, at the same time as going through PT school, some of them more than one job. We heard stories of, you know, students who basically had to decide whether they were going to pay for food, or pay for a book. And so the determination and just the sheer passion around why the and what they're able to do in order to accomplish their goals, was just astounding. And I don't know that, you know, most people understand the sort of path that, you know, underserved populations sometimes have to take in order to accomplish those goals.   18:54 Yeah, that's amazing. What a great group that you you got to meet. Now, after talking with these students, aside from the fact that hey, schools are kind of changing the weight of inclusion criteria, what further changes do you think need to be made within the industry? And on that, we'll take a quick break to hear from our sponsor, and be right back with Heidi's answer. When it comes to boosting your clinics, online visibility, reputation and increasing referrals, net Health's Digital Marketing Solutions has the tools you need to beat the competition. They know you want your clinic to get found, get chosen and definitely get those five star reviews on Google. Net Health is a fun new offer. If you sign up and complete a marketing audit to learn how digital marketing solutions can help your clinic win. They will buy lunch for your office. If you're already using Net Health private practice EMR, be sure to ask about its new integration. Head over to net health.com forward slash li tz y to sign up for your complimentary marketing Audit?   20:01 Well, we know as, as we you, you started talking about in the beginning of the show is the student debt ratio that pte students are coming out with post graduation. We've seen that time and time again, in our state of rehab therapy industry report, as we surveyed, you know, 1000s, of therapist to understand their biggest woes, as they are navigating through this profession. And, you know, I, there's a huge segment of of the folks that answered that survey that have more than $150,000 of debt post graduation. And that was a 5% increase over what we found those numbers to be in 2018. So just in a few years, that number has grown significantly. And so that's to me, it's just not sustainable. When you compare what the compensation is, for an average, you know, new grad, being somewhere between depending on the type of PT services that you're delivering anywhere from 60 to 90 grand. That's just not commensurate to be able to be able to live and then pay off that debt, which you know, $150,000 in PT school usually means on top of another 100 grand at minimum that you you've accumulated through undergrad. So we're talking a huge, tremendous amount of debt. And so what I know is also happening is looking at shortening the timeframe in which it takes to get a doctorate degree, there are universities and colleges like South College, that are changing the way we think they're trying to change the way we think about PT school, where it doesn't have to be 100% in person that, you know, a large portion of the time spent can be done online. So that cuts down significant amount of debt in terms of having to pay for housing and other things. And it just becomes more accessible to more people, and decreases the cost of the overall educational process. So I really think that the cost of education, rethinking how we do the curriculum, of what truly is necessary to be in person are things that that really need to be looked   22:40 Yeah, and when we talk about that sheer amount of, of debt, when I speak about that to other people, I always preface like, you know, like you said, Pts are coming out of school 50 to $90,000. It's not like we work at Goldman Sachs, where in two years you get like $500,000 Bonus, do you know what I mean? And and why law paid off? Right? So it's a little bit different PTS are not usually getting a $500,000 bonus. May I don't want to, I don't want to get yelled at by people on the internet. But I'm pretty sure that doesn't happen often.   23:21 No, I don't think that happens very often. As a matter of fact, I think, you know, especially in the times that we're in right now, you know, the the 5%. Five to maybe 10% increase year over year is probably what's on average. So, you know, it's gonna take you a while, especially if you're you're starting out as a new grad in that maybe 60 to 70 range to even get to the, you know, the six digit. Right. And so, yeah, it takes a lot to try to balance the price of education to what we actually are getting paid as, as clinicians.   24:05 Yeah. And and if there's a really great book, Heidi, I don't know if you've ever heard of heard of this book, but it's called Higher Education question mark. And it's by Andrew hacker and Claudia Dreyfus. And they talk about the cost of higher education. And what are some of the extraneous things happening on college campuses that aren't going directly to the education of the students, but yet is being reflected in the price of admission. So if people want to learn more about that, I would highly suggest reading that book.   24:40 Yeah, absolutely. There's a lot of debate happening right now around higher education and the need for it. You know, I know even within our own profession, there's a lot of question marks around the DPT on whether it was worth it or not. But at the end of the day, we are here we are At level professionals, but we do need to figure out if we are going to continue to grow and have an attract the top talent that we want to continue to have our profession, you know, be recognized as adding, you know, tremendous value to the overall healthcare system. We definitely want to, you know, remain viable and relook and relook at how perhaps we're doing some of the things because I just don't think that the way the path that we're on today is truly sustainable.   25:38 Yeah, I agree with that. And now, let's say you're a student out there, or you're going into residency, how can they get more information to apply for upcoming scholarships? And is there are there any scholarship applications that are due soon?   25:55 Yes, I mentioned we have the crest scholars, but we also have the search Scholarship Program, which is for residency programs. And that current application process is open right now. And so it will be closing on January 14. So if you are a current resident residency program participant, and would like to apply for the surge scholarship, and you are a person of color, you can apply at res rising dash tie.com. If you go to search scholarship on there and just hit the Apply button, it will take you right to the page in which you can fill out all of the information, upload any documentation that we're requiring. And then we will definitely take a look at the application and put you into the process.   26:55 Yeah, so that means if you're listening to that, listening to this podcast today, on the 10th, you have until the end of this week, so get on it if you want money to help you get through your residency, so you've got like you've got five days, so get on it.   27:14 And this is an annual annual renewal process. So we will launch a new cohort every year. So if you miss out this year, but you're going through your residency programs, this year, you will get another chance at the end of this year to apply for the scholarship. And definitely any students out there who might be listening or interested in the field of PT, and you are going to be a new grad in this upcoming year of 2022. Or I'm sorry, a new student to PT school this year. And please, please, please think about offsetting some of that student debt through a scholarship program like rising tide.   27:55 Excellent. And now what's new with the foundation? What do you have coming up aside from these amazing scholarship opportunities,   28:03 while being part of rising tide means you're part of our community. And so one of the really awesome things that we are going to we are doing with our cohort is getting them together annually for sort of rising tide retreat in which we're going to have thought leaders from the industry come together to help be mentors to these students. Each cohort will be building on itself. So as we have this first group of 2021 Slash 2022 go through this year, they will then come back and be be mentors to our next cohort of students that will be coming through so part of the sort of surge and crafts together where you've got, you know, physical therapists going through residency programs will help to be mentors to these up and coming students. And so creating this community of connection, and education is really what we're planning through 2022.   29:15 I see what you did there. I like it, I like it. And now let's say you're a physical therapist like me, and you're like, wow, I am loving this rising tide. How can I can I donate to this? Can I be a part of this? What can I do?   29:32 Yeah, that's a great question. Karen and I, since launching this this past year in 2021, I just been so honored by the amount of outpouring of support that people have wanted to give to this program, including financial. I mentioned that it was self funded. And you know, We've had many, many years of scholarships that are going to be awarded. But with this outpouring of support of people who wanted to donate financially, I, I went ahead and change the 501 C three status to allow me to have donations. And so in March of 2022, we will be opening up the rising tide foundation to people who want to donate. And my hope is to actually double the number of scholarships that we're going to be able to award in 2022, that we we were able to do in 2021. And so if we can continue to do that every year, so that would mean we would award 10 scholarships in 2022, rather than five for at least the cross scholarship and then four of the search scholars, I think that would be absolutely amazing. And as you can imagine, if we did that year over year, we would be funding almost every PT student in let's say, 20 years.   31:05 Exactly. Hey, that's that big blue sky dream, right? The be hag? Yes, yes, the big big dream. And and, and it's a great dream to help future physical therapists not be saddled with the amount of student debt that a lot of students over the past couple of years have, unfortunately, had to deal with. So I think it's a wonderful foundation. And I applaud you for taking the initiative to putting this out into the world. And again, where can people find Oh, you said it a couple times, and we will have a link to it in the show notes. But where can people find more about the scholarship and about rising tide?   31:49 Yep, it's www dot rising with a Z r i v i n g dash tide.com. And I'm sure many of you have heard the saying rising, a rising tide raises all boats. And that's really where it came from. It's something that has that thing has really meant a lot to me, in how I perform as a leader, and what I sort of prescribed to as sort of my own personal culture of wanting to help people. And so that's where sort of the name sort of stems from. But yeah, go to rising tide.com. And you can learn all about our foundation and scholarship program, you can sign up for our blog subscription, we have a monthly vlogs, coming out about all kinds of things that has to do with how students can improve sort of how they think about becoming a physical therapist, too, just thought provoking ideas as we go about wanting to sort of change the face of the PC profession.   33:05 Perfect. And I'll also add that you're also on Instagram, and on Twitter. So if you go to the website, you can go down to the bottom and click on the little icons, and you can follow rising tide on Instagram and Twitter and LinkedIn as well. That's right. Yeah, perfect. All right. Well, Heidi, as we start to wrap things up, I know, I asked you this before, so you're gonna have to think of something new. What's another piece of advice you would give to your younger self?   33:41 Well, I would just say be open minded to a path that you may not have thought that you might go down, go down. I will just say that, you know, starting a nonprofit, and a scholarship program was really not on on my radar. And as things have unfolded, just like starting in that entrepreneurial mindset, like it works in your professional life, as I'm sorry, it works in your personal life, as well as your professional life in terms of finding problems that need to be solved and figuring out a way to do that. And so stay staying really open minded to things that come your way that may not be necessarily what you think, or had planned to do. To find ways to just try to try new things and be open minded to those options and they can take you down path of trim adding tremendous value and to others but also just in, in in to yourself as well.   34:58 Yeah, excellent advice. keep your mind open. And if something aligns with with your vision and values, then go for it. Great advice. Heidi, thank you so much for coming on to the podcast today talking about rising tide. And again, if you're going to mention this one more time, if you're going into your residency program, check out rising tide, check out the website. We mentioned it several times, also in the show notes at podcast at healthy, wealthy, smart, calm and apply, because you've got a couple of days if you're listening to this on the 10th of January 2022. You've got until the 14th to apply for the surge scholarship. Is that That's right, right.   35:44 That's right. Okay. Well, you got until the 14th until the midnight of the 14th and mentioned that you heard it on rising tide or on the healthy wealthy podcast. And we'll just move you to the top of the stack.   35:56 Yes. So So do it. People get on it be a part of the rising tide. Heidi, thank you so much for coming on.   36:04 Karen, it's always a pleasure. Thank you so much. Yeah,   36:06 of course. And everyone. Thanks so much for listening, have a great couple of days and stay healthy, wealthy and smart. And a big thank you to Dr. Heidi Jenga for coming on the podcast to discuss the rising tide foundation and of course, thank you to Net Health. So again, they have a new offer if you sign up and complete a marketing audit to learn how digital marketing solutions can help your clinic when they will buy lunch for your office. Head over to net health.com forward slash li te zy to sign up for your complimentary marketing audit to get your clinics online visibility, reputation and referrals increasing in 2022   36:45 Thank you for listening and please subscribe to the podcast at podcast dot healthy wealthy smart.com And don't forget to follow us on social media  

Welcome to The Academic Life! In this episode you'll hear about: Nancy Thayer's path through college and graduate school, her work as a professor, how she hit a glass ceiling in academia, her decision to pursue writing as a full-time career, her life on an island off the coast of Massachusetts, and a discussion of the book Girls of Summer. Our guest is: Nancy Thayer, the New York Times bestselling author of Secrets in Summer, The Island House, The Guest Cottage, An Island Christmas, Nantucket Sisters, A Nantucket Christmas, Island Girls, Summer Breeze, Heat Wave, Beachcombers, Summer House, and Moon Shell Beach. Her books center on families and relationships: marriage and friendships, divorce and love, custody and step parenting, family secrets and private self-affirmation, the quest for independence and the normal human hunger for personal connections. Her work has been translated into German, Finnish, Hebrew, Russian, Turkish, French, Portuguese, Spanish, Dutch, Serbo-Croatian, Swedish, Danish, and Polish. She has a B.A. and M.A. in English literature from the University of Missouri at Kansas City. She was a Fellow at the Breadloaf Writers' Conference. In 2015, she was awarded the Romantic Times Career Achievement Award for Mainstream Fiction. She has lived on Nantucket Island for over thirty years with her husband Charley Walters; her daughter is the novelist Samantha Wilde. You can find Nancy's videos and photos of Nantucket Island life by following Nancy Thayer on Facebook, or Instagram. Today's book is: Girls of Summer, a novel set on Nantucket, which explores themes about single parenting, female friendships, starting over after a divorce, opioid addiction, romance between older women and younger men, climate change, and rising waters. Our host is: Dr. Christina Gessler, co-producer of the Academic Life. She used to live on the same island as Nancy Thayer; they often met for lunch or coffees and talked all things books and writing and friendship and life. Listeners to this episode may also be interested in: --This article about Charley Walter's work for Rolling Stone --The Rolling Stone music review referenced in the N magazine article --Stepping, by Nancy Thayer --Let it Snow, by Nancy Thayer --Nantucket Noel, the 2021 Hallmark Channel Christmas Movie based on Let It Snow by Nancy Thayer --Three Women at the Water's Edge, by Nancy Thayer --Family Reunion, by Nancy Thayer --I'll Take What She Has, by Samantha Wilde --The Business of Being a Writer, by Jane Friedman --This podcast about leaving academia --You can find the shark tracker referenced in this podcast here --The Marine Mammal Alliance Nantucket You are smart and capable, but you aren't an island and neither are we. We reach across our mentor network to bring you podcasts on everything from how to finish that project, to how to take care of your beautiful mind. Wish we'd bring on an expert about something? DM us on Twitter: The Academic Life @AcademicLifeNBN. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/academic-life

Welcome to The Academic Life! In this episode you'll hear about: Nancy Thayer's path through college and graduate school, her work as a professor, how she hit a glass ceiling in academia, her decision to pursue writing as a full-time career, her life on an island off the coast of Massachusetts, and a discussion of the book Girls of Summer. Our guest is: Nancy Thayer, the New York Times bestselling author of Secrets in Summer, The Island House, The Guest Cottage, An Island Christmas, Nantucket Sisters, A Nantucket Christmas, Island Girls, Summer Breeze, Heat Wave, Beachcombers, Summer House, and Moon Shell Beach. Her books center on families and relationships: marriage and friendships, divorce and love, custody and step parenting, family secrets and private self-affirmation, the quest for independence and the normal human hunger for personal connections. Her work has been translated into German, Finnish, Hebrew, Russian, Turkish, French, Portuguese, Spanish, Dutch, Serbo-Croatian, Swedish, Danish, and Polish. She has a B.A. and M.A. in English literature from the University of Missouri at Kansas City. She was a Fellow at the Breadloaf Writers' Conference. In 2015, she was awarded the Romantic Times Career Achievement Award for Mainstream Fiction. She has lived on Nantucket Island for over thirty years with her husband Charley Walters; her daughter is the novelist Samantha Wilde. You can find Nancy's videos and photos of Nantucket Island life by following Nancy Thayer on Facebook, or Instagram. Today's book is: Girls of Summer, a novel set on Nantucket, which explores themes about single parenting, female friendships, starting over after a divorce, opioid addiction, romance between older women and younger men, climate change, and rising waters. Our host is: Dr. Christina Gessler, co-producer of the Academic Life. She used to live on the same island as Nancy Thayer; they often met for lunch or coffees and talked all things books and writing and friendship and life. Listeners to this episode may also be interested in: --This article about Charley Walter's work for Rolling Stone --The Rolling Stone music review referenced in the N magazine article --Stepping, by Nancy Thayer --Let it Snow, by Nancy Thayer --Nantucket Noel, the 2021 Hallmark Channel Christmas Movie based on Let It Snow by Nancy Thayer --Three Women at the Water's Edge, by Nancy Thayer --Family Reunion, by Nancy Thayer --I'll Take What She Has, by Samantha Wilde --The Business of Being a Writer, by Jane Friedman --This podcast about leaving academia --You can find the shark tracker referenced in this podcast here --The Marine Mammal Alliance Nantucket You are smart and capable, but you aren't an island and neither are we. We reach across our mentor network to bring you podcasts on everything from how to finish that project, to how to take care of your beautiful mind. Wish we'd bring on an expert about something? DM us on Twitter: The Academic Life @AcademicLifeNBN. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Roy L Hales/ Cortes Currents - Frank Wayne Mottl's new book opens up in Gibsons, on the Sunshine Coast, a little more than a century ago.  Like his first book, 'the Cumberland Tales', ‘Mother's Keep' blends the flavours of actual and imagined events. This has prompted readers to ask him about the characters. Mottl said his granny, one of the many World War I brides who came over from England, was the inspiration for Mother's Keep. “She was a scullery. And the first chapter kind of deals with that. She was out in the woods gathering some firewood and she met this Canadian soldier out there. That part of the book is true,  he actually fell in love with her, but he was already married back in Canada,” said Mottl. “So he went back after recovering. The war was over. He went back home to Canada. And after two or three years, his wife passed away. So he wrote my granny back in England and said, ‘my wife passed away, come on over to Gibsons and live with me.'” Mottl's mother wrote down a lot of the family's stories from the years that followed: the depression years; rural living in Gibsons; her best friend's restaurant which ‘the Beachcombers' made famous as Molly's Reach. She is the inspiration for one of the three daughters mentioned in the book. In reality, there were four daughters: “But in the book it's actually three girls and a boy. So I kind of twisted things around a bit and the book is told from the boy's point of view - who was actually a ghost.” Granny moved in with Mottle when she was 80 years old and he was living in Cumberland. “When I was a kid, we used to walk through the woods to get water. You have two pails, walked down the trail and it was just a big open well, and we carried them back again. Then finally she got a little pump well, off the back porch of the pantry. And then uncle Chuck, who is an electrician, brought electricity down this little wire. Uncle Ron and my dad installed a little pump underneath the pantry sink so she would have running water. She turned on a tap, looked at them, and said, ‘what the hell do I need that for? Pull it out.” Mottl lives in Campbell River now, but wanted to launch ‘Mother's Keep' in Gibsons, “because that's where it all happened.” The formal book launch has been delayed because of COVID 19. You can purchase it at Save on Foods in Campbell River, which also has copies of his first book ‘the Cumberland Tales', or through Mottl's website https://www.frankwayne.net/ He is currently working on another book, which incorporates Sam Yik and ‘Broken Back' from ‘the Cumberland Tales.' He also incorporates politics from Ancient China, including the story of a scholar whose poetry incurred the ire of the government authorities and was destroyed. Photo credit: Frank Wayne Mottl at the launch of his first book, The Cumberland Tales

Episode one hundred and thirty-six of A History of Rock Music in Five Hundred Songs is a special long episode, running almost ninety minutes, looking at "My Generation" by the Who. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "The Name Game" by Shirley Ellis. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I mispronounce the Herman's Hermits track "Can't You Hear My Heartbeat" as "Can You Hear My Heartbeat". I say "Rebel Without a Cause" when I mean "The Wild One". Brando was not in "Rebel Without a Cause". Resources As usual, I've created a Mixcloud playlist of the music excerpted here. This mix does not include the Dixon of Dock Green theme, as I was unable to find a full version of that theme anywhere (though a version with Jack Warner singing, titled "An Ordinary Copper" is often labelled as it) and what you hear in this episode is the only fragment I could get a clean copy of. The best compilation of the Who's music is Maximum A's & B's, a three-disc set containing the A and B sides of every single they released. The super-deluxe five-CD version of the My Generation album appears to be out of print as a CD, but can be purchased digitally. I referred to a lot of books for this episode, including: Generations: The History of America's Future, 1584 to 2069 by William Strauss and Neil Howe, which I don't necessarily recommend reading, but which is certainly an influential book. Revolt Into Style: The Pop Arts by George Melly which I *do* recommend reading if you have any interest at all in British pop culture of the fifties and sixties. Jim Marshall: The Father of Loud by Rich Maloof gave me all the biographical details about Marshall. The Who Before the Who by Doug Sandom, a rather thin book of reminiscences by the group's first drummer. The Ox by Paul Rees, an authorised biography of John Entwistle based on notes for his never-completed autobiography. Who I Am, the autobiography of Pete Townshend, is one of the better rock autobiographies. A Band With Built-In Hate by Peter Stanfield is an examination of the group in the context of pop-art and Mod. And Anyway, Anyhow, Anywhere by Andy Neill and Matt Kent is a day-by-day listing of the group's activities up to 1978. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript In 1991, William Strauss and Neil Howe wrote a book called Generations: The History of America's Future, 1584 to 2069. That book was predicated on a simple idea -- that there are patterns in American history, and that those patterns can be predicted in their rough outline. Not in the fine details, but broadly -- those of you currently watching the TV series Foundation, or familiar with Isaac Asimov's original novels, will have the idea already, because Strauss and Howe claimed to have invented a formula which worked as well as Asimov's fictional Psychohistory. Their claim was that, broadly speaking, generations can be thought to have a dominant personality type, influenced by the events that took place while they were growing up, which in turn are influenced by the personality types of the older generations. Because of this, Strauss and Howe claimed, American society had settled into a semi-stable pattern, where events repeat on a roughly eighty-eight-year cycle, driven by the behaviours of different personality types at different stages of their lives. You have four types of generation, which cycle -- the Adaptive, Idealist, Reactive, and Civic types. At any given time, one of these will be the elder statespeople, one will be the middle-aged people in positions of power, one will be the young rising people doing most of the work, and one will be the kids still growing up. You can predict what will happen, in broad outline, by how each of those generation types will react to challenges, and what position they will be in when those challenges arise. The idea is that major events change your personality, and also how you react to future events, and that how, say, Pearl Harbor affected someone will have been different for a kid hearing about the attack on the radio, an adult at the age to be drafted, and an adult who was too old to fight. The thesis of this book has, rather oddly, entered mainstream thought so completely that its ideas are taken as basic assumptions now by much of the popular discourse, even though on reading it the authors are so vague that pretty much anything can be taken as confirmation of their hypotheses, in much the same way that newspaper horoscopes always seem like they could apply to almost everyone's life. And sometimes, of course, they're just way off. For example they make the prediction that in 2020 there would be a massive crisis that would last several years, which would lead to a massive sense of community, in which "America will be implacably resolved to do what needs doing and fix what needs fixing", and in which the main task of those aged forty to sixty at that point would be to restrain those in leadership positions in the sixty-to-eighty age group from making irrational, impetuous, decisions which might lead to apocalypse. The crisis would likely end in triumph, but there was also a chance it might end in "moral fatigue, vast human tragedy, and a weak and vengeful sense of victory". I'm sure that none of my listeners can think of any events in 2020 that match this particular pattern. Despite its lack of rigour, Strauss and Howe's basic idea is now part of most people's intellectual toolkit, even if we don't necessarily think of them as the source for it. Indeed, even though they only talk about America in their book, their generational concept gets applied willy-nilly to much of the Western world. And likewise, for the most part we tend to think of the generations, whether American or otherwise, using the names they used. For the generations who were alive at the time they were writing, they used five main names, three of which we still use. Those born between 1901 and 1924 they term the "GI Generation", though those are now usually termed the "Greatest Generation". Those born between 1924 and 1942 were the "Silent Generation", those born 1943 through 1960 were the Boomers, and those born between 1982 and 2003 they labelled Millennials. Those born between 1961 and 1981 they labelled "thirteeners", because they were the unlucky thirteenth generation to be born in America since the declaration of independence. But that name didn't catch on. Instead, the name that people use to describe that generation is "Generation X", named after a late-seventies punk band led by Billy Idol: [Excerpt: Generation X, "Your Generation"] That band were short-lived, but they were in constant dialogue with the pop culture of ten to fifteen years earlier, Idol's own childhood. As well as that song, "Your Generation", which is obviously referring to the song this week's episode is about, they also recorded versions of John Lennon's "Gimme Some Truth", of Johnny Kidd and the Pirates' "Shakin' All Over", and an original song called "Ready Steady Go", about being in love with Cathy McGowan, the presenter of that show. And even their name was a reference, because Generation X were named after a book published in 1964, about not the generation we call Generation X, but about the Baby Boomers, and specifically about a series of fights on beaches across the South Coast of England between what at that point amounted to two gangs. These were fights between the old guard, the Rockers -- people who represented the recent past who wouldn't go away, what Americans would call "greasers", people who modelled themselves on Marlon Brando in Rebel Without A Cause, and who thought music had peaked with Gene Vincent and Eddie Cochran -- and a newer, younger, hipper, group of people, who represented the new, the modern -- the Mods: [Excerpt: The Who, "My Generation"] Jim Marshall, if he'd been American, would have been considered one of the Greatest Generation, but his upbringing was not typical of that, or of any, generation. When he was five, he was diagnosed as having skeletal tuberculosis, which had made his bones weak and easily broken. To protect them, he spent the next seven years of his life, from age five until twelve, in hospital in a full-body cast. The only opportunity he got to move during those years was for a few minutes every three months, when the cast would be cut off and reapplied to account for his growth during that time. Unsurprisingly, once he was finally out of the cast, he discovered he loved moving -- a lot. He dropped out of school aged thirteen -- most people at the time left school at aged fourteen anyway, and since he'd missed all his schooling to that point it didn't seem worth his while carrying on -- and took on multiple jobs, working sixty hours a week or more. But the job he made most money at was as an entertainer. He started out as a tap-dancer, taking advantage of his new mobility, but then his song-and-dance man routine became steadily more song and less dance, as people started to notice his vocal resemblance to Bing Crosby. He was working six nights a week as a singer, but when World War II broke out, the drummer in the seven-piece band he was working with was drafted -- Marshall wouldn't ever be drafted because of his history of illness. The other members of the band knew that as a dancer he had a good sense of rhythm, and so they made a suggestion -- if Jim took over the drums, they could split the money six ways rather than seven. Marshall agreed, but he discovered there was a problem. The drum kit was always positioned at the back of the stage, behind the PA, and he couldn't hear the other musicians clearly. This is actually OK for a drummer -- you're keeping time, and the rest of the band are following you, so as long as you can *sort of* hear them everyone can stay together. But a singer needs to be able to hear everything clearly, in order to stay on key. And this was in the days before monitor speakers, so the only option available was to just have a louder PA system. And since one wasn't available, Marshall just had to build one himself. And that's how Jim Marshall started building amplifiers. Marshall eventually gave up playing the drums, and retired to run a music shop. There's a story about Marshall's last gig as a drummer, which isn't in the biography of Marshall I read for this episode, but is told in other places by the son of the bandleader at that gig. Apparently Marshall had a very fraught relationship with his father, who was among other things a semi-professional boxer, and at that gig Marshall senior turned up and started heckling his son from the audience. Eventually the younger Marshall jumped off the stage and started hitting his dad, winning the fight, but he decided he wasn't going to perform in public any more. The band leader for that show was Clifford Townshend, a clarinet player and saxophonist whose main gig was as part of the Squadronaires, a band that had originally been formed during World War II by RAF servicemen to entertain other troops. Townshend, who had been a member of Oswald Moseley's fascist Blackshirts in the thirties but later had a change of heart, was a second-generation woodwind player -- his father had been a semi-professional flute player. As well as working with the Squadronaires, Townshend also put out one record under his own name in 1956, a version of "Unchained Melody" credited to "Cliff Townsend and his singing saxophone": [Excerpt: Cliff Townshend and his Singing Saxophone, "Unchained Melody"] Cliff's wife often performed with him -- she was a professional singer who had  actually lied about her age in order to join up with the Air Force and sing with the group -- but they had a tempestuous marriage, and split up multiple times. As a result of this, and the travelling lifestyle of musicians, there were periods where their son Peter was sent to live with his grandmother, who was seriously abusive, traumatising the young boy in ways that would affect him for the rest of his life. When Pete Townshend was growing up, he wasn't particularly influenced by music, in part because it was his dad's job rather than a hobby, and his parents had very few records in the house. He did, though, take up the harmonica and learn to play the theme tune to Dixon of Dock Green: [Excerpt: Tommy Reilly, "Dixon of Dock Green Theme"] His first exposure to rock and roll wasn't through Elvis or Little Richard, but rather through Ray Ellington. Ellington was a British jazz singer and drummer, heavily influenced by Louis Jordan, who provided regular musical performances on the Goon Show throughout the fifties, and on one episode had performed "That Rock 'n' Rollin' Man": [Excerpt: Ray Ellington, "That Rock 'N' Rollin' Man"] Young Pete's assessment of that, as he remembered it later, was "I thought it some kind of hybrid jazz: swing music with stupid lyrics. But it felt youthful and rebellious, like The Goon Show itself." But he got hooked on rock and roll when his father took him and a friend to see a film: [Excerpt: Bill Haley and the Comets, "Rock Around the Clock"] According to Townshend's autobiography, "I asked Dad what he thought of the music. He said he thought it had some swing, and anything that had swing was OK. For me it was more than just OK. After seeing Rock Around the Clock with Bill Haley, nothing would ever be quite the same." Young Pete would soon go and see Bill Haley live – his first rock and roll gig. But the older Townshend would soon revise his opinion of rock and roll, because it soon marked the end of the kind of music that had allowed him to earn his living -- though he still managed to get regular work, playing a clarinet was suddenly far less lucrative than it had been. Pete decided that he wanted to play the saxophone, like his dad, but soon he switched first to guitar and then to banjo. His first guitar was bought for him by his abusive grandmother, and three of the strings snapped almost immediately, so he carried on playing with just three strings for a while. He got very little encouragement from his parents, and didn't really improve for a couple of years. But then the trad jazz boom happened, and Townshend teamed up with a friend of his who played the trumpet and French horn. He had initially bonded with John Entwistle over their shared sense of humour -- both kids loved Mad magazine and would make tape recordings together of themselves doing comedy routines inspired by the Goon show and Hancock's Half Hour -- but Entwistle was also a very accomplished musician, who could play multiple instruments. Entwistle had formed a trad band called the Confederates, and Townshend joined them on banjo and guitar, but they didn't stay together for long. Both boys, though, would join a variety of other bands, both together and separately. As the trad boom faded and rock and roll regained its dominance among British youth, there was little place for Entwistle's trumpet in the music that was popular among teenagers, and at first Entwistle decided to try making his trumpet sound more like a saxophone, using a helmet as a mute to try to get it to sound like the sax on "Ramrod" by Duane Eddy: [Excerpt: Duane Eddy, "Ramrod"] Eddy soon became Entwistle's hero. We've talked about him before a couple of times, briefly, but not in depth, but Duane Eddy had a style that was totally different from most guitar heroes. Instead of playing mostly on the treble strings of the guitar, playing high twiddly parts, Eddy played low notes on the bass strings of his guitar, giving him the style that he summed up in album titles like "The Twang's the Thang" and "Have Twangy Guitar Will Travel". After a couple of years of having hits with this sound, produced by Lee Hazelwood and Lester Sill, Eddy also started playing another instrument, the instrument variously known as the six-string bass, the baritone guitar, or the Danelectro bass (after the company that manufactured the most popular model).  The baritone guitar has six strings, like a normal guitar, but it's tuned lower than a standard guitar -- usually a fourth lower, though different players have different preferences. The Danelectro became very popular in recording studios in the early sixties, because it helped solve a big problem in recording bass tones. You can hear more about this in the episodes of Cocaine and Rhinestones I recommended last week, but basically double basses were very, very difficult to record in the 1950s, and you'd often end up just getting a thudding, muddy, sound from them, which is one reason why when you listen to a lot of early rockabilly the bass is doing nothing very interesting, just playing root notes -- you couldn't easily get much clarity on the instrument at all. Conversely, with electric basses, with the primitive amps of the time, you didn't get anything like the full sound that you'd get from a double bass, but you *did* get a clear sound that would cut through on a cheap radio in a way that the sound of a double bass wouldn't. So the solution was obvious -- you have an electric instrument *and* a double bass play the same part. Use the double bass for the big dull throbbing sound, but use the electric one to give the sound some shape and cut-through. If you're doing that, you mostly want the trebly part of the electric instrument's tone, so you play it with a pick rather than fingers, and it makes sense to use a Danelectro rather than a standard bass guitar, as the Danelectro is more trebly than a normal bass. This combination, of Danelectro and double bass, appears to have been invented by Owen Bradley, and you can hear it for example on this record by Patsy Cline, with Bob Moore on double bass and Harold Bradley on baritone guitar: [Excerpt: Patsy Cline, "Crazy"] This sound, known as "tic-tac bass", was soon picked up by a lot of producers, and it became the standard way of getting a bass sound in both Nashville and LA. It's all over the Beach Boys' best records, and many of Jack Nitzsche's arrangements, and many of the other records the Wrecking Crew played on, and it's on most of the stuff the Nashville A-Team played on from the late fifties through mid-sixties, records by people like Elvis, Roy Orbison, Arthur Alexander, and the Everly Brothers. Lee Hazelwood was one of the first producers to pick up on this sound -- indeed, Duane Eddy has said several times that Hazelwood invented the sound before Owen Bradley did, though I think Bradley did it first -- and many of Eddy's records featured that bass sound, and eventually Eddy started playing a baritone guitar himself, as a lead instrument, playing it on records like "Because They're Young": [Excerpt: Duane Eddy, "Because They're Young"] Duane Eddy was John Entwistle's idol, and Entwistle learned Eddy's whole repertoire on trumpet, playing the saxophone parts. But then, realising that the guitar was always louder than the trumpet in the bands he was in, he realised that if he wanted to be heard, he should probably switch to guitar himself. And it made sense that a bass would be easier to play than a regular guitar -- if you only have four strings, there's more space between them, so playing is easier. So he started playing the bass, trying to sound as much like Eddy as he could. He had no problem picking up the instrument -- he was already a multi-instrumentalist -- but he did have a problem actually getting hold of one, as all the electric bass guitars available in the UK at the time were prohibitively expensive. Eventually he made one himself, with the help of someone in a local music shop, and that served for a time, though he would soon trade up to more professional instruments, eventually amassing the biggest collection of basses in the world. One day, Entwistle was approached on the street by an acquaintance, Roger Daltrey, who said to him "I hear you play bass" -- Entwistle was, at the time, carrying his bass. Daltrey was at this time a guitarist -- like Entwistle, he'd built his own instrument -- and he was the leader of a band called Del Angelo and his Detours. Daltrey wasn't Del Angelo, the lead singer -- that was a man called Colin Dawson who by all accounts sounded a little like Cliff Richard -- but he was the bandleader, hired and fired the members, and was in charge of their setlists. Daltrey lured Entwistle away from the band he was in with Townshend by telling him that the Detours were getting proper paid gigs, though they weren't getting many at the time. Unfortunately, one of the group's other guitarists, the member who owned the best amp, died in an accident not long after Entwistle joined the band. However, the amp was left in the group's possession, and Entwistle used it to lure Pete Townshend into the group by telling him he could use it -- and not telling him that he'd be sharing the amp with Daltrey. Townshend would later talk about his audition for the Detours -- as he was walking up the street towards Daltrey's house, he saw a stunningly beautiful woman walking away from the house crying. She saw his guitar case and said "Are you going to Roger's?" "Yes." "Well you can tell him, it's that bloody guitar or me". Townshend relayed the message, and Daltrey responded "Sod her. Come in." The audition was a formality, with the main questions being whether Townshend could play two parts of the regular repertoire for a working band at that time -- "Hava Nagila", and the Shadows' "Man of Mystery": [Excerpt: The Shadows, "Man of Mystery"] Townshend could play both of those, and so he was in. The group would mostly play chart hits by groups like the Shadows, but as trad jazz hadn't completely died out yet they would also do breakout sessions playing trad jazz, with Townshend on banjo, Entwistle on trumpet and Daltrey on trombone. From the start, there was a temperamental mismatch between the group's two guitarists. Daltrey was thoroughly working-class, culturally conservative,  had dropped out of school to go to work at a sheet metal factory, and saw himself as a no-nonsense plain-speaking man. Townshend was from a relatively well-off upper-middle-class family, was for a brief time a member of the Communist Party, and was by this point studying at art school, where he was hugely impressed by a lecture from Gustav Metzger titled “Auto-Destructive Art, Auto-Creative Art: The Struggle For The Machine Arts Of The Future”, about Metzger's creation of artworks which destroyed themselves. Townshend was at art school during a period when the whole idea of what an art school was for was in flux, something that's typified by a story Townshend tells about two of his early lectures. At the first, the lecturer came in and told the class to all draw a straight line. They all did, and then the lecturer told off anyone who had drawn anything that was anything other than six inches long, perfectly straight, without a ruler, going north-south, with a 3B pencil, saying that anything else at all was self-indulgence of the kind that needed to be drummed out of them if they wanted to get work as commercial artists. Then in another lecture, a different lecturer came in and asked them all to draw a straight line. They all drew perfectly straight, six-inch, north-south lines in 3B pencil, as the first lecturer had taught them. The new lecturer started yelling at them, then brought in someone else to yell at them as well, and then cut his hand open with a knife and dragged it across a piece of paper, smearing a rough line with his own blood, and screamed "THAT'S a line!" Townshend's sympathies lay very much with the second lecturer. Another big influence on Townshend at this point was a jazz double-bass player, Malcolm Cecil. Cecil would later go on to become a pioneer in electronic music as half of TONTO's Expanding Head Band, and we'll be looking at his work in more detail in a future episode, but at this point he was a fixture on the UK jazz scene. He'd been a member of Blues Incorporated, and had also played with modern jazz players like Dick Morrissey: [Excerpt: Dick Morrissey, "Jellyroll"] But Townshend was particularly impressed with a performance in which Cecil demonstrated unorthodox ways to play the double-bass, including playing so hard he broke the strings, and using a saw as a bow, sawing through the strings and damaging the body of the instrument. But these influences, for the moment, didn't affect the Detours, who were still doing the Cliff and the Shadows routine. Eventually Colin Dawson quit the group, and Daltrey took over the lead vocal role for the Detours, who settled into a lineup of Daltrey, Townshend, Entwistle, and drummer Doug Sandom, who was much older than the rest of the group -- he was born in 1930, while Daltrey and Entwistle were born in 1944 and Townshend in 1945. For a while, Daltrey continued playing guitar as well as singing, but his hands were often damaged by his work at the sheet-metal factory, making guitar painful for him. Then the group got a support slot with Johnny Kidd and the Pirates, who at this point were a four-piece band, with Kidd singing backed by bass, drums, and Mick Green playing one guitar on which he played both rhythm and lead parts: [Excerpt: Johnny Kidd and the Pirates, "Doctor Feel Good"] Green was at the time considered possibly the best guitarist in Britain, and the sound the Pirates were able to get with only one guitar convinced the Detours that they would be OK if Daltrey switched to just singing, so the group changed to what is now known as a "power trio" format. Townshend was a huge admirer of Steve Cropper, another guitarist who played both rhythm and lead, and started trying to adopt parts of Cropper's style, playing mostly chords, while Entwistle went for a much more fluid bass style than most, essentially turning the bass into another lead instrument, patterning his playing after Duane Eddy's work. By this time, Townshend was starting to push against Daltrey's leadership a little, especially when it came to repertoire. Townshend had a couple of American friends at art school who had been deported after being caught smoking dope, and had left their records with Townshend for safe-keeping. As a result, Townshend had become a devotee of blues and R&B music, especially the jazzier stuff like Ray Charles, Mose Allison, and Booker T and the MGs. He also admired guitar-based blues records like those by Howlin' Wolf or Jimmy Reed. Townshend kept pushing for this music to be incorporated into the group's sets, but Daltrey would push back, insisting as the leader that they should play the chart hits that everyone else played, rather than what he saw as Townshend's art-school nonsense. Townshend insisted, and eventually won -- within a short while the group had become a pure R&B group, and Daltrey was soon a convert, and became the biggest advocate of that style in the band. But there was a problem with only having one guitar, and that was volume. In particular, Townshend didn't want to be able to hear hecklers. There were gangsters in some of the audiences who would shout requests for particular songs, and you had to play them or else, even if they were completely unsuitable for the rest of the audience's tastes. But if you were playing so loud you couldn't hear the shouting, you had an excuse. Both Entwistle and Townshend had started buying amplifiers from Jim Marshall, who had opened up a music shop after quitting drums -- Townshend actually bought his first one from a shop assistant in Marshall's shop, John McLaughlin, who would later himself become a well-known guitarist. Entwistle, wanting to be heard over Townshend, had bought a cabinet with four twelve-inch speakers in it. Townshend, wanting to be heard over Entwistle, had bought *two* of these cabinets, and stacked them, one on top of the other, against Marshall's protestations -- Marshall said that they would vibrate so much that the top one might fall over and injure someone. Townshend didn't listen, and the Marshall stack was born. This ultra-amplification also led Townshend to change his guitar style further. He was increasingly reliant on distortion and feedback, rather than on traditional instrumental skills. Now, there are basically two kinds of chords that are used in most Western music. There are major chords, which consist of the first, third, and fifth note of the scale, and these are the basic chords that everyone starts with. So you can strum between G major and F major: [demonstrates G and F chords] There's also minor chords, where you flatten the third note, which sound a little sadder than major chords, so playing G minor and F minor: [demonstrates Gm and Fm chords] There are of course other kinds of chord -- basically any collection of notes counts as a chord, and can work musically in some context. But major and minor chords are the basic harmonic building blocks of most pop music. But when you're using a lot of distortion and feedback, you create a lot of extra harmonics -- extra notes that your instrument makes along with the ones you're playing. And for mathematical reasons I won't go into here because this is already a very long episode, the harmonics generated by playing the first and fifth notes sound fine together, but the harmonics from a third or minor third don't go along with them at all. The solution to this problem is to play what are known as "power chords", which are just the root and fifth notes, with no third at all, and which sound ambiguous as to whether they're major or minor. Townshend started to build his technique around these chords, playing for the most part on the bottom three strings of his guitar, which sounds like this: [demonstrates G5 and F5 chords] Townshend wasn't the first person to use power chords -- they're used on a lot of the Howlin' Wolf records he liked, and before Townshend would become famous the Kinks had used them on "You Really Got Me" -- but he was one of the first British guitarists to make them a major part of his personal style. Around this time, the Detours were starting to become seriously popular, and Townshend was starting to get exhausted by the constant demands on his time from being in the band and going to art school. He talked about this with one of his lecturers, who asked how much Townshend was earning from the band. When Townshend told him he was making thirty pounds a week, the lecturer was shocked, and said that was more than *he* was earning. Townshend should probably just quit art school, because it wasn't like he was going to make more money from anything he could learn there. Around this time, two things changed the group's image. The first was that they played a support slot for the Rolling Stones in December 1963. Townshend saw Keith Richards swinging his arm over his head and then bringing it down on the guitar, to loosen up his muscles, and he thought that looked fantastic, and started copying it -- from very early on, Townshend wanted to have a physical presence on stage that would be all about his body, to distract from his face, as he was embarrassed about the size of his nose. They played a second support slot for the Stones a few weeks later, and not wanting to look like he was copying Richards, Townshend didn't do that move, but then he noticed that Richards didn't do it either. He asked about it after the gig, and Richards didn't know what he was talking about -- "Swing me what?" -- so Townshend took that as a green light to make that move, which became known as the windmill, his own. The second thing was when in February 1964 a group appeared on Thank Your Lucky Stars: [Excerpt: Johnny Devlin and the Detours, "Sometimes"] Johnny Devlin and the Detours had had national media exposure, which meant that Daltrey, Townshend, Entwistle, and Sandom had to change the name of their group. They eventually settled on "The Who", It was around this time that the group got their first serious management, a man named Helmut Gorden, who owned a doorknob factory. Gorden had no management experience, but he did offer the group a regular salary, and pay for new equipment for them. However, when he tried to sign the group to a proper contract, as most of them were still under twenty-one he needed their parents to countersign for them. Townshend's parents, being experienced in the music industry, refused to sign, and so the group continued under Gorden's management without a contract. Gorden, not having management experience, didn't have any contacts in the music industry. But his barber did. Gorden enthused about his group to Jack Marks, the barber, and Marks in turn told some of his other clients about this group he'd been hearing about. Tony Hatch wasn't interested, as he already had a guitar group with the Searchers, but Chris Parmenter at Fontana Records was, and an audition was arranged. At the audition, among other numbers, they played Bo Diddley's "Here 'Tis": [Excerpt: Bo Diddley, "Here 'Tis"] Unfortunately for Doug, he didn't play well on that song, and Townshend started berating him. Doug also knew that Parmenter had reservations about him, because he was so much older than the rest of the band -- he was thirty-four at the time, while the rest of the group were only just turning twenty -- and he was also the least keen of the group on the R&B material they were playing. He'd been warned by Entwistle, his closest friend in the group, that Daltrey and Townshend were thinking of dropping him, and so he decided to jump before he was pushed, walking out of the audition. He agreed to come back for a handful more gigs that were already booked in, but that was the end of his time in the band, and of his time in the music industry -- though oddly not of his friendship with the group. Unlike other famous examples of an early member not fitting in and being forced out before a band becomes big, Sandom remained friends with the other members, and Townshend wrote the foreword to his autobiography, calling him a mentor figure, while Daltrey apparently insisted that Sandom phone him for a chat every Sunday, at the same time every week, until Sandom's death in 2019 at the age of eighty-nine. The group tried a few other drummers, including someone who Jim Marshall had been giving drum lessons to, Mitch Mitchell, before settling on the drummer for another group that played the same circuit, the Beachcombers, who played mostly Shadows material, plus the Beach Boys and Jan and Dean songs that their drummer, Keith Moon, loved. Moon and Entwistle soon became a formidable rhythm section, and despite having been turned down by Fontana, they were clearly going places. But they needed an image -- and one was provided for them by Pete Meaden. Meaden was another person who got his hair cut by Jack Marks, and he had had  little bit of music business experience, having worked for Andrew Oldham, the Rolling Stones' manager, for a while before going on to manage a group called the Moments, whose career highlight was recording a soundalike cover version of "You Really Got Me" for an American budget label: [Excerpt: The Moments, "You Really Got Me"] The Moments never had any big success, but Meaden's nose for talent was not wrong, as their teenage lead singer, Steve Marriott, later went on to much better things. Pete Meaden was taken on as Helmut Gorden's assistant, but from this point on the group decided to regard him as their de facto manager, and as more than just a manager. To Townshend in particular he was a guru figure, and he shaped the group to appeal to the Mods. Now, we've not talked much about the Mods previously, and what little has been said has been a bit contradictory. That's because the Mods were a tiny subculture at this point -- or to be more precise, they were three subcultures. The original mods had come along in the late 1950s, at a time when there was a division among jazz fans between fans of traditional New Orleans jazz -- "trad" -- and modern jazz. The mods were modernists, hence the name, but for the most part they weren't as interested in music as in clothes. They were a small group of young working-class men, almost all gay, who dressed flamboyantly and dandyishly, and who saw themselves, their clothing, and their bodies as works of art. In the late fifties, Britain was going through something of an economic boom, and this was the first time that working-class men *could* buy nice clothes. These working-class dandies would have to visit tailors to get specially modified clothes made, but they could just about afford to do so. The mod image was at first something that belonged to a very, very, small clique of people. But then John Stephens opened his first shop. This was the first era when short runs of factory-produced clothing became possible, and Stephens, a stylish young man, opened a shop on Carnaby Street, then a relatively cheap place to open a shop. He painted the outside yellow, played loud pop music, and attracted a young crowd. Stephens was selling factory-made clothes that still looked unique -- short runs of odd-coloured jeans, three-button jackets, and other men's fashion. Soon Carnaby Street became the hub for men's fashion in London, thanks largely to Stephens. At one point Stephens owned fifteen different shops, nine of them on Carnaby Street itself, and Stephens' shops appealed to the kind of people that the Kinks would satirise in their early 1966 hit single "Dedicated Follower of Fashion": [Excerpt: The Kinks, "Dedicated Follower of Fashion"] Many of those who visited Stephens' shops were the larger, second, generation of mods. I'm going to quote here from George Melly's Revolt Into Style, the first book to properly analyse British pop culture of the fifties and sixties, by someone who was there: "As the ‘mod' thing spread it lost its purity. For the next generation of Mods, those who picked up the ‘mod' thing around 1963, clothes, while still their central preoccupation, weren't enough. They needed music (Rhythm and Blues), transport (scooters) and drugs (pep pills). What's more they needed fashion ready-made. They hadn't the time or the fanaticism to invent their own styles, and this is where Carnaby Street came in." Melly goes on to talk about how these new Mods were viewed with distaste by the older Mods, who left the scene. The choice of music for these new Mods was as much due to geographic proximity as anything else. Carnaby Street is just round the corner from Wardour Street, and Wardour Street is where the two clubs that between them were the twin poles of the London R&B scenes, the Marquee and the Flamingo, were both located. So it made sense that the young people frequenting John Stephens' boutiques on Carnaby Street were the same people who made up the audiences -- and the bands -- at those clubs. But by 1964, even these second-generation Mods were in a minority compared to a new, third generation, and here I'm going to quote Melly again: "But the Carnaby Street Mods were not the final stage in the history of this particular movement. The word was taken over finally by a new and more violent sector, the urban working class at the gang-forming age, and this became quite sinister. The gang stage rejected the wilder flights of Carnaby Street in favour of extreme sartorial neatness. Everything about them was neat, pretty and creepy: dark glasses, Nero hair-cuts, Chelsea boots, polo-necked sweaters worn under skinny V-necked pullovers, gleaming scooters and transistors. Even their offensive weapons were pretty—tiny hammers and screwdrivers. En masse they looked like a pack of weasels." I would urge anyone who's interested in British social history to read Melly's book in full -- it's well worth it. These third-stage Mods soon made up the bulk of the movement, and they were the ones who, in summer 1964, got into the gang fights that were breathlessly reported in all the tabloid newspapers. Pete Meaden was a Mod, and as far as I can tell he was a leading-edge second-stage Mod, though as with all these things who was in what generation of Mods is a bit blurry. Meaden had a whole idea of Mod-as-lifestyle and Mod-as-philosophy, which worked well with the group's R&B leanings, and with Townshend's art-school-inspired fascination with the aesthetics of Pop Art. Meaden got the group a residency at the Railway Hotel, a favourite Mod hangout, and he also changed their name -- The Who didn't sound Mod enough. In Mod circles at the time there was a hierarchy, with the coolest people, the Faces, at the top, below them a slightly larger group of people known as Numbers, and below them the mass of generic people known as Tickets. Meaden saw himself as the band's Svengali, so he was obviously the Face, so the group had to be Numbers -- so they became The High Numbers. Meaden got the group a one-off single deal, to record two songs he had allegedly written, both of which had lyrics geared specifically for the Mods. The A-side was "Zoot Suit": [Excerpt: The High Numbers, "Zoot Suit"] This had a melody that was stolen wholesale from "Misery" by the Dynamics: [Excerpt: The Dynamics, "Misery"] The B-side, meanwhile, was titled "I'm the Face": [Excerpt: The High Numbers, "I'm the Face"] Which anyone with any interest at all in blues music will recognise immediately as being "Got Love if You Want It" by Slim Harpo: [Excerpt: Slim Harpo, "Got Love if You Want it"] Unfortunately for the High Numbers, that single didn't have much success. Mod was a local phenomenon, which never took off outside London and its suburbs, and so the songs didn't have much appeal in the rest of the country -- while within London, Mod fashions were moving so quickly that by the time the record came out, all its up-to-the-minute references were desperately outdated. But while the record didn't have much success, the group were getting a big live following among the Mods, and their awareness of rapidly shifting trends in that subculture paid off for them in terms of stagecraft. To quote Townshend: "What the Mods taught us was how to lead by following. I mean, you'd look at the dance floor and see some bloke stop during the dance of the week and for some reason feel like doing some silly sort of step. And you'd notice some of the blokes around him looking out of the corners of their eyes and thinking 'is this the latest?' And on their own, without acknowledging the first fellow, a few of 'em would start dancing that way. And we'd be watching. By the time they looked up on the stage again, we'd be doing that dance and they'd think the original guy had been imitating us. And next week they'd come back and look to us for dances". And then Kit Lambert and Chris Stamp came into the Railway Hotel. Kit Lambert was the son of Constant Lambert, the founding music director of the Royal Ballet, who the economist John Maynard Keynes described as the most brilliant man he'd ever met. Constant Lambert was possibly Britain's foremost composer of the pre-war era, and one of the first people from the serious music establishment to recognise the potential of jazz and blues music. His most famous composition, "The Rio Grande", written in 1927 about a fictitious South American river, is often compared with Gershwin's Rhapsody in Blue: [Excerpt: Constant Lambert, "The Rio Grande"] Kit Lambert was thus brought up in an atmosphere of great privilege, both financially and intellectually, with his godfather being the composer Sir William Walton while his godmother was the prima ballerina Dame Margot Fonteyn, with whom his father was having an affair. As a result of the problems between his parents, Lambert spent much of his childhood living with his grandmother. After studying history at Oxford and doing his national service, Lambert had spent a few months studying film at the Institut des hautes études cinématographiques in Paris, where he went because Jean-Luc Godard and Alain Renais taught there -- or at least so he would later say, though there's no evidence I can find that Godard actually taught there, so either he went there under a mistaken impression or he lied about it later to make himself sound more interesting. However, he'd got bored with his studies after only a few months, and decided that he knew enough to just make a film himself, and he planned his first documentary. In early 1961, despite having little film experience, he joined two friends from university, Richard Mason and John Hemming, in an attempt to make a documentary film tracing the source of the Iriri, a river in South America that was at that point the longest unnavigated river in the world. Unfortunately, the expedition was as disastrous as it's possible for such an expedition to be. In May 1961 they landed in the Amazon basin and headed off on their expedition to find the source of the Iriri, with the help of five local porters and three people sent along by the Brazillian government to map the new areas they were to discover. Unfortunately, by September, not only had they not found the source of the Iriri, they'd actually not managed to find the Iriri itself, four and a half months apparently not being a long enough time to find an eight-hundred-and-ten-mile-long river. And then Mason made his way into history in the worst possible way, by becoming the last, to date, British person to be murdered by an uncontacted indigenous tribe, the Panará, who shot him with eight poison arrows and then bludgeoned his skull. A little over a decade later the Panará made contact with the wider world after nearly being wiped out by disease. They remembered killing Mason and said that they'd been scared by the swishing noise his jeans had made, as they'd never encountered anyone who wore clothes before. Before they made contact, the Panará were also known as the Kreen-Akrore, a name given them by the Kayapó people, meaning "round-cut head", a reference to the way they styled their hair, brushed forward and trimmed over the forehead in a way that was remarkably similar to some of the Mod styles. Before they made contact, Paul McCartney would in 1970 record an instrumental, "Kreen Akrore", after being inspired by a documentary called The Tribe That Hides From Man. McCartney's instrumental includes sound effects, including McCartney firing a bow and arrow, though apparently the bow-string snapped during the recording: [Excerpt: Paul McCartney, "Kreen Akrore"] For a while, Lambert was under suspicion for the murder, though the Daily Express, which had sponsored the expedition, persuaded Brazillian police to drop the charges. While he was in Rio waiting for the legal case to be sorted, Lambert developed what one book on the Who describes as "a serious anal infection". Astonishingly, this experience did not put Lambert off from the film industry, though he wouldn't try to make another film of his own for a couple of years. Instead, he went to work at Shepperton Studios, where he was an uncredited second AD on many films, including From Russia With Love and The L-Shaped Room. Another second AD working on many of the same films was Chris Stamp, the brother of the actor Terence Stamp, who was just starting out in his own career. Stamp and Lambert became close friends, despite -- or because of -- their differences. Lambert was bisexual, and preferred men to women, Stamp was straight. Lambert was the godson of a knight and a dame, Stamp was a working-class East End Cockney. Lambert was a film-school dropout full of ideas and grand ambitions, but unsure how best to put those ideas into practice, Stamp was a practical, hands-on, man. The two complemented each other perfectly, and became flatmates and collaborators. After seeing A Hard Day's Night, they decided that they were going to make their own pop film -- a documentary, inspired by the French nouvelle vague school of cinema, which would chart a pop band from playing lowly clubs to being massive pop stars. Now all they needed was to find a band that were playing lowly clubs but could become massive stars. And they found that band at the Railway Hotel, when they saw the High Numbers. Stamp and Lambert started making their film, and completed part of it, which can be found on YouTube: [Excerpt: The High Numbers, "Oo Poo Pa Doo"] The surviving part of the film is actually very, very, well done for people who'd never directed a film before, and I have no doubt that if they'd completed the film, to be titled High Numbers, it would be regarded as one of the classic depictions of early-sixties London club life, to be classed along with The Small World of Sammy Lee and Expresso Bongo. What's even more astonishing, though, is how *modern* the group look. Most footage of guitar bands of this period looks very dated, not just in the fashions, but in everything -- the attitude of the performers, their body language, the way they hold their instruments. The best performances are still thrilling, but you can tell when they were filmed. On the other hand, the High Numbers look ungainly and awkward, like the lads of no more than twenty that they are -- but in a way that was actually shocking to me when I first saw this footage. Because they look *exactly* like every guitar band I played on the same bill as during my own attempts at being in bands between 2000 and about 2005. If it weren't for the fact that they have such recognisable faces, if you'd told me this was footage of some band I played on the same bill with at the Star and Garter or Night and Day Cafe in 2003, I'd believe it unquestioningly. But while Lambert and Stamp started out making a film, they soon pivoted and decided that they could go into management. Of course, the High Numbers did already have management -- Pete Meaden and Helmut Gorden -- but after consulting with the Beatles' lawyer, David Jacobs, Lambert and Stamp found out that Gorden's contract with the band was invalid, and so when Gorden got back from a holiday, he found himself usurped. Meaden was a bit more difficult to get rid of, even though he had less claim on the group than Gorden -- he was officially their publicist, not their manager, and his only deal was with Gorden, even though the group considered him their manager. While Meaden didn't have a contractual claim though, he did have one argument in his favour, which is that he had a large friend named Phil the Greek, who had a big knife. When this claim was put to Lambert and Stamp, they agreed that this was a very good point indeed, one that they hadn't considered, and agreed to pay Meaden off with two hundred and fifty pounds. This would not be the last big expense that Stamp and Lambert would have as the managers of the Who, as the group were now renamed. Their agreement with the group had the two managers taking forty percent of the group's earnings, while the four band members would split the other sixty percent between themselves -- an arrangement which should theoretically have had the managers coming out ahead. But they also agreed to pay the group's expenses. And that was to prove very costly indeed. Shortly after they started managing the group, at a gig at the Railway Hotel, which had low ceilings, Townshend lifted his guitar up a bit higher than he'd intended, and broke the headstock. Townshend had a spare guitar with him, so this was OK, and he also remembered Gustav Metzger and his ideas of auto-destructive art, and Malcolm Cecil sawing through his bass strings and damaging his bass, and decided that it was better for him to look like he'd meant to do that than to look like an idiot who'd accidentally broken his guitar, so he repeated the motion, smashing his guitar to bits, before carrying on the show with his spare. The next week, the crowd were excited, expecting the same thing again, but Townshend hadn't brought a spare guitar with him. So as not to disappoint them, Keith Moon destroyed his drum kit instead. This destruction was annoying to Entwistle, who saw musical instruments as something close to sacred, and it also annoyed the group's managers at first, because musical instruments are expensive. But they soon saw the value this brought to the band's shows, and reluctantly agreed to keep buying them new instruments. So for the first couple of years, Lambert and Stamp lost money on the group. They funded this partly through Lambert's savings, partly through Stamp continuing to do film work, and partly from investors in their company, one of whom was Russ Conway, the easy-listening piano player who'd had hits like "Side Saddle": [Excerpt: Russ Conway, "Side Saddle"] Conway's connections actually got the group another audition for a record label, Decca (although Conway himself recorded for EMI), but the group were turned down. The managers were told that they would have been signed, but they didn't have any original material. So Pete Townshend was given the task of writing some original material. By this time Townshend's musical world was expanding far beyond the R&B that the group were performing on stage, and he talks in his autobiography about the music he was listening to while he was trying to write his early songs. There was "Green Onions", which he'd been listening to for years in his attempt to emulate Steve Cropper's guitar style, but there was also The Freewheelin' Bob Dylan, and two tracks he names in particular, "Devil's Jump" by John Lee Hooker: [Excerpt: John Lee Hooker, "Devil's Jump"] And "Better Get Hit in Your Soul" by Charles Mingus: [Excerpt: Charles Mingus, "Better Get Hit In Your Soul"] He was also listening to what he described as "a record that changed my life as a composer", a recording of baroque music that included sections of Purcell's Gordian Knot Untied: [Excerpt: Purcell, Chaconne from Gordian Knot Untied] Townshend had a notebook in which he listed the records he wanted to obtain, and he reproduces that list in his autobiography -- "‘Marvin Gaye, 1-2-3, Mingus Revisited, Stevie Wonder, Jimmy Smith Organ Grinder's Swing, In Crowd, Nina in Concert [Nina Simone], Charlie Christian, Billie Holiday, Ella, Ray Charles, Thelonious Monk Around Midnight and Brilliant Corners.'" He was also listening to a lot of Stockhausen and Charlie Parker, and to the Everly Brothers -- who by this point were almost the only artist that all four members of the Who agreed were any good, because Daltrey was now fully committed to the R&B music he'd originally dismissed, and disliked what he thought was the pretentiousness of the music Townshend was listening to, while Keith Moon was primarily a fan of the Beach Boys. But everyone could agree that the Everlys, with their sensitive interpretations, exquisite harmonies, and Bo Diddley-inflected guitars, were great, and so the group added several songs from the Everlys' 1965 albums Rock N Soul and Beat N Soul to their set, like "Man With Money": [Excerpt: The Everly Brothers, "Man With Money"] Despite Daltrey's objections to diluting the purity of the group's R&B sound, Townshend brought all these influences into his songwriting. The first song he wrote to see release was not actually recorded by the Who, but a song he co-wrote for a minor beat group called the Naturals, who released it as a B-side: [Excerpt: The Naturals, "It Was You"] But shortly after this, the group got their first big break, thanks to Lambert's personal assistant, Anya Butler. Butler was friends with Shel Talmy's wife, and got Talmy to listen to the group. Townshend in particular was eager to work with Talmy, as he was a big fan of the Kinks, who were just becoming big, and who Talmy produced. Talmy signed the group to a production deal, and then signed a deal to license their records to Decca in America -- which Lambert and Stamp didn't realise wasn't the same label as British Decca. Decca in turn sublicensed the group's recordings to their British subsidiary Brunswick, which meant that the group got a minuscule royalty for sales in Britain, as their recordings were being sold through three corporate layers all taking their cut. This didn't matter to them at first, though, and they went into the studio excited to cut their first record as The Who. As was typical at the time, Talmy brought in a few session players to help out. Clem Cattini turned out not to be needed, and left quickly, but Jimmy Page stuck around -- not to play on the A-side, which Townshend said was "so simple even I could play it", but the B-side, a version of the old blues standard "Bald-Headed Woman", which Talmy had copyrighted in his own name and had already had the Kinks record: [Excerpt: The Who, "Bald-Headed Woman"] Apparently the only reason that Page played on that is that Page wouldn't let Townshend use his fuzzbox. As well as Page and Cattini, Talmy also brought in some backing vocalists. These were the Ivy League, a writing and production collective consisting at this point of John Carter and Ken Lewis, both of whom had previously been in a band with Page, and Perry Ford. The Ivy League were huge hit-makers in the mid-sixties, though most people don't recognise their name. Carter and Lewis had just written "Can You Hear My Heartbeat" for Herman's Hermits: [Excerpt: Herman's Hermits, "Can You Hear My Heartbeat?"] And, along with a couple of other singers who joined the group, the Ivy League would go on to sing backing vocals on hits by Sandie Shaw, Tom Jones and others. Together and separately the members of the Ivy League were also responsible for writing, producing, and singing on "Let's Go to San Francisco" by the Flowerpot Men, "Winchester Cathedral" by the New Vaudeville Band, "Beach Baby" by First Class, and more, as well as their big hit under their own name, "Tossing and Turning": [Excerpt: The Ivy League, "Tossing and Turning"] Though my favourite of their tracks is their baroque pop masterpiece "My World Fell Down": [Excerpt: The Ivy League, "My World Fell Down"] As you can tell, the Ivy League were masters of the Beach Boys sound that Moon, and to a lesser extent Townshend, loved. That backing vocal sound was combined with a hard-driving riff inspired by the Kinks' early hits like "You Really Got Me" and "All Day and All of the Night", and with lyrics that explored inarticulacy, a major theme of Townshend's lyrics: [Excerpt: The Who, "I Can't Explain"] "I Can't Explain" made the top ten, thanks in part to a publicity stunt that Lambert came up with. The group had been booked on to Ready, Steady, Go!, and the floor manager of the show mentioned to Lambert that they were having difficulty getting an audience for that week's show -- they were short about a hundred and fifty people, and they needed young, energetic, dancers. Lambert suggested that the best place to find young, energetic, dancers, was at the Marquee on a Tuesday night -- which just happened to be the night of the Who's regular residency at the club. Come the day of filming, the Ready, Steady, Go! audience was full of the Who's most hardcore fans, all of whom had been told by Lambert to throw scarves at the band when they started playing. It was one of the most memorable performances on the show. But even though the record was a big hit, Daltrey was unhappy. The man who'd started out as guitarist in a Shadows cover band and who'd strenuously objected to the group's inclusion of R&B material now had the zeal of a convert. He didn't want to be doing this "soft commercial pop", or Townshend's art-school nonsense. He wanted to be an R&B singer, playing hard music for working-class men like him. Two decisions were taken to mollify the lead singer. The first was that when they went into the studio to record their first album, it was all soul and R&B apart from one original. The album was going to consist of three James Brown covers, three Motown covers, Bo Diddley's "I'm a Man", and a cover of Paul Revere and the Raiders' "Louie Louie" sequel "Louie Come Home", retitled "Lubie". All of this was material that Daltrey was very comfortable with. Also, Daltrey was given some input into the second single, which would be the only song credited to Daltrey and Townshend, and Daltrey's only songwriting contribution to a Who A-side. Townshend had come up with the title "Anyway, Anyhow, Anywhere" while listening to Charlie Parker, and had written the song based on that title, but Daltrey was allowed to rewrite the lyrics and make suggestions as to the arrangement. That record also made the top ten: [Excerpt: The Who, "Anyway, Anyhow, Anywhere"] But Daltrey would soon become even more disillusioned. The album they'd recorded was shelved, though some tracks were later used for what became the My Generation album, and Kit Lambert told the Melody Maker “The Who are having serious doubts about the state of R&B. Now the LP material will consist of hard pop. They've finished with ‘Smokestack Lightning'!” That wasn't the only thing they were finished with -- Townshend and Moon were tired of their band's leader, and also just didn't think he was a particularly good singer -- and weren't shy about saying so, even to the press. Entwistle, a natural peacemaker, didn't feel as strongly, but there was a definite split forming in the band. Things came to a head on a European tour. Daltrey was sick of this pop nonsense, he was sick of the arty ideas of Townshend, and he was also sick of the other members' drug use. Daltrey didn't indulge himself, but the other band members had been using drugs long before they became successful, and they were all using uppers, which offended Daltrey greatly. He flushed Keith Moon's pill stash down the toilet, and screamed at his band mates that they were a bunch of junkies, then physically attacked Moon. All three of the other band members agreed -- Daltrey was out of the band. They were going to continue as a trio. But after a couple of days, Daltrey was back in the group. This was mostly because Daltrey had come crawling back to them, apologising -- he was in a very bad place at the time, having left his wife and kid, and was actually living in the back of the group's tour van. But it was also because Lambert and Stamp persuaded the group they needed Daltrey, at least for the moment, because he'd sung lead on their latest single, and that single was starting to rise up the charts. "My Generation" had had a long and torturous journey from conception to realisation. Musically it originally had been inspired by Mose Allison's "Young Man's Blues": [Excerpt: Mose Allison, "Young Man's Blues"] Townshend had taken that musical mood and tied it to a lyric that was inspired by a trilogy of TV plays, The Generations, by the socialist playwright David Mercer, whose plays were mostly about family disagreements that involved politics and class, as in the case of the first of those plays, where two upwardly-mobile young brothers of very different political views go back to visit their working-class family when their mother is on her deathbed, and are confronted by the differences they have with each other, and with the uneducated father who sacrificed to give them a better life than he had: [Excerpt: Where the Difference Begins] Townshend's original demo for the song was very much in the style of Mose Allison, as the excerpt of it that's been made available on various deluxe reissues of the album shows: [Excerpt: Pete Townshend, "My Generation (demo)"] But Lambert had not been hugely impressed by that demo. Stamp had suggested that Townshend try a heavier guitar riff, which he did, and then Lambert had added the further suggestion that the music would be improved by a few key changes -- Townshend was at first unsure about this, because he already thought he was a bit too influenced by the Kinks, and he regarded Ray Davies as, in his words, "the master of modulation", but eventually he agreed, and decided that the key changes did improve the song. Stamp made one final suggestion after hearing the next demo version of the song. A while earlier, the Who had been one of the many British groups, like the Yardbirds and the Animals, who had backed Sonny Boy Williamson II on his UK tour. Williamson had occasionally done a little bit of a stutter in some of his performances, and Daltrey had picked up on that and started doing it. Townshend had in turn imitated Daltrey's mannerism a couple of times on the demo, and Stamp thought that was something that could be accentuated. Townshend agreed, and reworked the song, inspired by John Lee Hooker's "Stuttering Blues": [Excerpt: John Lee Hooker, "Stuttering Blues"] The stuttering made all the difference, and it worked on three levels. It reinforced the themes of inarticulacy that run throughout the Who's early work -- their first single, after all, had been called "I Can't Explain", and Townshend talks movingly in his autobiography about talking to teenage fans who felt that "I Can't Explain" had said for them the things they couldn't say th

Welcome to episode five of our 2021 Halloween Season Series! This one promises to scare the living daylights out of you.  In this episode,  Anne Marie talks to fellow history podcaster Craig Baird who tells us the tail of the Valley of the Headless Men. Steeped in lore and legend, this isolated valley is situated in Nahani National Park Reserve along the Nahanni River in the Northwest Territories of Canada.  Craig is the host of several podcasts, including Canadian History Ehx and From John to Justin.He loves Canadian history and has ever since he was a child. Craig says "too often our history is not known because we are overshadowed by American, British or world history. Canada has a history that is interesting and deep and it is my goal with my videos and podcast to spread that history."ResourcesCanadian History Ehx: website: https://canadaehx.comCHE episodes mentionedMary Two-Axe Earley: https://canadaehx.com/2021/09/11/mary-two-axe-earley/The Shawinigan Handshake: https://canadaehx.com/2021/02/06/the-shawinigan-handshake/Mr. Dressup: https://canadaehx.com/2020/11/28/mr-dressup/The Beachcombers: https://canadaehx.com/2020/09/26/the-beachcombers/ History of Picture Butte: https://canadaehx.com/2021/09/13/the-history-of-picture-butte/On Twitter: @CraigBairdFrom John to Justin podcastOn Instagram: @bairdo37Pierre Berton:  Author of Canadian History: https://en.wikipedia.org/wiki/Pierre_Berton Maclean's Magazine Article: Valley of Mystery by Pierre Berton, March 15, 1947: https://archive.macleans.ca/article/1947/3/15/valley-of-mysteryMcLeod Brothers: https://nahanni.com/blog/river-stories-the-mcleod-brothers-three/Support Armchair Historians:Patreon: https://www.patreon.com/armchairhistoriansKo-fi: https://ko-fi.com/belgiumrabbitproductionsSupport the show (https://www.patreon.com/armchairhistorians)

Father Pat Lafferty/Det. Mike Kiley himself: Jackson Davies joins Mac for a fun conversation about life as a Canadian actor and the adventures along the way. Some topics discussed: Being on MacGyver before " Officially" being on. Being part of one of Canada's first greatest and longest running series: Beachcombers. Avoiding the After School Cliché in "20 Questions" How Dr. Zito is still scary. Filming in a real insane asylum. Teasing RDA about his jeans. Being the voice of reason and comfort for a MacGyver in crisis. And so much more! Join The Forever Adventure Network today for more! Our Links:Facebook link - TheMacGyverPodcastTwitter - MacGyverPodcastStore link - RedbubbleMac's Instagram - mac_w_jacksonMac's Twitter - MacWJacksonMac's Youtube - MacWJackNate's Instagram - IndianaCarterNate's Business Twitter - CCredentialsLLCNate's Business Website - Commissioned Credentials LLC Nate's Film Project - Dark Operations: Terminus

It's time for Luke Pennock and Brendan Flaherty to review episodes 75 and 76 of ECW, from September 27th & October 4th, 1994.  Hack Myers gets too many opening matches! Someone's been taken to the one and only hospital! Kayfabe will never be the same again!  We also get into the hit podcast Michelle As Well, how to book your own interaction with Pulsar the robot from Rocky IV, rosemongers at the discotheque, our lack of knowledge of The Beachcombers, which wrestlers are "hollow statues", the value of Dean Malenko, a vague history of the "I Quit" match, and more!  https://www.patreon.com/hardcorehaven/ Follow the show on IG & Twitter @hcorehavenpod Follow Luke on Twitch: http://www.twitch.tv/pukelennock/ Theme song by RANX

This week Ken welcomes actor and all around great human Catherine Mary Stewart (Night of the Comet, Weekend at Bernies, The Apple) to the show. Ken and Catherine discuss snow, generational genital snow art, TV in the UK, sheep hearing championships on television, ITV, studying dance, growing up in Canada, The Apple, traveling to East Berlin, having older brothers, growing up in academia, dangerous winter sports, traveling the world, TV Guide ads, mis-identifying Roger Ebert, Judy LaMarche, sneaking the soaps, being on soaps, Days of our Lives, Knight Rider, how hard it is to memorize things, The Last Starfighter, being the girl next door, Hollywood Wives, CGI, moving from TV acting to movie acting, watching your work alone, being self conscious, Robert Beltran, Eating Raoul, Mary Woronov, Night of the Comet, star quality, The Beachcombers, indie studios, Canadian Government Film subsidies, Telefilm, Mr. Dressup, The Friendly Giant, The Hardy Boys, going on a date with Parker Stevenson, All in the Family, naivete, singing, foreign films, The Man from Atlantis, wanting to go offline, Larry Holmes boxing, SCTV, Reach for the Top, living in Las Vegas, parental support and pride, dance troupes, the importance of chemistry, the changes in fame, having to have social media, the isolation of remote auditions, reality TV, horses, writing scripts, streaming, silent films, having access to the history of film, women directors, what we miss during COVID, and the benefits of being a loner.

Beverley Elliott played Granny on ABC's beloved fantasy series, Once Upon A Time– and while she's still closely associated with Granny years after the series took its final bow, Beverley is so much more than that one role. Over the course of her three decades in showbiz, Beverley has appeared in more than 100 film and television productions, from 21 Jump Street, Danger Bay, and The Beachcombers, to Harper's Island, The X-Files, and Unforgiven (Clint Eastwood even name-checked her in his acceptance speech when he won an Academy Award for Unforgiven in 1993). Beverley is also a firecracker of a storyteller – as evidenced by her multiple appearances in New York City's The Moth – as well as an in-demand singer. In this funny and fascinating interview, Beverley talks about growing up extremely shy in a rural Ontario town, the ongoing appeal of Once Upon A Time, and what it takes to make it as a character actress in the Vancouver film and television industry. Episode sponsor: UBCP/ACTRA

Rudy shares a tip about a good book for fossil hunters on the Atlantic coast and the Gulf Coast.

Hi Guys, So this is not our usual format of a show but a cool look at the year and somethings that didn't make the show. We thought we would travel back throughout the year at some key times while recording that was not in the original shows. It's hard at times to edit the show and wonder what to keep and what you can't use. There are some of the cuts are due to time restraints of the show (so it won't be too long as we like to keep it under an hour). There was others that on their own are great but just didn't combine well with that show's content. So enjoy and here are some hints of topics you will hear: 1) DUI driving and old man in a Volvo 2) Crushed ice story 3) Mark and Flea markets 4) Good food at a tiki bar? 5) Does Paola read the scripts? 6) Pass the Drink on the left hand side.... 7) Mark made the intro (and Norma made the graphic)! 8) Different bartenders made the drinks their own way 9) Paola will take the kid cup version of that tiki drink please! 10) Sex in the City fact that is little more than the script 11) What did Craig do at the beginning of COVID with his time? 12) Talk Like a Pirate Rob gets the whip!! 13) Is there a difference in alcohol percentage (CDN vs USA)? 14) Paola emits fear into the crew 15) KD (Canadian dish of choice) 16) Paola may or may not be a B****? 17) Brazilian sex in the bar 18) Mark and cemeteries 19) B-day FB notifications Well that is the show and don't forget to subscribe to our show or newsletter at: https://tikicentralcanada.ca/subscribe/ OR follow us on FaceBook, Twitter, Instagram, iTunes, GooglePlay, Spotify, Podomatic, and YouTube!!! Stay tuned to the next show, we will talk about Pearl Diver (tiki classic of Don the Beachcombers).

From 1972 to 1991, Canadians gathered together to watch The Beachcombers, one of the most-beloved shows in Canadian history. Today on the show, I talk with cast, crew and fans of the show about its history and impact on Canadian culture. Support the podcast: www.patreon.com/canadaehx Friends of the Beachcombers: https://www.facebook.com/groups/2298458331 Purchase Bruno and the Beach: https://www.amazon.ca/Bruno-Beach-Beachcombers-at-40/dp/1550175653 E-mail: craig@canadaehx.com Website: www.canadaehx.com Facebook: www.facebook.com/canadianhistoryehx Twitter: www.twitter.com/craigbaird Instagram: @Bairdo37

From their quarantine bunkers, Cal and MD are joined by Nick Ward from New Zealand. We share lockdown stories, we talk about the recently released images from Denis Villeneuve's DUNE, we each recount embarrassing encounters with famous people and engage in general merriment. Along the way we talk about the iconic Canadian TV series THE BEACHCOMBERS, THE FRIENDLY GIANT and DOCTOR WHO, and Cal tells us how he saved the life of an Edmonton Weatherman before he became famous! It's quality entertainment to soothe your isolation blues! --- Send in a voice message: https://anchor.fm/balloonjuice/message

From our quarantine bunkers, Cal and MD are joined by Nick Ward from New Zealand. We share lockdown stories, we talk about the recently released images from Denis Villeneuve's DUNE, we each recount embarrassing encounters with famous people and engage in general merriment. Along the way we talk about the iconic Canadian TV series THE BEACHCOMBERS, THE FRIENDLY GIANT and DOCTOR WHO, and Cal tells us how he saved the life of an Edmonton Weatherman before he became famous! It's quality entertainment to soothe your isolation blues!

This week, we head north to Canada to take a look at venerable institution The Beachcombers. In "Blue Plate Special," Nick and the gang to save local cafe Molly's Reach from getting bulldozed for condos. Meanwhile ne'er-do-well Relic tries to sabotage their efforts from the inside so that the can profit from them later.

This week on Coast Reporter Radio: Something from our everything old is news again file. More than three years after Vancouver Coastal Health and private sector provider Trellis Seniors Services announced plans for a new long-term care facility in Sechelt, Trellis is going to apply for a rezoning in Sechelt after failed attempts to relocate the project to Gibsons and the shishalh Nation. And, Sophie Woodroofe checks out Halloween at Mossy Rock in the Creek. Show Notes: Our latest the effort to build a long-term care facility on the Coast: https://www.coastreporter.net/news/local-news/updated-trellis-proposal-returning-to-sechelt-1.23988761 Here’s a link to just some of the stories that touch on the Trellis-VCH long-term care plan we’ve done: https://www.coastreporter.net/search-results-7.13938?q=Trellis+VCH Our story on the latest efforts to preserve some Beachcombers history: https://www.coastreporter.net/news/local-news/councillor-looks-to-form-working-group-to-preserve-persephone-expand-museum-1.23994347 This week’s Gumboot Nation column: https://www.coastreporter.net/community/columnists/the-wardens-ride-into-gumboot-nation-1.23992968

About Today's Show In this first episode of Season 2 of the Seneca Proud Podcast, our guest today is Kevin Frankish.  Kevin spent 27 years as the co-host of the very popular Breakfast Television, and is a professor of journalism at Seneca College. In this wide ranging episode we discuss... 1.  The changing face of journalism, including the impact of social media. 2.  The Beachcombers. 3.  The "gig economy" and how today's journalists can make a meaningful impact. 4.  A lot more!  (Trust me!) About Today's Guest, Professor Kevin Frankish If you’ve spent any time at all in Toronto over the past 27 or so years, you know who Kevin Frankish is.  Arguably one of Canada’s most successful television hosts, Kevin was the co-host of Breakfast Television from 1991 to 2018.  And before that he worked for 9 years at CKVR TV in Barrie, Ontario. In 2018, Kevin announced he was leaving Breakfast Television Toronto, effective June 1, 2018 While Kevin remains involved with Citytv Toronto for documentaries and special projects, for the purpose of this conversation, Kevin is a professor at Seneca College at York University for Journalism. Kevin also runs Kevin Frankish Media, a media content and creation company and has a YouTube channel Available on iTunes, Spotify, and Google Podcasts! #SenecaProud Podcast is now available on iTunes, which means it's available pretty much wherever you get your podcasts.   Click here to subscribe. While you're there, please give us a rating and leave a comment.  It really helps get our podcast found. Thanks for listening!   Pat Perdue

Join me as I interview The Fissori Real Estate Team Leader, Kathy Fissori. She works as a Professional Realtor in Central California. In this episode, Kathy tells us about Real Estate expectations and the lifestyle of Pismo Goers and Beachcombers. Kathy gives a shout to her favorite local business in the area that is a must visit if in the area. Stay tuned.

We step away from politics as councillors and directors settle into their new roles on the Coast and dive into history with two little-known stories. Ann Watson, Sechelt community archivist, tells us about a wooden ratchet that was used to sound out the end of the Second World War and then takes us to Scotland to tell us about Winkie the war hero. Then, we head to Molly's Reach, the iconic restaurant in the heart of Gibsons made famous by the Beachcombers television show. We speak with John Wade and David Croal about a little-known character named Colonel Spranklin. Show Notes: Our story about the air raid warning ratchet: https://www.coastreporter.net/news/local-news/sounding-the-end-of-war-1.23491826 Look out for the story about Colonel Spranklin and the Beachcombers next week.

Tim has praise for “Wanderlust,” which premieres next Friday on Netflix, and we spend some time discussing the advantages of TV as a writer’s medium in an era where visual flourishes are competing more with traditional storytelling. Also, last week we opened a can of worms as large as the Tasman Sea, and New Zealand has had enough! Host Tim Goodman and Jason Snell.

This episode of For Real is sponsored by The Good Neighbor by Maxwell King and The Real Lolita by Sarah Weinman. FOLLOW UP READS The Class by Heather Won Tesario NEW BOOKS The Dinosaur Artist: Obsession, Betrayal, and the Quest for Earth's Ultimate Trophy by Paige Williams Call Them By Their True Names by Rebecca Solnit Seeds of Resistance: The Fight to Save Our Food Supply by Mark Schapiro  The Personality Brokers: The Strange History of Myers-Briggs and the Birth of Personality Testing by Merve Emre  The Field of Blood: Violence in Congress and the Road to Civil War by Joanne Freeman The Art of Logic in an Illogical World by Eugenia Cheng  She Called Me Woman: Nigeria’s Queer Women Speak, edited by Azeenarh Mohammed, Chitra Nagarajan, Rafeeat Aliyu  WEEKLY THEME: Cozy Nonfiction for Fall House of Stone by Anthony Shadid The Little Book of Hygge: Danish Secrets to Happy Living by Meik Wiking Ex Libris: Confessions of a Common Reader by Anne Fadiman Travels With Charley in Search of America by John Steinbeck SEGMENT THREE: Great Subtitles Moby-Duck: The True Story of 28,800 Bath Toys Lost at Sea & of the Beachcombers, Oceanographers, Environmentalists & Fools Including the Author Who Went in Search of Them by Donovan Hohn Heaven’s Ditch: God, Gold, and Murder on the Erie Canal by Jack Kelly The Professor and the Madman: A Tale of Murder, Insanity, and the Making of the Oxford English Dictionary by Simon Winchester Working Stiff: Two Years, 262 Bodies, and the Making of a Medical Examiner by Judy Melinek READING NOW 99 Glimpses of Princess Margaret by Craig Brown Knocking on Heaven’s Door by Katy Butler QUESTIONS/COMMENTS? Find us on Twitter @itsalicetime and @kimthedork  

Charles Wilkinson is a Canadian writer/director of a large body of both documentary and dramatic film in a career that spans over 30 years. His documentary films include Down Here (2008), Peace Out (2012), Oil Sands Karaoke (2013) and Haida Gwaii: On The Edge Of The World (2015). His films have played around the world and have received numerous national & international awards. His dramatic work includes 6 feature films and numerous TV long form and episodic credits like the Highlander and Road To Avonlea and even the last season of Beachcombers. Feature documentary Haida Gwaii: On The Edge Of The World won the top award at Hot Docs in May of 2015. The film went on to become the 2nd highest earning Canadian film per screen in winter 2015/16. It's a film where audiences are finding some solutions to our global sustainability dilemma. Charles most recent film is the feature documentary Vancouver: No Fixed Address, a film about crazy real estate and how we can gain some measure of control over the places we live.Charles is currently working with his partner Tina Schliessler on a new feature documentary that he can't tell me about because then he would have to kill me. Charles lives with his family on an inlet near Vancouver. Hosted on Acast. See acast.com/privacy for more information.

Dropbear and Panda are left to their own devices in the studio this week and the discussion gets deep and heated (heh) around World Cup Soccer 2018, US Immigration Policies, the 'truth' in reporting, of course SpaceForce®, Canadian television from The Beachcombers to Degrassi to Kim's Convenience. Panda sings a television theme song. Dropbear does hard-hitting investigative Google searches.  Theme song by Emre Cords Refreshments provided by Fitzsimmons Brewery

Rod Crawford has been in and around the improv and standup scenes in Canada for 35 years making him a... legend? Sure, let's go with that. You know him best as the stunt double (1 episode) for Relic on The Beachcombers, but did you also know he starred in the Police Academy TV series? He tells us all about his life in comedy in this episode.

As if humming the original Hockey Night In Canada Theme song isn't enough to qualify this US based leader of the DIY, public land western hunting scene as a honorary Canadian, he hits us with a Beachcombers reference! Mike and John had the good fortune to have a conversation with the host of one of tv's most watched hunting shows. Besides his tv show, Randy has a popular podcast:  Randy Newberg Unfiltered, and also runs a hunting forum called Hunt Talk. If you've never heard of Randy Newberg, set aside a couple of weeks to catch up on his instructional media.  Topics such as the gutless method of field dressing, his "pack dumps" and the seasons of the elk year. He has produced some of the best info for newer westen hunters, hunting public lands, and he shares his insights with us on topics such as gear, rifle calibres and marksmanship, packs, clothing, optics, and so much more. Find Randy at www.randynewberg.com   Check out our show notes at:  https://highlanderhunting.wordpress.com  iTunes reviews are always appreciated.  It helps others find us. Thanks for listening.

THE HAWAIAN BEACHCOMBERS by

Happy Canada Day to all of Y2J's fellow Canadians! And in honor of the occasion, the Canadian rock band crew (they're mostly from Winnipeg, you idiot) has reunited to talk all things Canadian television (and sing a TV theme song or ten)! Brent Fitz, Todd Kerns from Slash & Myles Kennedys band, the Conspirators, Red Solo Cup Geoff, and honorary Canadian, Brian Slagel from Metal Blade Records have plenty of memories (well, not Brian so much) about Degrassi, The Littlest Hobo, Bizarre, The Beachcombers, and City Vision (and how it wrecked Y2Js music credibility in highschool). And you know there's more than one great rock story included in this inquisition and it may or may not involve AC/DC, KISS and/or Judas Priest. O Canada! Our home and native land! O Canada! We stand on guard for thee (and your killer TV shows)!

Looks Unfamiliar is a podcast in which writer and occasional broadcaster Tim Worthington talks to a guest about some of the things that they remember that nobody else ever does. Joining Tim in this episode is writer Stephen O'Brien, who wonders why he gets blank looks all round whenever he mentions Steven Moffat sitcom The Office, early 'lad mag' LM Magazine, eighties puzzle cash-in paperback You Can Do The Cube, KLF-affiliated early Stock Aitken Waterman act Brilliant, The Beachcombers and other last-minute ITV emergency schedule replacement standbys, and The Morecambe And Wise Board Game. No he's not making that last one up. Along the way we'll be finding out how many issues of 'Razzle And Wise' were published, how many characters Stefan Dennis can play on stage at once, and which seventies action serial is slightly less preferable to actually being at school. If you've enjoyed this, why not have a read of Tim's book Well At Least It's Free - more details at http://timworthington.blogspot.com/

Na nosa axenda semanal destacamos o encontro "Crebeiros do mundo" que terá lugar no Ceida o 29 e 30 de outubro no CEIDA. Con Isabel García de RetoqueRetro.

Na nosa axenda semanal destacamos o encontro "Crebeiros do mundo" que terá lugar no Ceida o 29 e 30 de outubro no CEIDA. Con Isabel García de RetoqueRetro.

Angel Baby shoots out of the gate on her second Women's History Month tribute with a trio of hot rockin' femmes, segueing into two-timed r&b belters and, after a refreshing dunk in the briny, spinning boy crazy teen tunes before finishing up with sultry sassy mamas and ginchy gals diggin' their real gone guys. All girl and all good! Do This Do That – Barbara Joy – Tar-Get / Louisiana Twist – ‘June Bug’ Bailey – Jo-Records / Hang Up My Rock And Roll Shoes – Dawn Owens and the Rhythm Kings – Star / Shake-A-Fin – Baby Terry Hall – Philips / Up Above My Head (I Hear Music In The Air) - Sister Rosetta Tharpe & Marie Knight – Decca / Why Young Men Go Wild – Miss LaVell – Duke / I Can’t Believe What You Say (For Seeing What You Do) – Ike And Tina Turner – Kent / Breaking Point – Etta James – Argo / Whispering Sea – Loretta Lynn – Zero / Down By The Sea – Margo White with The Cup Cakes – Khoury’s / Ocean Of Tears – Big Maybelle – The OKeh Rhythm & Blues Story 1949-1957 (Previously Unissued) / I’ve Just Discovered Boys – Sherry Crane – Trumpet / Go Away, Don’t Bother Me – The Collins Kids – Columbia / Buzzin’ – Kathy Zee – Laurie / Keep ‘Em For A Hobby – Carolyn Chipman and The Beachcombers backed by The Jordanaires – Bett-Coe / Get Your Enjoys – Eunice Davis – De Luxe / You’ve Got To See Mamma Every Night – Kari Lynn – Auburn / Real Gone Okie – Renie Hicks with The Aztecs – Aztec / Slip Away – Millie Rodgers – Ultima / I’m Just Drifting – Betty Amos – Mercury / Bye Bye Baby – Betty Renne – New Art

70: CD Podcast Episode: Canadian Celebrity Jackson Davies on Giving Back A Man of Many Talents… My son came home from university one day and said, “Hey Mom, ever heard of Jackson Davies?” I looked at him like he had three heads, and said, “Of COURSE! The Beachcombers was one of my favourite shows as a kid. Why? How do you know who he is?” “He’s […] CommunicationDiva.com Related posts: 53: CD Podcast: New Media Musings & Motivations 42:CD Podcast Episode: The Power of Storytelling 68: CD Podcast Episode: Gossip: The Green Ghoul of the Office

Author of “Moby Duck: The True Story of 28,800 Bath Toys Lost at Sea and of the Beachcombers, Oceanographers, Environmentalists, and Fools, Including the Author,Who Went in Search of Them”

This week it is cold hard killers and reptiles in this week's podcast.  First up is my audio book review of The Cold Moon by Jeffrey Deaver and then after that it is another co-movie review with Rob and we talk about Snakes on a Plane that opened recently.  As well as giving out takes on the film, Rob and I also discuss things I have talked about in past podcasts such as Aaron Spelling, ginger beer and the Canadian TV cult classic The Beachcombers.  As always your comments and suggestions are always welcome.