Podcast appearances and mentions of Bernie Krause

Episode 168 Chapter 28, Moog Analog Synthesizers, Part 1. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 28, Moog Analog Synthesizers, Part 1 from my book Electronic and Experimental music.   Playlist: EARLY MOOG RECORDINGS (BEFORE 1970)   Time Track Time Start Introduction –Thom Holmes 01:32 00:00 1.     Emil Richards and the New Sound Element, “Sapphire (September)” from Stones (1967). Paul Beaver played Moog and Clavinet on this album by jazz-pop mallet player Richards, who also contributed some synthesizer sounds. 02:21 01:44 2.     Mort Garson, “Scorpio” (1967) from Zodiac Cosmic Sounds (1967). Mort Garson and Paul Beaver. Incorporated Moog sounds among it menagerie of instruments. Garson went on to produce many solo Moog projects. 02:53 04:04 3.     Hal Blaine, “Kaleidoscope (March)” from Psychedelic Percussion(1967). Hal Blaine and Paul Beaver. Beaver provided Moog and other electronic treatments for this jazzy percussion album by drummer Blaine. 02:20 06:58 4.     The Electric Flag, “Flash, Bam, Pow” from The Trip soundtrack (1967). Rock group The Electric Flag. Moog by Paul Beaver. 01:27 09:18 5.     The Byrds, “Space Odyssey” (1968) from The Notorious Byrd Brothers (1968).  Produced by Gary Usher who was acknowledged for having included the Moog on this rock album, with tracks such as, “Goin' Back” (played by Paul Beaver), “Natural Harmony,” and unreleased track “Moog Raga.” 03:47 10:48 6.     The Monkees, “Daily Nightly” from Pisces, Aquarius, Capricorn, and Jones Ltd. (1967). Moog effects provided by Micky Dolenz of the Monkees and Paul Beaver. 02:29 14:40 7.     Jean Jacques Perrey and Gershon Kingsley, “The Savers,” a single taken from Kaleidoscopic Vibrations (1967). The first Moog album by this duo known for their electro-pop songs. 01:48 17:08 8.     Wendy Carlos, “Chorale Prelude "Wachet Auf" from Switched-On Bach (1968). The most celebrated Moog album of all time and still the gold standard for Moog Modular performances. 03:34 18:54 9.     Mike Melvoin, “Born to be Wild” from The Plastic Cow Goes Moooooog (1969). Moog programming by Paul Beaver and Bernie Krause. 03:03 22:28 10.   Sagittarius, “Lend Me a Smile” from The Blue Marble (1969). This was a studio group headed by Gary Usher, producer of The Byrds, who used the Moog extensively on this rock album. 03:09 25:30 11.   The Zeet Band, “Moogie Woogie” from the album Moogie Woogie(1969). Electronic boogie and blues by an ensemble including Paul Beaver, Erwin Helfer, Mark Naftalin, “Fastfingers” Finkelstein, and Norman Dayron. 02:43 28:40   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Democrats won a key Wisconsin Supreme Court race. The result is being seen as a rebuke of Elon Musk, who campaigned in the state and spent millions on the GOP candidate. New auto tariffs are supposed to be for “foreign” cars and parts, but no US-made vehicle will escape the impact. Detroit’s obsession with big cars won’t help.  UCLA’s cityLAB has launched a design competition where contestants can submit proposals for low-cost, easy-to-build starter homes on vacant city-owned lots. Bernie Krause’s thousands of hours of recordings reveal how climate change is affecting the natural world. His life and work are the subject of the documentary “The Last of the Nightingales.” Actor Val Kilmer died Tuesday at age 65. His career included both “Top Gun” films, “Batman Forever,” “Heat,” and an iconic performance as Jim Morrison in “The Doors.”

“I don't feel like nature is somehow healing me - I feel as if my body is remembering what it's supposed to be like.” Earth.fm's Wind Is the Original Radio podcast is pleased to share the second part of curator Melissa Pons' conversation with sound designer and field recordist Andy Martin. (You can find part one here.) Here, in another thought-provoking instalment, Andy shares his thoughts about deep listening, questioning (in part because of the varied ways in which it is defined) the difference from just… listening. In the field, Andy “describe[s] [him]self as a witness”, of anything from “the trickle of water to hummingbirds which are out to kill each other” - but he refutes the idea of there being any “inherent meaning in a soundscape; it just is; it just exists”. Where deep listening often aspires to finding meaning or making a connection - “an intentional beauty or a message within the soundscape” - he asserts his conviction that there are no such intentions, beyond those of individual wildlife. “I can listen in wonder and awe”, but “there's nothing there that is a meaningful, special interaction for me; it is just life existing. If we're looking for a deeper connection, a deep meaning within the soundscape [...] we're missing the reality of what's there, and we're trying to put our own feelings, our own belief systems onto that reality - and that's not my job. [...] My job is to listen and bring forth.” What Andy sees as people's misinterpretations of the natural world overriding the reality means that, “The moment I hear someone describe a dawn chorus as an outpouring of joy, they've lost me. Because that's what it sounds like to us - but that's not necessarily what it is.” Further topics discussed in this episode include: The idea that, by entering other beings' habitats, uninvited, recordists make themselves into “voyeur[s]”: “To imagine that I am not making a disruption when I go into that space [...] I think is very foolish” - one of the benefits of rolling out hundreds of metres of mic cables to listen while recording (another being the avoidance of self-noise: “I sniffle, I cough, I shuffle - I make a lot of noise”) The difference between American robins' dawn and dusk calls and whinnies The close evolutionary relationship between birds, dinosaurs, and crocodilians - plus, a hair-raising story of being alone in a Louisiana swamp, hearing alligators booming in the twilight and legging it for his car. (Really, who can blame him?) Hearing soundscapes in those fog-shrouded swamps of the Atchafalaya Basin change over course of a year and noting the different times at which different species of frogs and insects sing, and the different frequencies in which they do so: Bernie Krause's acoustic niche theory in action The potential selfishness of making nature recordings, and whether it's necessary to assign a 'higher cause' to justify making doing so in ways that may exoticize the environments in which they are made  Acknowledging the unlikeliness “that someone'll hear [his] recordings and dedicate themselves to some sort of ecological practice”... but also acknowledging the value of influencing people on a smaller scale - including himself. Though Andy states that he makes recordings for the enjoyment of hearing the more-than-human beings' comings and goings, he also notes that listening to them has changed his own behaviour to the extent of affecting how he brought up his daughter The privilege of being involved in the Giving Contest organised with George Vlad and Thomas Rex Beverly: a call for donations for environmental causes, with nature sound recording bundles as prizes The way that spaces like the Amazon rainforest, which we think of as untouched wilderness, were affected by Indigenous, pre-colonial farming and water management: places where humans have in fact influenced ecosystems for thousands of years. More modern examples include the American bullfrogs which are considered ubiquitous, but which were limited to the eastern half of North America before being bred as a cheap protein source during the Gold Rush, and ultimately released into the wild The possibility of humanity having positive impacts on the natural world - even if making that change may be a long time coming. We hope that you enjoy this episode. If you'd like to connect with Andy, you can do so on LinkedIn and Instagram and listen to various recordings and other interviews here.

In this episode of Earth.fm's Earth Is the Original Radio podcast - the first of a two-parter! - the site's curator, Melissa Pons has a wide-ranging conversation with sound designer and field recordist Andy Martin. The insightful and granular conversation explored the following topics: Andy's relationship with sound throughout his life and career, and what paths led to him dedicating himself to nature field recordings - taking in childhood illness, a love of the Star Wars score, involuntary mimicking of the sounds around him, and a desire for escape  Flirtations with piano, violin, and saxophone, which led to music school - where Andy experienced a shift from sound being something he played and listened to actively thinking about it as something with the power to affect the world via feelings and emotions Stumbling from film sound design into video games - different ways of using sound to tell a story  How being a stay-at-home father for three years allowed him to experiencing the world via his young daughter's curiosity, and how his desire to learn about the place of sound grew alongside his daughter Starting to record wildlife for computer games, but initially seeing these sounds as “assets” ‘Quietness' and ‘silence' and what people really mean when they search for places that offer these things. And what sites without industrial noise, inhabited by more-than-human life, have brought to Andy A nature field recordist's identity and its contradictions in a capitalistic system and in the context of ‘content creation'. How ADHD feels to Andy, and how his experience of the disorder affects his practice and his life - maybe chaotically, maybe beautifully Also: crows! Listen out for part two of the conversation, which will be released soon! Also, below are all of the references mentioned during this episode: Bernie Krause's acoustic niche hypothesis: https://www.researchgate.net/publication/269278107_The_Niche_Hypothesis_A_virtual_symphony_of_animal_sounds_the_origins_of_musical_expression_and_the_health_of_habitats Bernie Krause's book, The Great Animal Orchestra: https://eshop.fondationcartier.com/en/products/bernie-krause-and-united-visual-artists-the-great-animal-orchestra  Martyn Stewart: https://www.thelisteningplanet.com/alifeinsoundpodcast  Gordon Hempton's One Square Inch of Silence: https://onesquareinch.org/  Andy's official website: https://soundeziner.com/  Andy's SoundCloud: https://soundcloud.com/soundeziner  And you can connect with Andy on LinkedIn https://www.linkedin.com/in/andymartinnaturesound/ and Instagram: https://www.instagram.com/andymartinnaturesound/.

Dimitri and Khalid resume their dive into the deep history of the synthesizer and electronic music, this time covering the late 1960s-early 1970s explosion of the Moog and Buchla synths into popular consciousness. Topics include: More from Trevor Pinch's “Analog Days”, sus acid test graduations, the faux-apocalyptic “Awareness Festival” held amid race riots at SF State, B-52 bombers turning into butterflies, the Diggers Commune and the sounds of space aliens, the Grateful Dead's pivotal role in sound technology innovation, Moog's coming out party at the 1967 Monterey Pop Festival, heckin' Bernie Krause and the curious Scientologist swinger Paul Beaver selling Moogs in LA, UFO hunting around Mt. Shasta, George Harrison screwing over Bernie to make his shitty electronic album, the impact of Wendy Carlos' seminal “Switched On Bach” album, the question of gender and the synthesizer, the labor anxieties triggered by “Switched On Bach” and the Moog, Suzanne Ciani's long strange Buchla trip, synthesizing the sounds of corporate America throughout the 1970s, human-Buchla cathexis, the feminine approach to synthesis, and more. For access to premium SJ episodes, upcoming installments of DEMON FORCES, and the Grotto of Truth Discord, become a subscriber at patreon.com/subliminaljihad.

His earlier episodes on this show have been huge hits, and as he completes a trilogy of books, he returns to complete a trilogy of episodes. Amitava Kumar joins Amit Varma in episode 408 of The Seen and the Unseen to talk about writing, noticing, painting, travelling, trees, and unfulfilled train journeys. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out 1. Amitava Kumar on Instagram, Substack, Twitter, Amazon, Vassar, Granta and his own website. 2. The Green Book: An Observer's Notebook -- Amitava Kumar. 3. Amitava Kumar Finds the Breath of Life — Episode 265 of The Seen and the Unseen. 4. Amitava Kumar Finds His Kashmiri Rain -- Episode 364 of The Seen and the Unseen. 5. The Blue Book: A Writer's Journal — Amitava Kumar. 6. The Yellow Book: A Traveller's Diary — Amitava Kumar. 7. My Beloved Life: A Novel -- Amitava Kumar. 8. A Million Mutinies Now -- VS Naipaul. 9. The Trees — Philip Larkin. 10. Before the Storm -- Amitava Kumar. 11. Wanderers, Kings, Merchants: The Story of India through Its Languages — Peggy Mohan. 12. Understanding India Through Its Languages — Episode 232 of The Seen and the Unseen (w Peggy Mohan). 13. A Suitable Boy -- Vikram Seth. 14. Caste, Capitalism and Chandra Bhan Prasad — Episode 296 of The Seen and the Unseen. 15. ‘Indian languages carry the legacy of caste' — Chandra Bhan Prasad interviewed by Sheela Bhatt. 16. The Refreshing Audacity of Vinay Singhal — Episode 291 of The Seen and the Unseen. 17. Stage.in. 18. Laapataa Ladies -- Kiran Rao. 19. Kanthapura -- Raja Rao. 20. All About H Hatterr -- GV Desani. 21. From Phansi Yard: My Year with the Women of Yerawada -- Sudha Bharadwaj. 22. India is Broken -- Ashoka Mody. 23. Being Mortal -- Atul Gawande. 24. Earwitness to Place -- Bernie Krause interviewed by Erin Robinsong. 25. All That Breathes -- Shaunak Sen. 26. Frog: 1 Poetry: 0 -- Amitava Kumar. 27. The Heat Will Kill You First -- Jeff Goodell. 28. Danish Husain and the Multiverse of Culture — Episode 359 of The Seen and the Unseen. 29. The Artist's Way -- Julia Cameron. 30. An excerpt from Wittgenstein's diary — Parul Sehgal on Twitter. 31. Tractatus Logico-Philosophicus — Ludwig Wittgenstein. 32. Burdock -- Janet Malcolm. 33. Hermit in Paris — Italo Calvino. 34. Objects From Our Past -- Episode 77 of Everything is Everything. 35. The Wisden Book of Test Cricket (1877-1977) — Compiled & edited by Bill Frindall. 36. Gita Press and the Making of Hindu India — Akshaya Mukul. 37. The Gita Press and Hindu Nationalism — Episode 139 of The Seen and the Unseen (w Akshaya Mukul). 38. The Ferment of Our Founders — Episode 272 of The Seen and the Unseen (w Shruti Kapila). 39. Private Truths, Public Lies — Timur Kuran. 40. The Incredible Insights of Timur Kuran — Episode 349 of The Seen and the Unseen. 41. Bhavni Bhavai -- Ketan Mehta. 42. All We Imagine as Light -- Payal Kapadia. 43. Secondhand Time -- Svetlana Alexievich. 44. Amitava Kumar's post with Danish Husain's postcard. 45. Fire Weather -- John Vaillant. 46. Ill Nature -- Joy Williams. 47. Hawk -- Joy Williams. This episode is sponsored by Rang De, a platform that enables individuals to invest in farmers, rural entrepreneurs and artisans. Amit Varma and Ajay Shah have launched a new course called Life Lessons, which aims to be a launchpad towards learning essential life skills all of you need. For more details, and to sign up, click here. Amit and Ajay also bring out a weekly YouTube show, Everything is Everything. Have you watched it yet? You must! And have you read Amit's newsletter? Subscribe right away to The India Uncut Newsletter! It's free! Also check out Amit's online course, The Art of Clear Writing. Episode art: ‘Gulmohar' by Simahina.

Episode 137 Merry Moog 2024 Electronic Music for the Holidays Performed on the Moog and other Synthesizers   Playlist Time Track Time Start Introduction –Thom Holmes 04:34 00:00 1.     Hans Wurman, “Overture Miniature” from Electric Nutcracker (1976 Ovation). This Austrian composer made several remarkable, classically influenced Moog Modular albums from 1969 to 1976. This was one of his last big Moog projects and is difficult to find. 2:54 02:54 04:32 2.     Hans Wurman, “Danse De La Fee-Dragee ( Sugar Plum Fairy)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 1:33 01:33 07:24 3.     Hans Wurman, “Danse Des Mirlitons (Flutes)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 2:14 02:14 08:56 4.     Emerson, Lake & Palmer, “Nutrocker” from Nutrocker / The Great Gates Of Kiev (1972 Cotillion). Arranged by, Emerson, Lake & Palmer. Written by Kim Fowley. 03:48 11:08 5.     Sounds Of Broadcasting 2, “Night Of The Kings” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. 01:01 14:56 6.     Jean Jacques Perrey and Sy Mann, “Jingle Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. 01:44 15:56 7.     Jean Jacques Perrey and Sy Mann, “Christmas Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. 01:52 17:40 8.     Douglas Leedy, “The Coventry Carol” from A Very Merry Electric Christmas to You (1970 Capitol). USA. Moog Modular Synthesizer and Buchla Synthesizer. 04:46 19:30 9.     Joseph Byrd, “Christmas in the Morning” from A Christmas Yet to Come (1975 Takoma). USA. ARP 2600 Synthesizer with an Oberheim Expander Module. 01:34 24:16 10.   Armen Ra, “O Come All Ye Faithful” from Theremin Christmas (2018 Sungod). USA. Moog Etherwave Pro Theremin. 04:43 25:50 11.   Beck, “The Little Drum Machine Boy” from Just Say Noël (1996 Geffen). USA. Roland TR-808 Rhythm Composer. 07:02 30:32 12.   Alan Horsey, “We Wish You a Merry Christmas” from Switched-On Christmas (1985 Snowflake Records). Italian album with electric organ by Alan Horsey. This is reminiscent of Hooked on Classics as the entire album seems to be woven together by a drum machine beat. This is played on organ. Seems a little late for disco. 03:10 37:30 13.   Denny Hinman, “Christmas in July” from Plays The Yamaha Electone E-70 (1980 Yamaha). Denny Hinman plays the Yamaha Electone E-70. A release by Yamaha. 01:45 40:36 14.   Miharu Koshi, “Belle Tristesse” (妙なる悲しみ)from We Wish You A Merry Christmas (1984 Yen). Japan. A compilation of specially recorded Christmas-themed songs from various artists on the Yen Records label. Written by, synth-pop with vocals by Miharu Koshi. Miharu Koshi is a keyboardist and singer with a long-standing collaborative association with YMO-founder Haruomi Hosono. 03:43 42:20 15.   Taeko Onuki, Inori (Prayer) from We Wish You A Merry Christmas (1984 Yen). Japan. A compilation of specially recorded Christmas-themed songs from various artists on the Yen Records label. Japanese synth-pop with vocals by Onuki. Maybe Ryuichi Sakamoto on keyboards. 03:44 46:02 16.   Frank Collett, “Jesu Joy of Man's Desiring (1970 Privately Made Release). USA. This is a special addition to the Merry Moog podcast. I found what is likely a one-of-a-disc private pressing by Frank Collett using the Moog Modular Synthesizer. This 45 RPM disc was recorded at Finetone Recording Studio in New York City and is inscribed with the hand-written message, “To John & Loretta: Merry XMAS. Composed and arranged by Frank Collett” This appears to be disc made of metal with a vinyl coating. One side includes his rendition of Bach's “Jesu Joy of Man's Desiring” plus a short tune called “Little Joey” (see below). The flip side contains the same recording of “Little Joey.” Dated December 22, 1970. Clearly made using a Moog Modular Synthesizer. Collett (1941-2016) was a noted session pianist and sometimes led and recorded with his own trio. He was raised in New York. In 1968 he was accompanist to Sarah Vaughan. The following year he moved to Las Vegas, Nevada.  He became the house pianist, with the orchestra in the main showroom of the International Hotel (which became the Las Vegas Hilton).  It was during this period that he made this recording in NY.  01:57 49:44 17.   Frank Collett, “Little Joey” (1970 Privately Made Release). Frank Collett using the Moog Modular Synthesizer. From a 45 RPM disc recorded at Finetone Recording Studio in New York City (see above). Dated December 22, 1970. Clearly made using a Moog Modular Synthesizer. Collett (1941-2016) was a noted session pianist and sometimes led and recorded with his own trio. Moog Modular Synthesiser, Frank Collett. Whose Moog Synthesizer did he use to make this recording? I can only speculate and guess that he made the recording at the studio of Gerson Kingsley in New York. 01:56 51:40 18.   Romantic Synthesizer, “Oh Tannenbaum” from Christmas Memories (1983 Dureco Benelux). French-Dutch album. Arranged, produced, synthesizers by Gerto Heupink, Robert Pot. 02:53 53:34 19.   Keiko Ohta (Ota), “Here Comes Santa Claus” from Electone X'Mas Present (1975 Canyon). Yamaha Electone GX-707 (GX-1), arranged by Keiko Ohta. Ohta was a female Electone star from Japan. The GX-1 was an early polyphonic synthesizer and a new branch of the Yamaha Electone family tree. 02:43 56:24 20.   Keiko Ohta (Ota), “Blue Christmas” from Electone X'Mas Present (1975 Canyon). Yamaha Electone GX-707 (GX-1), arranged by Keiko Ohta. Japan. Yes, the song originally made famous by Elvis Presley. Ohta was a female Electone star from Japan. The GX-1 was an early polyphonic synthesizer and a new branch of the Yamaha Electone family tree. 04:11 59:06 21.   Paul Haig, “Scottish Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. Scottish songwriter, musician and singer. 02:46 01:03:16 22.   Les Cousins Dangereux, “What Child Is This” from Gotta Groove Records 2012 (2012 Gotta Groove Records). Holiday album with various artists. Les Cousins Dangereux is Mr. Tim Thornton. 01:59 01:06:00 23.   Joy Electric, “Angels We Have Heard on High” from The Magic Of Christmas (2003 Tooth & Nail Records). Joy Electric is Ronnie Martin from Ohio. American synthesizer-pop musician. Among his many releases is this crafty Christmas album. 01:48 01:07:58 24.   Koichi Oki, “Jingle Bells” from The Man From Yukiguni (1975 TIM/RS). Japan. Koichi Oki's Christmas album performed solely by his Yamaha Electone E-3. “Yukiguni” means snowland. Oki was a hugely popular Electone artist in Japan. 01:50 01:09:46 25.   Koichi Oki, “Winter Wonderland” from The Man From Yukiguni (1975 TIM/RS). Japan. Koichi Oki's Christmas album performed solely by his Yamaha Electone E-3. “Yukiguni” means snowland. Oki was a hugely popular Electone artist in Japan. 02:18 01:11:34 26.   Edhels, “Oriental Christmas” from Oriental Christmas (1985 Cabana Music). Recorded in France. Drums, Percussion, Keyboards, Jacky Rosati; Guitar, Jean Louis Suzzoni; Guitar, Bass, Keyboards, Composed by, Marc Ceccotti; Keyboards, Noël Damon. I was sent this as a promotional album back in 1985 with a kind little note from the artists. Sorry it took me so long to put the Christmas-related track in my podcast. This is great example of synth-pop from France in the 1980s. 04:22 01:13:52 27.   Bob Wehrman, John Bezjian and Dusty Wakeman, “Joy to the World” from Christmas Becomes Electric (1984 Tropical Records). Produced in L.A., a collection of pre-fab synthesizer classics. Not the same record of the same title as Douglas Leedy. 02:40 01:18:12 28.   Bob Wehrman, John Bezjian and Dusty Wakeman, “Ring Christmas Bells” from Christmas Becomes Electric (1984 Tropical Records). Produced in L.A., a collection of pre-fab synthesizer classics. Not the same record of the same title as Douglas Leedy. 01:46 01:20:50 29.   Romantic Synthesizer, “So This is Christmas” from Christmas Memories (1983 Dureco Benelux). French-Dutch album. Arranged, produced, synthesizers by Gerto Heupink, Robert Pot. We don't often hear an instrumental rendition of this Lennon and Ono X-mas tune. 03:22 01:22:34 30.   Swinging Buildings, “Praying For A Cheaper Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. This group was once rumored to be New Order in disguise. But no, they were in fact The Bowling Balls in disguise. 03:07 01:25:54 31.   Bernie Krause, Philip Aaberg, “Feliz Navidad” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (Kurzweil 2000/Emulator III) Phil Aaberg. Percussion on Feliz Navidad performed by Ben Leinbach. 5:37 05:37 01:28:58 32.   The Original Cast: R2-D2, Anthony Daniels As C-3PO, “R2D2 We Wish You A Merry Christmas” from Christmas In The Stars: Star Wars Christmas Album (1980 RSO). Vocals, Arthur Boller, Donald Oriolo, Jr., Dori Greenberg, Ivy Alexenburg, Jake Yeston, Jessica Taylor, Marney Alexenburg, Ricky Haayen, Roddy McBrien, Russell Poses, Scot Randell, Stacy Greenberg; Keyboards, Derek Smith, Harold Wheeler, Pat Rebillot; Sound Effects (R2D2), Ben Burtt. The whole Star Wars crew seems to have a part in this holiday album. I wanted to highlight a track featuring the melodious electronic beeping of R2D2. 03:33 01:34:34 Opening background music: Sounds Of Broadcasting 1, “Christmas Logos” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Notice how the melody imitates a familiar tune without ever hitting the same notes. A copyright thing. Another name of this track might as well be, “It's Beginning to Sound A Lot Like Christmas.” Jean Jacques Perrey and Sy Mann, “Tijuana Christmas” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. Don Voegeli, “Chanukah” from Holiday & Seasonal Music (1977 EMI). USA. Produced at the Electrosonic Studio of the University of Wisconsin-Extension.   Opening and closing sequences voiced by Anne Benkovitz. Visual design by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

What can sound tell us about nature loss? Guardian biodiversity reporter Phoebe Weston tells Madeleine Finlay about her visit to Monks Wood in Cambridgeshire, where ecologist Richard Broughton has witnessed the decline of the marsh tit population over 22 years, and has heard the impact on the wood's soundscape. As species lose their habitats across the world, pioneering soundscape ecologist Bernie Krause has argued that if we listen closely, nature can tell us everything we need to know about our impact on the planet. Help support our independent journalism at theguardian.com/sciencepod

Hello and welcome to our 6th episode of this special series. Today we have a wonderful conversation with award winning sound artist Félix Blume, who has a variety of works in many distinct regions of the world, marked mainly through his collaborative process. We talk about forms of listening, sound authorship, the power of sound to inquire and understand and working with children. You can find the rich work of Félix in his website: https://felixblume.com/ and in his vimeo: https://vimeo.com/felixblume Books mentioned: The Falling Sky - Davi Kopenawa Yanomami with Bruce Albert R. Murray Schafer - The Tuning of the World Juliette Volcler - L'orchestration du quotidien - Design sonore et écoute au 21e siècle Artists mentioned: Chris Watson, Gordon Hempton, Bernie Krause

Episode 113 More Electronic Music for Astral Tripping Playlist Earthstar, “Part 1, Sirens” from French Skyline (1979 Sky records). Recorded at Klaus Schulze Studio, Hambühren, W. Germany in 1978 and 1979. Bass, Electronics, Norm Peach; Choir, Craig Wuest, Joan N., Marla T., Phil N.; Electric Guitar, Treated Guitar, Electronics (Tonewall), Dennis Rea; Flute, Woodwind, Tim Finnegan; French Horn, Flute, Marla Thomson; Producers, Craig Wuest, Klaus Schulze; Moog Modular System Programming, Technical Advice, Klaus Schulze; Sitar, Dirk Schmalenbach, Synthesizer, Sequencer, Mellotron, Biotron, Piano, Sitar, Harp, Effects, Voice, Vocoder, Bells , Percussion, Tape loops, Electronic Treatments, Craig Wuest; Violin, Phil Novak; Violin, Viola, Electronics, Louis Deponté; Violin, Electronics, Daryl Trivieri. (06:18) Edgar Froese, “PA 701” from Macula Transfer (1976 Brain). The material was composed during different flights during '75 and '76 while on tour with Tangerine Dream. Instruments, Composed By, Produced by, Edgar Froese. I'm not certain, but all of the tracks are named after airline flight numbers. I think this one was on Pan American. Recorded in June 1976 at Amber Studio, Berlin. (07:33) Beaver and Krause, “Gandharva” and “By Your Grace,” from Gandharva (1971 Warner Brothers). The Moog Modular is played by Bernie Krause, the pipe organ by Paul Beaver. Baritone Saxophone, Gerry Mulligan. Recorded at Grace Cathedral, San Francisco, February 10-11, 1971. This recording came at the height of the Moog craze (for which Beaver and Krause were largely responsible) and this music took a decidedly thoughtful turn with its jazz guests and spacious live sound recorded in a church. Having the Moog Modular in a live performance was a challenge and its presence is only apparent in the opening and several moments on this side of the album. But the organ and baritone saxophone alone provide a beautiful sonic experience. (06:29) イノヤマランド = Inoyama Land, “Mizue” from ダンジンダン・ポジドン = Danzindan-Pojidon (1983 Yen). Inoyama Land is Yasushi Yamashita and Makoto Inoue. Roland Jupiter 8, System-100M, MC-4, Makoto Inoue. Recorded at Private Studio, Kichijōgi & Yugawara from Jan '82 to '83. This track was made by Inoue which he described as him “playing with repetitive octave, machine-like signal sounds.” (02:31) Arp, “Nzuku” from Ensemble—Live! (2019 Mexican Summer). Arp is Alexis Georgopoulos, an American electronic musician, composer, and music producer based in New York. Includes music from his LP, Zebra, as well as four original tracks. Zebra saw the diverse, New York-based artist exploring Fourth World, Japanese avant-garde, minimalism, kosmische, dub, cosmic jazz and more. This album was recorded live in the studio. Limited edition of 500 copies. (06:36) Ariel Kalma, “Reternelle” from Ariel Kalma (1975 Astral Muse). A spacey work for dual saxophones and tape echo, played by Kalma. (12:08) Masuko Shinji, “Woven Music for Silver Ocean” from Woven Music (2011 Jagjaguwar). Japanese singer and guitarist. Some soothing guitar electronics bordering on noise. Let your thoughts wander. (13:50) イノヤマランド = Inoyama Land, “Apple Star” from ダンジンダン・ポジドン = Danzindan-Pojidon (1983 Yen). Inoyama Land is Yasushi Yamashita and Makoto Inoue. Roland Jupiter 8, System-100M, MC-4, Makoto Inoue. Recorded at Private Studio, Kichijōgi & Yugawara from Jan '82 to '83. This track by Inoue came about by his “synchronizing the Jupiter 8 auto arpeggio with the System100M analogue sequencer with the sequencer VC (voltage control), which generates a curious phrase automatically.” (05:57) White Gourd, “La Lune” from Hermit / La Lune (2013 Psychic Sounds). “White Gourd is the solo work of Suzanne Stone. In addition to being a visual artist, herbalist, teacher, master gardener, and beekeeper, she is well known for involvement as vocalist & saxophonist in the experimental ensemble Million Brazilians.” This recording illustrates the dreamy nature of Stone's sound material used in her live performances; found objects, gongs, 78 player, piano and audio cassette loops. (18:10) Somei Satoh, “Echoes” from Emerald Tablet / Echoes (2020 WRWTFWW). Echoes taken from Somei Satoh's Echoes, Edition Omega Point (2003). It was composed for the "Mist, Sound, and Light Festival", held on May 20-19, 1981 at Kawaji, Tochigi Prefecture, Japan. Composed and performed by Somei Satoh. For this event, Satoh composed music for the 10-day event organized by the hot spring tourist association of Kawaji. The work was played at the Kawaji hot spring's Ojika river valley using 8 gigantic loudspeakers set-up on hills surrounding the stream, with music played through an 8-channel-tape system. The echoes created by the work were accentuated as they reverberated through the outdoor location. (30:27) Less Bells, “Bird in Hand” and “Forest Ghosts” from Solifuge (2018 Kranky). Less Bells is Julie Carpenter. All Songs by, Violin, Cello, Synthesizers, Fender Rhodes Electric Piano, Omnichord, Julie Carpenter; Optigan Electric Organ, Buchla Music Box, Moog Modular Synthesizer, Dain Luscombe; Synthesizer, mixed by, Kenneth James Gibson; Vocals, Leah Harmon. Violinist/composer Julie Carpenter “. . . weaves orchestral and electronic textures to inhabit that boundary between storm and sun.” Can you say happy astral tripping? (08:39)   Opening background music: Ariel Kalma and Richard Tinti, “Forest Ballad” from Osmose(1978 SFP). Organ, Flute, Ariel Kalma; sound effects, Richard Tinti.   Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.  

Episode 171 looks at "Hey Jude", the White Album, and the career of the Beatles from August 1967 through November 1968. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifty-seven-minute bonus episode available, on "I Love You" by People!. 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 Not really an error, but at one point I refer to Ornette Coleman as a saxophonist. While he was, he plays trumpet on the track that is excerpted after that. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. This time I also used Steve Turner's The Beatles: The Stories Behind the Songs 1967-1970. I referred to Philip Norman's biographies of John Lennon, George Harrison, and Paul McCartney, to Graeme Thomson's biography of George Harrison, Take a Sad Song by James Campion, Yoko Ono: An Artful Life by Donald Brackett, Those Were the Days 2.0 by Stephan Granados, and Sound Pictures by Kenneth Womack. Sadly the only way to get the single mix of “Hey Jude” is on this ludicrously-expensive out-of-print box set, but a remixed stereo mix is easily available on the new reissue of the 1967-70 compilation. The original mixes of the White Album are also, shockingly, out of print, but this 2018 remix is available for the moment. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a quick note -- this episode deals, among other topics, with child abandonment, spousal neglect, suicide attempts, miscarriage, rape accusations, and heroin addiction. If any of those topics are likely to upset you, you might want to check the transcript rather than listening to this episode. It also, for once, contains a short excerpt of an expletive, but given that that expletive in that context has been regularly played on daytime radio without complaint for over fifty years, I suspect it can be excused. The use of mantra meditation is something that exists across religions, and which appears to have been independently invented multiple times, in multiple cultures. In the Western culture to which most of my listeners belong, it is now best known as an aspect of what is known as "mindfulness", a secularised version of Buddhism which aims to provide adherents with the benefits of the teachings of the Buddha but without the cosmology to which they are attached. But it turns up in almost every religious tradition I know of in one form or another. The idea of mantra meditation is a very simple one, and one that even has some basis in science. There is a mathematical principle in neurology and information science called the free energy principle which says our brains are wired to try to minimise how surprised we are --  our brain is constantly making predictions about the world, and then looking at the results from our senses to see if they match. If they do, that's great, and the brain will happily move on to its next prediction. If they don't, the brain has to update its model of the world to match the new information, make new predictions, and see if those new predictions are a better match. Every person has a different mental model of the world, and none of them match reality, but every brain tries to get as close as possible. This updating of the model to match the new information is called "thinking", and it uses up energy, and our bodies and brains have evolved to conserve energy as much as possible. This means that for many people, most of the time, thinking is unpleasant, and indeed much of the time that people have spent thinking, they've been thinking about how to stop themselves having to do it at all, and when they have managed to stop thinking, however briefly, they've experienced great bliss. Many more or less effective technologies have been created to bring about a more minimal-energy state, including alcohol, heroin, and barbituates, but many of these have unwanted side-effects, such as death, which people also tend to want to avoid, and so people have often turned to another technology. It turns out that for many people, they can avoid thinking by simply thinking about something that is utterly predictable. If they minimise the amount of sensory input, and concentrate on something that they can predict exactly, eventually they can turn off their mind, relax, and float downstream, without dying. One easy way to do this is to close your eyes, so you can't see anything, make your breath as regular as possible, and then concentrate on a sound that repeats over and over.  If you repeat a single phrase or word a few hundred times, that regular repetition eventually causes your mind to stop having to keep track of the world, and experience a peace that is, by all accounts, unlike any other experience. What word or phrase that is can depend very much on the tradition. In Transcendental Meditation, each person has their own individual phrase. In the Catholicism in which George Harrison and Paul McCartney were raised, popular phrases for this are "Lord Jesus Christ, Son of God, have mercy on me, a sinner" or "Hail, Mary, full of grace, the Lord is with you; blessed are you among women, and blessed is the fruit of your womb, Jesus. Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. Amen." In some branches of Buddhism, a popular mantra is "_NAMU MYŌHŌ RENGE KYŌ_". In the Hinduism to which George Harrison later converted, you can use "Hare Krishna Hare Krishna, Krishna Krishna Hare Hare, Hare Rama Hare Rama, Rama Rama Hare Hare", "Om Namo Bhagavate Vāsudevāya" or "Om Gam Ganapataye Namaha". Those last two start with the syllable "Om", and indeed some people prefer to just use that syllable, repeating a single syllable over and over again until they reach a state of transcendence. [Excerpt: The Beatles, "Hey Jude" ("na na na na na na na")] We don't know much about how the Beatles first discovered Maharishi Mahesh Yogi, except that it was thanks to Pattie Boyd, George Harrison's then-wife. Unfortunately, her memory of how she first became involved in the Maharishi's Spiritual Regeneration Movement, as described in her autobiography, doesn't fully line up with other known facts. She talks about reading about the Maharishi in the paper with her friend Marie-Lise while George was away on tour, but she also places the date that this happened in February 1967, several months after the Beatles had stopped touring forever. We'll be seeing a lot more of these timing discrepancies as this story progresses, and people's memories increasingly don't match the events that happened to them. Either way, it's clear that Pattie became involved in the Spiritual Regeneration Movement a good length of time before her husband did. She got him to go along with her to one of the Maharishi's lectures, after she had already been converted to the practice of Transcendental Meditation, and they brought along John, Paul, and their partners (Ringo's wife Maureen had just given birth, so they didn't come). As we heard back in episode one hundred and fifty, that lecture was impressive enough that the group, plus their wives and girlfriends (with the exception of Maureen Starkey) and Mick Jagger and Marianne Faithfull, all went on a meditation retreat with the Maharishi at a holiday camp in Bangor, and it was there that they learned that Brian Epstein had been found dead. The death of the man who had guided the group's career could not have come at a worse time for the band's stability.  The group had only recorded one song in the preceding two months -- Paul's "Your Mother Should Know" -- and had basically been running on fumes since completing recording of Sgt Pepper many months earlier. John's drug intake had increased to the point that he was barely functional -- although with the enthusiasm of the newly converted he had decided to swear off LSD at the Maharishi's urging -- and his marriage was falling apart. Similarly, Paul McCartney's relationship with Jane Asher was in a bad state, though both men were trying to repair their damaged relationships, while both George and Ringo were having doubts about the band that had made them famous. In George's case, he was feeling marginalised by John and Paul, his songs ignored or paid cursory attention, and there was less for him to do on the records as the group moved away from making guitar-based rock and roll music into the stranger areas of psychedelia. And Ringo, whose main memory of the recording of Sgt Pepper was of learning to play chess while the others went through the extensive overdubs that characterised that album, was starting to feel like his playing was deteriorating, and that as the only non-writer in the band he was on the outside to an extent. On top of that, the group were in the middle of a major plan to restructure their business. As part of their contract renegotiations with EMI at the beginning of 1967, it had been agreed that they would receive two million pounds -- roughly fifteen million pounds in today's money -- in unpaid royalties as a lump sum. If that had been paid to them as individuals, or through the company they owned, the Beatles Ltd, they would have had to pay the full top rate of tax on it, which as George had complained the previous year was over ninety-five percent. (In fact, he'd been slightly exaggerating the generosity of the UK tax system to the rich, as at that point the top rate of income tax was somewhere around ninety-seven and a half percent). But happily for them, a couple of years earlier the UK had restructured its tax laws and introduced a corporation tax, which meant that the profits of corporations were no longer taxed at the same high rate as income. So a new company had been set up, The Beatles & Co, and all the group's non-songwriting income was paid into the company. Each Beatle owned five percent of the company, and the other eighty percent was owned by a new partnership, a corporation that was soon renamed Apple Corps -- a name inspired by a painting that McCartney had liked by the artist Rene Magritte. In the early stages of Apple, it was very entangled with Nems, the company that was owned by Brian and Clive Epstein, and which was in the process of being sold to Robert Stigwood, though that sale fell through after Brian's death. The first part of Apple, Apple Publishing, had been set up in the summer of 1967, and was run by Terry Doran, a friend of Epstein's who ran a motor dealership -- most of the Apple divisions would be run by friends of the group rather than by people with experience in the industries in question. As Apple was set up during the point that Stigwood was getting involved with NEMS, Apple Publishing's initial offices were in the same building with, and shared staff with, two publishing companies that Stigwood owned, Dratleaf Music, who published Cream's songs, and Abigail Music, the Bee Gees' publishers. And indeed the first two songs published by Apple were copyrights that were gifted to the company by Stigwood -- "Listen to the Sky", a B-side by an obscure band called Sands: [Excerpt: Sands, "Listen to the Sky"] And "Outside Woman Blues", an arrangement by Eric Clapton of an old blues song by Blind Joe Reynolds, which Cream had copyrighted separately and released on Disraeli Gears: [Excerpt: Cream, "Outside Woman Blues"] But Apple soon started signing outside songwriters -- once Mike Berry, a member of Apple Publishing's staff, had sat McCartney down and explained to him what music publishing actually was, something he had never actually understood even though he'd been a songwriter for five years. Those songwriters, given that this was 1967, were often also performers, and as Apple Records had not yet been set up, Apple would try to arrange recording contracts for them with other labels. They started with a group called Focal Point, who got signed by badgering Paul McCartney to listen to their songs until he gave them Doran's phone number to shut them up: [Excerpt: Focal Point, "Sycamore Sid"] But the big early hope for Apple Publishing was a songwriter called George Alexander. Alexander's birth name had been Alexander Young, and he was the brother of George Young, who was a member of the Australian beat group The Easybeats, who'd had a hit with "Friday on My Mind": [Excerpt: The Easybeats, "Friday on My Mind"] His younger brothers Malcolm and Angus would go on to have a few hits themselves, but AC/DC wouldn't be formed for another five years. Terry Doran thought that Alexander should be a member of a band, because bands were more popular than solo artists at the time, and so he was placed with three former members of Tony Rivers and the Castaways, a Beach Boys soundalike group that had had some minor success. John Lennon suggested that the group be named Grapefruit, after a book he was reading by a conceptual artist of his acquaintance named Yoko Ono, and as Doran was making arrangements with Terry Melcher for a reciprocal publishing deal by which Melcher's American company would publish Apple songs in the US while Apple published songs from Melcher's company in the UK, it made sense for Melcher to also produce Grapefruit's first single, "Dear Delilah": [Excerpt: Grapefruit, "Dear Delilah"] That made number twenty-one in the UK when it came out in early 1968, on the back of publicity about Grapefruit's connection with the Beatles, but future singles by the band were much less successful, and like several other acts involved with Apple, they found that they were more hampered by the Beatles connection than helped. A few other people were signed to Apple Publishing early on, of whom the most notable was Jackie Lomax. Lomax had been a member of a minor Merseybeat group, the Undertakers, and after they had split up, he'd been signed by Brian Epstein with a new group, the Lomax Alliance, who had released one single, "Try as You May": [Excerpt: The Lomax Alliance, "Try As You May"] After Epstein's death, Lomax had plans to join another band, being formed by another Merseybeat musician, Chris Curtis, the former drummer of the Searchers. But after going to the Beatles to talk with them about them helping the new group financially, Lomax was persuaded by John Lennon to go solo instead. He may later have regretted that decision, as by early 1968 the people that Curtis had recruited for his new band had ditched him and were making a name for themselves as Deep Purple. Lomax recorded one solo single with funding from Stigwood, a cover version of a song by an obscure singer-songwriter, Jake Holmes, "Genuine Imitation Life": [Excerpt: Jackie Lomax, "Genuine Imitation Life"] But he was also signed to Apple Publishing as a songwriter. The Beatles had only just started laying out plans for Apple when Epstein died, and other than the publishing company one of the few things they'd agreed on was that they were going to have a film company, which was to be run by Denis O'Dell, who had been an associate producer on A Hard Day's Night and on How I Won The War, the Richard Lester film Lennon had recently starred in. A few days after Epstein's death, they had a meeting, in which they agreed that the band needed to move forward quickly if they were going to recover from Epstein's death. They had originally been planning on going to India with the Maharishi to study meditation, but they decided to put that off until the new year, and to press forward with a film project Paul had been talking about, to be titled Magical Mystery Tour. And so, on the fifth of September 1967, they went back into the recording studio and started work on a song of John's that was earmarked for the film, "I am the Walrus": [Excerpt: The Beatles, "I am the Walrus"] Magical Mystery Tour, the film, has a mixed reputation which we will talk about shortly, but one defence that Paul McCartney has always made of it is that it's the only place where you can see the Beatles performing "I am the Walrus". While the song was eventually relegated to a B-side, it's possibly the finest B-side of the Beatles' career, and one of the best tracks the group ever made. As with many of Lennon's songs from this period, the song was a collage of many different elements pulled from his environment and surroundings, and turned into something that was rather more than the sum of its parts. For its musical inspiration, Lennon pulled from, of all things, a police siren going past his house. (For those who are unfamiliar with what old British police sirens sounded like, as opposed to the ones in use for most of my lifetime or in other countries, here's a recording of one): [Excerpt: British police siren ca 1968] That inspired Lennon to write a snatch of lyric to go with the sound of the siren, starting "Mister city policeman sitting pretty". He had two other song fragments, one about sitting in the garden, and one about sitting on a cornflake, and he told Hunter Davies, who was doing interviews for his authorised biography of the group, “I don't know how it will all end up. Perhaps they'll turn out to be different parts of the same song.” But the final element that made these three disparate sections into a song was a letter that came from Stephen Bayley, a pupil at Lennon's old school Quarry Bank, who told him that the teachers at the school -- who Lennon always thought of as having suppressed his creativity -- were now analysing Beatles lyrics in their lessons. Lennon decided to come up with some nonsense that they couldn't analyse -- though as nonsensical as the finished song is, there's an underlying anger to a lot of it that possibly comes from Lennon thinking of his school experiences. And so Lennon asked his old schoolfriend Pete Shotton to remind him of a disgusting playground chant that kids used to sing in schools in the North West of England (and which they still sang with very minor variations at my own school decades later -- childhood folklore has a remarkably long life). That rhyme went: Yellow matter custard, green snot pie All mixed up with a dead dog's eye Slap it on a butty, nice and thick, And drink it down with a cup of cold sick Lennon combined some parts of this with half-remembered fragments of Lewis Carrol's The Walrus and the Carpenter, and with some punning references to things that were going on in his own life and those of his friends -- though it's difficult to know exactly which of the stories attached to some of the more incomprehensible bits of the lyrics are accurate. The story that the line "I am the eggman" is about a sexual proclivity of Eric Burdon of the Animals seems plausible, while the contention by some that the phrase "semolina pilchard" is a reference to Sgt Pilcher, the corrupt policeman who had arrested three of the Rolling Stones, and would later arrest Lennon, on drugs charges, seems less likely. The track is a masterpiece of production, but the release of the basic take on Anthology 2 in 1996 showed that the underlying performance, before George Martin worked his magic with the overdubs, is still a remarkable piece of work: [Excerpt: The Beatles, "I am the Walrus (Anthology 2 version)"] But Martin's arrangement and production turned the track from a merely very good track into a masterpiece. The string arrangement, very much in the same mould as that for "Strawberry Fields Forever" but giving a very different effect with its harsh cello glissandi, is the kind of thing one expects from Martin, but there's also the chanting of the Mike Sammes Singers, who were more normally booked for sessions like Englebert Humperdinck's "The Last Waltz": [Excerpt: Engelbert Humperdinck, "The Last Waltz"] But here were instead asked to imitate the sound of the strings, make grunting noises, and generally go very far out of their normal comfort zone: [Excerpt: The Beatles, "I am the Walrus"] But the most fascinating piece of production in the entire track is an idea that seems to have been inspired by people like John Cage -- a live feed of a radio being tuned was played into the mono mix from about the halfway point, and whatever was on the radio at the time was captured: [Excerpt: The Beatles, "I am the Walrus"] This is also why for many decades it was impossible to have a true stereo mix of the track -- the radio part was mixed directly into the mono mix, and it wasn't until the 1990s that someone thought to track down a copy of the original radio broadcasts and recreate the process. In one of those bits of synchronicity that happen more often than you would think when you're creating aleatory art, and which are why that kind of process can be so appealing, one bit of dialogue from the broadcast of King Lear that was on the radio as the mixing was happening was *perfectly* timed: [Excerpt: The Beatles, "I am the Walrus"] After completing work on the basic track for "I am the Walrus", the group worked on two more songs for the film, George's "Blue Jay Way" and a group-composed twelve-bar blues instrumental called "Flying", before starting production. Magical Mystery Tour, as an idea, was inspired in equal parts by Ken Kesey's Merry Pranksters, the collective of people we talked about in the episode on the Grateful Dead who travelled across the US extolling the virtues of psychedelic drugs, and by mystery tours, a British working-class tradition that has rather fallen out of fashion in the intervening decades. A mystery tour would generally be put on by a coach-hire company, and would be a day trip to an unannounced location -- though the location would in fact be very predictable, and would be a seaside town within a couple of hours' drive of its starting point. In the case of the ones the Beatles remembered from their own childhoods, this would be to a coastal town in Lancashire or Wales, like Blackpool, Rhyl, or Prestatyn. A coachload of people would pay to be driven to this random location, get very drunk and have a singsong on the bus, and spend a day wherever they were taken. McCartney's plan was simple -- they would gather a group of passengers and replicate this experience over the course of several days, and film whatever went on, but intersperse that with more planned out sketches and musical numbers. For this reason, along with the Beatles and their associates, the cast included some actors found through Spotlight and some of the group's favourite performers, like the comedian Nat Jackley (whose comedy sequence directed by John was cut from the final film) and the surrealist poet/singer/comedian Ivor Cutler: [Excerpt: Ivor Cutler, "I'm Going in a Field"] The film also featured an appearance by a new band who would go on to have great success over the next year, the Bonzo Dog Doo-Dah Band. They had recorded their first single in Abbey Road at the same time as the Beatles were recording Revolver, but rather than being progressive psychedelic rock, it had been a remake of a 1920s novelty song: [Excerpt: The Bonzo Dog Doo-Dah Band, "My Brother Makes the Noises For the Talkies"] Their performance in Magical Mystery Tour was very different though -- they played a fifties rock pastiche written by band leaders Vivian Stanshall and Neil Innes while a stripper took off her clothes. While several other musical sequences were recorded for the film, including one by the band Traffic and one by Cutler, other than the Beatles tracks only the Bonzos' song made it into the finished film: [Excerpt: The Bonzo Dog Doo-Dah Band, "Death Cab for Cutie"] That song, thirty years later, would give its name to a prominent American alternative rock band. Incidentally the same night that Magical Mystery Tour was first broadcast was also the night that the Bonzo Dog Doo-Dah Band first appeared on a TV show, Do Not Adjust Your Set, which featured three future members of the Monty Python troupe -- Eric Idle, Michael Palin, and Terry Jones. Over the years the careers of the Bonzos, the Pythons, and the Beatles would become increasingly intertwined, with George Harrison in particular striking up strong friendships and working relationships with Bonzos Neil Innes and "Legs" Larry Smith. The filming of Magical Mystery Tour went about as well as one might expect from a film made by four directors, none of whom had any previous filmmaking experience, and none of whom had any business knowledge. The Beatles were used to just turning up and having things magically done for them by other people, and had no real idea of the infrastructure challenges that making a film, even a low-budget one, actually presents, and ended up causing a great deal of stress to almost everyone involved. The completed film was shown on TV on Boxing Day 1967 to general confusion and bemusement. It didn't help that it was originally broadcast in black and white, and so for example the scene showing shifting landscapes (outtake footage from Stanley Kubrick's Dr. Strangelove, tinted various psychedelic colours) over the "Flying" music, just looked like grey fuzz. But also, it just wasn't what people were expecting from a Beatles film. This was a ramshackle, plotless, thing more inspired by Andy Warhol's underground films than by the kind of thing the group had previously appeared in, and it was being presented as Christmas entertainment for all the family. And to be honest, it's not even a particularly good example of underground filmmaking -- though it looks like a masterpiece when placed next to something like the Bee Gees' similar effort, Cucumber Castle. But there are enough interesting sequences in there for the project not to be a complete failure -- and the deleted scenes on the DVD release, including the performances by Cutler and Traffic, and the fact that the film was edited down from ten hours to fifty-two minutes, makes one wonder if there's a better film that could be constructed from the original footage. Either way, the reaction to the film was so bad that McCartney actually appeared on David Frost's TV show the next day to defend it and, essentially, apologise. While they were editing the film, the group were also continuing to work in the studio, including on two new McCartney songs, "The Fool on the Hill", which was included in Magical Mystery Tour, and "Hello Goodbye", which wasn't included on the film's soundtrack but was released as the next single, with "I Am the Walrus" as the B-side: [Excerpt: The Beatles, "Hello Goodbye"] Incidentally, in the UK the soundtrack to Magical Mystery Tour was released as a double-EP rather than as an album (in the US, the group's recent singles and B-sides were added to turn it into a full-length album, which is how it's now generally available). "I Am the Walrus" was on the double-EP as well as being on the single's B-side, and the double-EP got to number two on the singles charts, meaning "I am the Walrus" was on the records at number one and number two at the same time. Before it became obvious that the film, if not the soundtrack, was a disaster, the group held a launch party on the twenty-first of December, 1967. The band members went along in fancy dress, as did many of the cast and crew -- the Bonzo Dog Doo-Dah Band performed at the party. Mike Love and Bruce Johnston of the Beach Boys also turned up at the party, and apparently at one point jammed with the Bonzos, and according to some, but not all, reports, a couple of the Beatles joined in as well. Love and Johnston had both just met the Maharishi for the first time a couple of days earlier, and Love had been as impressed as the Beatles were, and it may have been at this party that the group mentioned to Love that they would soon be going on a retreat in India with the guru -- a retreat that was normally meant for training TM instructors, but this time seemed to be more about getting celebrities involved. Love would also end up going with them. That party was also the first time that Cynthia Lennon had an inkling that John might not be as faithful to her as she previously supposed. John had always "joked" about being attracted to George Harrison's wife, Patti, but this time he got a little more blatant about his attraction than he ever had previously, to the point that he made Cynthia cry, and Cynthia's friend, the pop star Lulu, decided to give Lennon a very public dressing-down for his cruelty to his wife, a dressing-down that must have been a sight to behold, as Lennon was dressed as a Teddy boy while Lulu was in a Shirley Temple costume. It's a sign of how bad the Lennons' marriage was at this point that this was the second time in a two-month period where Cynthia had ended up crying because of John at a film launch party and been comforted by a female pop star. In October, Cilla Black had held a party to celebrate the belated release of John's film How I Won the War, and during the party Georgie Fame had come up to Black and said, confused, "Cynthia Lennon is hiding in your wardrobe". Black went and had a look, and Cynthia explained to her “I'm waiting to see how long it is before John misses me and comes looking for me.” Black's response had been “You'd better face it, kid—he's never gonna come.” Also at the Magical Mystery Tour party was Lennon's father, now known as Freddie Lennon, and his new nineteen-year-old fiancee. While Hunter Davis had been researching the Beatles' biography, he'd come across some evidence that the version of Freddie's attitude towards John that his mother's side of the family had always told him -- that Freddie had been a cruel and uncaring husband who had not actually wanted to be around his son -- might not be the whole of the truth, and that the mother who he had thought of as saintly might also have had some part to play in their marriage breaking down and Freddie not seeing his son for twenty years. The two had made some tentative attempts at reconciliation, and indeed Freddie would even come and live with John for a while, though within a couple of years the younger Lennon's heart would fully harden against his father again. Of course, the things that John always resented his father for were pretty much exactly the kind of things that Lennon himself was about to do. It was around this time as well that Derek Taylor gave the Beatles copies of the debut album by a young singer/songwriter named Harry Nilsson. Nilsson will be getting his own episode down the line, but not for a couple of years at my current rates, so it's worth bringing that up here, because that album became a favourite of all the Beatles, and would have a huge influence on their songwriting for the next couple of years, and because one song on the album, "1941", must have resonated particularly deeply with Lennon right at this moment -- an autobiographical song by Nilsson about how his father had left him and his mother when he was a small boy, and about his own fear that, as his first marriage broke down, he was repeating the pattern with his stepson Scott: [Excerpt: Nilsson, "1941"] The other major event of December 1967, rather overshadowed by the Magical Mystery Tour disaster the next day, was that on Christmas Day Paul McCartney and Jane Asher announced their engagement. A few days later, George Harrison flew to India. After John and Paul had had their outside film projects -- John starring in How I Won The War and Paul doing the soundtrack for The Family Way -- the other two Beatles more or less simultaneously did their own side project films, and again one acted while the other did a soundtrack. Both of these projects were in the rather odd subgenre of psychedelic shambolic comedy film that sprang up in the mid sixties, a subgenre that produced a lot of fascinating films, though rather fewer good ones. Indeed, both of them were in the subsubgenre of shambolic psychedelic *sex* comedies. In Ringo's case, he had a small role in the film Candy, which was based on the novel we mentioned in the last episode, co-written by Terry Southern, which was in itself a loose modern rewriting of Voltaire's Candide. Unfortunately, like such other classics of this subgenre as Anthony Newley's Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?, Candy has dated *extremely* badly, and unless you find repeated scenes of sexual assault and rape, ethnic stereotypes, and jokes about deformity and disfigurement to be an absolute laugh riot, it's not a film that's worth seeking out, and Starr's part in it is not a major one. Harrison's film was of the same basic genre -- a film called Wonderwall about a mad scientist who discovers a way to see through the walls of his apartment, and gets to see a photographer taking sexy photographs of a young woman named Penny Lane, played by Jane Birkin: [Excerpt: Some Wonderwall film dialogue ripped from the Blu-Ray] Wonderwall would, of course, later inspire the title of a song by Oasis, and that's what the film is now best known for, but it's a less-unwatchable film than Candy, and while still problematic it's less so. Which is something. Harrison had been the Beatle with least involvement in Magical Mystery Tour -- McCartney had been the de facto director, Starr had been the lead character and the only one with much in the way of any acting to do, and Lennon had written the film's standout scene and its best song, and had done a little voiceover narration. Harrison, by contrast, barely has anything to do in the film apart from the one song he contributed, "Blue Jay Way", and he said of the project “I had no idea what was happening and maybe I didn't pay enough attention because my problem, basically, was that I was in another world, I didn't really belong; I was just an appendage.” He'd expressed his discomfort to his friend Joe Massot, who was about to make his first feature film. Massot had got to know Harrison during the making of his previous film, Reflections on Love, a mostly-silent short which had starred Harrison's sister-in-law Jenny Boyd, and which had been photographed by Robert Freeman, who had been the photographer for the Beatles' album covers from With the Beatles through Rubber Soul, and who had taken most of the photos that Klaus Voorman incorporated into the cover of Revolver (and whose professional association with the Beatles seemed to come to an end around the same time he discovered that Lennon had been having an affair with his wife). Massot asked Harrison to write the music for the film, and told Harrison he would have complete free rein to make whatever music he wanted, so long as it fit the timing of the film, and so Harrison decided to create a mixture of Western rock music and the Indian music he loved. Harrison started recording the music at the tail end of 1967, with sessions with several London-based Indian musicians and John Barham, an orchestrator who had worked with Ravi Shankar on Shankar's collaborations with Western musicians, including the Alice in Wonderland soundtrack we talked about in the "All You Need is Love" episode. For the Western music, he used the Remo Four, a Merseybeat group who had been on the scene even before the Beatles, and which contained a couple of classmates of Paul McCartney, but who had mostly acted as backing musicians for other artists. They'd backed Johnny Sandon, the former singer with the Searchers, on a couple of singles, before becoming the backing band for Tommy Quickly, a NEMS artist who was unsuccessful despite starting his career with a Lennon/McCartney song, "Tip of My Tongue": [Excerpt: Tommy Quickly, "Tip of My Tongue"] The Remo Four would later, after a lineup change, become Ashton, Gardner and Dyke, who would become one-hit wonders in the seventies, and during the Wonderwall sessions they recorded a song that went unreleased at the time, and which would later go on to be rerecorded by Ashton, Gardner, and Dyke. "In the First Place" also features Harrison on backing vocals and possibly guitar, and was not submitted for the film because Harrison didn't believe that Massot wanted any vocal tracks, but the recording was later discovered and used in a revised director's cut of the film in the nineties: [Excerpt: The Remo Four, "In the First Place"] But for the most part the Remo Four were performing instrumentals written by Harrison. They weren't the only Western musicians performing on the sessions though -- Peter Tork of the Monkees dropped by these sessions and recorded several short banjo solos, which were used in the film soundtrack but not in the soundtrack album (presumably because Tork was contracted to another label): [Excerpt: Peter Tork, "Wonderwall banjo solo"] Another musician who was under contract to another label was Eric Clapton, who at the time was playing with The Cream, and who vaguely knew Harrison and so joined in for the track "Ski-ing", playing lead guitar under the cunning, impenetrable, pseudonym "Eddie Clayton", with Harrison on sitar, Starr on drums, and session guitarist Big Jim Sullivan on bass: [Excerpt: George Harrison, "Ski-ing"] But the bulk of the album was recorded in EMI's studios in the city that is now known as Mumbai but at the time was called Bombay. The studio facilities in India had up to that point only had a mono tape recorder, and Bhaskar Menon, one of the top executives at EMI's Indian division and later the head of EMI music worldwide, personally brought the first stereo tape recorder to the studio to aid in Harrison's recording. The music was all composed by Harrison and performed by the Indian musicians, and while Harrison was composing in an Indian mode, the musicians were apparently fascinated by how Western it sounded to them: [Excerpt: George Harrison, "Microbes"] While he was there, Harrison also got the instrumentalists to record another instrumental track, which wasn't to be used for the film: [Excerpt: George Harrison, "The Inner Light (instrumental)"] That track would, instead, become part of what was to be Harrison's first composition to make a side of a Beatles single. After John and George had appeared on the David Frost show talking about the Maharishi, in September 1967, George had met a lecturer in Sanskrit named Juan Mascaró, who wrote to Harrison enclosing a book he'd compiled of translations of religious texts, telling him he'd admired "Within You Without You" and thought it would be interesting if Harrison set something from the Tao Te Ching to music. He suggested a text that, in his translation, read: "Without going out of my door I can know all things on Earth Without looking out of my window I can know the ways of heaven For the farther one travels, the less one knows The sage, therefore Arrives without travelling Sees all without looking Does all without doing" Harrison took that text almost verbatim, though he created a second verse by repeating the first few lines with "you" replacing "I" -- concerned that listeners might think he was just talking about himself, and wouldn't realise it was a more general statement -- and he removed the "the sage, therefore" and turned the last few lines into imperative commands rather than declarative statements: [Excerpt: The Beatles, "The Inner Light"] The song has come in for some criticism over the years as being a little Orientalist, because in critics' eyes it combines Chinese philosophy with Indian music, as if all these things are equally "Eastern" and so all the same really. On the other hand there's a good argument that an English songwriter taking a piece of writing written in Chinese and translated into English by a Spanish man and setting it to music inspired by Indian musical modes is a wonderful example of cultural cross-pollination. As someone who's neither Chinese nor Indian I wouldn't want to take a stance on it, but clearly the other Beatles were impressed by it -- they put it out as the B-side to their next single, even though the only Beatles on it are Harrison and McCartney, with the latter adding a small amount of harmony vocal: [Excerpt: The Beatles, "The Inner Light"] And it wasn't because the group were out of material. They were planning on going to Rishikesh to study with the Maharishi, and wanted to get a single out for release while they were away, and so in one week they completed the vocal overdubs on "The Inner Light" and recorded three other songs, two by John and one by Paul. All three of the group's songwriters brought in songs that were among their best. John's first contribution was a song whose lyrics he later described as possibly the best he ever wrote, "Across the Universe". He said the lyrics were “purely inspirational and were given to me as boom! I don't own it, you know; it came through like that … Such an extraordinary meter and I can never repeat it! It's not a matter of craftsmanship, it wrote itself. It drove me out of bed. I didn't want to write it … It's like being possessed, like a psychic or a medium.” But while Lennon liked the song, he was never happy with the recording of it. They tried all sorts of things to get the sound he heard in his head, including bringing in some fans who were hanging around outside to sing backing vocals. He said of the track "I was singing out of tune and instead of getting a decent choir, we got fans from outside, Apple Scruffs or whatever you call them. They came in and were singing all off-key. Nobody was interested in doing the tune originally.” [Excerpt: The Beatles, "Across the Universe"] The "jai guru deva" chorus there is the first reference to the teachings of the Maharishi in one of the Beatles' records -- Guru Dev was the Maharishi's teacher, and the phrase "Jai guru dev" is a Sanskrit one which I've seen variously translated as "victory to the great teacher", and "hail to the greatness within you". Lennon would say shortly before his death “The Beatles didn't make a good record out of it. I think subconsciously sometimes we – I say ‘we' though I think Paul did it more than the rest of us – Paul would sort of subconsciously try and destroy a great song … Usually we'd spend hours doing little detailed cleaning-ups of Paul's songs, when it came to mine, especially if it was a great song like ‘Strawberry Fields' or ‘Across The Universe', somehow this atmosphere of looseness and casualness and experimentation would creep in … It was a _lousy_ track of a great song and I was so disappointed by it …The guitars are out of tune and I'm singing out of tune because I'm psychologically destroyed and nobody's supporting me or helping me with it, and the song was never done properly.” Of course, this is only Lennon's perception, and it's one that the other participants would disagree with. George Martin, in particular, was always rather hurt by the implication that Lennon's songs had less attention paid to them, and he would always say that the problem was that Lennon in the studio would always say "yes, that's great", and only later complain that it hadn't been what he wanted. No doubt McCartney did put in more effort on his own songs than on Lennon's -- everyone has a bias towards their own work, and McCartney's only human -- but personally I suspect that a lot of the problem comes down to the two men having very different personalities. McCartney had very strong ideas about his own work and would drive the others insane with his nitpicky attention to detail. Lennon had similarly strong ideas, but didn't have the attention span to put the time and effort in to force his vision on others, and didn't have the technical knowledge to express his ideas in words they'd understand. He expected Martin and the other Beatles to work miracles, and they did -- but not the miracles he would have worked. That track was, rather than being chosen for the next single, given to Spike Milligan, who happened to be visiting the studio and was putting together an album for the environmental charity the World Wildlife Fund. The album was titled "No One's Gonna Change Our World": [Excerpt: The Beatles, "Across the Universe"] That track is historic in another way -- it would be the last time that George Harrison would play sitar on a Beatles record, and it effectively marks the end of the period of psychedelia and Indian influence that had started with "Norwegian Wood" three years earlier, and which many fans consider their most creative period. Indeed, shortly after the recording, Harrison would give up the sitar altogether and stop playing it. He loved sitar music as much as he ever had, and he still thought that Indian classical music spoke to him in ways he couldn't express, and he continued to be friends with Ravi Shankar for the rest of his life, and would only become more interested in Indian religious thought. But as he spent time with Shankar he realised he would never be as good on the sitar as he hoped. He said later "I thought, 'Well, maybe I'm better off being a pop singer-guitar-player-songwriter – whatever-I'm-supposed-to-be' because I've seen a thousand sitar-players in India who are twice as better as I'll ever be. And only one of them Ravi thought was going to be a good player." We don't have a precise date for when it happened -- I suspect it was in June 1968, so a few months after the "Across the Universe" recording -- but Shankar told Harrison that rather than try to become a master of a music that he hadn't encountered until his twenties, perhaps he should be making the music that was his own background. And as Harrison put it "I realised that was riding my bike down a street in Liverpool and hearing 'Heartbreak Hotel' coming out of someone's house.": [Excerpt: Elvis Presley, "Heartbreak Hotel"] In early 1968 a lot of people seemed to be thinking along the same lines, as if Christmas 1967 had been the flick of a switch and instead of whimsy and ornamentation, the thing to do was to make music that was influenced by early rock and roll. In the US the Band and Bob Dylan were making music that was consciously shorn of all studio experimentation, while in the UK there was a revival of fifties rock and roll. In April 1968 both "Peggy Sue" and "Rock Around the Clock" reentered the top forty in the UK, and the Who were regularly including "Summertime Blues" in their sets. Fifties nostalgia, which would make occasional comebacks for at least the next forty years, was in its first height, and so it's not surprising that Paul McCartney's song, "Lady Madonna", which became the A-side of the next single, has more than a little of the fifties about it. Of course, the track isn't *completely* fifties in its origins -- one of the inspirations for the track seems to have been the Rolling Stones' then-recent hit "Let's Spend The Night Together": [Excerpt: The Rolling Stones, "Let's Spend the Night Together"] But the main source for the song's music -- and for the sound of the finished record -- seems to have been Johnny Parker's piano part on Humphrey Lyttleton's "Bad Penny Blues", a hit single engineered by Joe Meek in the fifties: [Excerpt: Humphrey Lyttleton, "Bad Penny Blues"] That song seems to have been on the group's mind for a while, as a working title for "With a Little Help From My Friends" had at one point been "Bad Finger Blues" -- a title that would later give the name to a band on Apple. McCartney took Parker's piano part as his inspiration, and as he later put it “‘Lady Madonna' was me sitting down at the piano trying to write a bluesy boogie-woogie thing. I got my left hand doing an arpeggio thing with the chord, an ascending boogie-woogie left hand, then a descending right hand. I always liked that, the  juxtaposition of a line going down meeting a line going up." [Excerpt: The Beatles, "Lady Madonna"] That idea, incidentally, is an interesting reversal of what McCartney had done on "Hello, Goodbye", where the bass line goes down while the guitar moves up -- the two lines moving away from each other: [Excerpt: The Beatles, "Hello Goodbye"] Though that isn't to say there's no descending bass in "Lady Madonna" -- the bridge has a wonderful sequence where the bass just *keeps* *descending*: [Excerpt: The Beatles, "Lady Madonna"] Lyrically, McCartney was inspired by a photo in National Geographic of a woman in Malaysia, captioned “Mountain Madonna: with one child at her breast and another laughing into her face, sees her quality of life threatened.” But as he put it “The people I was brought up amongst were often Catholic; there are lots of Catholics in Liverpool because of the Irish connection and they are often religious. When they have a baby I think they see a big connection between themselves and the Virgin Mary with her baby. So the original concept was the Virgin Mary but it quickly became symbolic of every woman; the Madonna image but as applied to ordinary working class woman. It's really a tribute to the mother figure, it's a tribute to women.” Musically though, the song was more a tribute to the fifties -- while the inspiration had been a skiffle hit by Humphrey Lyttleton, as soon as McCartney started playing it he'd thought of Fats Domino, and the lyric reflects that to an extent -- just as Domino's "Blue Monday" details the days of the week for a weary working man who only gets to enjoy himself on Saturday night, "Lady Madonna"'s lyrics similarly look at the work a mother has to do every day -- though as McCartney later noted  "I was writing the words out to learn it for an American TV show and I realised I missed out Saturday ... So I figured it must have been a real night out." The vocal was very much McCartney doing a Domino impression -- something that wasn't lost on Fats, who cut his own version of the track later that year: [Excerpt: Fats Domino, "Lady Madonna"] The group were so productive at this point, right before the journey to India, that they actually cut another song *while they were making a video for "Lady Madonna"*. They were booked into Abbey Road to film themselves performing the song so it could be played on Top of the Pops while they were away, but instead they decided to use the time to cut a new song -- John had a partially-written song, "Hey Bullfrog", which was roughly the same tempo as "Lady Madonna", so they could finish that up and then re-edit the footage to match the record. The song was quickly finished and became "Hey Bulldog": [Excerpt: The Beatles, "Hey Bulldog"] One of Lennon's best songs from this period, "Hey Bulldog" was oddly chosen only to go on the soundtrack of Yellow Submarine. Either the band didn't think much of it because it had come so easily, or it was just assigned to the film because they were planning on being away for several months and didn't have any other projects they were working on. The extent of the group's contribution to the film was minimal – they were not very hands-on, and the film, which was mostly done as an attempt to provide a third feature film for their United Artists contract without them having to do any work, was made by the team that had done the Beatles cartoon on American TV. There's some evidence that they had a small amount of input in the early story stages, but in general they saw the cartoon as an irrelevance to them -- the only things they contributed were the four songs "All Together Now", "It's All Too Much", "Hey Bulldog" and "Only a Northern Song", and a brief filmed appearance for the very end of the film, recorded in January: [Excerpt: Yellow Submarine film end] McCartney also took part in yet another session in early February 1968, one produced by Peter Asher, his fiancee's brother, and former singer with Peter and Gordon. Asher had given up on being a pop star and was trying to get into the business side of music, and he was starting out as a producer, producing a single by Paul Jones, the former lead singer of Manfred Mann. The A-side of the single, "And the Sun Will Shine", was written by the Bee Gees, the band that Robert Stigwood was managing: [Excerpt: Paul Jones, "And the Sun Will Shine"] While the B-side was an original by Jones, "The Dog Presides": [Excerpt: Paul Jones, "The Dog Presides"] Those tracks featured two former members of the Yardbirds, Jeff Beck and Paul Samwell-Smith, on guitar and bass, and Nicky Hopkins on piano. Asher asked McCartney to play drums on both sides of the single, saying later "I always thought he was a great, underrated drummer." McCartney was impressed by Asher's production, and asked him to get involved with the new Apple Records label that would be set up when the group returned from India. Asher eventually became head of A&R for the label. And even before "Lady Madonna" was mixed, the Beatles were off to India. Mal Evans, their roadie, went ahead with all their luggage on the fourteenth of February, so he could sort out transport for them on the other end, and then John and George followed on the fifteenth, with their wives Pattie and Cynthia and Pattie's sister Jenny (John and Cynthia's son Julian had been left with his grandmother while they went -- normally Cynthia wouldn't abandon Julian for an extended period of time, but she saw the trip as a way to repair their strained marriage). Paul and Ringo followed four days later, with Ringo's wife Maureen and Paul's fiancee Jane Asher. The retreat in Rishikesh was to become something of a celebrity affair. Along with the Beatles came their friend the singer-songwriter Donovan, and Donovan's friend and songwriting partner, whose name I'm not going to say here because it's a slur for Romani people, but will be known to any Donovan fans. Donovan at this point was also going through changes. Like the Beatles, he was largely turning away from drug use and towards meditation, and had recently written his hit single "There is a Mountain" based around a saying from Zen Buddhism: [Excerpt: Donovan, "There is a Mountain"] That was from his double-album A Gift From a Flower to a Garden, which had come out in December 1967. But also like John and Paul he was in the middle of the breakdown of a long-term relationship, and while he would remain with his then-partner until 1970, and even have another child with her, he was secretly in love with another woman. In fact he was secretly in love with two other women. One of them, Brian Jones' ex-girlfriend Linda, had moved to LA, become the partner of the singer Gram Parsons, and had appeared in the documentary You Are What You Eat with the Band and Tiny Tim. She had fallen out of touch with Donovan, though she would later become his wife. Incidentally, she had a son to Brian Jones who had been abandoned by his rock-star father -- the son's name is Julian. The other woman with whom Donovan was in love was Jenny Boyd, the sister of George Harrison's wife Pattie.  Jenny at the time was in a relationship with Alexis Mardas, a TV repairman and huckster who presented himself as an electronics genius to the Beatles, who nicknamed him Magic Alex, and so she was unavailable, but Donovan had written a song about her, released as a single just before they all went to Rishikesh: [Excerpt: Donovan, "Jennifer Juniper"] Donovan considered himself and George Harrison to be on similar spiritual paths and called Harrison his "spirit-brother", though Donovan was more interested in Buddhism, which Harrison considered a corruption of the more ancient Hinduism, and Harrison encouraged Donovan to read Autobiography of a Yogi. It's perhaps worth noting that Donovan's father had a different take on the subject though, saying "You're not going to study meditation in India, son, you're following that wee lassie Jenny" Donovan and his friend weren't the only other celebrities to come to Rishikesh. The actor Mia Farrow, who had just been through a painful divorce from Frank Sinatra, and had just made Rosemary's Baby, a horror film directed by Roman Polanski with exteriors shot at the Dakota building in New York, arrived with her sister Prudence. Also on the trip was Paul Horn, a jazz saxophonist who had played with many of the greats of jazz, not least of them Duke Ellington, whose Sweet Thursday Horn had played alto sax on: [Excerpt: Duke Ellington, "Zweet Zursday"] Horn was another musician who had been inspired to investigate Indian spirituality and music simultaneously, and the previous year he had recorded an album, "In India," of adaptations of ragas, with Ravi Shankar and Alauddin Khan: [Excerpt: Paul Horn, "Raga Vibhas"] Horn would go on to become one of the pioneers of what would later be termed "New Age" music, combining jazz with music from various non-Western traditions. Horn had also worked as a session musician, and one of the tracks he'd played on was "I Know There's an Answer" from the Beach Boys' Pet Sounds album: [Excerpt: The Beach Boys, "I Know There's an Answer"] Mike Love, who co-wrote that track and is one of the lead singers on it, was also in Rishikesh. While as we'll see not all of the celebrities on the trip would remain practitioners of Transcendental Meditation, Love would be profoundly affected by the trip, and remains a vocal proponent of TM to this day. Indeed, his whole band at the time were heavily into TM. While Love was in India, the other Beach Boys were working on the Friends album without him -- Love only appears on four tracks on that album -- and one of the tracks they recorded in his absence was titled "Transcendental Meditation": [Excerpt: The Beach Boys, "Transcendental Meditation"] But the trip would affect Love's songwriting, as it would affect all of the musicians there. One of the few songs on the Friends album on which Love appears is "Anna Lee, the Healer", a song which is lyrically inspired by the trip in the most literal sense, as it's about a masseuse Love met in Rishikesh: [Excerpt: The Beach Boys, "Anna Lee, the Healer"] The musicians in the group all influenced and inspired each other as is likely to happen in such circumstances. Sometimes, it would be a matter of trivial joking, as when the Beatles decided to perform an off-the-cuff song about Guru Dev, and did it in the Beach Boys style: [Excerpt: The Beatles, "Spiritual Regeneration"] And that turned partway through into a celebration of Love for his birthday: [Excerpt: The Beatles, "Spiritual Regeneration"] Decades later, Love would return the favour, writing a song about Harrison and their time together in Rishikesh. Like Donovan, Love seems to have considered Harrison his "spiritual brother", and he titled the song "Pisces Brothers": [Excerpt: Mike Love, "Pisces Brothers"] The musicians on the trip were also often making suggestions to each other about songs that would become famous for them. The musicians had all brought acoustic guitars, apart obviously from Ringo, who got a set of tabla drums when George ordered some Indian instruments to be delivered. George got a sitar, as at this point he hadn't quite given up on the instrument, and he gave Donovan a tamboura. Donovan started playing a melody on the tamboura, which is normally a drone instrument, inspired by the Scottish folk music he had grown up with, and that became his "Hurdy-Gurdy Man": [Excerpt: Donovan, "Hurdy Gurdy Man"] Harrison actually helped him with the song, writing a final verse inspired by the Maharishi's teachings, but in the studio Donovan's producer Mickie Most told him to cut the verse because the song was overlong, which apparently annoyed Harrison. Donovan includes that verse in his live performances of the song though -- usually while doing a fairly terrible impersonation of Harrison: [Excerpt: Donovan, "Hurdy Gurdy Man (live)"] And similarly, while McCartney was working on a song pastiching Chuck Berry and the Beach Boys, but singing about the USSR rather than the USA, Love suggested to him that for a middle-eight he might want to sing about the girls in the various Soviet regions: [Excerpt: The Beatles, "Back in the USSR"] As all the guitarists on the retreat only had acoustic instruments, they were very keen to improve their acoustic playing, and they turned to Donovan, who unlike the rest of them was primarily an acoustic player, and one from a folk background. Donovan taught them the rudiments of Travis picking, the guitar style we talked about way back in the episodes on the Everly Brothers, as well as some of the tunings that had been introduced to British folk music by Davey Graham, giving them a basic grounding in the principles of English folk-baroque guitar, a style that had developed over the previous few years. Donovan has said in his autobiography that Lennon picked the technique up quickly (and that Harrison had already learned Travis picking from Chet Atkins records) but that McCartney didn't have the application to learn the style, though he picked up bits. That seems very unlike anything else I've read anywhere about Lennon and McCartney -- no-one has ever accused Lennon of having a surfeit of application -- and reading Donovan's book he seems to dislike McCartney and like Lennon and Harrison, so possibly that enters into it. But also, it may just be that Lennon was more receptive to Donovan's style at the time. According to McCartney, even before going to Rishikesh Lennon had been in a vaguely folk-music and country mode, and the small number of tapes he'd brought with him to Rishikesh included Buddy Holly, Dylan, and the progressive folk band The Incredible String Band, whose music would be a big influence on both Lennon and McCartney for the next year: [Excerpt: The Incredible String Band, "First Girl I Loved"] According to McCartney Lennon also brought "a tape the singer Jake Thackray had done for him... He was one of the people we bumped into at Abbey Road. John liked his stuff, which he'd heard on television. Lots of wordplay and very suggestive, so very much up John's alley. I was fascinated by his unusual guitar style. John did ‘Happiness Is A Warm Gun' as a Jake Thackray thing at one point, as I recall.” Thackray was a British chansonnier, who sang sweetly poignant but also often filthy songs about Yorkshire life, and his humour in particular will have appealed to Lennon. There's a story of Lennon meeting Thackray in Abbey Road and singing the whole of Thackray's song "The Statues", about two drunk men fighting a male statue to defend the honour of a female statue, to him: [Excerpt: Jake Thackray, "The Statues"] Given this was the music that Lennon was listening to, it's unsurprising that he was more receptive to Donovan's lessons, and the new guitar style he learned allowed him to expand his songwriting, at precisely the same time he was largely clean of drugs for the first time in several years, and he started writing some of the best songs he would ever write, often using these new styles: [Excerpt: The Beatles, "Julia"] That song is about Lennon's dead mother -- the first time he ever addressed her directly in a song, though  it would be far from the last -- but it's also about someone else. That phrase "Ocean child" is a direct translation of the Japanese name "Yoko". We've talked about Yoko Ono a bit in recent episodes, and even briefly in a previous Beatles episode, but it's here that she really enters the story of the Beatles. Unfortunately, exactly *how* her relationship with John Lennon, which was to become one of the great legendary love stories in rock and roll history, actually started is the subject of some debate. Both of them were married when they first got together, and there have also been suggestions that Ono was more interested in McCartney than in Lennon at first -- suggestions which everyone involved has denied, and those denials have the ring of truth about them, but if that was the case it would also explain some of Lennon's more perplexing behaviour over the next year. By all accounts there was a certain amount of finessing of the story th

Episode 112 Merry Moog 2023 Holiday Music Performed on the Moog and other Synthesizers Playlist   Sounds Of Broadcasting 1, “Christmas Logos” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Hans Wurman, “Overture Miniature” from Electric Nutcracker (1976 Ovation). This Austrian composer made several remarkable, classically influenced Moog Modular albums from 1969 to 1976. This was one of his last big Moog projects and is difficult to find. 2:54 Hans Wurman, “Danse De La Fee-Dragee ( Sugar Plum Fairy)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 1:33 Hans Wurman, “Danse Des Mirlitons (Flutes)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 2:14 Emerson, Lake & Palmer, “Nutrocker” from Nutrocker / The Great Gates Of Kiev (1972 Cotillion). Arranged by, Emerson, Lake & Palmer. Written by Kim Fowley. Emerson, Lake & Palmer, “Troika” from I Believe In Father Christmas (1995 Rhino Records). Arranged by, Emerson, Lake & Palmer. Moog and effects by Keith Emerson. Sounds Of Broadcasting 2, “Night Of The Kings” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Jean Jacques Perrey and Sy Mann, “Jingle Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. Jean Jacques Perrey and Sy Mann, “Christmas Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. Douglas Leedy, “The Coventry Carol” from A Very Merry Electric Christmas to You (1970 Capitol). USA. Moog Modular Synthesizer and Buchla Synthesizer. Joseph Byrd, “Christmas in the Morning” from A Christmas Yet to Come (1975 Takoma). USA. ARP 2600 Synthesizer with an Oberheim Expander Module. Armen Ra, “O Come All Ye Faithful” from Theremin Christmas (2018 Sungod). USA. Moog Etherwave Pro Theremin. Sounds Of Broadcasting 3, “Electronic Tinsel” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Beck, “The Little Drum Machine Boy” from Just Say Noël (1996 Geffen). USA. Roland TR-808 Rhythm Composer. Taeko Onuki, Inori (Prayer) from We Wish You A Merry Christmas (1984 Yen). A compilation of specially recorded Christmas-themed songs from various artists on the Yen Records label. Japanese synth-pop with vocals by Onuki. Maybe Ryuichi Sakamoto on keyboards. Unknown artist, “God Rest Ye Merry Gentlemen” from Electronic Computer Christmas Music (1990 Silver Bells Music). As the name suggests, this was a label dedication mostly to producing broadcast music for the holidays. They also release several albums of nature sounds. The studio musicians go unnamed. John Baker, “Christmas Commercial” from BBC Radiophonic Music (1968 BBC Radio Enterprises). A short piece used for broadcasting that was created by tape manipulation of the sounds of a mechanical cash register. It was part of collection of short works by BBC Radiophonic composers. “This record has been produced with the intention of entertaining rather than informing: the items chosen do not necessarily represent a survey of the music created at the BBC Radiophonic Workshop. The Workshop at the BBC Music Studios in Maida Vale, London, is equipped with tape recording machines and other electronic equipment for generating and manipulating sound. The composition and realization of this music and sound is done by a small number of specialized creative staff.” Christmas Baubles, “Orch” from Christmas Baubles And Their Strange Sounds (2002 Lo Recordings). Christmas Baubles was a Russian trio comprised of Alexander Zaitsev, Gennady Pleshkov, and Ilya Baramiya, who produced and performed this track. Sounds Of Broadcasting 4, “Cutesy Christmas Logos” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Michael Nyman, “Cream or Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. From Nyman's minimalist era before he became famous for soundtracks. Cabaret Voltaire, “Invocation” from Eight Crepuscule Tracks (1987 Interior Music). This track was originally included on the holiday album Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule), which suggested to me that it should be in this holiday podcast. Any excuse for a CV track. Paul Haig, “Scottish Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. Scottish songwriter, musician and singer. Les Cousins Dangereux, “What Child Is This” from Gotta Groove Records 2012 (2012 Gotta Groove Records). Holiday album with various artists. Les Cousins Dangereux is Mr. Tim Thornton. Joy Electric, “Angels We Have Heard on High” from The Magic Of Christmas (2003 Tooth & Nail Records). Joy Electric is Ronnie Martin from Ohio. American synthesizer-pop musician. Among his many releases is this crafty Christmas album. Sounds Of Broadcasting 5, “Christmas Moog Choir” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Edhels, “Oriental Christmas” from Oriental Christmas (1985 Cabana Music). Recorded in France. Drums, Percussion, Keyboards, Jacky Rosati; Guitar, Jean Louis Suzzoni; Guitar, Bass, Keyboards, Composed by, Marc Ceccotti; Keyboards, Noël Damon. I was sent this as a promotional album back in 1985 with a kind little note from the artists. Sorry it took me so long to put the Christmas-related track in my podcast. This is great example of synth-pop from France in the 1980s. Pac-Man, “Snowflakes And Frozen Lakes” from Pac-Man Christmas Album (1982 Kid Stuff Records). Produced, Written by, Dana Walden, Patrick McBride. “A collection of Pac-Man's favorite Christmas songs.” Need I say more? Swinging Buildings, “Praying For A Cheaper Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. This group was once rumored to be New Order in disguise. But no, they were in fact The Bowling Balls in disguise. Old Man Gloom, “Valhalla and Christmas Eve Parts I and II from Christmas (2004 Tortuga Recordings). Ambient/Noise band formed in New Mexico by guitarist/vocalist Aaron Turner and drummer Santos Montano. Guitar, Drum Programming, Drums, captured and organized sound, Kurt Ballou; Performed by Aaron Turner, Caleb Scofield, Luke Scarola, Nate Newton, Santos Montano. Sounds Of Broadcasting 6, “The Joyous Moment” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Bernie Krause, Philip Aaberg, “Feliz Navidad” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (Kurzweil 2000/Emulator III) Phil Aaberg. Percussion on Feliz Navidad performed by Ben Leinbach. 5:37 John & Yoko and The Plastic Ono Band With The Harlem Community Choir (remixed by Thom Holmes in 2001), “Happy Christmas (War is Over)” (1971 Apple Records). I had a CD player that was in disrepair and decided to “perform” this remix using it. I ended up calling this the Lennon and Ono Sliding Moment remix. Opening background music: Jean Jacques Perrey and Sy Mann, “Tijuana Christmas” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. Don Voegeli, “Chanukah” from Holiday & Seasonal Music (1977 EMI). USA. Produced at the Electrosonic Studio of the University of Wisconsin-Extension. Joy Electric, “Let it Snow” from The Magic Of Christmas (2003 Tooth & Nail Records). Joy Electric is Ronnie Martin from Ohio. American synthesizer-pop musician. Christmas Baubles, “Noisy Organ” from Christmas Baubles And Their Strange Sounds (2002 Lo Recordings). Christmas Baubles was a Russian trio comprised of Alexander Zaitsev, Gennady Pleshkov, and Ilya Baramiya, who produced and performed this track.     Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.  

Bernie Krause has spent more than 50 years capturing the sounds of nature and examining how animals make harmonious ecosystem soundscapes. His art installation, The Great Animal Orchestra, combining Krause's audio recordings with stunning visuals representing the frequencies of animal sounds is on display at the Exploratorium in San Francisco. The exhibition features rich soundscapes of dozens of animal species from across the globe, including the Amazon Rainforest and the depths of the Pacific Ocean, but Krause says the silences in the recordings also tell a story– of populations in decline, nearing extinction, or being drowned out by encroaching human-made noise. We'll talk to Krause about the sounds and silences in the natural world. Guests: Bernie Krause, soundscape ecologist; author, "The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places"

This podcast is a commentary and does not contain any copyrighted material of the reference source. We strongly recommend accessing/buying the reference source at the same time. ■Reference Source https://www.ted.com/talks/bernie_krause_the_voice_of_the_natural_world ■Post on this topic (You can get FREE learning materials!) https://englist.me/164-academic-words-reference-from-bernie-krause-the-voice-of-the-natural-world-ted-talk/ ■Youtube Video https://youtu.be/DdFRbyGh83c (All Words) https://youtu.be/HBWzCU2Z9XA (Advanced Words) https://youtu.be/Fmc9QGoKqd0 (Quick Look) ■Top Page for Further Materials https://englist.me/ ■SNS (Please follow!)

Sonoma Index Times reporter Chase Hunter shares the story of Sonoma's Bernie Krause, a 'soundscape' engineer whose describes in vivid detail his encounter with an exotic predator. 

Episode 86 Merry Moog 2022 Vintage Holiday Music Performed on the Moog and other Synthesizers Playlist Frank Luther with Zora Layman, “Christmas Bells” from Christmas In Song (1939 Decca). This is the original 78 RPM release featuring a vocal quartet, bells, and music played on the Hammond Novachord. 0:38 Frank Luther with Zora Layman, “Christmas Day in the Morning” from Christmas In Song (1958 Vocalion). This is a reissue of the 1939 release featuring a vocal quartet, Zora Layman, bells, and music played on the Hammond Novachord. The stereo is simulated. There are some nice moments for the Novachord on this record. 3:12 Paul Tanner, “Holiday on Saturn” from Music for Heavenly Bodies (1958 Omega). This rare disc features Tanner playing the Electro-theremin, an imitation of the Theremin that was a box with an audio oscillator inside and a rotary dial to control the pitch. Tanner, a renown studio musician and trombone player, later provided the sound of the Electro-theremin on the Beach Boys hit Good Vibrations (1966). 4:16 Greg Lake, Emerson, Lake & Palmer, “I Believe In Father Christmas” from I Believe in Father Christmas (1995 Rhino). Produced by Keith Olsen; written by Greg Lake, Peter Sinfield; vocals, Bass, Acoustic Guitar, Electric Guitar, Greg Lake; Drums, Percussion, Carl Palmer; Hammond organ, Piano, Moog Synthesizer, Keith Emerson. This is the original version released in 1975 with a choir and Moog Modular. It differs significantly from the stripped-down mix, also included on this CD, originally appearing on Works Vol. 2 in 1977 and then later in 1994. Rhino Records was kind enough to package all of ELP's X-Mas related tunes onto a CD EP in 1995, from which this version comes. 3:34 Keith Emerson, “Troika (From Prokofiev's Lieutenant Kije Suite)” from The Christmas Album (1995 Rhino). This is the Prokofiev composition that Greg Lake adapted into “I Believe in Father Christmas.” Later on, Emerson released this interpretation of the Prokofiev piece on The Christmas Album” that appeared in the US in 1995. It doesn't appear on the original UK version in 1988. And again, this is taken from the nifty holiday CD EP also released in 1995 by Rhino. This album was made with instruments from Korg, Ensoniq, Alesis, and Opcode. 4:19 Jean Jacques Perrey and Sy Mann, “Jingle Bells” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:44 Douglas Leedy, “The Coventry Carol” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. 4:46 Jean Jacques Perrey and Sy Mann, “Christmas Bells” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:52 Don Voegeli, “Chanukah” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. Don wrote the original synthesized version of the NPR “All Things Considered” theme. It was created in his Electronic Studio of the University of Wisconsin. He used a Moog Modular Synthesizer plus a Fender Rhodes, Polymoog, and ARP string synthesizer and 16-track recorder. 1:02 Joseph Byrd, “Christmas in the Morning” from A Christmas Yet to Come (1975 Takoma). ARP 2600 Synthesizer with an Oberheim Expander Module. 1:34 Douglas Leedy, “Good King Wenceslas” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. Leedy was an American composer, performer and music scholar. He founded the electronic music studio at UCLA where he had access to both Moog Modular and Buchla synthesizers, and it was during this period from about 1969-71 that he was commissioned to create several albums of electronic music. His training as a minimalist and experimental composer always flavored his music with unexpected sounds and patterns. 3:05 Moog Machine, “O Holy Night” from Christmas Becomes Electric (1970 Columbia). Moog Modular Synthesizer. 2:43 Armen Ra (Armen Hovanesian), “O Come All Ye Faithful” from Theremin Christmas (2018 Sungod). Moog Etherwave Pro Theremin. Armen Ra is an American artist and performer of Iranian-Armenian descent. He plays Theremin. His music fuses Armenian folk music with modern instrumentation, along with melodic lounge standards and classical arias. 4:43 Don Voegeli, “Carol of the Drum” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:01 Philippe Renaux, “Noël Blanc” (“White Christmas”) from We Wish You A Cosmic Christmas (1977 Sinus). Belgium. Minimoog, Arp Axe, Arp Soloist, EMS Synthesizer, Stringman Crumar, Fender Rhodes, Electronic Drums. 3:21 Jean Jacques Perrey and Sy Mann, “Tijuana Christmas” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:58 Joseph Byrd, “Carol of the Bells” from A Christmas Yet to Come (1975 Takoma). ARP 2600 Synthesizer with an Oberheim Expander Module. 1:12 Андрій Кок (Andriy Kok), “Небо І Земля” (“Heaven and Earth”) from Різдво На Галичині. Колядки (Christmas in Galicia. Christmas carols) (2006 Ліда). Folk singer, accordion and synth player Andriy Kok has recorded many albums of Ukrainian folk music in addition to a number of holiday songs and carols. 5:00 Douglas Leedy, “In Dulci Jubilo” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. 1:14 Bernie Krause, Philip Aaberg, “Deck the Halls” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. He later turned his attention to audio ecology and the recording of nature sounds, particularly of animals. This very special Holiday recording is composed entirely of animal sounds. Some you'll recognize as the natural animal voices themselves. Others may sound like instruments, but they are actually digitally transformed animal sounds. Wild Sanctuary Productions invites you to enjoy a truly unique celebration of both the wild kingdom and Holiday Spirit. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (K 2000/Emulator III) Phil Aaberg. 8:12 The Royal Philharmonic Orchestra, Paul Freeman, and The Chicago Synthesizer-Rhythm Ensemble, John Tatgenhorst, “The Little Drummer Boy” from Turned On Christmas (1985 Columbia). Conductor, Paul Freeman; synthesizers, The Chicago Synthesizer-Rhythm Ensemble; Orchestra, The Royal Philharmonic Orchestra. Keyboards & Synthesizer Concepts: Ed Tossing; Electric Bass, Steve Rodby or Bob Lizik; Drums, Tom Tadke; Guitars, Ross Traut and Bill Ruppert; Percussion, Russ Knutson. 4:08 Montana Sextet, “Little Drummer Boy Jam” from Christmas Time Is Here (1987 Philly Sound Works). Arranged By, Conductor, Producer, Fender Rhodes, Piano, Cowbell, Shaker, Yamaha DX7 Synthesizer, Musser Vibraharp, Vincent Montana Jr.; Congas, Greg Peache Jarman; Guitar, Ronnie James; Snare Drum, Tenor And Bass Drum, Gene Leone. 8:46 Montana Sextet, “Have Yourself a Merry Little Christmas” from Christmas Time Is Here (1987 Philly Sound Works). Arranged By, Conductor, Producer, Fender Rhodes, Piano, Cowbell, Shaker, Yamaha DX7 Synthesizer, Musser Vibraharp, Vincent Montana Jr.; Congas, Greg Peache Jarman; Guitar, Ronnie James; Snare Drum, Tenor and Bass Drum, Gene Leone. 4:56 Mannheim Steamroller, “Good King Wenceslas” from Christmas (1984 American Gramaphone). Arranged, conducted, produced by, Chip Davis; Drums, Percussion, Soloist Recorder, Black Oak Hammered Dulcimer, Soprano Dulcian, Crumhorn, Bells, Vocals, Dry Ice, Chip Davis; Lute, Bass, Eric Hansen; Baldwin SD-10 Synthesizer, Harpsichord, Clavichord, Toy Piano, Prophet 5 Synthesizer, Fender Rhodes, Vocals, Bells, Jackson Berkey; Classical Guitar, Twelve-String Guitar, Ron Cooley; Flute, Willis Ann Ross; French Horn, David (High D) Kappy; Harp, Mary Walter; Oboe, Bobby Jenkins; Strings, Bill Ritchie, Grace Granata, Michael Strauss, Michelle Brill, Richard Altenbach, Richard Lohmann, Roxanne Adams, Wayne Anderson. 3:39 Don Voegeli, “Jingle Bells” long, short, and tag from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:56 Don Voegeli, “Lully, Lullay - The Coventry Carol” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:01 Fossergrim, “Ave Maria” (2020 Bandcamp). Fossegrim is billed as “Dungeon Synth music from the Adirondack Mountains.” In Scandinavian folklore, Fossergrim is is described as an exceptionally talented fiddler. No fiddles here. I think Fossergrim is one Ian Nichols of Albany, New York. Check out his Bandcamp presence. 3:54 Phillip Fraser, “Rub A Dub Christmas” from Rub-A-Dub Christmas (1985 Tuff Gong). Jamaican reggae recording for the holidays. Piano, Organ, Synthesizer, Bass, King Asher, Steely Johnson. 2:53 Phillip Fraser, “The Lord Will Provide” from Rub-A-Dub Christmas (1985 Tuff Gong). Jamaican reggae recording for the holidays. Piano, Organ, Synthesizer, Bass, King Asher, Steely Johnson. There is some crazy synth material on this track. Despite it being recorded in 1985, it sounds quite analog for a synth. 3:17 Unconditional Loathing, “Carol, with the bells” from Holiday Mood (2018 Bandcamp). Every artist dreams of releasing an album of hit holiday songs that will surprise the world and bring great wealth. This is not that album. But it is remarkably noisy and dark. Check out Unconditional Loathing, from Fargo North Dakota, on Bandcamp. Self-described as “A footnote in the history of Midwestern noise that refuses to completely go away.” 1:51 The Smurfs, “Deck the Halls” from Merry Christmas With The Smurfs (1983 Dureco Benelux). This album is in English from the Netherlands. 2:17 Vatto Lofi, “Holiday Lofi” from A Merry Lofi Christmas EP (2021 Bandcamp). Providing a low-fidelity tune for the holidays, but I don't know if “lofi” refers to the low-fidelity sound that is currently a thing (and it does sound like that) or is the actual name of this Icelandic musician. 2:21 Rotary Connection, “Silent Night” from Peace (1968 Cadet Concept). I think this holiday album from the famed psychedelic soul ensemble was perhaps only their second album. Produced by Charles Stepney and Marshall Chess, I've included this track not only because it features some crazy electric guitar but also because Minnie Riperton's five-1/2-octave vocal range could effectively imitate a Theremin, which begins in this track around 1:30 into it. In an interview I once heard her say that one of her childhood fascinations was imitating that “science fiction stuff” with her voice. Interestingly, Charles Stepney also included a Moog synthesizer, used sparingly, on some Rotary Connection tracks, but I've heard none on this album. Co-producer Marshall Chess often added Theremin to Rotary songs but this is not one of them. It's pure Ripperton. The Rotary Connection vocalists: Bobby Simms, Jim Donlinger, Jim Nyeholt, Minnie Riperton, Mitch Aliota, Sidney Barnes, Tom Donlinger; The studio band, Leader, David Chausow; Bill Bradley, electronic effects; guitar, Bobby Christian; bass, Louis Satterfield; bass, Phil Upchurch; bass vocals, Chuck Barksdale. 3:52 Klaus Wunderlich, “Sleigh Ride” from Multi Orchestral Organ Sound (1982 Teldec). Wunderlich was a prolific musician who mastered the Hammond Organ. Occasionally, he performed with a synthesizer and this track comes from an album not of holiday music but of various favorites, performed in the style of the original artists. This is a Leroy Anderson song arranged in the Anderson style. The MOOS (Multi Orchestral Organ Sound) was produced by the Wersi organ company in Germany. This organ/synth/drum machine hybrid was also known as the Wersi Galad and play both synth and traditional organ sounds. There is a current musician advocate for this instrument in Florian Hutter (listen to the next track), of Germany. 3:11 Florian Hutter, “Frosty the Snowman” privately released (2022 No Label). Florian is a living master of the vintage Wersi Delta and Atlantis synthesizer/organ hybrids with a built-in rhythm box. In recent years he has begun to release his music on Spotify. This is taken from the first or second day of his Christmas Special 2022 during which he releases a new tune every day. I don't normally feature tracks recorded from YouTube, but this was too good to pass by and it fits with the vintage music played in the previous track by Wunderlich. Check him out. 2:34 Edwin Hawkins, “The Christmas Song” from The Edwin Hawkins Christmas Album (1985 Birthright). Produced when the Yamaha DX-7 became the top selling synthesizer on the planet, this is a great example of its tidy, digital sound. Richard Smallwood, keyboards, synthesizer; Edwin Hawkins, keyboards, synthesizer; Joel Smith, Drums and Fender bass; Kenneth Nash, percussion. Sounds like one or two Yamaha DX-7s. 3:57 Ryuichi Sakamoto (坂本龍), “Father Christmas” from Merry Christmas Mr. Lawrence (戦場のメ)(1983 Virgin). Music By, Composed By, Performer, Ryuichi Sakamoto. Our best wishes to Mr. Sakamoto who is suffering from Stage 4 cancer. In June he said, “Since I have made it this far in life, I hope to be able to make music until my last moment, like Bach and Debussy whom I adore.” 2:06 Bob Wehrman, John Bezjian and Dusty Wakeman, “Ring Christmas Bells” from Christmas Becomes Electric (1984 Tropical Records). Not be confused with an album by the same name by The Moog Machine in 1969. Unnamed synthesizer programmed and performed by Bob Wehrman and John Bezjian. From Marina Del Rey in California. 1:46 Hans Wurman, “Overture Miniature” from Electric Nutcracker (1976 Ovation). This Austrian composer made several remarkable, classically influenced Moog Modular albums from 1969 to 1976. This was one of his last big Moog projects and is difficult to find. 2:54 Hans Wurman, “Danse De La Fee-Dragee ( Sugar Plum Fairy)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 1:33 Hans Wurman, “Danse Des Mirlitons (Flutes)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 2:14 Keith Emerson, Emerson Lake & Palmer, “Nutrocker” (live) from Pictures at an Exhibition (1972 Cotillion). A fitting reworking of Tchaikovsky arranged by Kim Fowley and performed live, Newcastle City Hall, 26 March 1971. Hammond C3 and L100 organs, Moog modular synthesizer, Minimoog, Clavinet, Keith Emerson; bass guitar, acoustic guitar, vocals, Greg Lake; drums, percussion, Carl Palmer. "Nut Rocker", a rock adaptation of The Nutcracker originally arranged by Kim Fowley and recorded by B. Bumble and the Stingers in 1962. 3:48 Richie Havens, “End of the Season” from Alarm Clock (1970 Stormy Forest). A melancholic reflection on life from Mr. Havens, totally synthesized on the Moog Modular by Bob Margoleff. 3:32 Bernie Krause, Philip Aaberg, “Feliz Navidad” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (Kurzweil 2000/Emulator III) Phil Aaberg. Percussion on Feliz Navidad performed by Ben Leinbach. 5:37 Opening background music: Jean Jacques Perrey and Sy Mann, “Rudolf the Red-Nosed Reindeer” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by Jean-Jacques Perrey. 2:16 Moog Machine, “Twelve Days Of Christmas” from Christmas Becomes Electric (1970 Columbia). Arranged by Alan Foust; Synthesizer Tuner, Norman Dolph; Moog Modular Synthesizer, Kenny Ascher. 3:55 Jean Jacques Perrey and Sy Mann, “Silent Night” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by Jean-Jacques Perrey. 1:52 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation For additional notes, please see my blog, Noise and Notations.

Ben Sollee is a composer with over 20 years of experience in the film and television industry (even though he's still only in his 30s). You might have heard his music on such TV Shows as WEEDS or PARENTHOOD, Robin Wright's 2021 directorial debut film LAND, or even at the beginning and end of the Kentucky Call Sheet podcast (Ben wrote and performed our podcast's theme!). Ben is an artist actively blurring the lines between music, tech, and activism and he was also born and raised in Lexington, KY.  Listen in as Ben sits down with Stu and talks about everything from his scoring process to his secret to staying productive (it involves getting plenty of sleep). Ben also breaks out his cello and gives his episode of the Kentucky Call Sheet a live performance!  Ben's website (for tour dates and other good stuff!)  https://www.bensollee.com/ Louisville Podcast Studios https://podlou.com/ Bourbonality  https://shop.lunacyproductions.com/collections/bourbonality Lunacy U https://lunacyu.com/ Louisville Film Society  https://www.louisvillefilmsociety.org/ Sprucetone Films  https://www.sprucetonefilms.com/ WATCH: ELEVATED - A film about deaf climber Sonya Wilson  https://www.youtube.com/watch?v=PA70j_jnofQ&t=1s The Great Animal Orchestra by Bernie Krause  https://www.amazon.com/Great-Animal-Orchestra-Finding-Origins-ebook/dp/B004QZ9PLA/ref=sr_1_1?keywords=the+great+animal+orchestra&qid=1669849542&sr=8-1 The Kobyz (or Qobyz) - The Kazakhstani Fiddle  https://en.wikipedia.org/wiki/Kobyz Special thanks to Ben Sollee for composing the opening and closing theme to Kentucky Call Sheet.

Bernie Krause est un artiste et chercheur qui a commencé dans la musique avant de se découvrir une vocation : enregistrer les sons de la nature. Il en a fait des partitions, présentées dans une installation intitulée "Le grand orchestre des animaux". Parce qu'aujourd'hui cette oeuvre est plus que j'amais d'actualité, j'avais envie de vous en parler ! Et désormais, tout Bulle d'Art se trouve sur www.bulle-dart.fr ! 

A propos de Bernie KrauseDerrière la porte  Jean PoinsignonKoroni (solo de flûte)  Musique DayakDas insekt  Der PlanLes insectes   Maurice JarreRetour vers la canopée. Jean PoinsignonLes éphémères   Knud ViktorRobert et les insectes.  Albert MarcoeurMireille  Dick AnnegarnAji fly  FoodmanFly eye   Daniel JohnstonFly in the pool   Boards of CanadaLa terre est rouge   Cha Cha GuitriPhase IV Saul Bass  1974La maladie des fourmis  Guigou Chenevier & Sophie JausserandLe roi des fourmis  Michel PolnareffLa cigale et la fourmi  Charles TrenetBumble Boogie   Freddy  MartinBee Oh  DialectBusy Bee  Arthur AskeyEphemeroptera  Ikue MoriLe bourdonnements des abeilles  Pygmées BakaMélodie d'harmoniques (insectes)   Papua New GuineaThe insect dancers   Dave ClarksonInsect fear   Cavern Of  Anti-MatterInsects   IQ ZeroLa Métamorphose  Franz Kafka lecture de Dominique BlancRitual with Giant Hissing Madagascar CockroachesMetamorphoses   God is GodThe naughty little flea  Miriam MakebaCulex pipiens  André-Jacques Andrieu et Bernard DumortierGreen mosquito  The Tune RockersUn papillon  Hector ZazouPhylopn  Mira Calix

RADICAL MURMUR is a three-part sonic essay on the possibilities of sound. Close your eyes, open your ears. Part 2: RESONANCES OF LOSS. In this episode, we listen to the sighing and groaning of a tired planet. In composer Evelien van den Broek's music, we hear field recordings of animals that no longer exist. This is how she tries to make the current "biological destruction" palpable. Peter Cusack travelled to Chernobyl and other ecological disaster zones as a "sonic journalist". What do places we know from the news but that we have never 'heard', sound like? And philosopher Salomé Voegelin reflects on how the COVID-19 crisis threw us back on ourselves, threatening to evaporate the sonic "in-between" between people. "There is no inner genius, there is only an outer connection." RADICAL MURMUR is made in collaboration with rekto:verso, Gonzo (circus) en Collateral. SOURCES AND REFERENCES 03:07> Fragment of "Pacific Fanfare" by Barry Truax from the double CD "The Vancouver Soundscape 1973; Soundscape Vancouver 1996". 07:54 > Fragment of "I Rainforest" from the album "Endlings" by Evelien van den Broek with field recordings by Bernie Krause. Available here. 11:44 > Fragment from the album “Autumn Day in Yellowstone” by Bernie Krause. Available here. AUTUMN DAY IN YELLOWSTONE © 2007 Wild Sanctuary. All rights reserved. 14:04 > Fragment of “V The Last Kauai ‘O ‘O Bird” from the album "Endlings" by Evelien van den Broek. 18:13 > Fragment of “IV The Blue Whale” by Van den Broek, idem. 21:49 > Fragment of the album “Rainstorm in Borneo” by Bernie Krause. Available here. RAINSTORM IN BORNEO © 1998 Wild Sanctuary. All rights reserved. 24:28 > Fragment of “II Bees” from the album "Endlings" by Evelien van den Broek with field recordings by Bernie Krause. 25:36 > Fragment of “Chernobyl Frogs” by Peter Cusack from the double album (+ publication) “Sounds from Dangerous Places”. Available here. 33:57 > Fragment of “Oilfield Soundwalk 1” by Peter Cusack, idem. 37:47 > Fragment of “Radiometer Kopachi” by Peter Cusack, idem. 41:17 > Fragment of “Cranes passing, playing voice” by Peter Cusack recorded in Berlin. Published on radio aporee. 45:09 > Fragment of “Saturday morning, bird song playback” by Peter Cusack, recorded in Berlin. Published on radio aporee. 50:06 > Fragment of “A score to start hearing the invisible” by KMRU from the album “Paint your lips while singing your favourite pop song” by Salomé Voegelin. Available here. 56:15 > Fragment of “Unheard Sound” by Siavash Aminivan from the album “Paint your lips (...)”. All other sound clips recorded by Sjoerd Leijten. Interviews and text: Sjoerd Leijten and Roel Griffioen Voice: Sjoerd Leijten

Ces chants, enregistrés en 2015 pour la collection Petites Planètes, sont ceux qu'on peut entendre en ouverture des cérémonies chamaniques du peuple Huni Kuin, une communauté autochtone qui vit au Brésil, dans l'État de l'Acre au nord-ouest du pays. Tout comme le peuple Yanomami ou le peuple Makuxi, les Huni Kuin vivent dans la forêt et considèrent que tout ce qui la compose est vivant. Animaux - humains ou non-humains - végétaux, minéraux, rivières, soleil, vent ou pluie… Tous cohabitent, en interdépendance, en respect et sans aucune hiérarchie. Ne plus penser “la nature” mais “le vivant”, considérer la philosophie et la culture chamanique comme de grandes alliées pour transformer notre manière d'être au monde et répondre aux enjeux écologiques du temps présent… C'est ce qui a guidé l'anthropologue Bruce Albert, la commissaire d'exposition Juliette Lecorne et la Fondation Cartier pour concevoir l'exposition “Les Vivants”, à découvrir au Tripostal à Lille jusqu'au 2 octobre. L'exposition réunit plus de 250 œuvres signées par de grands noms de l'art contemporain, de la brésilienne Solange Pessoa au bioacousticien américain Bernie Krause en passant par les travaux du botaniste français Francis Hallé. Mais surtout, et c'est tout l'intérêt des Vivants, les deux tiers des œuvres ont été réalisées par des artistes amérindiens contemporains. Jaider Esbell, Joseca ou encore Bane : tous ont à cœur de témoigner de la cosmologie de leur peuple, d'interpeller le monde des modernes et de valoriser leur culture sur le marché de l'art - et tout court - grâce à des œuvres, politiques, porteuses d'espoir et franchement, éblouissantes de beauté. “Les Vivants” vous transforment et nous y allons ensemble, en compagnie de Juliette Lecorne et avec les éclairages de l'anthropologue Bruce Albert depuis Montevideo en Uruguay. Notre politique de confidentialité GDPR a été mise à jour le 8 août 2022. Visitez acast.com/privacy pour plus d'informations.

Afinamos el oído con Gabi Martínez y Carlos De Hita que nos enseñan a escuchar la naturaleza comentando el libro "La gran orquesta animal" de Bernie Krause, una obra de referencia ineludible para entender las posibilidades de nuestros oídos. 

Musician, author, and naturalist, Dr. Bernie Krause, returns for the season three finale of the Love Nature podcast. Krause discusses how relaying natural themes through art can increase impact and raise human awareness about the environmental issues of our time. Krause also plays illuminating soundscapes of social communication among a herd of forest elephants and the first “silent spring” in Northern California following an extended period of drought. Don't miss this season's compelling conclusion. --- Send in a voice message: https://anchor.fm/lovenature/message

Do you ever hear animals you never see? Secretive and rare animals, such as Eastern bristlebirds, can be most easily found by the sounds that they make. We can only do this, however, if we learn how to decipher their calls! In her PhD research, Jessie is exploring how to design future technologies that support people in becoming familiar with identifying bird calls from audio recordings. Birders and members of the public explored Jessie's research prototypes, such as the Bristle Whistle Challenge. Conservationists and members of the public are likely to benefit from having enticing tools that include creative playful and task-oriented gameful interactions with bird calls. Such tools may support many people, whether learning calls for fun, or to support citizen science, ecology, or wildlife conservation efforts. Jessie mentions these apps: Fold IT - Protein folding game https://fold.it/ Zooniverse - https://www.zooniverse.org/ Rorshak ink blot test - http://rorschachinkblottest.com/ e-Bird app - https://ebird.org/about/ebird-mobile/ Frog ID - https://www.frogid.net.au/ I-Naturalist - https://www.inaturalist.org/ Otter-AI - https://otter.ai/ Cornel Lab of bird sounds - https://www.birds.cornell.edu/home/ Xeno Canto bird sounds - https://xeno-canto.org/ Cat Tracker - https://cattracker.org/cat-tracker/ Eco-Acoustics Researcher, Bernie Krause https://www.researchgate.net/profile/Bernie-Krause Learn more about Jessie's PhD and broader research here https://orcid.org/0000-0002-3464-0247 and email or connect via Twitter https://twitter.com/JessieLOliver for paper access. * * * How to Save the World is a Podcast About the Psychology of What Gets People To Take On Sustainable Behavior and Climate Action: Environmental engineer, designer, and author, Katie Patrick, hunts down the latest behavioral science literature from top universities such as Harvard, MIT, and Stanford to unearth the evidence-based teachings you can use to get magnitudes more people to adopt your environmental campaign, program, or product. Sign up for Katie's free behavior and gamification design course at http://katiepatrick.com Get a copy of How to Save the World on Amazon Join my masterclass training in climate action design for $25 / month http://katiepatrick.com/gamifytheplanet This podcast is supported by our friends at Earth Hacks who run environmental hackathons, Conservation X Labs who promote community-driven open tech development for conservation, and Climate Designers - a network of designers who use their creative skills for climate action. Contribute a monthly donation to the How to Save the World podcast at patreon.com/katiepatrick Follow on Twitter @katiepatrick, Instagram @katiepatrickhello, and LinkedIn Book a 90-minute Idea Storming Call with Katie: https://calendly.com/katiepatrick/idea-storm

Rudy and Bernie Krause grew up cutting meat at K & K Foodliner in Edmonton, learning and honing their craft from their dad, a master butcher from Germany. The super-experienced meat cutter pair now operate Krause's Custom Processing in Edmonton, and join us to share their thoughts, ideas, tips, and tricks for hunters to get the best quality meat possible from harvested animals. Truly, they have seen it all and continue to positively influence hunters to care for the meat they harvest and celebrate fine dining with family and friends!

Join us for the first part of our dynamic conversation with musician, author and naturalist, Dr. Bernie Krause, one the world's leading experts in natural sound and soundscapes — the sounds that reach human ears. Krause discusses his origins as a violinist-turned-guitarist, which led to him helping introduce the synthesizer in pop music and film, including collaborations with Motown Records and the legendary Hollywood director, Francis Ford Coppola. Later, Krause left the entertainment industry to obtain a PhD in bioacoustics, traveling the world to record, archive and share the voices of the natural world. --- Send in a voice message: https://anchor.fm/lovenature/message

RADICAAL GEROEZEMOES is een sonisch essay in drie delen over geluid. Sluit je ogen, open je oren. Deel 2: RESONANTIES VAN VERLIES. In deze aflevering luisteren we naar het zuchten en steunen van een vermoeide planeet. In de muziek van componist Evelien van den Broek horen we veldopnames van dieren die niet meer bestaan. Zo probeert ze de huidige “biologische vernietiging” invoelbaar te maken. Peter Cusack trok als ‘sonisch journalist' naar Tsjernobyl en andere ecologische rampgebieden. Hoe klinken plekken die we kennen uit het nieuws of uit de geschiedenisboeken, maar die we nooit hebben gehoord? En filosoof Salomé Voegelin reflecteert op hoe de coronacrisis ons terugwierp op onszelf waardoor het sonische “in-between” tussen mensen onderling dreigde te verdampen. “There is no inner genius, there is only an outer connection.” I.s.m. rekto:verso, Gonzo (circus) en Collateral BRONNEN EN VERMELDINGEN 03:07> Fragment van “Pacific Fanfare” van Barry Truax van de dubbel-cd “The Vancouver Soundscape 1973; Soundscape Vancouver 1996”. 07:54 > Fragment van “I Rainforest” van het album “Endlings” van Evelien van den Broek met field recordings van Bernie Krause. Hier verkrijgbaar. 11:44 > Fragment van het field recording album “Autumn Day in Yellowstone” van Bernie Krause. Hier verkrijgbaar. AUTUMN DAY IN YELLOWSTONE © 2007 Wild Sanctuary. All rights reserved. 14:04 > Fragment van “V The Last Kauai ‘O ‘O Bird” van het album “Endlings” van Evelien van den Broek. Hier verkrijgbaar. 18:13 > Fragment van “IV The Blue Whale” van Van den Broek, idem. 21:49 > Fragment van het field recording album “Rainstorm in Borneo” van Bernie Krause. Hier verkrijgbaar. RAINSTORM IN BORNEO © 1998 Wild Sanctuary. All rights reserved. 24:28 > Fragment van “II Bees” van het album “Endlings” van Evelien van den Broek met field recordings van Bernie Krause. 25:36 > Fragment van “Chernobyl Frogs” van Peter Cusack van de dubbel-cd (+ publicatie) “Sounds from Dangerous Places”. Hier verkrijgbaar. 33:57 > Fragment van “Oilfield Soundwalk 1” van Peter Cusack, idem. 37:47 > Fragment van “Radiometer Kopachi” van Peter Cusack, idem. 41:17 > Fragment van “Cranes passing, playing voice” van Peter Cusack, opgenomen in Berlijn. Gepubliceerd op radio aporee. 45:09 > Fragment van “Saturday morning, bird song playback” van Peter Cusack, opgenomen in Berlijn. Gepubliceerd op radio aporee. 50:06 > Fragment van “A score to start hearing the invisible” door KMRUvan het album “Paint your lips while singing your favourite pop song” van Salomé Voegelin. Het album is hier verkrijgbaar. 56:15 > Fragment van “Unheard Sound” door Siavash Aminivan het album “Paint your lips (...)”. Alle andere geluidsfragmenten opgenomen door Sjoerd Leijten Interviews en tekst: Sjoerd Leijten en Roel Griffioen Stem: Sjoerd Leijten

Today, we go on a sonic tour of sounds from everyday life, led by bioacoustician and soundscape ecologist Bernie Krause. And, we dive beneath the waves to hear the calls of mammals along the California coastline.

Sigurd Hole has been a vital part of the Norwegian music scene for the past decade, both as part of different jazz ensembles and through his work related to Norwegian folk music. In February 2020 came the monumental "Lys / Mørke".  A solo bass double album recorded on the arctic islands of Fleinvær in Northern Norway, "Lys / Mørke" can in many ways be seen as a response to the climate and ecological crisis, focusing in large on the conscious act of listening to the natural world. The album was premiered in Weill Recital Hall at Carnegie Hall on February 3rd, 2020, and received worldwide critical acclaim. 2022 sees the release of a new album called "Roraima", out February 18th. "Roraima" was commissioned by Oslo World for the festival in 2020, and reflects themes such as solidarity and ecological vulnerability and draws inspiration from the creation myth of the Yanomami people and the sound of the Amazon rainforest. The ensemble features Trygve Seim, Frode Haltli, Helga Myhr, Tanja Orning, Håkon Aase, Per Oddvar Johansen, and Sigurd Hole, and the music also includes field recordings of the Amazon biophony by US soundscape ecologist Bernie Krause. Besides his own projects Hole is known for his work with ensembles and musicians like Tord Gustavsen trio, Eple Trio, Karl Seglem acoustic quartet, Helge Lien, Bugge Wesseltoft, Eli Storbekken, Nils Økland, Terje Isungset, Frode Haltli and Trygve Seim. In this episode, Sigurd shares his background, education, and musical journey. If you enjoyed this episode please make sure to subscribe, follow, rate, and/or review this podcast on Spotify, Apple Podcast, Google Podcast, ect. Connect with us on all social media platforms and at www.improvexchange.com

Bernie Krause has been listening to the world for decades, travelling from one end of the Earth to the other to capture the sounds that make each habitat unique: their biophony. His installation piece, The Great Animal Orchestra—created in association with Fondation Cartier pour l'art contemporain and presented as part of the Biennale of Sydney—gives listeners a chance to travel with him. In the Drawing Room, Krause explains why listening helps his ADHD and how sound can reveal the environmental impact of development.

Bernie Krause has been listening to the world for decades, travelling from one end of the Earth to the other to capture the sounds that make each habitat unique: their biophony. His installation piece, The Great Animal Orchestra—created in association with Fondation Cartier pour l'art contemporain and presented as part of the Biennale of Sydney—gives listeners a chance to travel with him. In the Drawing Room, Krause explains why listening helps his ADHD and how sound can reveal the environmental impact of development.

Paul Farmer, Global Health Leader, Dies At 62 Paul Farmer, physician and co-founder of the humanitarian medical organization Partners in Health died unexpectedly this week in Rwanda at the age of 62. Farmer was widely known for his compassion, and his conviction that all people around the world, regardless of their means, deserved access to quality medical treatments and interventions. Sarah Zhang, staff writer at The Atlantic, joins John Dankosky to remember Paul Farmer and his work around the world, from Haiti to Peru to Russia. They also discuss concern over a possible re-emergence of wild polio in Malawi, a new U.N. report linking climate change to a potential increase in wildfires around the world, and the case of Hank the Tank—a burly bear troubling Lake Tahoe. We'll also get an update on the tale of a wayward piece of space junk soon to impact the moon, and dive into the link between Epstein-Barr virus and multiple sclerosis. We recently discussed research establishing the link between the two conditions—and now there is new work looking at the possible mechanism of the connection.   Blind Patients With Eye Implant Left In The Dark As Its Startup Struggles Barbara Campbell was walking through a New York City subway station during rush hour when her world abruptly went dark. For four years, Campbell had been using a high-tech implant in her left eye that gave her a crude kind of bionic vision, partially compensating for the genetic disease that had rendered her completely blind in her 30s. “I remember exactly where I was: I was switching from the 6 train to the F train,” Campbell tells IEEE Spectrum. “I was about to go down the stairs, and all of a sudden I heard a little ‘beep, beep, beep' sound.'” It wasn't her phone battery running out. It was her Argus II retinal implant system powering down. The patches of light and dark that she'd been able to see with the implant's help vanished. Terry Byland is the only person to have received this kind of implant in both eyes. He got the first-generation Argus I implant, made by the company Second Sight Medical Products, in his right eye in 2004, and the subsequent Argus II implant in his left 11 years later. He helped the company test the technology, spoke to the press movingly about his experiences, and even met Stevie Wonder at a conference. “[I] went from being just a person that was doing the testing to being a spokesman,” he remembers. Yet in 2020, Byland had to find out secondhand that the company had abandoned the technology and was on the verge of going bankrupt. While his two-implant system is still working, he doesn't know how long that will be the case. “As long as nothing goes wrong, I'm fine,” he says. “But if something does go wrong with it, well, I'm screwed. Because there's no way of getting it fixed.”   Read the rest at sciencefriday.com.   Climate Change Ruins The World Championship Sled Dog Derby Teams of sled dogs and mushers from across the United States and Canada visited Laconia this weekend for the 93rd annual World Championship Sled Dog Derby. Racers were in good spirits, though they faced slushy conditions on Friday and Saturday—a situation that has become more common, many mushers said, as climate change causes winters to warm. Vince Buoniello was the chief judge for the Laconia race, which has a deep and prestigious history in the sled dog world. He likened it to the Super Bowl. “Laconia was always a magic name. Everybody wanted to race Laconia,” he said. Through his 65 years in the sled dog world, Buoniello has seen big changes—fewer people seem to be involved in the sport, and it's harder to find undeveloped land for sledding trails. And, he said, warming winters have made races difficult to schedule. “We raced every weekend for years and years. It was an exception if a race ever got canceled. Now, forget it. It's changed drastically,” he said. “To see mud, it just blows your mind. It just never used to happen.” Buoniello, who is 90, said judging the race in the warm conditions had tired him out a bit. But, he said, his love for the sport and the animals has made it worthwhile throughout his career. “The dogs kept me going,” he said. “It was just such love. It was just pure love.” Read the rest at sciencefriday.com.   An Elusive Search For Freedom From Human-Made Noise If you stand in the middle of a busy street in New York City and listen to the sounds around you, you're hearing what Bernie Krause calls “the anthropophony.” It's the cacophony of “incoherent and chaotic” noise that's drawing people away from the natural world. “In fact, the further we draw away from the natural world, the more pathological we become as a culture,” he said. Krause has been charting this change for more than 50 years, as one of the world's foremost chroniclers of nature sounds. He's recorded more than 15,000 species and their habitats. In his new book, The Power of Tranquility in a Very Noisy World, he makes the case that human-made noise is causing us stress. Krause offers a simple prescription: “Shut the hell up,” and listen to the soundscapes of nature, what he calls “the biophony.” “If we listen to sounds of the natural world, for example, which are the original soundscapes that we were exposed to, it's very restorative and therapeutic,” he said. Read the rest at sciencefriday.com.    

Sigurd Hole is one of the most in-demand bassists of today's Norwegian jazz and creative music scene. His new album, Roraima, documents a live performance that took place between lockdown in Oslo in October 2020. The work, commissioned by Oslo World, reflects on themes of solidarity and ecological vulnerability. By referring to the northernmost region of Brazil, Hole draws attention to one of the work's primary sources of inspiration: the creation myth of the Yanomami people. And aside from featuring a lineup of fine Norwegian musicians, Roraima also makes prominent use of field recordings of Amazon biophony by U.S. soundscape ecologist Bernie Krause. --- Support this podcast: https://anchor.fm/jazziz/support

In this PEMcast episode, we feature Bernie Krause, the soundscape ecologist behind The Great American Orchestra, an exhibition which immerses us in the sound universe of animals. Matt Clark of United Visual Artists chats about working on this extraordinary audio-visual experience. We also share our plan to be more inclusive by mitigating sensory overload, work that is underway thanks to PEM's Neuroscience Researcher.

Quebec proposes a tax on people who refuse COVID-19 vaccinations; fans clap back against profit-seeking Wordle knock-offs; how to support the arts as the pandemic deals another blow; the TV adaptation of Station Eleven is a timely look at a fictional post-pandemic world, but should you watch it?; soundscape ecologist Bernie Krause documents how climate change has has transformed the way the planet sounds and more.

Jane Goodall, the famous primatologist, has set us a challenge: Is it possible to tackle climate change whilst also lifting people out of extreme poverty? Her question - posed to the BBC's Climate Editor Justin Rowlatt - is inspired by her own experience of tackling deforestation in Tanzania. As her colleague Emmanuel Mtiti explains, they convinced local villagers to stop felling trees, and to restore the natural habitat of chimpanzees, by offering them an alternative path to prosperity. So could an equivalent path be available that avoids increasing carbon emissions? If so then it would break with the pattern seen in Europe, America and China, where economic development was almost entirely fuelled by burning coal, oil and gas, according to Hannah Ritchie, head of research at Oxford University's Our World in Data team. But the micro-finance pioneer Muhamad Yunus says that solar power does now offer a carbon-free way forwards. The programme contains audio from the 1965 National Geographic documentary film Miss Goodall and the Wild Chimpanzees, as well as audio recorded at Gombe National Park and the surrounding area by Ruth Happel and Bernie Krause. Producer: Laurence Knight

I remember being in 8th grade science class. The teacher asked me to go home, close my eyes, and listen deeply for two minutes, and then to write down everything I heard. Have you ever done that? If not, I recommend you give it a try. What shows up is utterly mind-blowing and reminds me of an idea from Ferris Bueller, who noted that “life moves pretty fast and if we don't pay attention, we might miss it.” As it turns out, if you want to feel more alive, it's important to listen. And if you want to be heard, the answer is the same: we must listen, according to my expert guest. Bestselling author, Julian Treasure (https://www.juliantreasure.com/) has given 5 TED talks about listening and being heard that have been viewed over 100 million times. His messages clearly resonate with people and for good reason: he's brilliant. As you'll hear in this interview, Julian has an unusual ability to notice important things that most of us overlook but need to pay attention to. His book called “How to Be Heard” is one of the finest communication books I have encountered, and I am not alone. Dozens of luminaries have endorsed it including audio expert, Bernie Krause who said it is “clear, powerful, and fun,” and “the go-to resource for learning how to listen and express ourselves in ways that can only enrich our lives.” So, listen in as Julian and I have a conversation about how to be heard. https://www.moodsonic.com/ https://www.thesoundagency.com/about-us/

Bioacoustician and musician Bernie Krause, author of the new book “The Power of Tranquility in a Very Noisy World,” talks with us about quieting the mind by listening to nature, what he learned after losing his home and studio in a 2017 California wildfire, and his recordings of more than 100 species in their natural habitats for “The Great Animal Orchestra,” an immersive audio-visual exhibition now on view at the Peabody Essex Museum in Salem, Massachusetts (through May 22, 2022).

Can you imagine what it would be like to live in a world without birdsong? What can we learn from listening to the changes in our wild soundscapes over time?My guest today, Dr. Bernie Krause, is a world renowned expert in Soundscape Ecology, here to expand your understanding of the value, meaning and impact of our soundscapes.  Soundscapes courtesy Wild Sanctuary, 2021.Photo: ©2021 Wild Sanctuary, All Rights Reserved.About Bernie & Kat Krause“Musician & naturalist, Bernie Krause is one of the world's leading experts in natural sound.” That's a quote by Sir George Martin, who you know  as the producer for the Beatles.Since 1968, Bernie Krause has traveled the globe to record, archive, research and express the voice of the natural world, it's soundscape. Dr. Bernie Krause spent his early career as a recording engineer and backup studio guitarist. He performed with The Weavers at Carnegie Hall in 1963. Bernie and his late music partner, Paul Beaver, introduced the Moog synthesizer to pop music and film. Bernie's work is featured on many albums of that era, including those of the George Harrison, Mick Jagger, David Byrne and Bryan Eno, Van Morrison, Peter Gabriel, the Byrds, and the Doors not to mention Beaver & Krause's own albums. Bernie's contributions can be heard on over 135 major feature films like Apocalypse Now, Performance Love Story, Cast Away, and Rosemary's Baby.In 1981, having earned his doctorate in bioacoustics, Bernie began his second career as a founder of Soundscape Ecology – a new field of study focusing on marine and terrestrial soundscapes of remaining wild habitats. As a sound designer, Bernie's sound sculptures can be heard at major public venues like the California Academy of Sciences, the Smithsonian, the American Museum of Natural History in New York, several London venues, and recent worldwide fine art exhibitions of his work commissioned by the Fondation Cartier pour l'art Contemporain, in Paris.      He is the author of “The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places,” and is co-composer of a symphony commissioned by the BBC, created with Richard Blackford. Together they have also composed Biophony, the ballet score commissioned by the Alonzo King LINES Ballet. His newest book is, The Power of Tranquility in a Very Noisy World.Learn more at  WildSanctuaryHear Bernie's Ted Talk:  https://www.ted.com/talks/bernie_krause_the_voice_of_the_natural_world?language=en

NU Neurobiologist Dr. Nina Kraus talks sound and the brain on the pod this week: What is the sonic self? How does sound make you, affect you and potentially heal you? How is sound being applied to Parkinsons, Alzheimers, Mood Disorders and more? Join us as we discuss her newly released book, “Of Sound Mind: How Our Brain Constructs a Meaningful Sonic World”Helpful links:Dr. Nina Kraus - Neuroscientist who has done path breaking research on sound and hearing for more than thirty years, founder of Northwestern's Brainvolts - The Auditory Neuroscience Laboratory.Twitter: @brainvoltsInstagram: @brainvoltsnuFacebook: audNeuroLabNUYouTube: brainvoltsNUIsabelle Peretz - Specialist in the study of the "musical brain" Renee Fleming - An advocate for the study of the relationship between music and health, as well as the utility of music in neuroscience research. She serves as an Artistic Advisor of the Polyphony Foundation. Polyphony helps bridge divisions and foster a more civil society by bringing together Arab and Jewish children in Israel for the study and performance of classical music.Learn more about the Suzuki Method, A method that aims to provide and create an environment for learning musicAlive Inside: A Story of Music and Memory - A 2014 documentary exploring diseases that impair neurological function, such as Alzheimer's disease and dementia, and proposes a treatment option that is claimed to improve a patient's quality of life.Dr. Bernie Krause - an American musician and soundscape ecologist. Author of the book, “The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places”. Listen to his recordings here The Cornell Lab of Ornithology - joins with people from all walks of life to make new scientific discoveries, share insights, and galvanize conservation action.Find Rosebud Woman on Instagram as @rosebudwoman and Christine on Instagram as @the.rose.woman See acast.com/privacy for privacy and opt-out information.

Stazione Le Piagge, Florence, reimagined by Chelidon Frame. "This summer I had the pleasure of reading Bernie Krause's The Great Animal Orchestra. One thing that fascinated me was how a natural soundscape can be altered by external noises, such as a plane or a train passing by: sometimes the biome takes a lot of time to restore its perfectly calibrated concert. In the original field recording, I sensed some moments that got me thinking about this phenomenon, and in my track I've explored and enhanced this experience. "'Cicadas' is arranged in four parts, divided by the sound of a passing train: at each iteration, the soundscape is increasingly processed and paired by synthesized sounds and glitched elements, until the original equilibrium is restored, when the last train arrives at the station."

What is geophony? Thanks for asking!Taking its name from the Greek prefix geo, as in the earth and phony as in sound, geophony could be most simply described as part of Planet Earth's music. It's a component of the soundscape that has surrounded us humans ever since we have been present on Earth. We owe the concept to experts like Canadian composer and environmentalist Raymond Murray Schafer, who popularised the idea of the soundscape, or American and bioacoustician Bernie Krause. This field of study gives us a lot of insight into the state of the planet.What kinds of sounds are we talking about? What can geophony tell us about the world? In under 3 minutes, we answer your questions!To listen to the last episodes, you can click here:What is Godwin's Law?What are the Puppy Blues?What are blue zones?A podcast written and realised by Joseph Chance. See acast.com/privacy for privacy and opt-out information.

Get your headphones ready, today's show is all about sound. We'll visit a laboratory where the sounds of indoor spaces are designed. Then, we keep our ears open as we head outside. For today's throwback we have two stories from our Audiophiles series. We profiled Bay Area residents who are deeply involved in the world of sound. The series was the brainchild of Martina Castro, whose voice you'll be hearing later on in the show.

Eccoci qua! In questo episodio parliamo di Wildlife Gardening, ossia di come migliorare la biodiversità nel nostro giardino, aiutando e attirando avifauna e insetti impollinatori. Lo facciamo insieme ad Alessia Portaccio, laureata in Scienze Forestali, con un dottorato in Ecologia Forestale in cui si è occupata in particolare di avifauna e biodiversità; attualmente sta portando avanti diversi progetti di ricerca all'Università di Padova. Insieme ad Alessia in questo episodio abbiamo anche la nostra Eleonora Giuliodori, giardiniera in Inghilterra, che ormai tutti conoscete! Se vi piace l'episodio condividetelo dove volete. I libri consigliati da Alessia sono: "Giardini di carta. Da Rousseau a Modiano" di Évelyne Bloch-Dano, ADD Editore. "The Great Animal Orchestra" di Bernie Krause, Foundation Cartier pour l'art contemporain. "Il mondo di Boscodirovo" di Jill Barklem, Einaudi Ragazzi. "Rewild your garden" di Frances Tophill, Greenfinch Ed. Il libro consigliato da me è: "Il giardiniere coscienzioso" di Helen Bostock e Sophie Collins, Guido Tommasi Editore.

Con Laura Fernández y Eloy Fernández Porta. En este cambio de siglo el ser humano ha asumido que no es el único animal inteligente y cultural. Guiados por las investigaciones de algunos de los científicos más importantes de las últimas décadas, descubrimos cómo se comunican o aprenden los primates, los elefantes o las ballenas. AUTORES CITADOS: Jane Goodall, Carl Safina, Bernie Krause, Matt Whyman, Vinciane Despret, Donna Haraway, Lynn Margulis, United Visual Artists, Kinji Imanishi.

In contemporary Western culture we seem to have lost an intimate connection with the land. More often than not we consider our surroundings as a passive backdrop in which humankind can take center stage: controlling the landscape, developing infrastructures, and extracting resources at will. This rather anthropocentric position has become unviable, however, as recent human-driven ecological crises – like climate change, the dramatic loss of biodiversity and large-scale destruction of habitats – are clearly indicating. If we wish to develop a more sustainable future, we urgently need to reconnect to our environment and restore a more reciprocal relationship with the earth.  In the context of the project Land, studium generale commissioned the Radio ArtEZ series Sounding Places / Listening Places in which writer and music journalist Joep Christenhusz and creator of sound works, musician, writer, poet, and Deep Listener Sharon Stewart enquire how sound and listening can help us to do so. In this first episode we focus on the natural soundscape with musician and soundscape ecologist Bernie Krause, composer Evelien van den Broek and soundscape composer and Acoustic Communication Researcher Barry Truax. Shownotes: In the audio examples from Evelien van de Broek’s Biophonica the following field recordings were used: on track ‘I Rainforest’, we heard recordings by Bernie Krause, PhD. the field recordings on track ‘III The Last Northern White Rhinoceros’ were provided by Dr. Ivana Cinková of the University of KwaZulu-Natal, Palacký University Olomouc. the field recordings on track ‘IV The Blue Whale’ were retrieved from Freesound.org This episode also uses a field recording of the Brazilian rainforest by Reinsamba: https://freesound.org/people/reinsamba/   Reading and Listening Krause, Bernie, The Great Animal Orchestra (Back Bay Books, 2013) LaBelle, Brandon, Background Noise, Perspectives on Sound Art (Bloomsbury, 2006) Schafer, R Murray, The Soundscape, Our Sonic Environment and the Tuning of the World (Destiny Books, 1994) Truax, Barry, Acoustic Communication (Ablex Publishing Corporation, 1984) Van den Broek, Evelien, Endlings (album): https://evelienvandenbroek.bandcamp.com/album/endlings World Soundscape Project, The Vancouver Soundscape (album): https://www.soundohm.com/product/the-vancouver-soundscape Links Bernie Krause: https://www.wildsanctuary.com The Great Animal Orchestra (website): https://www.legrandorchestredesanimaux.com/en Barry Truax: http://www.sfu.ca/~truax/ World Soundscape Project: https://www.sfu.ca/~truax/wsp.html Evelien van den Broek: https://evelienvandenbroek.com Sounding Places - Listening Places was commissioned by ArtEZ Studium Generale. Interviews, texts and voice overs by Sharon Stewart and Joep Christenhusz. It is produced by Ondercast for Studium Generale ArtEZ. Studium Generale curator for this series: Catelijne de Muijnck

Conversations with naturalist Bill Felker, author of the podcast and book Poor Will's Almanack. This show explores the wonders of being Alive!Enjoy current episodes while we prepare Season 2 with lots of storytelling!  Find @credko on Twitter.  See  alivepodcast.netThank you,Cristina Redko, Ph.DKey Sources:Bill Felker's Poor Will's Almanack. See https://www.wyso.org/show/poor-wills-almanackMerlin Bird ID. See https://merlin.allaboutbirds.orgMuch of the archival audio of birdsong comes from the Macaulay Library at the Cornell Lab of Ornithology. Including:ML292118321 Carolina Chickadee  Matthew WistrandML322499481 Pine Warbler  Brad ImhoffML93737501 Blue Jay  Jay McGowanML168300     American Robin Will HershbergerML2000282711 Snow Goose Robert DobbsML53519641 Canada Goose Jay McGowanAmazon Dawn/Kilometer 41 Field recordings, Bernie Krause. © 2021 Wild Sanctuary. All Rights Reserved. See http://www.wildsanctuary.comGregory Bateson, Steps to an Ecology of Mind: Collected Essays in Anthropology, Psychiatry, Evolution, and Epistemology, University of Chicago Press, 2000Theme music created by Tim Moor. See  https://soundcloud.com/tymur-khakimov Support the show

In 1968, Dr. Bernie Krause was leading a booming music career. A prodigiously talented musician and early master of the electronic synthesizer, Krause was busy working with artists like the Doors and the Beach Boys and performing iconic effects for blockbuster films. Then Warner Brothers commissioned him to create an album incorporating the sounds of … Continue reading Ep. 39 – Bernie Krause on saving the music of the wild →

Together we listen back to select "Cylinder Talk" sound production assignments created by Concordia graduate students, and unpack the experiences, ideas and discussions that the production and study of sound can incite across disciplines. A 3-minute audio project assigned to students in Jason's most recent graduate seminar - Literary Listening as Cultural Technique - the Cylinder Talk draws on a history of early spoken sound recordings, inviting us into an embodied sonic engagement with literature studies.The episode features sound work by Alexandra Sweny, Sara Adams, Aubrey Grant and Andrew Whiteman.SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.Episode Producers:Jason Camlot (SpokenWeb director) is Professor in the Department of English and Research Chair in Literature and Sound Studies at Concordia University in Montreal. His critical works include Phonopoetics (Stanford 2019), Style and the Nineteenth-Century British Critic (2008), and the co-edited collections, CanLit Across Media (2019) and Language Acts (2007). He is also the author of four collections of poetry, Attention All Typewriters, The Animal Library, The Debaucher, and What the World Said.Stacey Copeland  is a media producer and Communication Ph.D. candidate at Simon Fraser University in Vancouver, Canada. She received her MA from the Ryerson York joint Communication and Culture program and a BA in Media Production from Ryerson University. She is currently the podcast project manager for The Spokenweb Podcast and the supervising producer of Amplify Podcast Network. website: http://staceycopeland.com/Cylinder Talks Featured:Alexandra Sweny,  “Ethics of Field Recording in Irv Teibel's Environments Series”Sound Clips:  Original recordings of Montreal by Alexandra Sweny.Sara Adams,  “Henry Mayhew and Victorian London”Sound Clips: “Victorian Street.” British Library, Sounds, Sound Effects. Collection: Period Backgrounds.  Editor, Benet Bergonzi.  Published, 1994.Aubrey Grant,  “Poe's Impossible Sound”Sound Clips: Lucier, Alvin. I Am Sitting in a Room, Lovely Music Ltd., 1981.Andrew Whiteman,  “Bronze lance heads”Sound Clips:“Robert Duncan Lecture on Ezra Pound” March 26, 1976, U of San Diego; accessed from Penn Sound Robert Duncan's author page. (https://writing.upenn.edu/pennsound/x/Duncan.php)“Ezra Pound recites Canto 1” 1959; accessed from Penn Sound Ezra Pound's author page (https://writing.upenn.edu/pennsound/x/Pound.php)—“The Sound of Pound: A Listener's Guide” by Richard Siebruth, interview with Al Filreis May 22, 2007. (https://writing.upenn.edu/pennsound/x/Pound.php)Sampled 1940s film music; date and origin unknown.Original music; composed by Andrew Whiteman, Dec 2020.References:Eidsheim, Nina Sun.  The Race of Sound: Listening, Timbre and Vocality in African Music. Duke UP, 2019.Feaster, Patrick. “'The Following Record': Making Sense of Phonographic Performance, 1877-1908.” PhD Dissertation.  Indiana University, 2007.Hoffman, J. “Soundscape explorer: From snow to shrimps, everything is a sound to Bernie Krause.” Nature, vol. 485, no. 7398, 2012, p. 308, doi:10.1038/485308a.Kittler, Friedrich. Grammophone, Film, Typewriter, trans. Geoffrey Winthrop-Young and Michael Wutz, Stanford University Press, 1999.Krause, Bernie. The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places. Little Brown, 2012.Peter Miller, “Prosody, Media, and the Poetry of Edgar Allan Poe,” PMLA 135.2 (March 2020): 315-328.Mayhew, Henry. London Labour and the London Poor, 1851.Picker, John.  Victorian Soundscapes.  Oxford University Press, 2003.Poe, Edgar Allen. “The Bells”, Complete Poems and Selected Essays, ed. Richard Gray, Everyman Press, 1993, pp. 81-84.Robinson, Dylan.  Hungry Listening: Resonant Theory for Indigenous Sound Studies. University of Minnesota Press, 2020.Schafer, R. Murray. The Soundscape: Our Sonic Environment and the Tuning of the World. Inner Traditions/Bear and Co., 1993.Siegert, Bernhard. Cultural Techniques: Grids, Filters, Doors, and Other Articulations of the Rea. Trans. Geoffrey Winthrop-Young.  Fordham UP, 2015.Stoever, Jennifer Lynn. The Sonic Color Line: Race and the Cultural Politics of Listening.  New York University Press, 2016.Teibel, Irv. Environments 1: Psychologically Ultimate Seashore. LP Record. Syntonic Research Inc., 1969.World Soundscape Project - Sonic Research Studio - Simon Fraser University. https://www.sfu.ca/sonic-studio/worldsoundscaperoject.html. Accessed 31 Jan. 2021.Additional Sound Clips:Camlot, Jason.  Ambient Music for “Cylinder Talks”.“A Christmas Carol in Prose (Charles Dickens: Scrooge's awakening )(w Carol Singers [male quartet]).” Bransby Williams, performer. Edison 13353, 1905."Big Ben clock tower of Westminster - striking half past 10, quarter to 11, and 11 o'clock" (Westminster, London, England). July 16, 1890. Recorded by: Miss Ferguson and Graham Hope, (for George Gouraud). Edison brown wax cylinder (unissued). NPS object catalog number: EDIS 39839.bpayri. “crowd chattering students university loud”, Freesound, 2015.Humanoide9000. “Glacier break”, Freesound, 2017.“Micawber (from ‘David Copperfield').” William Sterling Battis, performer. Victor 35556 B, 12”disc, 1916.New, David, director. R. Murray Schafer: Listen, National Film Board of Canada, 2009.sbyandiji. “short alarm bell in school hall”, Freesound, 2014.Spliffy. “Hallway of University in silence”, Freesound, 2015.“Svengali Mesmerizes Trilby.” Herbert Beerbohm Tree, performer. Gramophone Concert Record, 10” Black Label Disc, GC 1313, 1906.“The Transformation Scene From Dr. Jekyll and Mr. Hyde.” Len Spencer, performer. Columbia matrix, [1904] 1908.Udall, Lyn. “Just One Girl.” Popular Songs of Other Days, 2012/1898.Westerkamp, Hildegard. “Kits Beach Soundwalk.” Transformations, Empreintes DIGITALes, IMED 1031, Enregistrements i Média (SOPROQ), 1989/2010. https://electrocd.com/en/piste/imed_1031-1.3.

Moog pioneer talks about his musical journey.... --- Support this podcast: https://anchor.fm/jake-feinberg/support

Episode 8   This episode: Synthetic Environments   Recordings of contemplative imaginary spaces.   Playlist The Rainy Season, (1952), excerpt. Edited by Moses Asch. From the album Sounds of a Tropical Rain Forest in America(Folkways Records, US). Edited field recordings. Im Westen Nicht Neues Side A (2013). By Ian Anüll / Luigi Archetti / Lux Lindner (Ultimate Records, Switzerland). Excerpt. Edited field recordings, crickets. Im Westen Nicht Neues Side B (2013). By Ian Anüll / Luigi Archetti / Lux Lindner (Ultimate Records, Switzerland). Excerpt. Studio recording, electronic. The Sea (1975) by Brad Miller. From the album Nature's Mystic Moods: The Sounds of the Storm and the Sea (Bainbridge Records, US). Excerpt. Edited field recordings. Fish Wrap (1989) by Bernie Krause. From the EP Jungle Shoes (Ryko Analogue, US). Edited field recordings of animals and their environment. World Rhythms (1975) by Annea Lockwood. From the album New Music for Electronic and Recorded Media (1750 Arch Records, US). Edited field recordings and gong. Tintinnabulation (contemplative sound) (1970) by Syntonic Research, From the album Environments 2 (Atlantic Records, US). Computer synthesized sound played at 45 RPM. Sonic Landscapes No. 3 (1977 revision) by Barry Truax. From the album Sonic Landscapes: Electronic and Computer Music(Melbourne Records, Canada). Excerpt. “A spatial environment for four computer synthesized soundtracks.” Back Porch (2020) by Christina Vantzou. From the album Multi Natural (Edições CN, Belgium). Ambient and electronic music with instrumentalists.   The Archive Mix, in which I play two additional tracks at the same time to see what happens, included the following: Appalachian Grove I (1974) by Laurie Spiegel. From the album New Music for Electronic and Recorded Media (1750 Arch Records, US). Computer synthesized sound. Jungle Shoes (original edit) (1989) by Bernie Krause. From the EP Jungle Shoes (Ryko Analogue, US). Edited field recordings of animals and their environment.   Read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (2020).   Also of interest: Richard Carlin, Worlds of Sound: The Story of Smithsonian Folkways (2008).

Dans cet épisode, on est à l'écoute des profondeurs … «  Ainsi s'accorde le grand orchestre animal, révélateur de l'harmonie  acoustique de la nature, l'expression profondément articulée de ses sons  et de ses rythmes. Le son le plus originel provient de  l'océan, le lieu où les premières formes de vie se sont organisées.  Elles sont à l'origine de toutes formes de vie, et de tous les sons que  nous entendons. » Bernie Krause inventeur du terme "biophonie" et précurseur de l'écologie acoustique. On  plonge nos micros au large du Parc des calanques, avec Caroline Boé,   artiste-chercheuse au laboratoire PRISM de Marseille et Lucia Di Lorio  du laboratoire Chorus. ........... De calcaire et de sel … Une série co-produite par Parc National des Calanques et Radio Grenouille-Euphonia.  Réalisation : Jean-Baptiste Imbert Captation voix Lucia Di Lorio : Andréa Muselet Photo podcast :  Nicolas Floc'h 

Matthew Mikkelsen is an audio engineer, documentary filmmaker, and a sound recordist. He's the co-founder of Spruce Tone Films, and is the Executive Director of Wilderness Quiet Parks at Quiet Parks International. Listen to his journey from growing up in New Jersey and studying the world of sounds, to now sharing impactful stories, and saving quiet. One Square Inch of Silence is an independent research project by Gordon Hempton. Located off the Hoh River Trail in the Hoh Rain Forest of Olympic National Park, it's marked by a small red stone. See the website Like their Facebook page N 48.12885°, W 123.68234° 303 feet ASL This pristine and diverse environment is possibly the most naturally quiet place in the United States. Quiet Parks International is a private organization that aims to conserve quiet and natural spaces across the world. See their website Follow them on Instagram Like their Facebook page Chat with them on Twitter Watch their YouTube channel Spruce Tone Films is a full suite production company founded by Matt Mikkelsen and Palmer Morse. They share compelling stories of socially and environmentally conscious initiatives, and the outdoors. See the website Follow them on Instagram Like their Facebook page Watch their Vimeo channel Also, mentioned on this podcast Alan Levinovitz - Amazon Rainforest - Anechoic chamber - Anthrophony - Arctic Circle - Arctic Circle air traffic - Atlas Obscura - Atlas Obscura: Soundscapes of Cities Transformed - Austria - Being Hear - Bernie Krause - Biophony - Boudhanath - Cities and Memory - Cofan Tribe, Amazon - Denmark - Elon Musk - Geophony - Gordon Hempton - Gordon Hempton TED talk - Grand Canyon helicopter tours - Grand Teton National Park - Great Big Story - Hoh Rain Forest - Hunting in North America - Ithaca College, NY - Jackson, WY - Joe Rogan podcast with Alan Levinovitz - Lesotho - Mary - Mid-west farming and agriculture - Monument Valley Tribal Park - Navajo Nation - Noise-free interval - NPR The Wild - Olympic National Park - Orfield Laboratories, Minneapolis - Palmer Morse - Massachusetts Institute of Technology - Microsoft headquarters, Washington - Pebble Mine, Alaska - Prathima Muniyappa - Seattle - Share Your Quiet - Sounds Of - Spain - Transformational Travel Council - Twenty Thousand Hertz - United Kingdom - Valley of the Gods - Venture Out - Water Flows Together - Wolf reintroduction in Yellowstone - Wyoming - Yangmingsham Quiet Park - Yellowstone National Park - Zabalo River Timestamps for reference 02:21 Why Wyoming? 07:57 What does silence mean to Matt? 09:02 Human-made noise and human interaction with nature 10:11 Treating our natural spaces better 12:21 Priority of conserving quiet by understanding natural sounds 15:02 Are tribal and folk songs natural sounds? 20:43 Psychedelics and sounds 21:43 Talking about quiet in an anechoic chamber 25:02 What is nature, and what is natural? 33:48 A bit about Bernie Krause 34:53 How did Matt meet Gordon? 43:43 The kinds of sounds that Matt and Gordon record 48:17 Leading to QPI from the first meeting with Gordon 50:40 Who is Gordon Hempton, and what is an acoustic ecologist? 54:40 What is Gordon upto these days? 55:45 What is One Square Inch of Silence? 57:29 Origin of Quiet Parks International 59:42 What does One Square Inch of Silence represent? 01:02:15 Why protecting soundscapes is important from a conservation perspective? 01:03:43 Why protecting naturally quiet spaces spills over to other forms of conservation too? 01:05:30 Awarding the world's first Wilderness Quiet Park and Urban Quiet Park 01:07:58 Managing a Quiet Parks International award/certification 01:13:11 Was it easier to award a Wilderness Quiet Park or an Urban Quiet Park? 01:13:49 Standards of awarding quiet parks 01:18:33 Other quiet experiences courtesy of Quiet Parks International 01:19:58 Identifying Marine Quiet Parks 01:22:50 Challenges in awarding quiet destinations 01:25:32 Hunting and Quiet Parks in the US 01:28:59 Farming and agriculture vs quiet spaces 01:30:52 How population density affects quiet spaces 01:32:20 Initiations for awarding quiet areas 01:33:21 Upcoming quiet destinations across the world through 2020-2021 01:34:30 Introducing Vikram Chauhan, President of QPI 01:36:30 How can a layman contribute to conserving quiet spaces? 01:38:29 Matt as a filmmaker, and co-founding Spruce Tone Films 01:42:23 Adventure sports and the outdoors in conserving quiet spaces 01:44:23 Recording other soundscapes apart from nature sounds 01:46:58 Upcoming projects personally, and with QPI 01:48:58 What's the team of QPI like? ******* Show cover jingle courtesy of Icons8 Music by Nordgroove from Fugue Episode background tunes courtesy of YouTube Audio Library Alone by Emmit Fenn First Class by DJ Williams One Square Inch by Gordon Hempton Orbit by Corbyn Kites Whispering Stream by E's Jammy Jams Untitled 079 by Nikhil Shankar All photographs by Matt Mikkelsen, Quiet Parks International, & Spruce Tone Films, unless otherwise stated

Community Radio Tbilisi took part in World Listening Day 2020 an annual global event held every July 18. This year's theme, created by Wild Sanctuary Vice President Katherine Krause was"The Collective Field." We streamed directly from Ben Wheeler's studio in Tbilisi. The Collective Field There is something new afoot. The field itself is changing. The creature world knows. The creative one does too. So what does it mean now to listen? How do we express what we know? Be alert. Individually and in concert, There is sanctity in it. Amid new conditions, travel the field and explore By call and response The rhythm within. How does your song fit Within the collective chorus? Current times have asked each of us, individually and in concert, to retreat, reflect, and rethink the world we thought we knew, but how do we respond? Energizing this shared global experience holds gifts of rejuvenation. Respect this momentary silence – but glean what it yields. The Collective Field invites you to express your recent journey through what was, what is, and what will be, evoked only by wandering into new territory. Stay silent until you know. Then speak. Share. Perform. How have you been transformed? We are all in the woods of a new age, and we're listening to the future. Help us share and grow participation in this global community event by adding your information to this short online survey. We welcome everyone to share news, ideas, and questions about participation in the comments of this post, in our Facebook Page and our Facebook Group. Learn more about the work of Katherine and Bernie Krause at Wild Sanctuary. Since its inception in 2010, thousands of people from six continents have participated in World Listening Day. July 18th is the birth date of renowned Canadian composer, music educator, and author, R. Murray Schafer. His World Soundscape Project developed the fundamental ideas and practices of acoustic ecology in the 1970s. These inform the current, burgeoning interest in our changing acoustic environment. Thus, World Listening Day honors Schafer's contribution to understanding our world. Ben Wheeler is a experimental musician, composer, musicologist, and educator whose work deals with the preservation and promotion of musical culture in the Caucasus

Paul Holdengräber is joined by musician and soundscape ecologist Bernie Krause. Tune in as they discuss Krause’s career and how he arrived at soundscape ecology, the healing potential of natural soundscapes, and the importance in asking ourselves how we are acting toward the people and planet we love.Since 1968, Bernie Krause has traveled the world recording and archiving the sounds of creatures and environments large and small. Working at the research sites of Jane Goodall (Gombe, Tanzania), Biruté Galdikas (Camp Leakey, Borneo), and Dian Fossey (Karisoke, Rwanda), he identified the concepts of the Acoustic Niche Hypothesis (ANH), and biophony the collective and organized acoustic output as each species establishes unique frequency and/or temporal bandwidth within a given habitat. Krause, who holds a PhD in Creative Arts with an internship in Bioacoustics, was a key figure in implementing natural soundscapes as a resource for the U. S. National Park Service. His recent book, The Great Animal Orchestra: Finding the Origins of Music in the World’s Wild Places, was published by Little Brown/Hachette, March, 2012, and has been translated into eight languages.*You may notice the sounds of our natural world included in this special interview. This dawn chorus was captured by Bernie Krause and was recorded April 15th, 2020 at Sugarloaf Ridge State Park in Sonoma Valley, about 50 miles N. of San Francisco.*Credit: Sonoma Valley Sunrise, recording by Bernie Krause, © 2020 Wild Sanctuary. All Rights Reserved. https://wildstore.wildsanctuary.com

Bust out your headphones for this one, because in this episode of Little Yo Pod, I talk about (and share) the sounds of spring in Yosemite and how listening to a soundscape gives us important clues to environmental changes and challenges.Resources:Bird Extinction Forecasthttps://www.theguardian.com/environment/2019/oct/10/bird-species-extinction-north-america-climate-crisisBernie Krause's TED Talk https://www.ted.com/talks/bernie_krause_the_voice_of_the_natural_worldEmail Me!littleyopod@gmail.com*Bonus if you catch my blooper*

Bernie Krause was a successful musician as a young man, playing with rock stars like Jim Morrison and George Harrison in the 1960s and '70s. But then one day, Bernie heard a sound unlike anything he'd ever encountered and it completely overtook his life. He quit the music business to pursue it and has spent the last 50 years following it all over the earth. And what he's heard raises this question: what can we learn about ourselves and the world around us if we quiet down and listen? | To learn more about this episode, subscribe to our newsletter. Click here to learn more about NPR sponsors.

Do you feel like you're in a play? Do you work for a company that puts bombs on dolphins? Or one that makes steam rollers for squirrels? This is the third in the five part "I feel like we're in a play” series and features Eliana Stockwell-Ferber, Ariel Birks and Alexis Sarah. Music by Bernie Krause.

We've reached the end of Series 3! It's been a series of new discoveries, awe-inspiring moments, tear-jerkers and revelations.In the final episode of the series, we are telling stories about the senses. We begin by meeting Sy Montgomery, who built a bond with an eight limbed friend through touch. Octopi have the unique ability to taste what they are touching using the suction cups on their tentacles; some are more sensitive than others and it became clear to Sy that a friendship had been born. Hear from legendary composer, Hans Zimmer, as he describes the process of composing for natural history documentaries - such as Seven Worlds, One Planet - and how these thought provoking series differs from his work on iconic, blockbuster movie soundtracks. In this episode we also tell the story of Bernie Krause who is a "soundscape ecologist", responsible for tracking and recording the sounds of our planet which are rapidly vanishing.Thank you for listening to another series of the BBC Earth Podcast. As ever, we love hearing from you on social media, so do share with us your favourite episode so far or story that tugged your heart strings…Facebook: https://www.facebook.com/bbcearth/Instagram: https://www.instagram.com/bbcearth/Twitter: https://twitter.com/bbcearth See acast.com/privacy for privacy and opt-out information.

The world is full of sound. With the help of Hildegard Westerkamp, Bernie Krause, and Nick Friedman, we untangle some of the amazing ways that we can learn about our planet by listening to it. Join us as we explore the nature of sound through the sounds of nature. Featuring sublime electroacoustic composition, stunning field recordings, and cutting-edge scientific research, it all begins by listening. For a full list of music & soundscape credits, citations, and more, head over to https://www.futureecologies.net/listen/fe-2-5-the-nature-of-sound (https://www.futureecologies.net/listen/fe-2-5-the-nature-of-sound.) To support the work that we do, and to get access to monthly bonus mini-episodes and more, pay what you can at https://www.patreon.com/futureecologies (https://www.patreon.com/futureecologies.) Cover illustration by Katie Lukes Support this podcast

David sits down with Bernie Krause, author, bio-acoustician, speaker, natural sound artist, to discuss his life’s work in sound.

Architecture & Anthropocene, is a podcast produced by Triennale Milano, Italy’s foremost institution for design and contemporary culture, hosted by journalist David Plaisant. This is a discussion on architecture, design, nature and technology in this the age of humans, the so-called anthropocene era. In this 7-episode podcast David meets with design curator Paola Antonelli, Forensic Architecture founder Eyal Weizman, bio-acoustician Bernie Krause, urban thinker Ricky Burdett, and architects Shigeru Ban, Tatiana Bilbao and Assemble, the London based architecture collective.

Do you know what noise a hungry sea anemone makes? Soundscape ecologist Bernie Krause does. Armed with over 5,000 hours of recordings, he takes Ian Sample on a journey through the natural world and demonstrates why sound is a powerful tool for conservation First broadcast on 15 June 2018. Help support our independent journalism at theguardian.com/sciencepod

durée : 00:05:16 - Le Journal des idées - Que serait le printemps sans le chant des oiseaux ? D’après Bernie Krause, au cours des cinquante dernières années 50% des sons de la nature ont disparu.