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3 episodes with castle street
3 episodes with castle street
2 episodes with castle street
2 episodes with castle street
2 episodes with castle street
Merriam-Webster's Word of the Day for April 6, 2025 is: impresario • im-pruh-SAHR-ee-oh • noun An impresario is a person who manages, puts on, or sponsors a performance or other entertainment, such as a concert, play, or sporting event. // The former heavyweight retired from the ring and later became a boxing impresario. See the entry > Examples: “When he stepped on stage during a comedy open mic at Castle Street spot The Barzarre in June of 2022, Louis Maynor, better known as Louis Tee, was mainly known as a producer, a hip-hop impresario who'd been staging shows and concerts around Wilmington since the late 1990s.” — John Staton, The Wilmington (North Carolina) Star-News, 21 Dec. 2023 Did you know? Concerts, music festivals, television series, professional wrestling matches—these are quite the undertakings. Luckily, there's a word for the impressive individuals responsible for organizing and overseeing such productions: impresario. In the 1700s, English borrowed impresario directly from Italian, whose noun impresa means “undertaking.” (A close relative is the English word emprise, “an adventurous, daring, or chivalric enterprise,” which, like impresario, traces back to the Latin verb prehendere, meaning “to seize.”) At first English speakers used impresario as the Italians did, to refer to opera company managers, though today it is used much more broadly. It should be noted that, despite their apparent similarities, impress and impresario are not related. Impress is a descendant of the Latin verb pressare, a form of the word premere, meaning “to press.”
Some of the best bits from today’s show: Harrisons eventful or not so eventful night? Lets check in on your kid in otago What did you do in otago? Hide and Seek for electric ave tickets! A double banger - Cyril and Peking Duk.... Kinda We go door knocking to name a flat The Offical 'GOON SALOON' Love ya! Sean, Steph, Harrison, Producer Arun & Intern Lily x Follow us on insta @Edgeafternoons
Send us a textTwelve terrorists. One Butcher. The odds are against Marty Scorsese.. That's just the way he likes it. Returning for a second year in a row, its the BanterFlix King of Castle Street Christmas special. Its Christmas Eve, everyone's favourite butcher from Castle Street is heading to the Europa to reconnect with his wife only to discover terrorists have taken over the hotel and only Marty can stop them...Thank you to all the players in our short drama, written by Adam Neeson, featuring Jim McClean, Joe McElroy, Adam Neeson, Yasmin Zemmoura, Jane Veitch and Cushlá Rice.Happy Christmas from all of us here at the BanterFlix team. Support the showAs always each recording is filled with spoilers, silliness and bad-language along with tangents a-aplenty.If you enjoyed this episode, be sure to leave us a reviewCheck out our socials on Facebook, Twitter, Instagram and YouTube.Don't forget to subscribe to make sure you never miss a single episode and find our complete back catalogue on our website.
The local version of the popular board game features Dunedin landmarks, like Saint Clair Beach, Otago University, and even the University student haunt, Castle Street.
GB2RS News Sunday the 13th of October The news headlines: The RSGB 2024 Convention is taking place this weekend Two new volunteer Youth Champions have been appointed by the RSGB Celebrations are underway to mark the first trans-global two-way radio communication The RSGB Convention has been in full swing this weekend. If you haven't been able to attend, the RSGB has provided a packed live stream on each day and those live streams are available for anyone to view. Full of presentations, interviews and videos to inspire you, this is another way to enjoy your Convention, in your way. Either go directly to the RSGB YouTube channel or head over to rsgb.org/livestream to see the programme of presentations and the links to the livestreams. The RSGB is delighted to announce the appointment of two new volunteer Youth Champion roles. Chris Aitken, MM0WIC will be the RSGB's School Youth Champion and Rhys Williams, M0WGY/AJ6XD will be the University Youth Champion. Chris is a Computing Science teacher at Wick High School, Caithness. Since 2023, Chris has been running the Wick High School Radio Club, GM0WHS, providing students with a wide range of experiences in amateur radio. He has four students who have passed their Foundation licence exam and are now taking on leadership roles within the club and assisting the latest cohort in their studies. He is also a member of the RSGB Outreach Team. You can contact Chris via youthchampion.school@rsgb.org.uk Rhys represented the RSGB at the Youngsters on the Air Camp in Prague this year. He sent back daily reports on his activities which you can still see on the website under the summer camps tab at rsgb.org/yota He is starting a PhD in Aerospace Engineering at the University of Oxford and is keen to help the RSGB support the growth of amateur radio in universities across the UK. You can contact Rhys via youthchampion.uni@rsgb.org.uk Ben Lloyd, GW4BML is the Board Liaison for youth activities. He said that he welcomes Chris and Rhys to their new youth volunteer roles and looks forward to working closely with them in the future to attract and grow RSGB youth membership. He explained that the three of them have already had some positive conversations and shared some good ideas, which they will be putting into place over the coming months. This week marks the centenary of the world's very first trans-global two-way radio communication. On the 18th of October 1924 Frank Bell, 4AA, from New Zealand, and Cecil Goyder, 2SZ, from North London, changed how we communicate forever by making contact on amateur bands. To commemorate this historic contact, special callsigns will be active, and awards and QSL cards will be available for those who make contact with these special stations. GB2NZ and ZM100DX have already been active since the start of the month. Starting tomorrow, until the 20th of October, calls reflecting Goyder's callsign, G2SZ, and Bell's, ZL4AA, will be active. This will include activity here in the UK from Mill Hill School in North London which is the original location from which Goyder made his contact. On Friday the 18th of October, radio amateurs will also be recreating and re-enacting the first contact between Goyder and Bell. It is hoped that the QSO will be made on a wavelength close to that used in 1924. To find out more about this unique celebration go to gb2nz.com YOTA Month is just around the corner, and the RSGB is looking for volunteers to host the GB24YOTA callsign throughout the month of December. As in previous years, schools, clubs, guide and scout groups and also individuals are invited to host young radio amateurs whilst they operate with the callsign. Each day during the month has been split into a number of operating slots that you can book. In recent years, this system has allowed many more youngsters to get on the radio throughout the month. You can see the operating calendar by visiting QRZ.com and searching for GB24YOTA. Operators should be below the age of 26. Those who do not hold a Full amateur radio licence should be supervised by an appropriate Full licensee whilst operating. The RSGB is pleased that previous activators have already reached out to book their operating slots but there are still many more up for grabs! To book an operating slot or for more information about YOTA Month, please email Jamie, M0SDV at yota.month@rsgb.org.uk During last month's Hamfest in Newark, the ICQ Podcast team spoke with RSGB President John McCullagh GI4BWM, RSGB Board Chair Stewart Bryant G3YSX and RSGB General Manager Steve Thomas M1ACB. Listen to Episode 440 of the podcast series to hear them discuss some of the many events that the Society is currently involved with. This includes the recent Amateur Radio on the International Space Station contact, which Girlguiding and HRH The Duchess of Edinburgh took part in, as well as the RSGB Convention. The second part of the interview, which features the Chair of the RSGB's Propagation Studies Committee, Steve Nichols, G0KYA will be aired during upcoming Episode 441. Visit icqpodcast.com to listen to episode 440 now. The RSGB has been delighted with the number of responses that it has received in response to its call for Jamboree on the Air participation, which is taking place between the 18th and 20th of October. The Society has compiled a list of Scouting groups that are involved with the annual event and has shared it on its website. The list is available by going to rsgb.org/jota and choosing the ‘JOTA Stations on the Air' link on the right hand side of the page. If you are planning to get involved with JOTA and would like to be added to the list, please get in touch via comms@rsgb.org.uk with a summary of your station name, callsign and any other relevant information. The RSGB would love to see your photos of Scouts getting involved with JOTA, so tag @theRSGB and also use #JOTAJOTI to be involved in the conversation on social media. If you're not involved with a JOTA station do listen out for them on the air and encourage the young operators. And now for details of rallies and events The Dartmoor Autumn Radio Rally is taking place today, the 13th. The venue is Yelverton War Memorial Hall, Meavy Lane, Yelverton in Devon. The usual bring-and-buy area, trader stands, refreshments and free parking are available. The doors are open from 10 am and admission costs £2.50. For more information visit dartmoorradioclub.uk or email 2e0rph@gmail.com Hornsea Amateur Radio Club Rally is also taking place today, the 13th, at Driffield Showground in East Yorkshire. The doors are open from 10 am. For more details visit hornseaarc.com or contact Les, 2E0LBJ on 01377 252 293. The Mexborough and District Amateur Radio Society Rally is taking place on Saturday the 19th of October at The Place, Castle Street, Conisborough, Doncaster. The doors will be open from 10 am to 4pm but traders can gain entry from 8am. Light refreshments will be available and the rally will feature a bring-and-buy sale. The cost for booking a table is £5. To book please email madarsrally@gmail.com The date has been confirmed for the Twelfth Scottish Microwave Round Table GMRT. It will be going ahead on Saturday the 9th of November 2024 at the Museum of Communication, Burntisland in Fife. Lunch will be provided and an optional dinner will be held in the evening at a local hotel. The programme is now confirmed and, at the moment, 35 people have booked to attend the event. There are 15 places left so please book as soon as possible. Booking is available via the GMRT website at gmroundtable.org.uk or by email to Colin, GM4HWO at gm4hwo@gmail.com Now the Special Event news Celebrating the 100th anniversary of the formation of Radio Beograd in 1924, members of the Belgrade Amateur Radio Club, YU1ANO, in Serbia, are active as YT100RB and YU1924RB until the 30th of November. For details of a certificate that is available for contacting these stations, see yu1ano.org Special callsign HB50VC is active until the 31st of December to celebrate the 50th anniversary of the Swissair Amateur Radio Club, HB9VC. QSOs will be uploaded to the Logbook of the World. QSL cards will not be provided. You can download a certificate for working this special event station from tinyurl.com/HB50VC-24 Now the DX news The PX0FF Dxpedition team is active from Fernando de Noronha, SA-003, until the 21st of October. The team is working on the 160 to 6m bands, including the 60m Band, using CW, SSB and FT8. QSL via DJ4MX, ClubLog, OQRS and Logbook of the World. A team of amateurs will be active as C91BV from Mozambique from the 17th to the 24th of October. Operators will be working on the HF bands using CW, SSB, RTTY and FT8. QSL via EB7DX. For more information about the DXpedition, see QRZ.com Now the contest news On Tuesday the 15th, the RSGB 1.3GHz UK Activity Contest runs from 1900 to 2130UTC. Using all modes on the 23cm band, the exchange is signal report, serial number and locator. On Wednesday the 16th, the RSGB Autumn Series Data Contest runs from 1900 to 2030UTC. Using RTTY and PSK63 on the 80m band, the exchange is signal report and serial number. On Thursday the 17th, the RSGB 70MHz UK Activity Contest runs from 1900 to 2130UTC. Using all modes on the 4m band, the exchange is signal report, serial number and locator. The Worked All Germany Contest starts at 1500 UTC on Saturday the 19th and ends at 1500 UTC on Sunday the 20th of October. Using CW and SSB on the 80 to 10m bands, where contests are permitted, the exchange is signal report and serial number. On Sunday the 20th, the RSGB 50MHz Affiliated Societies Contest runs from 0900 to 1300UTC. Using all modes on the 6m band, the exchange is signal report, serial number and locator. Now the radio propagation report, compiled by G0KYA, G3YLA, and G4BAO on Wednesday the 9th of October 2024 What a difference a week makes when it comes to HF propagation! This last week has been characterised by solar flares, coronal mass ejections, or CMEs for short, and an elevated Kp index. Put together, this has resulted in dire conditions on HF, reminiscent of a solar minimum. A visible aurora was seen from the UK once again after the Kp index hit 7.33 on the 8th of October. Numerous CMEs have hit the Earth and the solar proton flux has risen, resulting in a moderate S2 radiation storm as particles blasted away from the flare site. This means poor trans-polar paths until the solar wind abates and the storm settles. Maximum usable frequencies have been badly affected and struggled to get much past 14MHz over a 3,000km path on the 8th of October. Geomagnetic storms were also forecast for Thursday the 10th and Friday the 11th. That's a shame as, before the CMEs hit, HF had been humming with a lot of DX on the 28MHz band and many five-watt beacons romping in from the USA. Next week, NOAA predicts that the solar flux index may drop back into the 170s, but it's anyone's guess as to how geomagnetic conditions will pan out. We have had three X-class solar flares over the past week and on Wednesday the 9th the probability of another X-class solar flare was estimated at 30% and an M-class event at 75%. So, it may be a case of ‘batten down the hatches' on HF until the storm conditions pass. This is not uncommon at this point in the solar cycle and unsettled conditions are likely to continue as we move along the downward portion towards the solar minimum. And now the VHF and up propagation news from G3YLA and G4BAO The current spell of unsettled weather is probably going to flip into high-pressure mode a couple of times during the coming week. The first of these will be today, the 13th, and through the first half of next week. However, by Wednesday the next change back to low pressure should be with us, closely followed by another attempt to build high pressure later in the week. This offers something for everyone with prospects for rain scatter on the GHz bands and the possibility of Tropo. The prospects for meteor scatter are also good with October offering several useful meteor showers. While 50 and 70MHz are the best for the mode, look at 144.360MHz in MSK144 digimode. Or, if it's a shower peak, 144.200MHz, the SSB meteor scatter calling channel, to see what's around. The solar conditions continue to behave like a solar maximum and, with several recent powerful flares and CMEs to stir things up, we should continue to check the bands for signs of aurora. The recent RSGB CW 80m Autumn Series Contest on Monday the 7th of October was about as auroral as it gets with a strong flutter on signals and a challenging hour and a half for participants – so not just an effect for VHF. The RSGB 1.3GHz UK Activity Contest coming up next week on Tuesday the 15th may be on the changeover from high pressure to low. Tropo might be limited to eastern areas for paths across the North Sea to northern Europe. For EME operators, Moon declination is still negative but will rise to positive by Tuesday night. Path losses are falling towards a minimum at perigee on Thursday the 17th. So, we have increasing peak Moon elevations and longer Moon windows with the lowest loss for the coming week. 144MHz sky noise is low for the rest of the week. And that's all from the propagation team this week.
In this episode of Somewhere and Elsewhere, we sit down with Corey Scott, co-owner and chef of On Thyme Restaurant in Wilmington, North Carolina. Corey takes us through his journey—from washing dishes at a hospital to launching a beloved spot on Castle Street. With support from his wife and inspired by family traditions, he shares how he learned to cook in his childhood kitchen and turned that passion into a culinary career.Scott talks about the challenges of running a business, the impact of the pandemic on his catering and food truck ventures, and the power of faith and community in overcoming obstacles. As he redefines soul food with his creative dishes, Corey remains rooted in his beginnings and committed to building a space where customers become family.Produced by audio contributor Nick SzuberlaArtwork by Day CamposecoMusic by PenguinMusic – Better Day from Pixabay.On Thyme Restaurant is located at 918 Castle St, Wilmington, NC 28401.
Graham and Luke return to review an enthralling Azerbaijan Grand Prix! Setting up the Azerbaijan Grand Prix Sunday: McLaren's wishy-washy team orders, Norris falls at Q1, Red Bull promise fades (4:08) How the race was won: Leclerc in control before Piastri strikes back to win with brilliant overtake (15:12) The Perez-Sainz crash (23:58) Piastri gets his convincing win, Norris recovers, McLaren take the championship lead (29:58) Odd communication from Bozzi to Leclerc (38:58) An inspired Sergio Perez drive (43:46) George Russell inheriting a podium, but quite unhappy (46:37) Fernando Alonso's brilliant, underrated drive (50:00) A brilliant Williams weekend; Albon's great drive, Colapinto shines but now encounters another problem (53:37) Bearman picks up points, but Hulkenberg shafted late on (65:54) An impressive weekend for Gasly in difficult conditions but more Baku tyre weirdness (71:51) Average race from Ricciardo, Tsunoda taken out by Stroll; midfield round-up (75:06) A rare off weekend for Max Verstappen (77:34) Fruitless weekend for Ocon (79:32) A very poor weekend for Hamilton (80:55) Stroll making up a reliability issue late on? (83:50) Brief news round-up, starting with Newey announced/unveiled at Aston (86:46) Honda and Alpine in procedural cost cap breach (92:43) Driver market talk; RB set to announce second driver for Singapore? (94:37) F1 set for review of penalty points system (85:52) Singapore Grand Prix preview (87:39)
Peter Meaden was a key figure in the Mod movement. He changed the world view of Andrew Loog Oldham, which shaped the early Stones, and he managed the Who, remodelling their look and sound, writing their first single and turning them into Mod figureheads. Steve Turner interviewed him in 1975, an exchange that's now the centrepiece of his new book 'King Mod: the Story of Peter Meaden, the Who and the Birth of a British Subculture', and the NME's published extract in 1978 paved the way for the Mod Revival. It's an extraordinary story that would make a movie, discussed here with Steve and including ... ... the Scene Club in Windmill Street "when a band was a way of life".... Angus McGill and the first press mention of 'the Modernists'.… the tale of Sandra Blackstone, the DJ who vanished into thin air.... the lifelong values of Mod culture for teenagers like Eric Clapton, Marc Bolan and David Bowie. ... the single Meaden wrote for the Who - Zoot Suit/I'm The Face - and where he stole the music from. ... police raids in Soho. ... doing press for Bob Dylan at the time of Madhouse on Castle Street. ... the Flamingo Club's dress policy, French and Italian film and fashion, boxing boots, cycle jackets and the origins of Mod style. ... Chuck Berry in suburban Edmonton! ... Meaden's disastrous attempt to bring Captain Beefheart and his Magic Band to London. ... and a typical weekend in 1964, a sleepless, Drinamyl-powered 48 hours from the Ready Steady Go! green room to the Scene Club via Carnaby Street. £5 off copies of ‘King Mod' here. Just type in the discount code which is:-Podcast offerhttps://redplanetmusicbooks.com/collections/full-catalogue/products/king-modFind out more about how you can help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Peter Meaden was a key figure in the Mod movement. He changed the world view of Andrew Loog Oldham, which shaped the early Stones, and he managed the Who, remodelling their look and sound, writing their first single and turning them into Mod figureheads. Steve Turner interviewed him in 1975, an exchange that's now the centrepiece of his new book 'King Mod: the Story of Peter Meaden, the Who and the Birth of a British Subculture', and the NME's published extract in 1978 paved the way for the Mod Revival. It's an extraordinary story that would make a movie, discussed here with Steve and including ... ... the Scene Club in Windmill Street "when a band was a way of life".... Angus McGill and the first press mention of 'the Modernists'.… the tale of Sandra Blackstone, the DJ who vanished into thin air.... the lifelong values of Mod culture for teenagers like Eric Clapton, Marc Bolan and David Bowie. ... the single Meaden wrote for the Who - Zoot Suit/I'm The Face - and where he stole the music from. ... police raids in Soho. ... doing press for Bob Dylan at the time of Madhouse on Castle Street. ... the Flamingo Club's dress policy, French and Italian film and fashion, boxing boots, cycle jackets and the origins of Mod style. ... Chuck Berry in suburban Edmonton! ... Meaden's disastrous attempt to bring Captain Beefheart and his Magic Band to London. ... and a typical weekend in 1964, a sleepless, Drinamyl-powered 48 hours from the Ready Steady Go! green room to the Scene Club via Carnaby Street. £5 off copies of ‘King Mod' here. Just type in the discount code which is:-Podcast offerhttps://redplanetmusicbooks.com/collections/full-catalogue/products/king-modFind out more about how you can help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Peter Meaden was a key figure in the Mod movement. He changed the world view of Andrew Loog Oldham, which shaped the early Stones, and he managed the Who, remodelling their look and sound, writing their first single and turning them into Mod figureheads. Steve Turner interviewed him in 1975, an exchange that's now the centrepiece of his new book 'King Mod: the Story of Peter Meaden, the Who and the Birth of a British Subculture', and the NME's published extract in 1978 paved the way for the Mod Revival. It's an extraordinary story that would make a movie, discussed here with Steve and including ... ... the Scene Club in Windmill Street "when a band was a way of life".... Angus McGill and the first press mention of 'the Modernists'.… the tale of Sandra Blackstone, the DJ who vanished into thin air.... the lifelong values of Mod culture for teenagers like Eric Clapton, Marc Bolan and David Bowie. ... the single Meaden wrote for the Who - Zoot Suit/I'm The Face - and where he stole the music from. ... police raids in Soho. ... doing press for Bob Dylan at the time of Madhouse on Castle Street. ... the Flamingo Club's dress policy, French and Italian film and fashion, boxing boots, cycle jackets and the origins of Mod style. ... Chuck Berry in suburban Edmonton! ... Meaden's disastrous attempt to bring Captain Beefheart and his Magic Band to London. ... and a typical weekend in 1964, a sleepless, Drinamyl-powered 48 hours from the Ready Steady Go! green room to the Scene Club via Carnaby Street. £5 off copies of ‘King Mod' here. Just type in the discount code which is:-Podcast offerhttps://redplanetmusicbooks.com/collections/full-catalogue/products/king-modFind out more about how you can help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Today on the Radio Highlights podcast, we delve into the curious phenomenon of Toe Shoes—what exactly triggers that visceral sensation of nausea when encountering them? Additionally, we'll explore the financial implications of acquiring two infamous flats situated on Castle Street in Dunedin.See omnystudio.com/listener for privacy information.
Val McDermid is an award-winning Scottish novelist who has sold over 19 million books. She's the author of the 'Wire in the Blood' and 'Traces' series and 'Past Lying'. She's also the lead singer of the Fun Lovin' Crime Writers. The plaque she's chosen is on Castle Street in Inverness and reads: "Site of MacKintosh fruit shop, family business of writer Josephine Tey (Elizabeth MacKintosh) 1896-1952, author of The Daughter of Time". We spoke about MacKintosh's career and legacy as a Golden Age crime writer, the aliases she used and the rigid separation between the lives she led in Scotland and London. The Blue Plaque Pod is a new podcast brought to you by Kassia St. Clair, author, cultural historian and commemorative plaque fancier. I would love to know what you think, whether you have a favourite plaque, or if there's someone you think would make a great guest. Get in touch at blueplaquepod.com.
rWotD Episode 2488: Cathedral of St Eunan and St Columba Welcome to random Wiki of the Day where we read the summary of a random Wikipedia page every day.The random article for Sunday, 25 February 2024 is Cathedral of St Eunan and St Columba.St Eunan's Cathedral ( YOO-nən), or the Cathedral of St Eunan and St Columba as it is also known, is a cathedral in the parish of Conwal and Leck, part of the Diocese of Raphoe. Built between the years of 1890 and 1900, the cathedral is found in Letterkenny, County Donegal in Ireland. There are two cathedrals in the county; an older cathedral of the same name is found in the town of Raphoe, and since the Reformation, has been used by the Church of Ireland.The cathedral was commissioned by Cardinal O'Donnell - then Bishop of Raphoe - and who, in 1888 aged 32, became the youngest bishop in the world at that time. The cathedral, located on Castle Street opposite Conwal Parish Church in the town, celebrated its centenary in 2001.This recording reflects the Wikipedia text as of 01:02 UTC on Sunday, 25 February 2024.For the full current version of the article, see Cathedral of St Eunan and St Columba on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Emma Neural.
Dunedin Police are making enquiries after a liquor company supplied hundreds of bottles of alcoholic lemonade to a student flat in Castle Street in exchange for promotion on social media. The Fridgette flat, famous for hosting annual flo-week parties, was delivered the booze in time for the gathering on Wednesday night. Buzz Club Limited is the company which owns BEE Alcoholic Lemonade. Its directors Edward Eaton and Wilbur Morrison did not respond to Checkpoint's requests for comment today. Max Phillips, the President of Students for Sensible Drug Policy, speaks to Lisa Owen [embed] https://players.brightcove.net/6093072280001/default_default/index.html?videoId=6346982744112
Marty Scorsese is feeling blue because of the MCU at Christmas.He's lost his festive spirit and passion for filmmaking, but tonight something magical is afoot - Marty will be visited by three ghosts (kinda) as they attempt to rekindle his passion for cinema.Thank you to all our players in this short radio drama written by Adam Neeson and featuring the vocal talents of Jim MccClean, Joe McElroy, Adam Neeson, Robert J E Simpson, Rachel Murray and Maria McQuillan. Happy Christmas from all of us here at the BanterFlix team. As always be warned this recording is filled with spoilers and tangents a-aplenty.If you enjoyed it, be sure to leave us a review wherever you get your podcasting fix.Check out our socials on Facebook, Twitter , Instagram and YouTube.Don't forget to subscribe to make sure you never miss a single episode and find our complete back catalogue on the BanterFlix website.
Welcome to Episode 118 of the Great Apes Cafe Podcast! In this exciting episode, we have a fantastic lineup of guests. Join us as we sit down with Bash Gomez, the owner of The Barzarre, a unique establishment on Castle Street in Wilmington. Bash shares insights into the eclectic world of The Barzarre and its role in the local community. We're also joined by Nick Knipper, as well as Kristopher Crockett, the founder of the media company Selworthy. Together, we delve into the dynamic realm of media, discussing trends, challenges, and the creative landscape in the digital age. Don't miss this engaging conversation that highlights the vibrant culture and entrepreneurial spirit in Wilmington, North Carolina. Whether you're a local resident or simply curious about the intersection of business and creativity, this episode has something for everyone. Like, comment, and subscribe for more captivating discussions with intriguing personalities! #GreatApesCafePodcast #LocalBusinessSpotlight #wilmingtonnc #entrepreneurshipsuccess #smallbusinessowners #communityimpact #MediaTrends #digitalmarketing #creativeentrepreneurs #BarzarreWilmington #SelworthyMedia #businessinterview #podcastconversations #inspiringstories #entrepreneurialspirit #localculture #CreativeBusinesses #communityengagement #podcastlisteners
In this episode, Molly and Sassie are joined by young people Alex and Sharmin, as well as Sanctuary Cafe staff Zahra and Betty, to discuss what the Young Person Sanctuaries are and what to expect as a young person visiting for the first time. It's a great resource in the community for young people (14-17 yrs) to have a safe space to go to, have someone to talk to, or just be in the space for some time. The different locations are listed below: Luton Young Person's Sanctuary: Young Persons Hub, ResoLUTiONs, 89 Castle Street, Luton LU1 3AJ: Monday – Sunday 4pm – 10pm Please note: ResoLUTiONS has two buildings, one located in Victoria Street and one location in Castle Street. We are based in Castle Street, opposite Matalan. Bedford Young Person's Sanctuary: CAMHS, 5-7 Rush Court, Bedford MK40 3JT: (7 days a week) The Bedford Young Person's Sanctuary is open on Monday – Friday from 5.00pm -10.00pm, Saturday – Sunday 4pm – 10pm. Central Bedfordshire Young Person's Sanctuary: Leighton Buzzard; Meadow Way Community Centre, Leighton Buzzard LU7 3FS Wednesday, Thursday and Friday 4pm – 10pm Houghton Regis; Houghton Regis Children's Centre, Tithe Farm Neighbourhood Centre, Tithe Farm Road, Houghton Regis, Dunstable, LU5 5JB Monday and Tuesday 4pm – 10pm Sandy; Sandy Children's Centre, Laburnum Road, Sandy, Bedfordshire, SG19 1HQ Opening Saturday 30th September Saturday and Sunday 4pm – 10pm If you would like further information about the Young Person's Sanctuary, please email on: YPS@mind-blmk.org.uk
ACC Head G Lane joins Manaia Stewart for a huge Tuesdee breaking down the All Blacks World Cup squad naming last night, Manaia's notes from the Sistema Steamer and harrowing stories from Castle Street... The Daily Agenda is powered by Musashi - Fuelling athletes like Aaron Smith, RTS, Manaia Stewart & G Lane for more than 30 years.See omnystudio.com/listener for privacy information.
In this episode we wrap up our year-long exploration of Bob Dylan's 1962. This month we are visiting December, when Bob Dylan enters Columbia Recording Studio A for the seventh and what he believed would be the final time before completing his second studio album (this turned out not to be the case), and then he boards a plane on December 16 in order to head to London to perform in Madhouse on Castle Street for the BBC: his first trip abroad. A 60th anniversary is a diamond anniversary, so this week – as we have throughout 2022 – we take a trip on "a highway of diamonds," exploring the events of Bob Dylan's career sixty years ago. In "20 Pounds of Headlines," we bring you news from the world of Bob Dylan, both in December of 1962 and December of 2022. In "Who Did It Better?" we ask you to vote and tell us which version of "Hero Blues" is better: the first or the fourth take? Listen to the episode, then go to our Twitter page @RainTrains to vote!
Straight From The Off welcomes Stephen Wright to the podcast. Stephen went from supporting Everton to playing for the Liverpool, and taking abuse off his friends and family that were blues! He represented Bootle Schoolboys where he gathered interest from local clubs in Everton and Liverpool. Ste was also capped for England at Under 21 level, playing in the same teams as John Terry etc. He tells is what it was like to be a youngster at Liverpool in the same age group as Steven Gerrard and Michael Owen and what it felt like to play in the champions league with the club. He tells us about the other teams he has played for in his career including Sunderland, Coventry and Brentford amongst others and all about the players he played with and against and throughout his career. Episode 98: is brought to by Fischer Crowne. Located in the heart of Liverpool on Castle Street. They are walking distance to Moorfields and James Street mainline train station. Suite 3, 34 Castle St, Liverpool L2 0NR 0151 363 9448
This week I catch up with the super talented bassist of Six60, Chris Mac! After a solid 11 years together, Six60 have just released their brand new album Castle Street and I catch up with Chris to talk why this album is different from the rest and what is the secret to their success?! We also dive into an array of topics including dealing with critics, using fashion for expression and the most ‘pinch yourself' moment yet! Also we talk about the possibility of getting a stunt double... Hope you enjoy my first musical guest on the show and get your latest Six60 fix here https://six60.co.nz. Hosted on Acast. See acast.com/privacy for more information.
Subscribe Apple | Google | Spotify | Stitcher | iHeart Support The Daily Gardener Buy Me A Coffee Connect for FREE! The Friday Newsletter | Daily Gardener Community Historical Events 1510 Death of Sandro Botticelli, Italian Renaissance master. His painting Allegory of Abundance or Autumn is one of his most elaborate and detailed drawings, and it depicts an abundance of flowers and fruits. Sandro painted idyllic garden scenes filled with beautiful women and men from the classical period. His painting, Primavera, depicts nine springtime gods and goddesses from classical mythology in a garden. Venus, the goddess of love, presides over the Garden of the Hesperides. To her right, Flora, the goddess of flowers, sprinkles roses. The garden features orange and laurel trees and dozens of other species of plants. 1642 On this day, Paul de Chomedey, Sieur de Maisonneuve, French military officer, catches his first glimpse of Montreal's landscape. He is recognized as the founder of Fort Ville-Marie (modern-day Montreal) in New France (Province of Quebec, Canada). In George Waldo Browne's 1905 book, The St. Lawrence River: Historical, Legendary, Picturesque, he wrote, On the 17th of May, the rounded slopes of Mount Royal, clad in the delicate green foliage of spring, burst into sight, stirring the hearts of the anxious beholders with newfound joy. They were delighted with the scenery. The fragrance of the springing forest permeated the balmy air, and, what was dearer far to them, over the water and over the landscape, rested an air of peace quite in keeping with their pious purpose. Maisonneuve was the first to step upon the land, and as the others followed him... they fell upon their knees, sending up their songs of praise and thanksgiving. Their first work was to erect an altar at a favorable spot within sight and sound of the riverbank, the women decorating the rough woodwork with some of the wildflowers growing in abundance upon the island, until the whole, looked very beautiful. Then every member of the party... knelt in solemn silence while M. Barthelemy Vimont... performed ...high mass. As he closed, he addressed his little congregation with these prophetic words: You are a grain of mustard seed that shall rise and grow till its branches overshadow the earth. 1810 Death of Robert Tannahill, Scottish poet, and lyricist. Remembered as the 'Weaver Poet,' Robert was born in Paisley and is often hailed as Paisley's own Robert Burns, as his work is said to rival Robert Burns. Today in Paisley, a stunning 50ft high mural of a young Robert Tannahill was painted by Mark Worst, collaborating with Paisley Housing Association. The mural overlooks where Robert Tannahill was born on Castle Street in 1774. One of Robert's most beloved songs is Will Ye Go Lassie, Go. The lyrics mention picking Wild Mountain Thyme, a plant known botanically as Thymus serpyllum (TY-mus sir-PIE-lum). Wild Mountain Thyme is a showy, wide growing groundcover from the Old World and has beautiful rose-red flowers and glossy deep green, mat-forming foliage. In the song, the thyme has grown in and around the heather. O the summer time has come And the trees are sweetly bloomin' The wild mountain thyme Grows around the bloomin' heather Will ye go, lassie, go? And we'll all go together To pull wild mountain thyme All around the bloomin' heather Will ye go, lassie, go? 1885 Birth of Elvin Charles Stakman, American plant pathologist. Elvin is remembered for his work identifying and combatting diseases in wheat. In 1917, he married fellow a plant pathologist named Estelle Louise Jensen. He also encouraged Norman Borlaug to pursue his career in phytopathology after Norman's job at the Forest Service was eliminated due to budget cuts. Elvin was Norman's teacher. And Norman went on to win the Nobel Peace Prize (1970) after discovering dwarf wheat varieties that reduced famine in India, Pakistan, and other third world countries. In 1938, Elvin gave a speech entitled These Shifty Little Enemies that Destroy our Food Crops. During his talk, Elvin focused on one shifty little enemy in particular: rust. Rust is a parasitic fungus that feeds on phytonutrients in grain crops like wheat, oat, and barley. Today, Elvin is remembered with the naming of Stakman Hall - the building where Plant Pathology is taught - at the University of Minnesota's St. Paul campus. In The Wizard and the Prophet: Two Remarkable Scientists and Their Dueling Visions to Shape Tomorrow's World, Charles Mann reflected, Stakman did not view science as a disinterested quest for knowledge. It was a tool—may be the tool—for human betterment. Not all sciences were equally valuable, as he liked to explain. “Botany,” he said, “is the most important of all sciences, and plant pathology is one of its most essential branches. Grow That Garden Library™ Book Recommendation 150 Gardens You Need To Visit Before You Die by Stefanie Waldek This book came out in 2022. Stefanie writes in her introduction: In 150 Gardens You Need to Visit Before You Die, I've shared a vast range of gardens, from immense botanical institutions with thousands of specimens, to smaller plots for quiet meditations, to museums that combine both artworks and plantings. I hope these brief introductions inspire you to plan a visit or two, whether in your hometown or on your global travels, so that you can enjoy the sights, smells, sounds, and stories of the world's best gardens. The publisher writes: From Kew Gardens in London to the Singapore Botanical Gardens, and from Monet's garden at Giverny to the Zen garden of the Ryoan-ji Temple in Kyoto, this handsomely bound book captures in words and images the most notable features of these 150 glorious, not-to-be-missed gardens. An essential bucket list book for garden lovers! You can get a copy of 150 Gardens You Need To Visit Before You Die by Stefanie Waldek and support the show using the Amazon link in today's show notes. Botanic Spark 1905 On this day, Louisa Yeomans King wrote in her garden journal about peonies. She published a year's worth of entries in her book, The Flower Garden Day by Day. In 1902, Louisa and her husband moved to Michigan, where they built a home called Orchard House. With the help of a gardener named Frank Ackney, Louisa began to plan and create her garden. She also began writing about her Gardens. Soon, she gave lectures, contributed pieces to magazines, wrote columns, and organized garden clubs. She even became friends with prominent gardeners of her time like Gertrude Jekyll, Charles Sprague Sargent, and the landscape architects Fletcher Steele and Ellen Biddle Shipman. Louisa learned to garden during the heyday of American Garden Culture. Her garden writing in newspaper columns and magazine publications made her the most widely read American Garden author in the United States. Louisa's first book, "The Well-Considered Garden," the preface was written by her dear friend Gertrude Jekyll. In 1915, when the book debuted, it was considered an instant classic in garden literature. Louisa would go on to write a total of nine books. The garden estate known as Blithewold has a copy of "The Well-Considered Garden." Their particular text also contains a handwritten inscription along with Louisa's signature. The inscription borrows a quote from Sir William Temple, who said, "Gardening is an enjoyment and a possession for which no man is too high or too low." Louisa changed the quote and wrote, "Gardening is an enjoyment and a possession for which no woman is too high or too low." Louisa helped start the Garden Club of America and the Women's National Farm and Garden Association. She held leadership positions in both organizations. When her husband died suddenly in 1927, Louisa was forced to sell Orchard House. She moved to Hartford, New York, and bought a property she called Kingstree. This time, she set up a smaller garden. The size meant less work, which accommodated her writing and speaking commitments better. On this day, Louisa wrote in her journal this note of advice about the Peony: May 17. Disbud most of your peonies now; that is, of a cluster of buds, cut off all but the larger central one. Certain varieties, however, are considered more beautiful if left alone to flower as they will. Among these are Alsace Lorraine and La Rosiere. Thanks for listening to The Daily Gardener And remember: For a happy, healthy life, garden every day.
Dunedin police sergeant Aaron Burgess has told Checkpoint there has been another incident of a student falling during St Patrick's Day partying. "We've just had another incident where an intoxicated student has just fallen off a balcony and injured themselves quite severely." He said they fell backwards off a second storey balcony and landed on their back. They were unconscious for some time, he said. Burgess said there has been rain today, making roofs slippery. It comes after another student fell off a roof on Castle St, earlier on Thursday.
On today's show, the boys have a look back at some of their Castle Street memories and Jerry wonders if anyone is really making the most of hospitality at these times...
Hundreds of Covid-19 care packages are being delivered to isolating Otago Univeristy students as Covid spreads. The student flatting strip Castle Street, and parties held there, were recently identified as locations of interest. That's forced hundreds of contacts into isolation. The Students Association is helping pack and deliver the parcels and president Melissa Lama is expecting demand to last for a couple of months yet.
Otago University's vice-chancellor says the vast majority of students are doing the right thing.It comes after the Otago Daily Times reports Dunedin Police have slammed an out of control student party last night as "blatant stupidity".More than 300 people were estimated to be in the backyard and there were no QR codes for people to scan.It followed two parties in the Castle Street area being added to the locations of interest list yesterday.Vice-Chancellor David Murdoch told Heather du Plessis-Allan high numbers of students are getting tested.“And are self-isolating, following the rules for gatherings. I mean, certainly some could do better but the vast majority are doing the right thing.”LISTEN ABOVE
On this abbreviated episode — we both had to prepare for the coming ice storm — we get the latest on the long-running, unsuccessful attempt to redevelop the former WAVE transit depot on Castle Street, plus the county's health board revisited masks, again, with confusing results.
The bollards preventing parking on the seafront at Strandhill and at Castle Street and Grattan Street in Sligo are being removed this week. The bollards were installed as part of Covid regulation measures. FF Cllr Tom MacSharry believes the vast majority of people will welcome the move
A large crowd assembled near the foot of Castle Street in Peel on Thursday, 6th September 1906 for the laying of the foundation stone of the Ward Public Library, a presentation by the hugely successful entrepreneur, James Kewley Ward to the people of the town of his birth. In our Manx translation, the Roddan Ushtey takes Kyaghan to meet Mnr Toad in his fine house - only to find out that he's now given up messing about in boats. As nyn giaull - RUNRIG - Meadhan oidche er yn acairseid AR C'HOAREZED GOADEG - La garde-robe du mari defunt RUSHEN SILVER BAND - Ellan Vannin AC ERAILL - Tua'r gorllewin LIAM O MAONLAI - Cathain? DAVEY & DYER - An lanow SEONAG NIC CHOINNICH - Hion dail-a horo hi ALAN STIVELL - Brezhoneg raok SHOOGLENIFTY - Black dog
Six60 has decided to buy their legendary Dunedin flat on 660 Castle Street where their band began.They plan to use it as accommodation for students on performing artists scholarships that they will also offer.Six60 frontman Matiu Walters said “it's been a pipedream for a long time; we kind of joked about one day owning the house, and fast-forward years and we're in a position where we can do it.”LISTEN ABOVE
This week's episode looks at "Ticket to Ride", the making of the Beatles' second film, and the influence of Bob Dylan on the Beatles' work and lives. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "The Game of Love" by Wayne Fontana and the Mindbenders. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them, but the ones I specifically referred to while writing this episode were: 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 material on the making of the film, I referred to Getting Away With It by Steven Soderbergh, a book which is in part a lengthy set of conversations between Soderbergh and Richard Lester. Sadly the only way to legally get the original mix of "Ticket to Ride" is this ludicrously-expensive out-of-print box set, but the 1987 remix is widely available on the CD issue of the Help! soundtrack. The film is available on DVD. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we last looked at the Beatles, they had just achieved their American success, and had appeared in their first film, A Hard Day's Night. Today, we're going to look at the massive artistic growth that happened to them between late 1964 and mid 1965, the making of their second film, Help!, the influence, both artistic and personal, of Bob Dylan on the group, and their introduction both to studio experimentation and to cannabis. We're going to look at "Ticket to Ride": [Excerpt: The Beatles, "Ticket to Ride"] 1964 was a tremendously busy year for the Beatles. After they'd finished making A Hard Day's Night, but even before it was released, they had gone on yet another tour, playing Denmark, the Netherlands, Hong Kong, Australia, and New Zealand, though without Ringo for much of the tour -- Ringo had to have his tonsils removed, and so for the first eight shows of the tour he was replaced by session drummer Jimmy Nicol, the former drummer with Colin Hicks and his Cabin Boys, who had played on several cheap soundalike records of Beatles songs. Nicol was a competent drummer, though very different in style from Ringo, and he found his temporary moment of celebrity hugely upsetting -- he later described it as the worst thing to ever happen to him, and ended up declaring bankruptcy only nine months after touring with the group. Nicol is now a recluse, and hasn't spoken to anyone about his time with the Beatles in more than thirty years. After Ringo returned to the group and the film came out they went back into the studio, only two months after the release of their third album, to start work on their fourth. They recorded four songs in two sessions before departing on their first full US tour. Those songs included two cover versions -- a version of "Mr. Moonlight" by Doctor Feelgood and the Interns that appeared on the album, and a version of Little Willie John's "Leave My Kitten Alone" that didn't see release until 1995 -- and two originals written mostly or entirely by John Lennon, "Baby's In Black", and "I'm a Loser": [Excerpt: The Beatles, "I'm a Loser"] "I'm a Loser" was an early sign of an influence that had particularly changed Lennon's attitude to songwriting -- that of Bob Dylan. Dylan had been on the group's radar for some time -- Paul McCartney in the Anthology book seems to have a confused memory of seeing Madhouse on Castle Street, the TV play Dylan had appeared in in January 1963 -- but early 1964 had seen him rise in prominence to the point that he was a major star, not just an obscure folk singer. And Lennon had paid particular attention to what he was doing with his lyrics. We've already seen that Lennon had been writing surreal poetry for years, but at this point in his life he still thought of his songwriting and his poetry as separate. As he would later put it "I had a sort of professional songwriter's attitude to writing pop songs; we would turn out a certain style of song for a single, and we would do a certain style of thing for this and the other thing. I'd have a separate songwriting John Lennon who wrote songs for the meat market, and I didn't consider them (the lyrics or anything) to have any depth at all." This shouldn't be taken as Lennon saying that the early Beatles songs were lacking in quality, or that he didn't take the work seriously, but that it wasn't about self-expression. He was trying to do the best work he could as a craftsman. Listening to Dylan had showed him that it was possible instead to treat pop songwriting as art, in the sense Lennon understood the term -- as a means of personal expression that could also allow for experimentation and playing games. "I'm a Loser" is a first tentative step towards that, with Lennon for one of the first times consciously writing about his own emotions -- though careful to wrap those feelings both in a conventional love song structure and in a thick layer of distancing irony, to avoid making himself vulnerable -- and the stylistic influence of Dylan is very noticeable, as much in the instrumentation as in the lyrics. While several early Beatles singles had featured Lennon playing harmonica, he had been playing a chromatic harmonica, a type of harmonica that's mostly used for playing single-note melodies, because it allows the player to access every single note, but which is not very good for bending notes or playing chords. If you've heard someone playing the harmonica as a single-note melody instrument with few or no chords, whether Stevie Wonder, Larry Adler, or Max Geldray, the chances are they were playing a chromatic harmonica. On "I'm a Loser", though, Lennon plays a diatonic harmonica -- an instrument that he would refer to as a "harp" rather than a harmonica, because he associated it with the blues, where it's often referred to as a harp. Diatonic harmonicas are the instrument of choice for blues players because they allow more note-bending, and it's easier to play a full chord on them -- the downside, that you have a smaller selection of notes available, is less important in the blues, which tends towards harmonic minimalism. Diatonic harmonicas are the ones you're likely to hear on country, blues, and folk recordings -- they're the instrument played by people like Little Walter, Sonny Boy Williamson, Charlie McCoy, and Bob Dylan. Lennon had played a diatonic before, on "I Should Have Known Better", another song which shows Dylan's influence in the performance, though not in the lyrics. In both cases he is imitating Dylan's style, which tends to be full of chordal phrases rather than single-note melody. What's interesting about “I'm a Loser” though is contrasting John's harmonica solo with George's guitar solo which follows immediately after: [Excerpt: The Beatles, "I'm a Loser"] That's a pure Carl Perkins solo, and the group would, in their choices of cover versions for the next few months, move away somewhat from the soul and girl-group influences that dominated the covers on their first two albums, and towards country and rockabilly -- they would still cover Larry Williams, Little Richard, and Chuck Berry, but there were no more covers of contemporary Black artists, and instead there were cover versions of Buddy Holly, Carl Perkins, and Buck Owens, and Harrison switched from the Rickenbacker that had been his main instrument on A Hard Day's Night to playing a Gretsch -- the brand of guitar that Chet Atkins and Eddie Cochrane played. The consensus among commentators -- with which, for once, I agree -- seems to be that this was also because of the influence of Dylan. The argument is that the Beatles heard Dylan's music as a form of country music, and it inspired them to go back to their other country-oriented influences. And this makes a lot of sense -- it was only fifteen years earlier, at the same time as they replaced "race" with "rhythm and blues", that Billboard magazine chose to rename their folk chart to the country and western chart -- as Tyler Mahan Coe puts it, "after years of trying to figure out what to call their “poor Black people music” and “poor white people music” charts". And Dylan had been as influenced by Hank Williams as by Woody Guthrie. In short what the Beatles, especially Lennon, heard in Dylan seems to have been three things -- a reminder of the rockabilly and skiffle influences that had been their first love before they'd discovered R&B and soul, permission to write honestly about one's own experiences, and an acknowledgement that such writing could include surrealistic wordplay. Fundamentally, Dylan, as much as being a direct influence, seems to have given the group a kind of permission -- to have shown them that there was room in the commercial sphere in which they were now operating for them to venture into musical and lyrical areas that had always appealed to them. But of course, that was not the only influence that Dylan had on the group, as anyone who has ever read anything at all about their first full US tour knows. That tour saw them playing huge venues like the Hollywood Bowl -- a show which later made up a big part of their only official live album, which was finally released in 1977: [Excerpt: The Beatles, "Things We Said Today (live at the Hollywood Bowl 1964)"] It was nine days into the tour, on the twenty-eighth of August 1964, that they met Bob Dylan for the first time. The meeting with Dylan is usually called the first time the Beatles ever smoked cannabis -- and that's true, at least if you're talking about them as a group. Lennon had tried it around 1960, and both Lennon and Harrison had tried it at a show at the Southport Floral Hall in early 1962, but neither had properly understood what they were smoking, and had both already been drunk before smoking it. According to a later interview with Harrison, that had led to the two of them madly dancing the Twist in their dressing room, shouting "This stuff isn't doing anything!" But it was at this meeting that Paul and Ringo first smoked it, and it also seems to have been taken by Lennon and Harrison as their "real" first time, possibly partly because being introduced to cannabis by Bob Dylan in a New York hotel sounds a lot cooler than being introduced to it by your support band's drummer in Southport, possibly because it was the first time that they had all smoked it together as a group, but mostly because this was the time when it became a regular part of the group's life. Oddly, it happened because of a misheard lyric. Dylan had loved "I Want to Hold Your Hand", and had misheard "I can't hide" as "I get high", and thus just assumed that the British band were already familiar with cannabis. The drug had a profound effect on them -- McCartney later recalled being convinced he had discovered the meaning of life, writing it down on a bit of paper, and getting their roadie Mal Evans to hold the paper for safekeeping. The next morning, when he looked at the paper, he found it merely said "there are seven levels". Lennon, on the other hand, mostly remembered Dylan playing them his latest demos and telling them to listen to the words, but Lennon characteristically being unable to concentrate on the lyrics because in his stoned state he was overwhelmed by the rhythm and general sound of the music. From this point on, the use of cannabis became a major part of the group's life, and it would soon have a profound effect on their lifestyles, their songwriting, the production on their records, and every other aspect of their career. The Beatle on whom it seems to have had the strongest and most immediate effect was Lennon, possibly because he was the one who was coping least well with success and most needed something to take his mind off things. Lennon had always been susceptible to extremes of mood -- it's likely that he would these days be diagnosed as bipolar, and we've already seen how as soon as he'd started writing personally, he'd written "I'm a Loser". He was feeling trapped in suburbia, unsuited for his role as a husband and father, unhappy about his weight, and just generally miserable. Cannabis seemed, at least at first, to offer a temporary escape from that. All the group spent much of the next couple of years stoned, but Lennon probably more than any of them, and he was the one whose writing it seemed to affect most profoundly. On the group's return from the US, they carried on working on the next album, and on a non-album single designed to be released simultaneously with it. "I Feel Fine" is a major milestone in the group's career in a number of ways. The most obvious is the opening -- a brief bit of feedback which Lennon would always later claim to be the first deliberate use of the technique on a record: [Excerpt: The Beatles, "I Feel Fine"] Feedback had, up until this point, been something that musicians generally tried to avoid -- an unwanted sound that could wreck a performance. But among guitarists in London, especially, it was becoming the fashionable sound to incorporate, in a carefully controlled manner, in order to make sounds that nobody had heard before. Jeff Beck, Dave Davies, and Pete Townshend would all argue about which of them was the first to use the technique, but all were using it on stage by the time the Beatles recorded "I Feel Fine". But the Beatles were, if not the first to deliberately use feedback on a record (as I've said in the past, there is no such thing as a first anything, and there are debatable examples where feedback may be deliberate going back to the 1930s and some records by Bob Wills), certainly the most prominent artists to do so up to that point, and also the first to make it a major, prominent feature of a hit record in this manner. If they hadn't done it, someone else undoubtedly would, but they were the first to capture the sound that was becoming so popular in the London clubs, and as so often in their career they were able to capture something that was at the cutting edge of the underground culture and turn it into something that would be accepted by millions. "I Feel Fine" was important to the Beatles in another way, though, in that it was the first Beatles original to be based entirely around a guitar riff, and this was if anything a more important departure from their earlier records than the feedback was. Up to this point, while the Beatles had used riffs in covers like "Twist and Shout", their originals had avoided them -- the rhythm guitar had tended to go for strummed chords, while the lead guitar was usually reserved for solos and interjections. Rather than sustaining a riff through the whole record, George Harrison would tend to play answer phrases to the vocal melody, somewhat in the same manner as a backing vocalist. This time, though, Lennon wrote an entire song around a riff -- one he had based on an R&B record from a few years earlier that he particularly loved, "Watch Your Step" by Bobby Parker: [Excerpt: Bobby Parker, "Watch Your Step"] Parker's record had, in turn, been inspired by two others -- the influence of Ray Charles' "What'd I Say" is very obvious, but Parker had based the riff on one that Dizzy Gillespie had used in "Manteca", a classic early Afro-Cuban jazz record from 1947: [Excerpt: Dizzy Gillespie, "Manteca"] Parker had played that riff on his guitar, varied it, and come up with what may be the most influential guitar riff of all time, one lifted not only by the Beatles (on both "I Feel Fine" and, in a modified form, "Day Tripper") but Led Zeppelin, Deep Purple, the Allman Brothers Band, and many, many others: [Excerpt: Bobby Parker, "Watch Your Step"] Lennon took that riff and based a new song around it -- and it's important to note here that "I Feel Fine" *is* a new song. Both songs share the same riff and twelve-bar blues structure, but Lennon's lyric and melody are totally different, and the record has a different feel. There's a blurry line between plagiarism and homage, and to my mind "I Feel Fine" stays on the right side of that line, although it's a difficult issue because the Beatles were so much more successful than the unknown Parker. Part of the reason "I Feel Fine" could be the Beatles' first single based around a riff was it was recorded on a four-track machine, EMI having finally upgraded their equipment, which meant that the Beatles could record the instrumental and vocal tracks separately. This allowed Lennon and Harrison to hold down the tricky riff in unison, something Lennon couldn't do while also singing the melody -- it's noticeable that when they performed this song live, Lennon usually strummed the chords on a semi-acoustic guitar rather than doubling the riff as he does on the record. It's also worth listening to what Ringo's doing on the drums on the track. One of the more annoying myths about the Beatles is the claim made by a lot of people that Starr was in some way not a good drummer. While there has been some pushback on this, even to the extent that there is now a contrarian counterconsensus that says he was the best drummer in the world at the time, the general public still thinks of him as having been not particularly good. One listen to the part Starr played on "I Feel Fine" -- or indeed a close listen to any of his drum parts -- should get rid of that idea. While George and John are basically duplicating Parker's riff, Ringo picks up on the Parker record's similarity to "What'd I Say" and plays essentially the same part that Ray Charles' drummer had: [Excerpt: The Beatles, "I Feel Fine (isolated drum part)"] There are copies of that posted on YouTube, and almost all of them have comments from people claiming that the drumming in question must be a session drummer, because Starr couldn't play that well. Several of the Beatles' singles for the next two years would feature a heavy guitar riff as their main instrumental hook. Indeed, it seems like late 1964 is a point where things start to change a little for the Beatles in how they conceptualise singles and albums. Up to this point, they seem to have just written every song as a potential single, then chosen the ones they thought of as the most commercial as singles and stuck the rest out as album tracks. But from autumn 1964 through early 1966 there seems, at least on Lennon's part, to be a divide in how he looked at songs. The songs he brought in that became singles were almost uniformly guitar-driven heavy rockers with a strong riff. Meanwhile, the songs recorded for albums were almost all based on strummed acoustic guitars, usually ballads or at most mid-tempo, and often with meditative lyrics. He clearly seems to have been thinking in terms of commercial singles and less commercial album tracks, even if he didn't quite articulate it that way. I specify Lennon here, because there doesn't seem to be a comparable split in McCartney's writing -- partly because McCartney didn't really start writing riff-based songs until Lennon dropped the idea in late 1966. McCartney instead seems to start expanding his palette of genres -- while Lennon seems to be in two modes for about an eighteen-month period, and not really to venture out of either the bluesy riff-rocker or the country-flavoured folk rock mode, McCartney starts becoming the stylistic magpie he would become in the later period of the group's career. The B-side to the single, "She's a Woman" is, like the A-side, blues-based, but here it's McCartney in Little Richard mode. The most interesting aspect to it, though, is the rhythm guitar part -- off-beat stabs which sound very much like the group continuing to try to incorporate ska into their work: [Excerpt: The Beatles, "She's a Woman"] The single went to number one, of course, as all the group's singles in this period did. Beatles For Sale, the album that came out of these sessions, is generally regarded as one of the group's weaker efforts, possibly because of the relatively large number of cover versions, but also because of its air of bleakness. From the autumnal cover photo to the laid-back acoustic feel of much of the album, to the depressing nature of Lennon's contributions to the songwriting -- "No Reply", "I'm a Loser", "Baby's in Black", and "I Don't Want to Spoil the Party" all being a far cry from "I Feel Fine" – it's not a fun album by any means. I've always had a soft spot for the album myself, but it's clearly the work of people who were very tired, depressed, and overworked. And they were working hard -- in the four months after the end of their American tour on the twentieth of September, they recorded most of Beatles For Sale and the accompanying single, played forty-eight gigs, made TV appearances on Shindig, Scene at 6:30, Thank Your Lucky Stars, Ready Steady Go, and Top of the Pops, radio appearances on Top Gear and Saturday Club, and sundry interviews. On top of that John also made an appearance on Peter Cook and Dudley Moore's show "Not Only... But Also", performing versions of some of his poetry with Moore and Norman Rossington, who had co-starred in A Hard Day's Night: [Excerpt: John Lennon, Dudley Moore and Norman Rossington, "All Abord Speeching"] They did get a month off from mid-January 1965 through mid-February, but then it was back to work on a new film and accompanying soundtrack album. The group's second film, Help!, is generally regarded with rather less fondness than A Hard Day's Night, and it's certainly the case that some aspects of the film have not dated at all well -- in particular the way that several characters are played by white actors in brownface doing very unconvincing Indian accents, and the less than respectful attitude to Hindu religious beliefs, are things which will make any modern viewer with the slightest sensitivity to such issues cringe terribly. But those aren't the aspects of the film which most of its critics pick up on -- rather they tend to focus only on the things that the Beatles themselves criticise about the film, mostly that the group spent most of the filming stoned out of their minds, and the performances are thus a lot less focused than those in A Hard Day's Night, and also that the script -- written this time by Richard Lester's regular collaborator Charles Wood, from a story by Marc Behm, rather than by Alun Owen -- is also a little unfocused. All these are fair criticisms as far as they go, but it's also the case that Help! is not a film that is best done justice by being viewed on a small screen on one's own, as most of its critics have viewed it most of the time. Help! is part of a whole subgenre of films which were popular in the 1960s but largely aren't made today -- the loose, chaotic, adventure comedy in which a nominal plot is just an excuse for a series of comedy sketches strung together with spectacular visuals. The genre encompasses everything from It's a Mad Mad Mad Mad World to Casino Royale to The Pink Panther, and all of these films are meant to be seen on a big screen which allows the audience to appreciate their visual inventiveness, and in a communal audience which is laughing along with them. And when seen in that light, Help! is actually a remarkably entertaining example of the type. Yes, it doesn't hold together as well as A Hard Day's Night, and it doesn't resolve so much as just stop, but structurally it's remarkably close to the films of the Marx Brothers, especially their Paramount films, and it's odd that the Marx comparisons get made about A Hard Day's Night, a slice-of-life film inspired by the French New Wave, and not about the screwball comedy that ends in a confused chase sequence. There is one thing that is worth noting about Help! that is often obscured -- part of the reason for its globetrotting nature was because of the levels of taxation in Britain at the time. For top earners, like the Beatles were, the marginal rate of income tax was as high as ninety-five percent in the mid-sixties. Many of us would think this was a reasonable rate for people who were earning many, many times in a year what most people would earn in a lifetime, but it's also worth noting that the Beatles' success had so far lasted only two years, and that a pop act who was successful for five years was remarkably long-lived -- in the British pop industry only Cliff Richard and the Shadows had had a successful career as chart artists for longer than that, and even they were doing much less well in 1965 than they had been in 1963. In retrospect, of course, we know that the Beatles would continue to sell millions of records a year for more than sixty years, but that was not something any of them could possibly have imagined at the time, and we're still in a period where Paul McCartney could talk about going into writing musicals once the Beatles fad passed, and Ringo could still imagine himself as the owner of a hairdresser's. So it's not completely unreasonable of them to want to keep as much of their money as they could, while they could, and so while McCartney will always talk in interviews about how many of the scenes in the film were inspired by a wishlist from the group -- "We've never been skiing", "We've never been to the Bahamas" -- and there might even be some truth to that, it's also the case that the Bahamas were as known for their lax tax regime as for their undoubted charm as a tourist destination, and these journeys were not solely about giving the group a chance to have fun. But of course, before making the film itself, the group had to record songs for its soundtrack, and so on February the sixteenth they went into the studio to record four songs, including the next single, "Ticket to Ride": [Excerpt: The Beatles, "Ticket to Ride"] While "Ticket to Ride" is mostly -- or possibly solely -- John's song, the record is very much Paul's record. For most of 1964, McCartney hadn't really been pulling his weight in the songwriting department when compared to John -- the handful of songs he had written had included some exceptional ones, but for the most part he hadn't written much, and John had been the more productive member of their partnership, writing almost all of the A Hard Day's Night album, most of the better tracks on Beatles For Sale, and the non-album single "I Feel Fine". But now, John was sinking into one of his periodic bouts of depression -- he was still writing strong material, and would produce some of the best songs of his career in 1965, but he was unfocused and unhappy, and it was showing in his slowed productivity -- while McCartney was energised by living in London, the cultural capital of the world at that point in time, and having a famous girlfriend who was exposing him to vast areas of culture he had never been aware of before. I say that "Ticket to Ride" is written by John, but there is some slight dispute about who contributed what to the writing. John's statement was that the song was all him, and that Paul's main contribution was the drum pattern that Ringo plays. Paul, on the other hand, claims that the song is about a sixty-forty split, with John being the sixty. McCartney's evidence for that is the strong vocal harmony he sings -- usually, if there's a two-part harmony like that on a Beatles song, it came about because Lennon and McCartney were in the same room together while writing it, and singing the part together as they were writing. He also talks about how when writing it they were discussing Ryde in the Isle of Wight, where McCartney's cousin ran a pub. I can certainly see it being the case that McCartney co-wrote the song, but I can also easily see the musicianly McCartney feeling the need to harmonise what would otherwise have been a monotonous melody, and adding the harmonies during the recording stage. Either way, though, the song is primarily John's in the writing, but the arrangement is primarily McCartney's work -- and while Lennon would later claim that McCartney would always pay less attention to Lennon's songs than to McCartney's own, in this middle period of the group's career most of their truly astounding work comes when Lennon brings in the song but McCartney experiments with the arrangement and production. Over and over again we see McCartney taking control of a Lennon song in the studio and bringing out aspects of it that its composer either had not considered or had not had the musical vocabulary or patience to realise on his own. Indeed one can see this as part of the dynamic that eventually led to the group breaking up. Lennon would bring in a half-formed idea and have the whole group work on it, especially McCartney, and turn it into the best version of itself it could be, but this would then seem like McCartney trying to take over. McCartney, meanwhile, with his greater musical facility, would increasingly not bother asking for the input of the group's other members, even when that input would have turned a mediocre song into a good one or a good one into a great one. But at this point in their careers, at least, the collaboration brought out the best in both Lennon and McCartney -- though one must wonder what Harrison and Starr felt about having their parts dictated to them or simply replaced. In the case of "Ticket to Ride", one can trace the evolution of McCartney's drum pattern idea over a period of a few months. He was clearly fascinated by Hal Blaine's drum intro to "Be My Baby": [Excerpt: The Ronettes, "Be My Baby"] and came up with a variation of it for his own song "What You're Doing", possibly the most interesting song on Beatles For Sale on a pure production level, the guitar part for which, owing a lot to the Searchers, is also clearly a pointer to the sound on “Ticket to Ride”: [Excerpt: The Beatles, "What You're Doing"] "Ticket to Ride"s drum part is a more complex variation on that slightly broken pattern, as you can hear if you listen to the isolated drum part: [Excerpt: The Beatles, "Ticket to Ride (isolated drums)"] Interestingly, Ringo doesn't keep that precise pattern up all the way through in the studio recording of the song, though he does in subsequent live versions. Instead, from the third verse onwards he shifts to a more straightforward backbeat of the kind he would more normally play: [Excerpt: The Beatles, "Ticket to Ride (isolated drums)"] The mono mix of "Ticket to Ride", which is how most listeners of the time encountered it, shows much more than the stereo mix just what the group, and particularly Paul, were trying to do. It's a bass-heavy track, sluggish and thundering. It's also a song that sounds *obsessed*. For the first six bars of the verse, and the whole intro, the song stays on a single chord, A, only changing on the word "away", right before the chorus: [Excerpt: The Beatles, "Ticket to Ride"] This obsession with one chord was possibly inspired by soul music, and in particular by "Dancing in the Street", which similarly stays on one chord for a long time: [Excerpt: Martha and the Vandellas, "Dancing in the Street"] We'll be looking more at how soul music was increasingly doing away with chord progressions in favour of keeping to an extended groove on a single chord when we next look at James Brown in a few weeks' time. But in its single-chord focus and its broken drum beat, "Ticket to Ride" is very much a precursor of what the group would do a little over a year later, when they recorded "Tomorrow Never Knows". Of course, it was also around this time that the group discovered Indian music for the first time. There are scenes in the film Help! which feature musicians playing Indian instruments, and George Harrison became fascinated by the sound of the sitar and bought one, and we'll be seeing the repercussions of that for much of the next year. But it's interesting to note that a lot of the elements that make Indian classical music so distinctive to ears used to Western popular music -- the lack of harmonic movement, the modal melodies, the use of percussion not to keep a steady beat but in melodic interplay with the string instruments -- were all already present in songs like "Ticket to Ride", albeit far less obviously and in a way that still fit very much into pop song conventions. The Beatles grew immensely as musicians from their exposure to Indian music, but it's also the case that Indian music appealed to them precisely because it was an extension of the tastes they already had. Unlike when recording Beatles For Sale, the group clearly had enough original material to fill out an album, even if they ended up not doing so and including two mediocre cover versions on the album -- the last time that would happen during the group's time together. The B-sides of the two singles, John's "Yes It Is" and Paul's "I'm Down", both remained only available on the singles, even though the previous film soundtrack had included the B-sides of both its singles. Not only that, but they recorded two Lennon/McCartney songs that would remain unreleased until more than thirty years later. "If You've Got Troubles" was left unreleased for good reason -- a song written for Ringo to sing, it's probably the single worst Lennon/McCartney song ever attempted by the group, with little or nothing to redeem it. McCartney's "That Means a Lot" is more interesting. It's clearly an attempt by McCartney to write a "Ticket to Ride" part two, with a similar riff and feel: [Excerpt: The Beatles, "That Means a Lot"] It even has a sped-up repurposing of the hook line at the end, just as "Ticket to Ride" does, with "Can't you see?" taking the place of "My baby don't care": [Excerpt: The Beatles, "That Means a Lot"] The group spent a couple of sessions on that track, but seem to have given up on it. While it's far from the best thing they did, it's not worthless or unreleasable, and one suspects that they ended up thinking that the track couldn't go on the same album as "Ticket to Ride" because the two songs were just too close. Instead, they ended up giving the song to P.J. Proby, the American singer who had been brought over by Jack Good for the About The Beatles show, and who had built something of a career for himself in the UK with a string of minor hits. Lennon said "we found we just couldn't sing it. In fact, we made a hash of it, so we thought we'd better give it to someone who could do it well". And Proby *could* have done it well -- but whether he did or not is something you can judge for yourself: [Excerpt: P.J. Proby, "That Means a Lot"] Somehow, Proby's version of the song made the top thirty. When the group started filming "Help!", the film was still going under the working title "Eight Arms to Hold You", which absolutely nobody involved liked -- the title was even included on the label of some copies of "Ticket to Ride", but Lennon and McCartney particularly disliked the idea of writing a song to that title. Some have suggested that the plan was to use McCartney's "Eight Days a Week", an album track from Beatles For Sale that had been released as an American single, as a title track, but it seems unlikely that anyone would have considered that -- United Artists wanted something they could put out on a soundtrack album, and the song had already been out for many months. Instead, at almost the last minute, it was decided to name the film "Help!". This was actually close to the very first working title for the film, which had been "Help, Help". According to Lester, "the lawyer said it had already been registered and you mustn't use it so we had Beatles Two and then Eight Arms to Hold You". The only film I've been able to discover with the title "Help, Help", though, is a silent film from 1912, which I don't imagine would have caused much problem in this case. However, after the group insisted that they couldn't possibly write a song called "Eight Arms to Hold You", Lester realised that if he put an exclamation mark after the word "help", that turned it into a different title. After getting legal approval he announced that the title of the new film was going to be "Help!", and that same day John came up with a song to that title: [Excerpt: The Beatles, "Help!"] Lennon later said that the song had started out as a slow, intense, ballad, and he had been persuaded to speed it up in the studio somewhat against his will. The song being performed as an upbeat pop song possibly made it harder for the public to see what was obvious to Lennon himself, that the song itself was a cry for help from someone going through a mental health crisis. Despite the title not being his, the sentiments certainly were, and for the first time there was barely even the fig-leaf of romantic love to disguise this. The song's lyrics certainly could be interpreted as being the singer wanting help from a romantic partner, but they don't actually specify this, which is not something that could be said about any of the group's other originals up to this point. The soundtrack album for Help! is also notable in other ways. George Harrison writes two songs on the album, when he'd only written one in total for the first four albums. From this point on he would be a major songwriting presence in the group. It also contains the most obvious Dylan homage yet, with Lennon impersonating Dylan's vocal style on "You've Got to Hide Your Love Away", recorded three days after "Ticket to Ride": [Excerpt: The Beatles, "You've Got to Hide Your Love Away"] "You've Got to Hide Your Love Away" was notable in another way as well -- it was the first time that a musician other than the Beatles or George Martin was called in to work on a Beatles record (other than Andy White on the "Love Me Do" session, which was not something the Beatles chose or approved of). The flute player Johnny Scott overdubbed two tracks of flute at the end of the recording: [Excerpt: The Beatles, "You've Got to Hide Your Love Away"] That was a sign of things to come, because in June, once filming had completed, the group went into the studio to continue recording for the non-soundtrack side of the soundtrack album. This was the height of the group's success and embrace by the establishment -- two days earlier it had been announced that they were all to be awarded MBEs -- and it's also the point at which McCartney's new creative growth as a songwriter really became apparent. They recorded three songs on the same day -- his Little Richard soundalike "I'm Down", which ended up being used as the B-side for "Help!", an acoustic country song called "I've Just Seen a Face", and finally a song whose melody had come to him in a dream many months earlier. McCartney had been so impressed by the melody he'd dreamed that he'd been unable to believe it was original to him, and had spent a long time playing it to other people to see if they recognised it. When they didn't, he eventually changed the lyrics from his original jokey "Scrambled eggs/Oh my baby how I love your legs" to something more appropriate, and titled it "Yesterday": [Excerpt: The Beatles, "Yesterday (Anthology 2 early take)"] "Yesterday" was released as a Beatles track, on a Beatles album, but it had absolutely no involvement from John, George, and Ringo -- nobody could figure out how to adapt the song to a guitars/bass/drums format. Instead George Martin scored it for a string quartet, with some assistance from McCartney who, worried that strings would end up meaning something Mantovani-like, insisted that the score be kept as simple as possible, and played with almost no vibrato. The result was a Beatles track that featured five people, but only one Beatle: [Excerpt: The Beatles, "Yesterday"] The group's next album would see all the band members appearing on every track, and no musicians brought in from outside the group and their organisation, but the genie was now out of the bottle -- the label "The Beatles" on a record no longer meant that it featured John, Paul, George, and Ringo, but just that at least one of them was on the track and the others had agreed it could go out under their name. This would lead to immense changes in the way the group worked, and we'll be seeing how that played out throughout the rest of the 1960s.
Sippers! In this week's episode we're joined by MMA star Leah McCourt. Join Patreon to watch the live Friday show - https://www.patreon.com/teawithmepodcast Visit www.expressvpn.com/teawithme for 3 month free VPN Podcast Merch available now - https://shane-todd-comedy.myshopify.com Get in touch with the show - teawithmepodcast@gmail.com
No new cases & will G7 tax deal affect us? Plus Race Week blues, airport hub going, one way Castle street & Keys candidate Daphne Caine. t's Update with Andy Wint #iom #manxradio #news
Oriel Science is an exciting project that uses research from Swansea University to engage with the community and inspire people of all ages. Oriel Science had previously launched their first community-engagement project in September 2016 with a pop-up science exhibition, which welcomed over 16,000 members of the public during its 100 opening days. Now Oriel Science is bringing science to the community once again in their new venue on Castle Street, Swansea. In this episode, Professor Chris Allton, Director of Oriel Science shares the project's aspirations to inspire future generations and to make science accessible. Chris also takes us on a small tour of the exhibition, showcasing some of the fascinating displays and work from Swansea University! Oriel Science is open on Saturdays and Sundays and during Bank Holidays and School Holidays from 10am - 4pm. Oriel Science Website Book tickets to visit Oriel Science
jQuery(document).ready(function(){ cab.clickify(); }); Original Podcast with clickable words https://tinyurl.com/ygzr9jxj Long queues outside shops in the North. Scuainí fada taobh amuigh de shiopaí sa Tuaisceart. Queues of people were waiting to enter Primark stores in Belfast and Derry this morning after retail outlets across the North reopened their doors. Bhí na scuainí daoine ag fanacht le dul isteach i siopaí Primark i mBéal Feirste agus i nDoire ar maidin tar éis d'ionaid mhiondíola ar fud an Tuaiscirt a ndoirse a oscailt arís. Primark opened on Castle Street in Belfast earlier than planned, at 7pm, due to the customer wizard who had gathered outside in the morning. D'oscail Primark ar Shráid an Chaisleáin i mBéal Feirste níos luaithe ná mar a bhí beartaithe, ag 7 a chlog, mar gheall ar an draoi custaiméirí a bhí bailithe taobh amuigh leis an maidneachan. The police had to put the queue in order to ensure that rules on social separation were enforced. B'éigean do na póilíní ord agus eagar a chur ar an scuaine le cinntiú go raibh rialacha faoi scaradh sóisialta á gcur i bhfeidhm. Pubs, cafes and restaurants are open again today for outside customers. Tá tithe tábhairne, caifí agus bialanna oscailte arís inniu do chustaiméirí taobh amuigh. Fitness centers and swimming pools are open to individuals. Tá ionaid aclaíochta agus linnte snámha oscailte do dhaoine aonair. It was confirmed yesterday that no other deaths had been recorded with Covid-19 in the North since the previous day and that there were 95 new cases. Dearbhaíodh inné nár taifeadadh aon duine eile a bheith básaithe le covid 19 sa Tuaisceart ón lá roimhe sin agus go raibh 95 cás nua ann. 61 Covid-19 patients were hospitalized in the North yesterday, eight of them in intensive care units. Bhí 61 othar covid 19 in ospidéil sa Tuaisceart inné, ochtar acu in aonaid dianchúraim.
ArTEEtude. West Cork´s first Art, Fashion & Design Podcast by Detlef Schlich.
--------------------------------------------------------------- *A podcast with Artists created and produced by* Detlef Schlich --------------------------------------------------------------- ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Visual artist and Ritual Designer, living and loving in West Cork and best known for his Essay about the Cause and Effect of Shamanism, Art and Digital Culture. W *orking in the field of performance, photography, painting, sound, installations, and film he will dive and discover with us and a weekly creative guest into the unknown and exciting deep ocean of the creative mind.* ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- His first guest is the collage artist Sherkin Tara. In this show, you can win original artwork by both artists. Stop by the social media platforms of Facebook and Instagram to stay tuned in and just follow the Instagram accounts of @detschlich ( https://www.instagram.com/detschlich/ ) , @sherkintara ( https://www.instagram.com/sherkintara/ ) , @arteetude ( https://www.instagram.com/arteetude/ ) and @ilovewestcorkartists ( https://www.facebook.com/groups/WestCorkArt/ ) where you will be informed about the show and related updates. ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- This is a listener supported show. If you like what you hear be sure to tune in Friday for the second part of this weekly audio triptych! I feel honoured if you subscribe this show. You can follow me non financial with a following click on one of my instagram accounts @detschlich, @sherkintara, @arteetude and @ilovewestcorkartists where you will be informed about the show and related updates or subscribe the visual version of this podcast on you tube via the link below. If you want to leave a donation for a coffee or a bus ticket just follow the donation link via the ArTEEtude podcast account. Eventually I would like to thank via this medium all my members and listeners of the I LOVE WEST CORK ARTISTS ( https://www.facebook.com/groups/WestCorkArt/ ) Network from all over the world just to remember myself that without you this here couldn´t and wouldn´t happen. *************** *WEBSITE LINKS* *************** *Instagram* ----------- ** *Detlef Schlich* ( https://www.instagram.com/detschlich/ ) ** *Sherkin Tara* ( https://www.instagram.com/sherkintara/ ) ** *ArTEEtude* ( https://www.instagram.com/arteetude/ ) ** *I love West Cork Artists* ( https://www.instagram.com/ilovewestcorkartists/ ) *Facebook* ---------- ** *Detlef Schlich* ( https://www.facebook.com/Transodin ) ** *Sherkin Tara* ( https://www.facebook.com/sherkin.tara ) *I love West Cork Artists Group* ( https://www.facebook.com/groups/WestCorkArt/ ) *You Tube* ---------- visual Podcast *ArTEEtude* ( https://www.youtube.com/channel/UCBnOjvvGVETmyPqv-jMCw1g?guided_help_flow=3 ) ** *Cute Alien TV* ( https://www.youtube.com/channel/UCDN-60zrAMRlZn3rh2bxn7zA ) *official Website* ------------------ *ArTEEtude* ( http://www.arteetude.com/ ) *Detlef Schlich* ( http://www.detlefschlich.com/ ) *Det Design* ( http://www.detdesign.com/ ) *Tribal Loop* ( http://www.triballoop.com/ ) *Download here for free the Essay about the* *Cause and Effect of Shamanism, Art and Digital Culture* ( https://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_Effect ) *Head Office Lisheens House Contact* Lisheens House Ilen Street, Skibbereen, Co Cork, P81W890 email contact@lisheenshouse.ie helpline 023 888 8888 office 028 51950 *Cork Office* Castle Chambers, 6 Castle Street, Cork City T12T25W Phone 021 2427406 Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/donations
ArTEEtude. West Cork´s first Art, Fashion & Design Podcast by Detlef Schlich.
--------------------------------------------------------------- *A podcast with Artists created and produced by* Detlef Schlich --------------------------------------------------------------- ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Visual artist and Ritual Designer, living and loving in West Cork and best known for his Essay about the Cause and Effect of Shamanism, Art and Digital Culture. W *orking in the field of performance, photography, painting, sound, installations, and film he will dive and discover with us and a weekly creative guest into the unknown and exciting deep ocean of the creative mind.* ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- His first guest is the collage artist Sherkin Tara. In this show, you can win original artwork by both artists. Stop by the social media platforms of Facebook and Instagram to stay tuned in and just follow the Instagram accounts of @detschlich ( https://www.instagram.com/detschlich/ ) , @sherkintara ( https://www.instagram.com/sherkintara/ ) , @arteetude ( https://www.instagram.com/arteetude/ ) and @ilovewestcorkartists ( https://www.facebook.com/groups/WestCorkArt/ ) where you will be informed about the show and related updates. ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- This is a listener supported show. If you like what you hear be sure to tune in Friday for the second part of this weekly audio triptych! I feel honoured if you subscribe this show. You can follow me non financial with a following click on one of my instagram accounts @detschlich, @sherkintara, @arteetude and @ilovewestcorkartists where you will be informed about the show and related updates or subscribe the visual version of this podcast on you tube via the link below. If you want to leave a donation for a coffee or a bus ticket just follow the donation link via the ArTEEtude podcast account. Eventually I would like to thank via this medium all my members and listeners of the I LOVE WEST CORK ARTISTS ( https://www.facebook.com/groups/WestCorkArt/ ) Network from all over the world just to remember myself that without you this here couldn´t and wouldn´t happen. *************** *WEBSITE LINKS* *************** *Instagram* ----------- ** *Detlef Schlich* ( https://www.instagram.com/detschlich/ ) ** *Sherkin Tara* ( https://www.instagram.com/sherkintara/ ) ** *ArTEEtude* ( https://www.instagram.com/arteetude/ ) ** *I love West Cork Artists* ( https://www.instagram.com/ilovewestcorkartists/ ) *Facebook* ---------- ** *Detlef Schlich* ( https://www.facebook.com/Transodin ) ** *Sherkin Tara* ( https://www.facebook.com/sherkin.tara ) *I love West Cork Artists Group* ( https://www.facebook.com/groups/WestCorkArt/ ) *You Tube* ---------- visual Podcast *ArTEEtude* ( https://www.youtube.com/channel/UCBnOjvvGVETmyPqv-jMCw1g?guided_help_flow=3 ) ** *Cute Alien TV* ( https://www.youtube.com/channel/UCDN-60zrAMRlZn3rh2bxn7zA ) *official Website* ------------------ *ArTEEtude* ( http://www.arteetude.com/ ) *Detlef Schlich* ( http://www.detlefschlich.com/ ) *Det Design* ( http://www.detdesign.com/ ) *Tribal Loop* ( http://www.triballoop.com/ ) *Download here for free the Essay about the* *Cause and Effect of Shamanism, Art and Digital Culture* ( https://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_Effect ) *Head Office Lisheens House Contact* Lisheens House Ilen Street, Skibbereen, Co Cork, P81W890 email contact@lisheenshouse.ie helpline 023 888 8888 office 028 51950 *Cork Office* Castle Chambers, 6 Castle Street, Cork City T12T25W Phone 021 2427406 Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/donations
ArTEEtude. West Cork´s first Art, Fashion & Design Podcast by Detlef Schlich.
*Your listenening to ArTEEtude, a podcast with Artists created and produced by* Detlef Schlich, a visual artist and Ritual Designer, living and loving in West Cork and best known for his Essay about the Cause and Effect of Shamanism, Art and Digital Culture. W *orking in the field of performance, photography, painting, sound, installations, and film he will dive and discover with us and a weekly creative guest into the unknown and exciting deep ocean of the creative mind.* His first guest is the collage artist Sherkin Tara. In this show, you can win original artwork by both artists. Stop by the social media platforms of Facebook and Instagram to stay tuned in and just follow the Instagram accounts of @detschlich ( https://www.instagram.com/detschlich/ ) , @sherkintara ( https://www.instagram.com/sherkintara/ ) , @arteetude ( https://www.instagram.com/arteetude/ ) and @ilovewestcorkartists ( https://www.facebook.com/groups/WestCorkArt/ ) where you will be informed about the show and related updates. This is a listener supported show. If you like what you hear be sure to tune in Friday for the second part of this weekly audio triptych! I feel honoured if you subscribe this show. You can follow me non financial with a following click on one of my instagram accounts @detschlich, @sherkintara, @arteetude and @ilovewestcorkartists where you will be informed about the show and related updates or subscribe the visual version of this podcast on you tube via the link below. If you want to leave a donation for a coffee or a bus ticket just follow the donation link via the ArTEEtude podcast account. Eventually I would like to thank via this medium all my members and listeners of the I LOVE WEST CORK ARTISTS ( https://www.facebook.com/groups/WestCorkArt/ ) Network from all over the world just to remember myself that without you this here couldn´t and wouldn´t happen. *WEBSITE LINKS* *Instagram* ** *Detlef Schlich* ( https://www.instagram.com/detschlich/ ) ** *Sherkin Tara* ( https://www.instagram.com/sherkintara/ ) ** *ArTEEtude* ( https://www.instagram.com/arteetude/ ) ** *I love West Cork Artists* ( https://www.instagram.com/ilovewestcorkartists/ ) *Facebook* ** *Detlef Schlich* ( https://www.facebook.com/Transodin ) ** *Sherkin Tara* ( https://www.facebook.com/sherkin.tara ) *I love West Cork Artists Group* ( https://www.facebook.com/groups/WestCorkArt/ ) *You Tube* *ArTEEtude* ( https://www.youtube.com/channel/UCBnOjvvGVETmyPqv-jMCw1g?guided_help_flow=3 ) ** *Cute Alien TV* ( https://www.youtube.com/channel/UCDN-60zrAMRlZn3rh2bxn7zA ) *official Website* *ArTEEtude* ( http://www.arteetude.com/ ) *Detlef Schlich* ( http://www.detlefschlich.com/ ) *Det Design* *Tribal Loop* ( http://www.triballoop.com/ ) *Download here for free the Essay about the* *Cause and Effect of Shamanism, Art and Digital Culture* ( https://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_Effect ) *Head Office Lisheens House Contact* Lisheens House Ilen Street, Skibbereen, Co Cork, P81W890 email contact@lisheenshouse.ie helpline 023 888 8888 office 028 51950 *Cork Office* Castle Chambers, 6 Castle Street, Cork City T12T25W Phone 021 2427406 Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/donations
In his daily history slot on WLR's Big Breakfast Blaa,Eamonn McEneaney tells Ollie and Mary all about the French Tower at the top of Castle Street and Brown's Lane.
In his daily history slot on WLR's Big Breakfast Blaa,Eamonn McEneaney tells Ollie and Mary all about the Double Tower in Castle Street built to give access to the Benedictine Church of St. Johns, the ruins of which are in the small park just off the Manor.
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