Podcasts about The Churchills

Ingen verkar bry sig så mycket om den socialdemokratiska kongressen i Göteborg som Ulf Kristersson och alla hans ministrar. Medan Magdalena Andersson i nationell yra håller tal hur Sverige ska klara sig i den nya, oroliga världen. Vem är egentligen Sveriges statsminister? Och vem sitter egentligen i opposition? Maggie Strömberg listar de mest absurda moderata störningsaktionerna. Per Schlingmann nämns. Henrik Torehammar fascineras av av huset, dofterna, partidisciplinen och om hur kongressen känner om rasism. Jens Stoltenberg nämns. Torbjörn Nilsson pratar om Churchills blod, svett och tårar – och om Ingvar Carlsson i valrörelsen 1994.

Storbritannien stod ensamt kvar mot Nazityskland efter Frankrikes fall. Adolf Hitler ville egentligen ha fred med Storbritannien, men britterna och premiärminister Winston Churchill valde att fortsätta kämpa.För att kunna invadera Storbritannien behövde Luftwaffe först besegra Royal Air Force (RAF) och etablera luftherravälde. Under flera månader kämpade brittiska jaktflygare i Spitfires och Hurricanes mot det numerärt överlägsna Luftwaffe. Trots svåra förluster lyckades RAF stå emot, och när hösten anlände stod det klart att Tyskland hade misslyckats med att krossa det brittiska försvaret.Detta är det femte avsnittet i en serie av sju om andra världskriget från podden Historia Nu. Programledaren Urban Lindstedt samtalar med Martin Hårdstedt, professor i historia, om Slaget om Storbritannien 1940.Slaget om Storbritannien blev en vändpunkt i andra världskriget. När Frankrike kapitulerade den 22 juni 1940 blev Storbritanniens situation kritisk. Landet stod nu ensamt, med en krigsmakt som var försvagad efter evakueringen vid Dunkerque. De brittiska styrkorna hade förlorat stora mängder tung materiel, inklusive stridsvagnar, artilleri och transportfordon.Churchills beslutsamhet blev avgörande för Storbritanniens motstånd. Trots att vissa inom regeringen, inklusive utrikesminister Lord Halifax, övervägde en fredsuppgörelse, stod Churchill fast vid sin linje. Han ansåg att fred med Hitler endast skulle vara en kortsiktig lösning som på sikt skulle leda till att Storbritannien tvingades leva under Nazitysklands dominans. Hans beslutsamhet stärkte den brittiska moralen och bidrog till att landet stod emot trycket från Tyskland.Tysklands invasionsplan, Operation Seelöwe, byggde på att Hermann Görings Luftwaffe först behövde besegra RAF och neutralisera den brittiska flottan genom flyganfall. Planen var ambitiös men riskabel – transportfartygen var långsamma och sårbara, och utan luftherravälde skulle de bli lätta mål för brittiska bombflyg och örlogsfartyg.Luftwaffes inledande offensiv började i juli 1940 med attacker mot brittiska hamnar och fartyg i Engelska kanalen. Dessa anfall syftade till att locka ut RAF:s jaktflyg och försvaga det brittiska försvaret innan den stora offensiven tog vid. I augusti gick tyskarna vidare till nästa fas: systematiska anfall mot RAF:s flygbaser, radarsystem och logistik. Under dessa veckor var RAF hårt pressat och förlorade många flygplan och piloter. Trots detta lyckades britterna hålla sina radaranläggningar intakta, vilket var avgörande för att kunna förutse de tyska anfallen.Bild: En formation av Supermarine Spitfire Mk I från No. 610 Squadron, baserad på Biggin Hill, under ett uppdrag den 24 juli 1940. Flygplanen, inklusive N3289 ('DW-K') och R6595 ('DW-O'), flyger i den karakteristiska "vic"-formationen som användes av Royal Air Force under Slaget om Storbritannien. Fotografi taget av Daventry B.J. (F/O), Royal Air Force, och tillhör Imperial War Museums samlingar. Wikipedia. Public Domain.Musik: Wir fahren gegen Engeland av Musikkorpt eines Infanterieregimentes - leitung: B. Ahlers "Wir fahren gegen Engeland" är en tysk marschsång från andra världskriget, känd för sin användning i propagandasyfte. Sången skrevs 1939 av Herms Niel, en av de mest produktiva kompositörerna av tysk marschmusik under det nazistiska Tredje riket. Den användes i samband med Tysklands planer på en invasion av Storbritannien, Operation Seelöwe, men blev även en del av den bredare propagandakulturen inom Wehrmacht. Källa: Internet Archive (Public Domain).Klippare: Emanuel Lehtonen Vill du stödja podden och samtidigt höra ännu mer av Historia Nu? Gå med i vårt gille genom att klicka här: https://plus.acast.com/s/historianu-med-urban-lindstedt. Hosted on Acast. See acast.com/privacy for more information.

Churchills väg från ungdomen till det som kunde ha blivit hans pension. Inte historien om ljusgestalten som kämpade mot nazismen utan den om en imperialist, elitist och familjefader. Nya avsnitt från P3 Historia hittar du först i Sveriges Radio Play. Redaktionen för detta avsnitt består av:Cecilia Düringer – programledare, och manusEmilia Mellberg – producent, research och manusZardasht Rad – scenuppläsareViktor Bergdahl – ljuddesign och slutmixMedverkar gör också Bengt Liljegren, författare till en biografi i två band om Winston ChurchillVill du veta mer om Winston Churchills liv innan andra världskriget? Här är några av böckerna som ligger till grund för avsnittet:Winston Churchill. Del 1, 1874-1939 av Bengt Liljegren Churchill – Walking with Destiny av Andrew Roberts Min ungdom av Winston Churchill Churchill av Roy Jenkins

Vi har snoket i adelens drikkevaner, og kost oss på pub i Cornwall. Vi tar deg også med til Churchills barndomshjem - for ja, den britiske bulldogen av en statsminister har vært liten en gang, han også. Turen går videre til Nord-Italia hvor vi utforsker steder som Prosecco-høydene og Pordenone. I tillegg får du oppskriften på hvordan man opplever det beste av Venezia på EN ettermiddag!En reisepodcast produsert av Bortebest.no og Tenkkoffert.com Hosted on Acast. See acast.com/privacy for more information.

Today Justin speaks with Thomas Maier, an award-winning investigative journalist who has worked at Newsday since 1984. Thomas has written several books over the years, including When Lions Roar about the Churchills and the Kennedys and Masters of Sex, which was produced as a series on Showtime for four years. This is Thomas's second time here on the podcast. You may remember him from episode number 65 when we discussed his book, Mafia Spies: The Inside Story of the CIA, gangsters, JFK, and Castro, which has been since then been made into a documentary series on the Paramount Network. Today he's back to tell us about his newest book, the story of Ernest Cuneo, a member of the Roosevelt administration before and during World War II, who became the liaison officer to the British Security Coordination Office located in New York City. The BSC was running intelligence operations inside the United States, and Cuneo was directly involved almost from the start.Check out Thomas' first appearance in episode 65: Killing Castro: The Unlikely Alliance between the CIA and the Mob with Thomas Maier. Connect with Thomas:thomasmaierbooks.comCheck out the book, The Invisible Spy, here.https://a.co/d/00uBwEvConnect with Spycraft 101:Get Justin's latest book, Murder, Intrigue, and Conspiracy: Stories from the Cold War and Beyond, here.spycraft101.comIG: @spycraft101Shop: shop.spycraft101.comPatreon: Spycraft 101Find Justin's first book, Spyshots: Volume One, here.Check out Justin's second book, Covert Arms, here.Download the free eBook, The Clandestine Operative's Sidearm of Choice, here.OC Strategic AcademyLearn spy skills to hack your own reality. Use code SPYCRAFT101 to get 10% off any course!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

In this episode of Que Bola, I had the pleasure of sitting down with Abel Sanchez, also known as Miami Stadium, a passionate historian and cultural resource dedicated to preserving the rich history and culture of South Florida. Abel's journey began in 2016 when he created an Instagram page to share his love for Miami's historic sports venues, which has since evolved into a thriving platform with nearly 70,000 followers. We kicked off our conversation by discussing the current state of Miami as we emerge from the pandemic. Abel shared his insights on the city's rhythm and pulse, noting the ongoing construction and the influx of international money that seems to cater more to expats than to locals. We explored the idea that Miami has always been a destination for tourists, and how this has shaped the city's identity over the years. As a historian, Abel emphasized the importance of understanding Miami's past, including its cultural influences and the stories that often go untold. We delved into the significance of local institutions and venues, like the Orange Bowl and Churchill's, which have played a vital role in shaping the community's cultural landscape. Abel expressed his concern about the loss of these historical sites to development, highlighting the need for balance between progress and preservation. Throughout our discussion, Abel shared personal anecdotes about his journey, including the challenges he faced in building his brand and the moments that made him realize he was onto something special. He emphasized the importance of consistency and the power of showing up, even when the rewards aren't immediately visible. We also touched on the influence of Miami's culture on other cities, noting how the city is now a source of inspiration rather than just a place that gets overshadowed by larger metropolitan areas like New York and Los Angeles. Abel's passion for history and culture shines through in his work, and he aims to educate and inspire the next generation by sharing the stories that define our community. In closing, this episode is a celebration of Miami's unique identity, the importance of preserving its history, and the power of creativity and consistency in the journey of a creative entrepreneur. Join us for an engaging conversation that blends history, culture, and originality, and get inspired to find your own path to success.

Den verdensorden, vi har været vant til, er ved at falde fra hinanden. Afgrunden mellem Europa og USA kom for alvor frem i lyset, da vicepræsident J.D. Vance i en historisk tale gjorde det klart, at den største trussel mod Europa ikke kommer fra Rusland, men fra Europa selv. En tale så historisk, at dagens gæst sammenligner den med Churchills tale om jerntæppet i Europa. Talen sendte rystelser igennem EU-toppen, og flere har hyldet den på højrefløjen. Men man misforstår noget fundamentalt, hvis man hylder USA’s nybrud i talen. Faktisk er den udtryk for et ’bizart hykleri’. Det mener Liberal Alliances ellers så liberale værdikriger, Henrik Dahl, som har fulgt efterspillet i Bruxelles. Hvorfor? Munich Security Conference har i kølvandet på sikkerhedskonferencen delt et opslag på det sociale medie X, hvori det fremgår, at det ikke var J.D. Vances tale, der fik afgående formand for konferencen, Christoph Heusgen, til at bryde sammen i gråd. Det var derimod formandens afskedstale ved konferencen, der førte til, at følelserne fik frit spil. Læs opslaget her. Gæst: Henrik Dahl, medlem af Europa-Parlamentet for Liberal Alliance Vært: Tine Toft Foto: Thomas Kienzle // Ritzau Scanpix Du kan læse Henrik Dahls indlæg om talen her.See omnystudio.com/listener for privacy information.

Op 24 januari 1965 stierf Sir Winston Churchill. De begrafenis werd bijgewoond door wereldleiders en honderdduizenden langs de route. Het was het afscheid van een held in de strijd tegen Hitler, een raspoliticus, een begaafd schrijver en schilder en een buitengewoon kleurrijk mens. Jaap Jansen en PG Kroeger praten over hem en laten enkele fragmenten horen van toenmalig vicepremier Barend Biesheuvel, oud-minister van Buitenlandse Zaken Eelco van Kleffens en Prins Bernhard.***Deze aflevering is mede mogelijk gemaakt met donaties van luisteraars die we hiervoor hartelijk danken. Word ook vriend van de show!Deze aflevering bevat een advertentie van Lendahand.com - gebruik de code betrouwbarebronnen500 bij je eerste investering (geldig t/m 31 maart 2025)Heb je belangstelling om in onze podcast te adverteren of ons te sponsoren? Zend een mailtje naar adverteren@dagennacht.nl en wij zoeken contact.Op sommige podcast-apps kun je niet alles lezen. De complete tekst plus linkjes en een overzicht van al onze eerdere afleveringen vind je hier***In de verhalen van Van Kleffens en Bernhard hoor je uitzonderlijke combinatie van moed, retorische brille, humor en eigenzinnige excentriciteit die Churchill kenmerkte. Hij kon dus ook onmogelijk zijn. Jaap en PG brengen een keur van verhalen en momenten - en dat zijn er eigenlijk maar enkele uit dat actieve, rijke leven van 90 jaar - die dit mogen illustreren.Een van zijn geheimen was zijn Clementine. Niet minder 'quite a character' en daarom kon zij hem waar nodig beminnelijk maar glashelder tot de orde roepen. Al in juni 1940 deed zij dit! "Ze was meedogenloos bij het aanmoedigen van zijn loopbaan, imago en nalatenschap", vertelde haar secretaris. Een belangwekkend, indringend kunstwerk werd daarom zonder gewetenswroeging vernietigd.De rasparlementariër Churchill zorgde voor vele boeken over en met zijn beste momenten in debatten, speeches en verbale virtuositeit. PG leest enkele hoogtepunten voor uit zo'n boek, The Wisdom of Winston Churchill. Over Europa, De Gaulle, over feiten en waarheid en over India. En die liefde voor 'the Commons' verklaart waarom Queen Elizabeth heel subtiel regelde dat hij geen hoge adellijke titel hoefde aan te nemen.Was hij feilloos? Allerminst. President Roosevelt zei: "Hij is een heerlijke man, maar met hem over India overleggen heeft geen enkele zin." Churchill was een romantisch imperialist en zag het Empire als onverwoestbare opdracht van de Britten. 'That naked Fakir' Gandhi verfoeide hij, misschien wel omdat hij bang was voor diens charisma.Natuurlijk weten we van zijn liefde voor Frankrijk, voor Amerika, zijn moeder Jennie Jerome en mooie wijnen, champagne en cognac. Ook daar zijn niettemin vele, excentrieke verhalen over. Net als over het gat in zijn hand.En dan die vriendschap later in zijn leven, toen hij geen premier meer was en zich wilde toeleggen op zijn hobby's schilderen en schrijven. Het bracht hem in contact met de puissant rijke reder Aristoteles Onassis. Het verhaal over deze bijzondere, warme relatie, diens superjacht en wereldberoemde, artistiek ongeëvenaarde maîtresse behoort tot de legendes van de twintigstee eeuw.***Aan het slot van de aflevering komen we nog even terug op aflevering 478 - Was Hitler een socialist? met een bijzonder liedje van The Marsh Family!***Verder luisteren32 - Churchill en Europa: biografen Andrew Roberts en Felix Klos (vanaf 1 uur 3)303 - Bijzondere Britse premiers69 - The Mother of Parliaments08 - Pim Waldeck over 'die gekke Britten' - Paul Rem over The Queen101 - 75 jaar bevrijding: De laatste dagen van Franklin D. Roosevelt292 - De koningin is dood, leve de koning! De politiek van sterven en opvolgen (naar aanleiding van de dood van Elizabeth II)434 – Vier iconische NAVO-leiders en hun lessen voor Mark Rutte (met oa 'Pug' Ismay, Churchills rechterhand)443 – Negen premiers en een explosief Oranjehuis (oa over de vraag: wie mag er naar de uitvaart van Churchill?)***Tijdlijn00:00:00 – Deel 100:48:00 – Deel 201:13:00 – Deel 301:28:20 – Einde Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Mellan den 27 maj och 4 juni 1940 genomfördes en av militärhistoriens mest spektakulära evakueringar. Med hjälp av provisoriskt byggda kajplatser, flodpråmar och privata lustbåtar lyckades britterna evakuera över 330 000 soldater från stränderna vid Dunkirk i nordöstra Frankrike, över till Dover och andra hamnar i Storbritannien. Samtidigt pressade tyska pansartrupper på, och Luftwaffe terroriserade stränderna.I dagens avsnitt av Militärhistoriepodden diskuterar idéhistorikern Peter Bennesved och professorn i historia Martin Hårdstedt ”Operation Dynamo”, evakueringen av British Expeditionary Force (B.E.F.) från Dunkirk under den tyska invasionen av Frankrike.Operationen inleddes den 27 maj, mitt under Hitlers offensiv. Från de brittiska öarna sändes kommendörkapten William Tennant över för att organisera arbetet. Väl på plats kunde Tennant konstatera att situationen var katastrofal. Stranden var fylld med tusentals soldater, och fler var på väg in. Luften var tjock av rök, och tillståndet bland soldaterna var uselt. Det fanns inget dricksvatten och ingen proviant. Samtidigt fortsatte tyska Luftwaffe att bomba staden och stranden, och soldaterna var värnlösa. Luftvärnskanonerna hade förstörts för att inte falla i tyskarnas händer, och hamnen hade bombats så svårt att inga större båtar längre kunde lägga till. Stranden var dessutom för långgrund för att möjliggöra angöring i dess närhet. Ebb och flod orsakade ytterligare praktiska problem.Det enda de kunde göra var att tillkalla så många flatbottnade båtar som möjligt. Tennant gav order om att soldaterna skulle ställa sig på led och vada ut i vattnet tills mindre båtar kunde plocka upp dem och föra dem ut på öppet vatten, där större fartyg väntade för att ta dem vidare till England. Trots de svåra förhållandena gick evakueringen oväntat bra. Under de första dagarna i juni kunde över 60 000 personer evakueras varje dag, och den 4 juni hade mer eller mindre hela B.E.F., samt mer än 100 000 franska soldater, evakuerats. Avgörande för insatsen var de många hundra privata lustbåtar som, med livet som insats, gav sig ut över Engelska kanalen för att hjälpa till.Trots att operationen markerade slutpunkten på ett totalt misslyckande i britternas försök att stoppa de invaderande tyskarna på kontinenten, blev den i slutändan något av en propagandaseger. Churchills tal i parlamentet den 4 juni 1940 satte tonen för de kommande åren och manade det brittiska folket att stålsätta sig inför vad som var på väg att ske i Europa. Ur ett tyskt perspektiv var evakueringen snarare ett bevis på den förestående segern. Hitler var övertygad om att detta innebar slutet för brittisk intervention i Europa och att han snart skulle kunna vända sig ostört österut för nästa uppgörelse. Så skulle det dock inte bli.Bild: Dunkirk 26–29 maj 1940: Brittiska trupper ställer upp på stranden vid Dunkirk i väntan på evakuering. Wikipedia. Public Domain.Klippare: Emanuel Lehtonen Hosted on Acast. See acast.com/privacy for more information.

Ingen annen filosof har hatt tilnærmelsesvis like stor innflytelse som Platon. Det er blitt hevdet at hele den europeiske filosofiens historie kan beskrives som en serie fotnoter til Platon. Det er imidlertid forbløffende hvor lite vi vet om denne mannen. Vi er ikke engang helt sikre på navnet hans. Og hadde han egentlig en slik idélære som han vanligvis blir tillagt? Var Akademiet han grunnla mer beslektet med en tankesmie enn et universitet?Platon var først og fremst politisk filosof, og filosofien hans kan betraktes som et forsøk på å skape en stat som ikke led under alle de vanskene som det atenske demokratiet hadde på hans tid. Først skisserte han en idealstat, men den forutsatte perfekte herskere. Det finnes som kjent ingen slike perfekte mennesker, og derfor kan heller aldri en idealstat etableres. Så vi får nøye oss med den nest beste staten, mente han, og den er mer demokratisk. Platon ville sånn sett gitt sin tilslutning til Churchills ord om at demokratiet er den verste styreformen, bortsett fra alle de andre.

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Winston Churchill gilt bis heute als einer der wichtigsten Staatsmänner des 20. Jahrhunderts. Seinem Durchhaltewillen und strategischem Weitblick verdankt es sich nicht zuletzt, dass die Alliierten im Zweiten Weltkrieg das militärische Blatt zu wenden und Hitler-Deutschland zu besiegen vermochten. Vor seinen zwei Amtszeiten als britischer Premierminister hatte Churchill bereits zahlreiche andere politische Ämter bekleidet, unter anderem seit 1924 das des Schatzkanzlers in der neuen konservativen Regierung Stanley Baldwins. Diese Berufung nahm der Hamburgische Correspondent vom 27. November zum Anlass für ein persönliches Porträt, das interessanterweise aus der Feder des deutschen Vizeadmirals Hollweg stammt, der den vor dem Ersten Weltkrieg für die Modernisierung der britischen Marine verantwortliche Ersten Lord der Admiralität Churchill also sehr unmittelbar als Kriegsgegner kannte. Wahrscheinlich fällt sein Urteil auch deshalb zwiespältig aus. Einige Einschätzungen Churchills als knallhart nur britische Interessen verfolgender Nationalist sind dabei nicht so gut gealtert, lohnen aber gerade auch deshalb allemal die Re-Lektüre. Von uns damit betraut worden ist Frank Riede.

Emma is back from the Bates's and just in time to catch Mr. Knightley before he leaves from London. How fortunate that she was able to let him know in time that she made her amends! But before she can think too much about their last interaction, they receive startling news - the long-suffering Mrs. Churchill is no more. Though it's sad news for the Churchills, the bright spot for Emma is that now there's a chance for Harriet to make her way into Frank's affections. More pressing for Emma on her quest to be a better person, however, is offering kindness to poor Jane Fairfax. Yet, for some reason, Jane is firmly rebuking Emma's overtures. All of this action leaves Emma with a lot to consider, and there's no better way to process than with a good night's sleep. So let this week's story help you as you make your own way into rest, relaxation, and peaceful slumber. ----- Welcome to the Jane Austen Bedtime Stories podcast! Each episode is a section of a classic Jane Austen novel, read in soothing tones and set to calming music to help you fall asleep. With everything that is going on in the world, we find comfort in the familiar. For so many of us, Jane Austen's works are like a warm hug. So snuggle up under the covers and let the comforting words of Jane Austen lull you into sleep. ----- Follow us on Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/janeaustenbedtimepod/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ----- Music ["Reverie"] by Scott Buckley - released under CC-BY 4.0. – www.scottbuckley.com.au --- Support this podcast: https://podcasters.spotify.com/pod/show/jabedtimepod/support

With Winston Churchills 150th Birthday this week the Ash Holes Celebrate by smoking the Davidoff Winston Churchill Late Hour Robusto while they talk about the legend, the legacy and the Davidoff Winston Churchill collaboration. We also have a weekly Top 5, Daves Weekly 6 Pack and Kilt Mans corner.   #winstonchurchillbirthday #Davidoff #Cigar #Davidgarofalo #Edsullivan #Aaronnoonan #Dandavison #TAA #TAH #Cigars #Theashholes #UnitedPodcastNetwork #Studio21PodcastCafe   Follow Us On: Facebook:   / ashholesradio  YouTube:    / @theashholes9602  Odysee: https://odysee.com/@theashholespodcast:f Instagram:   / ashholesradio  Twitter:   / theashholes  Listen to Us on: theashholes.podbean.com   or anywhere you listen to your favorite podcasts   Join us as we broadcast live on location from Studio 21 Podcast Cafe high above Two Guys Smoke Shop in Salem, New Hampshire on the United Podcast Network, every Tuesday @ 4pm.

In this episode of the Anglotopia podcast, historian and author Katherine Carter offers a fascinating look into her new book, Churchill’s Citadel, which examines Winston Churchill’s pivotal “wilderness years” of the 1930s. Katherine shares her lifelong passion for history and her journey to becoming Chartwell's curator, diving into how this beloved Kent home became Churchill's personal headquarters for intelligence gathering and diplomacy. She reveals the unique domestic life at Chartwell, with its lively gatherings, memorable overnight guests like T.E. Lawrence, and Churchill's meticulous attention to detail—even down to the design of the dining chairs. The discussion explores Churchill's resilience and isolation as he warned of the Nazi threat, Clementine Churchill’s critical role in managing their household and finances, and the support of staff who endured Churchill's famously rigorous schedule. Katherine also touches on the financial ups and downs that marked the Churchills' lives, their strategic return to Chartwell after WWII, and the special steps taken to protect the home during the war. Finally, she hints at an exciting upcoming art exhibition at the Wallace Collection that will showcase Churchill's work as a painter, bringing new depth to this extraordinary leader's life. We’re running a giveaway until the end of the month with two copies to give away. Links Churchill’s Citadel Contest Buy Churchill’s Citadel Chartwell National Trust Katherine Carter on Twitter Join the International Churchill Society Key Takeaways Katherine Carter’s passion for history began in her childhood in York. The 1930s were crucial for Churchill, as he was a lone voice against the tide of appeasement. Chartwell served as Churchill’s headquarters for diplomacy and intelligence gathering. The abdication crisis highlighted Churchill’s support for the monarchy. Notable visitors to Chartwell included influential figures like T.E. Lawrence and Heinrich Brüning. Churchill’s dinner parties were a blend of fine cuisine and political strategy. Clementine Churchill played a vital role in managing Chartwell and their household. Churchill’s financial struggles impacted his ability to maintain Chartwell. The upcoming exhibition at the Wallace Collection will focus on Churchill’s artistry. Katherine’s research revealed the human side of Churchill’s domestic life. Sound Bites On Churchill’s early inspiration: “The 1930s are just as, if not possibly even more important [than WWII] because it's so much harder fighting for a cause when you are a lone voice… Churchill really was going out on a limb declaring that war was inevitable and we should be preparing for it.” Chartwell as Churchill’s strategic hub: “Chartwell becomes like his own branch of the Foreign Office out in Kent… they chose the 1930s as the period to immortalize, recognizing that as its moment of greatest historic significance.” The significance of the visitor's book: “There's over 750 signatories from the 40 years the Churchills lived there… I wanted to interrogate everyone who came, whether they were a dine, wine, and dined guest or someone just quickly running in for the afternoon with a brown envelope of intelligence.” On Churchill's unique social diplomacy: “Dinner at Chartwell… you’d have fine cuisine, excellent champagne, and discussion until midnight. Churchill would either be gleaning insights from you or trying to persuade you to his way of thinking.” Chartwell’s intimate charm: “It's not a grand house. There are grander houses in England… but it's a microcosm of everything he required. It feels very intimate, like you’re walking around in Churchill’s head.” On Churchill’s resilience and purpose: “His courage to remain true to what he thought was right is truly inspirational… even with the political pressure and fear of war, Churchill held firm to his beliefs.” Chapters 00:00 Introduction to Katherine Carter and Churchill’s Citadel 03:07 Katherine’s Journey into History and Churchill 05:57 The Significance of the 1930s in Churchill’s Life 09:08 Chartwell: The Heart of Churchill’s Diplomacy 11:49 The Abdication Crisis and Chartwell’s Role 15:04 Notable Visitors and Their Impact on Churchill 17:46 Domestic Life at Chartwell: Balancing Diplomacy and Family 21:05 The Challenges of Writing and Researching Churchill’s Life 24:02 Clementine Churchill: The Backbone of Chartwell 26:58 Chartwell as Churchill’s Ideal Domain 30:08 The Financial Struggles of the Churchills 32:57 Churchill’s Connection to Chartwell During WWII 36:14 Lessons from Churchill’s Resilience 39:07 The Upcoming Churchill Art Exhibition 42:10 Fun Questions: Churchill’s Favorite Memories and Quotes

In this episode of the Anglotopia podcast, historian and author Katherine Carter offers a fascinating look into her new book, Churchill's Citadel, which examines Winston Churchill's pivotal “wilderness years” of the 1930s. Katherine shares her lifelong passion for history and her journey to becoming Chartwell's curator, diving into how this beloved Kent home became Churchill's personal headquarters for intelligence gathering and diplomacy. She reveals the unique domestic life at Chartwell, with its lively gatherings, memorable overnight guests like T.E. Lawrence, and Churchill's meticulous attention to detail—even down to the design of the dining chairs. The discussion explores Churchill's resilience and isolation as he warned of the Nazi threat, Clementine Churchill's critical role in managing their household and finances, and the support of staff who endured Churchill's famously rigorous schedule. Katherine also touches on the financial ups and downs that marked the Churchills' lives, their strategic return to Chartwell after WWII, and the special steps taken to protect the home during the war. Finally, she hints at an exciting upcoming art exhibition at the Wallace Collection that will showcase Churchill's work as a painter, bringing new depth to this extraordinary leader's life. We're running a giveaway until the end of the month with two copies to give away. Links Churchill's Citadel Contest Buy Churchill's Citadel Chartwell National Trust Katherine Carter on Twitter Join the International Churchill Society Key Takeaways Katherine Carter's passion for history began in her childhood in York. The 1930s were crucial for Churchill, as he was a lone voice against the tide of appeasement. Chartwell served as Churchill's headquarters for diplomacy and intelligence gathering. The abdication crisis highlighted Churchill's support for the monarchy. Notable visitors to Chartwell included influential figures like T.E. Lawrence and Heinrich Brüning. Churchill's dinner parties were a blend of fine cuisine and political strategy. Clementine Churchill played a vital role in managing Chartwell and their household. Churchill's financial struggles impacted his ability to maintain Chartwell. The upcoming exhibition at the Wallace Collection will focus on Churchill's artistry. Katherine's research revealed the human side of Churchill's domestic life. Sound Bites On Churchill's early inspiration: "The 1930s are just as, if not possibly even more important [than WWII] because it's so much harder fighting for a cause when you are a lone voice… Churchill really was going out on a limb declaring that war was inevitable and we should be preparing for it." Chartwell as Churchill's strategic hub: "Chartwell becomes like his own branch of the Foreign Office out in Kent… they chose the 1930s as the period to immortalize, recognizing that as its moment of greatest historic significance." The significance of the visitor's book: "There's over 750 signatories from the 40 years the Churchills lived there… I wanted to interrogate everyone who came, whether they were a dine, wine, and dined guest or someone just quickly running in for the afternoon with a brown envelope of intelligence." On Churchill's unique social diplomacy: "Dinner at Chartwell… you'd have fine cuisine, excellent champagne, and discussion until midnight. Churchill would either be gleaning insights from you or trying to persuade you to his way of thinking." Chartwell's intimate charm: "It's not a grand house. There are grander houses in England… but it's a microcosm of everything he required. It feels very intimate, like you're walking around in Churchill's head.” On Churchill's resilience and purpose: "His courage to remain true to what he thought was right is truly inspirational… even with the political pressure and fear of war, Churchill held firm to his beliefs." Chapters 00:00 Introduction to Katherine Carter and Churchill's Citadel 03:07 Katherine's Journey into History and Churchill 05:57 The Significance of the 1930s in Churchill's Life 09:08 Chartwell: The Heart of Churchill's Diplomacy 11:49 The Abdication Crisis and Chartwell's Role 15:04 Notable Visitors and Their Impact on Churchill 17:46 Domestic Life at Chartwell: Balancing Diplomacy and Family 21:05 The Challenges of Writing and Researching Churchill's Life 24:02 Clementine Churchill: The Backbone of Chartwell 26:58 Chartwell as Churchill's Ideal Domain 30:08 The Financial Struggles of the Churchills 32:57 Churchill's Connection to Chartwell During WWII 36:14 Lessons from Churchill's Resilience 39:07 The Upcoming Churchill Art Exhibition 42:10 Fun Questions: Churchill's Favorite Memories and Quotes

Located between massive lakes Winnipeg and Manitoba, the fabled Interlakes Region has been an important stop over for migrating Canada geese since forever--especially for that population of big honkers known locally as "Churchills." The region annually attracts goose hunters like myself that can't seem to get enough of them. Sometimes the stars align and we're even there at the same time. Following an action-packed week and a big ol' celebratory T-bone steak, I meet with Manitoba friends Troy Bennet and Dustin Dola to recount the week's highlights.    Visit MOJO's Duck Season Somewhere Podcast Sponsors:   MOJO Outdoors  Benelli Shotguns BOSS Shotshells Ducks Unlimited  Flash Back Decoys  HuntProof Premium Waterfowl App Inukshuk Professional Dog Food  Tetra Hearing Tom Beckbe Voormi GetDucks.com USHuntList.com     Please subscribe, rate and review Mojo's Duck Season Somewhere podcast. Share your favorite episodes with friends! Business inquiries and comments contact Ramsey Russell ramsey@getducks.com

(***TIMESTAMPS in description below) ~ Tom Maier is an award-winning author, investigative journalist and television producer, with two hit TV premium shows in recent years from his highly-acclaimed books. TOM'S LINKS: Book: https://www.amazon.com/Mafia-Spies-Inside-Gangsters-Castro-ebook/dp/B07FR1HSVW?ref_=ast_author_mpb Mafia Spies TV Show: https://www.paramountplus.com/shows/mafia-spies/ EPISODE LINKS - Julian Dorey PODCAST MERCH: https://juliandorey.myshopify.com/  - Support our Show on PATREON: https://www.patreon.com/JulianDorey   - BUY Guest's Books & Films IN MY AMAZON STORE: https://amzn.to/3RPu952   FOLLOW JULIAN DOREY INSTAGRAM (Podcast): https://www.instagram.com/juliandoreypodcast/  INSTAGRAM (Personal): https://www.instagram.com/julianddorey/  X: https://twitter.com/julianddorey JULIAN YT CHANNELS - SUBSCRIBE to Julian Dorey Clips YT: https://www.youtube.com/@juliandoreyclips   - SUBSCRIBE to Julian Dorey Daily YT: https://www.youtube.com/@JulianDoreyDaily   - SUBSCRIBE to Best of JDP: https://www.youtube.com/@bestofJDP   Get $150 Off The Eight Sleep Pod Pro Mattress / Mattress Cover (USING CODE: “JULIANDOREY”): ⁠⁠⁠⁠⁠https://eight-sleep.ioym.net/trendifier⁠⁠⁠⁠⁠ ****TIMESTAMPS**** ****TIMESTAMPS**** 00:00 - Getting into Kennedy's & Churchills, Mafia, and Spies (Masters of Sex) 10:57 - Mafia & CIA Relationship to K1ll Castro 18:53 - Southern Florida Epicenter for Cuban Exile Plan, Allen Dulles Story & Becoming Head of CIA (Operation Mongoose) 26:32 - Communist vs Fascist Hatred During WW2, First Minority President of USA, Fear of Nuclear War (90 Miles Away) 32:50 - Why Mafia Hated Fidel Castro, Kennedy's Historic Election & Possible Mafia Involvement (Frank Sinatra's Espionage Role) 39:23 - Evidence JFK Inherited Plans to Get Rid of Foreign Leaders/Fidel Castro, Bay of Pigs Disaster Explained, Santo Traficante (Mafia Spy) 45:34 - Fontainebleau Hotel Beginning of CIA & Mafia, Fidel Castro Failed Assassination Attempt 53:49 - Howard Hughes Connection to John Roselli, Frank Sinatra Fist Fight Story 01:07:03 - Bobby Kennedy Monitoring Cuban Exile Plot, Oliver Stone's JFK Movie “Not Accurate”, James Bond of CIA (Bill Harvey) 01:18:26 - Story of Map in Tom's Kitchen, Sam (Mafia) After Wife's Death Goes to Las Vegas, Mafia Spies 01:37:09 - JFK's Affairs, Who Was John Roselli, Sam G. Canna Get Subpoenaed 01:51:37 - Why Tom Chose to Write About 2 Mobsters, Murder of John Roselli, Santo Traficante Possible Hitman 01:57:17 - John Roselli Knowing he was a Target, Albert Anastasisa (Murder Inc.) 02:09:34 - Closes Mission they got to Fidel Castro, Marita Lorenz 02:19:49 - Gerald Ford Attempting to Leave Assassination Business, Death of JFK and Entering Vietnam War, Tom Visiting Cuba 02:32:33 - Family Jewels Memo (Assassinating Foreign Leaders), Frank Sinatra and Gangster Connection 02:41:20 - Kennedy & Churchill's Falling out, Tyler Kent Case 02:57:11 - Find Tom CREDITS: - Host, Producer, and Editor: Julian Dorey - In-Studio Producer: Alessi Allaman - https://www.instagram.com/allaman.docyou/ Julian Dorey Podcast Episode 236 - Tom Maier Music by Artlist.io

Through August, Charlie Higson brings you a summer treat. A series of short daily episodes of Willy Willy Harry Stee which allow you to hear the bits we had to cut from the original series. Interesting facts about all aspects of the monarchy and the country.In today's episode, Charlie discusses the switching sides habit of the Churchill family, from John to Winston and ending up at Boris. Hosted on Acast. See acast.com/privacy for more information.

Join us, as Dre Aguero tells the story of his musical journey in Miami, FL. Dre is best remembered as the vocalist for beloved Miami pop-punk band, Foolproof (1996-2002). Other Miami bands to Dre's credit are Caught Inside (drums), Arsenal88 (vocals), and Madrina (drums). [Recorded: 05/26/24]Music:Arsenal88 - Shook Up (2010)Foolproof - Senseless (1998)☞ Follow Florida Sound Archive on Instagram! @floridasoundarchive☞ Please SUBSCRIBE to the channel and give the video a thumbs up if you enjoy the content...Related Episodes:The Story of Amy Fleisher Madden (Amy Fiddler/Fiddler Records) - https://youtu.be/H8tY-fEMSUw?si=BA7vAYjtHPhozN5TThe Story of Ariel Arro (Glasseater) - https://youtu.be/AXxV80JSBBw?si=kTD9ZVFpi3xdQUzFThe Story of Russell Mofsky (Quit) - https://youtu.be/TM5q2aKo4_M?si=7qB21PJgbkDfD5_9Foolproof - https://soundcloud.com/dre-ateateArsenal88 - https://soundcloud.com/arsenal88

Watch this movie review podcast where Kade & Gray give their movie review of Guy Ritchie's latest film, THE MINISTRY OF UNGENTLEMANLY WARFARE, starring Henry Cavill, Alan Ritchson, & Eiza Gonzalez. As always their candid conversation starts moments after watching the film together for the most genuine reaction. Sit back and relax as you enjoy this episode of the CRWN Cinema Podcast! THE MINISTRY OF UNGENTLEMANLY WARFARE is about: British Prime Minister Winston Churchill and a group of military officials hatch a daring plan to neutralize Hitler's fleet of German U-boats during World War II. Made up of a motley crew of rogues and mavericks, the top-secret combat unit uses unconventional techniques to battle the Nazis and change the course of the war. Chapters: 00:00 Post movie rating & review 05:30 Alan Ritchson is basically the hulk 07:37 The ultimate 'Scary German' 10:41 The synopsis 14:02 Brutality made easy 18:15 Tarantino already did this... 20:59 Churchills powerful final scene 23:03 Our favorite characters 27:15 The biggest issue with this movie 32:46 Guy Ritchie's mastery despite the simple plot 36:09 A good one for the old dudes 38:19 It started off REALLY strong 40:27 Final thoughts 42:05 Outro --- Support this podcast: https://podcasters.spotify.com/pod/show/crwncinema/support

The untold story of 90s South Florida concert promoter, RABBI Join us, as we answer the question, WHAT HAPPENED TO RABBI? Rabbi (Lawrence Giles) promoted shows in South Florida from 1990-1996 at venues such as the Thrashcan, Washington Square, the Cameo Theatre, Churchill's, the Kitchen Club and Cheers. Rabbi vanished from the scene in 1996. [Recorded: 03/09/24]☞ Follow Florida Sound Archive on Instagram! @floridasoundarchive ☞ Please SUBSCRIBE to the channel and give the video a thumbs up if you enjoy the contentMusic:Quit - Dedication (1990)Bloodlet - Husk/The Art (1995)Related Episodes:The Story of Richard Shelter - https://youtu.be/UV8Ap-NGG3k?si=ZxYOt_bRp1TRqvWLThe Story of The Believers - https://youtu.be/Q_r3p0ASzvw?si=GlkDBZPxh_94T4elThe Story of Chocolate Grasshopper - https://youtu.be/uOzSwUXMNxo?si=94WemhgoXwrTxw13

The Story of STARCRUNCH RECORDS (Miami) with CHRIS LELUGASChris tells the story of Miami record label, Starcrunch Records. Starcrunch started up in the mid 1990's by Chris Lelugas and the late Mari Giordani. Chris takes us through the labels early beginings, origins of the name, memories of each release, the local scene of the era, Churchill's, plus his time owning Yesterday & Today Records, DJing at WVUM, and so much more! [Recorded: 02/22/24]☞ Follow Florida Sound Archive on Instagram! @floridasoundarchive☞ Please SUBSCRIBE if you enjoy the contentMusic:Los Canadians - Never Can (1996)Drug Czars - Cry Miami (1996)Related Episodes:The Story of Kreamy 'Lectric Santa (KLS) with Robert Price & Priya Ray - https://youtu.be/Fzo_by24Agc?si=i8LeIzWs3zo8iw6lThe Story of JEFF HODAPP (Roach Motel, Drug Czars, Trapped By Mormons, Morbid Opera, Dust Traps) - https://youtu.be/WFl1-3CzzLg?si=o6tOsgRuGbceHs7BThe Story of CHUCK LOOSE (The Crumbs, Drug Czar, The Heatseekers, Chickenhead, Iron Forge Press) - https://youtu.be/_Ieek4sSdkw?si=rAog5psFMvIbehYv

This week the boys are back and we cover a few different things including the shooting at the Joel Osteen mega church, Biden being fully broken, the border of Ukraine, Churchills fake teeth and Australia banning thongs? Give it a listen and find out for yourself. This podcast is powered by BUMP Energy.Follow us on all social media at time for another or check out our website at timeforanother.comSend us an email at timeforanotherpodcast@gmail.com

In this episode, Gary and Spencer delve deep into the early life, career, and complex character of Winston Churchill, an influential and often controversial figure in Britain's military, political and imperial history. This episode is the first of a short series and covers Churchills early life up to the end of the Second South African War (Boer War) in 1901/2. With a keen focus on Churchill's intricate relationship with war, they offer insightful perspectives on his roles as a man, politician, and military leader in his early life. They start out by considering books on Churchill that they feel give an insight to the man and his legacy. Born in 1874 at Blenheim Palace, he was the progeny of Lord Randolph Churchill, a prominent Conservative politician, and the American heiress Jennie Jerome. Churchill's formative years were marked by familial tension, with his parents often absorbed in their political endeavours. Largely raised by a nanny, he attended various schools before graduating from the Royal Military College, Sandhurst, in 1895, following the passing of his father. In the late 1890s, Churchill embarked on a series of adventurous military and journalistic ventures. Commissioned as a second lieutenant in the 4th Queen's Own Hussars, he actively sought engagement in conflicts, witnessing upheavals in Cuba and India. Concurrently, he pursued a path of self-education and literary exploration, laying the groundwork for his burgeoning writing career. His participation in military campaigns, coupled with his role as a journalist in the Sudan, provided invaluable insights that would shape his future political trajectory. Transitioning into the realms of politics and journalism, Churchill faced initial setbacks, notably in the 1899 Oldham by-election where he was unsuccessful as a Conservative candidate. Undeterred, he ventured to South Africa as a journalist to cover the Second Boer War. However, his journey took a dramatic turn when he was captured and briefly held as a prisoner of war before orchestrating a daring escape, capturing the attention of the public. Upon his return to Britain, he secured a seat as a Member of Parliament for Oldham in 1900. Continuing his journalistic pursuits, he penned compelling accounts of his experiences in South Africa and embarked on captivating lecture tours, solidifying his reputation as a multifaceted public figure with a profound interest in both politics and literature.

The Story of Punk Under The Sun: '80s Punk and New Wave in South Florida with authors Joey Seeman & Chris Potash☞ Follow Florida Sound Archive on Instagram! @floridasoundarchivePUNK UINDER THE SUNBUY PUNK UNDER THE SUN HERE: https://hozacrecords.com/product/pre-order-punk-in-the-sun-punk-new-wave-in-south-florida-book-by-joey-seeman-chris-potash/JOIN THE DISCUSSION on FACEBOOK HERE: https://www.facebook.com/people/Punk-Under-the-Sun/61550336397863/ Follow on Instagram: Authors Chris Potash & Joey Seeman @punkunderthesunReviews of PUNK UNDER THE SUN: https://linktr.ee/punkunderthesun?utm_source=linktree_admin_share*****About The Episode*****Authors Joey Seeman and Chris Potash were there, participating in and documenting the first, second, and subsequent waves of musicians, indie labels, DJs, record stores, radio stations, publications, and players who came together to create a unique cultural moment and movement in South Florida history. In this episode, Joey and Chris tell the story behind their book Punk Under The Sun: '80s PUNK & NEW WAVE in SOUTH FLORIDA. [Episode 71: Recorded 01/29/2024]****About The Authors****Joey Seeman is a writer, graphic designer, painter, and DJ. His artwork has been published in SPIN, Art Alternatives, Ocean Drive, and Juxtapoz and been shown in galleries in Portland, Los Angeles, Dallas, and Miami, including in the Museum of Contemporary Art in North Miami. In the 1980s he played bass in several local Miami bands, including Fade II Gray and Naughty Puritans.Chris Potash wrote about music, film, and art in South Florida for the weekly Wave and daily Miami News from 1986 through 1988. His “Off the Record” column gave him insider access to local bands and touring acts.Music:The Cichlids - Tourists Are Pink (1980)Z Toyz - Miami Beakdown (Mid 80s)Related Episodes:Oscar Herrera (The Sleep Of Reason) - https://youtu.be/eb07jcgiiUo?si=5mzT0wYGqhCqb-iwRichard Shelter (Promoter) - https://youtu.be/UV8Ap-NGG3k?si=wzRm8p4dKpz9QqJXJeremy Kolosine (Futurisk) - https://youtu.be/FhTbxmrG8EM?si=fBjnMlffUj9ok3auRobert Price & Priya Ray (Kreamy 'Lectric Santa/Prom Sluts) - https://youtu.be/Fzo_by24Agc?si=6C2UeWEQH3axXG2R Rob Elba (The Record Got Me High Podcast) - https://youtu.be/qSea8-JBWbw?si=zE3m1CZTnt-jHrZiGreg McLaughlin (The Front) - https://youtu.be/hDRP57mS9vg?si=JWQHaVYy3NA2G7ViCharlie Pickett - https://youtu.be/-geZ4dTJEG8?si=X9o5YekWo38EOuwRRussel Mofsky (Quit) - https://youtu.be/TM5q2aKo4_M?si=3-vU1JJVqiCLin0o

Live inför publik på Vänsterdagarna på mässan i Göteborg. Clara Matteis bok Kapitalets ordning - Hur ekonomer skapade åtstramnings-doktrinen och banade väg för fascismen är utgångspunkten för veckans avsnitt, som också handlar om Churchills fuck-ups.

The Story of Kreamy 'Lectric Santa (KLS) with Robert Price & Priya RayRobert Price and Priya Ray are founding members of Kreamy 'Lectric Santa (KLS). Originating out of Miami, FL, In the early 90's, KLS started out of a band called The Prom Sluts and blended punk, psych experimental and electronic music. The KLS collective had more than 50 members over the years and were a staple of of the Miami scene. [Episode: 66 - Recorded 11/05/2023]☞ Follow Florida Sound Archive on Instagram! @floridasoundarchiveMusic:KLS - Holdin yerself (2009)KLS - Messin With My Head (1995)Follow KLS:Instagram - @kreamy_kectric_santa_ / Facebook - https://www.facebook.com/kreamyls/Bandcamp - https://kreamylectricsanta.bandcamp.com/ / Website - http://www.kreamy.org/kls_html/home.html***A message from Robert & Priya***We were so caffeinated that we completely forgot to mention long time member Jan 9, loyal drummer Ricky Pollo, experimental projects Monstadt 3 with Adris Hoyos, Bank o Christ with Marlon Kassberg, and Roberts time playing junk on the streets of Miami, and then SF with Stevie Ray Funyon of the Funyons. Anyone else omitted we're so dam sorry. Hard to consolidate 30 years into a couple of hours.Related Inteviews:Jeff Hodapp (Morbid Opera/Drug Czars) - https://www.youtube.com/watch?v=WFl1-3CzzLgChuck Loose (Chickenhead/Drug Czars) - https://youtu.be/_Ieek4sSdkw?si=5iZLWpPdd1MJg8GBCharlie Pickett - https://youtu.be/-geZ4dTJEG8?si=dgDjJgqF18ZPQuAa

Slaget om Storbritannien år 1940 och tyskarnas misslyckande att erövra England fick stora konsekvenser för andra världskrigets utveckling. Det var 2000 stridsflygare som under några dramatiska månader höll emot det tyska anfallet.”Aldrig har så många haft så få att tacka för så mycket” är Churchills klassiska uttalande om the few, det vill säga de drygt 2 000 stridsflygare som under de dramatiska månaderna sommaren och hösten 1940 lyckas hålla emot det tyska anfallet på Storbritannien.Tyskarna inledde sommaren 1940 en luftoffensiv utan tidigare skådad omfattning mot de brittiska öarna. Som vi vet kom operationen att bli ett stort misslyckande. Men varför? Och vilka planer hade tyskarna egentligen? Hur kunde britterna stå emot?Dessa frågor och mycket annat diskuterar Martin Hårdstedt och Peter Bennesved i denna nymixade repris av Militärhistoriepodden som handlar om tyskarnas försök att knäcka britterna och tvinga Storbritannien till fred. Slaget om Storbritannien för samtalet in på luftkrigets villkor och del i krigföringen men även diskussioner kring flygteknik.Tyskarnas misslyckande kom att få stora avgörande konsekvenser för andra världskriget. Ett brittiskt nederlag och kanske till och med en tysk ockupation av de brittiska öarna hade sannolikt kastat historien i en annan riktning. Slaget om Storbritannien var ett av de viktigaste skeendena under hela andra världskriget.Bild: En tysk Heinkel He 11 bombplan över Surrey hamn i södra London den 7 september 1940. Wiki media, public domain. Hosted on Acast. See acast.com/privacy for more information.

Zeitreise in eines der dunkelsten Kapitel Englands und der Welt: Unsere BRITPOD-Macher Alexander-Klaus Stecher und Claus Beling steigen hinab in die “Churchill War Rooms”, 15 Meter tief in der Erde unter dem Gebäude des Schatzministeriums und Downingstreet Number 10. Die einst streng geheime Kommandozentrale der britischen Kriegsführung im zweiten Weltkrieg ist heute ein Museum und wird jedes Jahr von mehr als einer halben Million Menschen besucht. Skurril: In einer als Toilette getarnten Besenkammer befindet sich der “Transatlantic Telephone Room”. Von hier konnte Premierminister Winston Churchill über eine abhörsichere Telefonverbindung mit dem damaligen US-Präsidenten Franklin D. Roosevelt sprechen. Original-Zitate von Churchills engsten Mitarbeitern und ein Stück britisch-europäische Geschichte zum Anhören - hier im BRITPOD - England at its Best. -- Bei unserem Partner Romance TV wird der Oktober zum Pilcher-Monat: Zusätzlich zu den regulär laufenden Pilcher-Filmen gibt es jeden Abend um 21:45 Uhr einen Liebesfilm aus der Kult-Reihe, darunter Pay-TV-Premieren an den ersten vier Sonntagen des Monats. Erfahre mehr auf romance-tv.de -- BRITPOD - England at its Best - wird präsentiert von Romance TV. Dem Zuhause der Rosamunde-Pilcher-Filmreihe und romantischer Serien. -- Ein ALL EARS ON YOU Original Podcast.

Back in chapter 120, we met two extraordinary women, Mary Seacole and Florence Nightingale, who transformed the world of nursing. Now we're looking at four more women who were just as remarkable. They took on the stronghold of the doctors, and broke in. As they did that, they also began to force open the doors of the universities. The specific task of gaining access to universities for women was taken on by another woman mentioned in this episode, and she directed yet another towards the battle for the vote. As well as the women, the episode also looks briefly at a Churchill and the strange launchpad for life he provided for another, his son. But that son is a historical giant, so strange or not, it was a launchpad that would work for him. Illustration: The Elizabeth Garret Anderson Hospital building in Euston Road, London. Photo by Luca Borghi @ (July 2011) Music: Bach Partita #2c by J Bu licensed under an Attribution-NonCommercial-No Derivatives (aka Music Sharing) 3.0 International License.

Evenals de misleidende term ‘zinloos geweld' suggereert dat er ook zoiets bestaat als zinvol geweld, doet de term ‘schone oorlog' vermoeden dat die zich zou onderscheiden van een vuile oorlog. In een ‘schone oorlog' wordt uitsluitend geschoten op militaire doelen. Dat kan een kazerne vol soldaten zijn. Maar op flatgebouwen of ziekenhuizen schieten is een terroristische daad, en dus een vuile oorlog. Als vlakbij die kazerne een school staat, of naast het ziekenhuis een artilleriebatterij, wat dan? Oorlogen zijn altijd vuil.  In november 1940 bombardeerden de Duitsers de Britse stad Coventry. Naar verluidt wist Churchill dat al uren van tevoren, maar gelastte geen evacuatie omdat de Duitsers dan zouden begrijpen dat de Britten hun communicatie hadden onderschept. Als dat waar is, beging Churchill dan een oorlogsmisdrijf? In februari 1945, toen Nazi-Duitsland feitelijk al had verloren, gooiden de Britten en Amerikanen Dresden plat. Misschien was het Churchills wraak, misschien woede, zo vlak na de bevrijding van Auschwitz. Maar strategisch had het bombardement geen nut, en tussen de 150.000 en 200.000 burgers kwamen om. Oorlogsmisdrijf?  Een vuile of schone oorlog hangt niet alleen af van de geraakte doelen, maar ook van de gebruikte methodes. Na hun geklungel in de eerste fase van de oorlog, hebben de Russen een lesje geleerd. Defensie-expert Michael Peck dook ik de opbouw van het front, waar de Russen gigantische versterkingen hebben aangelegd en duizenden mijnen hebben geplaatst. De troepenmacht bestaat, vanaf het front naar achteren, uit veroordeelde gevangenen, dienstplichtigen, beroepsmilitairen en Spetsnaz commando's. Aan het front staat dus ‘opofferbare infanterie,' kanonnenvlees dat voor de glorie van de rodina, het moederland, de dood in wordt gejaagd. Oorlogsmisdrijf?  Eric Miller, van de Amerikaanse denktank RAND, onthult in de Moscow Times de schaduwzijde van de Oekraïense inzet. Sinds 2014 vechten milities uit Tsjetsjenië, Rusland en Belarus mee, niet omdat ze warme gevoelens koesteren voor team-Zelensky, maar om hun eigen ambities te verwezenlijken. De Tsjetsjenen willen onafhankelijkheid, de Wit-Russen willen Loekasjenko omleggen. Net als aan het begin van de oorlog de extreemrechtse Azov-brigade meevocht, vechten er nu eenheden mee van het neonazistische Russische en etnisch-Russische Vrijwilligers Corps, dat een staatsgreep in het Kremlin wil. Allemaal mannen die, zogezegd, staan te popelen om oorlogsmisdrijven te plegen.  De dood van onschuldige burgers is het gruwelijke refrein van elk oorlogsrelaas. Om te winnen vraagt Zelenski niet om artsen, verpleegkundigen en pleisters, maar om wapens. Om door de Russische linies te breken. Wat daar klaar staat is het Russische kanonnenvlees. Maar ja, dat is een militair doel, dus het mag.   Kijk voor alle columns van Bernard Hammelburg op www.bnr.nl/bernardhammelburgSee omnystudio.com/listener for privacy information.

Churchill's is best known to its fans for its line of sausages and easy-to-reheat food. The company's founders, Lee Thomas and Dom Grant, talk about what its like to start a food business and sustain it during the pandemic years.

The Story of South Florida Hardcore Band THE BELIEVERSTony Downs (vocalist) and Chad Palmer (guitar) tell the story of their late 80s/early 90's hardcore band THE BELIEVERS. The Believers were out of West Palm Beach, and are one of South Florida's earliest hardcore bands. Some could argue they were the first. Tony and Chad take us through the early beginnings, the formation of the band, recording the 1987 "Half Way Home" demo cassette, recording their unreleased album at Morrisound Studios in Tampa, reminiscing about the countless shows opening for bands such as Social Distortion, Fugazi, Slapshot, DayGlo Abortions, Insted, Judge, Warzone, Bl'ast! just to name a few. They also shared the stage with a plethora of other Florida bands of the era such as Powerhouse, The Roidz, No Fraud, Beyond Reason, The Genitorturers, Slap of Reality, People's Court, Awake and FWA just to name a few. Dain Johnson (bass) was out of town and unable to be present for this episode. [Episode: 56 - Recorded 06/04/2023]Music:The Believers - Come Together (1991)The Believers - All I'll Be (1987)☞ Follow Florida Sound Archive on Instagram! @floridasoundarchiveThe Believers - Social Media, etc.FACEBOOKhttps://www.facebook.com/people/The-Believers/100069873556220/INSTAGRAMTony Downs @tony_break_downsChad Palmer @zenofwealth

  950,000 years ago a family of five walked along the beach and left their prints behind. Now, we can view that poignant portrait etched in time — fossils of footprints on the beach — and think of our own families and what memory we might leave in our wake. For award-winning historian Simon Sebag Montefiore, these familiar footprints serve as an inspiration for his latest research in world history — one that is genuinely global, spans all eras and all continents and focuses on the family ties that connect every one of us. In his book The World, Montefiore chronicles the world's great dynasties across human history through palace intrigues, love affairs, and family lives, linking grand themes of war, migration, plague, religion, and technology to the families at the heart of the human drama. These families are diverse and span across space and time. Montefiore tells the stories of the Caesars, Medicis and Incas, Ottomans and Mughals, Bonapartes, Habsburgs and Zulus, Rothschilds, Rockefellers and Krupps, Churchills, Kennedys, Castros, Nehrus, Pahlavis and Kenyattas, Saudis, Kims and Assads. He ties in modern names such as Indira Gandhi, Margaret Thatcher, Barack Obama, Vladimir Putin, and Volodymyr Zelensky. These powerful families represent the story of humanity, with bloody succession battles, treacherous conspiracies, and shocking megalomania alongside flourishing culture, moving romances, and enlightened benevolence. Montefiore's work encourages us to pause and consider our own footprints — and how they might connect to narratives of the future. Simon Sebag Montefiore is a historian of Russia and the Middle East whose books are published in more than forty languages. Catherine the Great and Potemkin was shortlisted for the Samuel Johnson Prize for Non-Fiction. Stalin: The Court of the Red Tsar won the History Book of the Year Prize at the British Book Awards, and Young Stalin won the Los Angeles Times Book Prize for Biography, the Costa Biography Award, and le Grande Prix de la biographie politique. He received his Ph.D. from Cambridge, and he is a Fellow of the Royal Society of Literature. He lives in London. The World The Elliott Bay Book Company

I vårt mest gubbiga avsnitt hittills så förvandlas vi till 40-talistfarbröder och pratar om det enda som sagda farbröder vill prata om; dvs. ANDRA farbröder i form av Gustaf Mannerheim och Winston Churchill, men med utgångspunkt i deras ungdomsår tillika Indiana Jones-period.Per inleder med att beskriva Mannerheims tjänstgöring i tsarryska armén, men framför allt hans strapatser under upptäcktsfärder i Centralasien; vilket involverar arroganta fransmän (”baguette”), ”odågor” och midjedjup snö. Mattis tar sedan vid och uppvisar den monumentala matthet över Churchill som uppstår när man läst en bok av Churchill OM Churchill. Utöver britthatet så blir det även äventyrliga flykter från fångläger och fäktning i Indien.Dessutom: kinesiska bärares totala brist på hämta-lämna-problematik, Pers excentriska sätt att säga Mannerheim (”Mannerhajm”), slaget vid Omdurman som ett trevligt skådespel, ryska officerares alkoholism, Mattis excentriska sätt att uttala Indiana Jones (”IndiAana Jones”), nedmonterandet av diverse nationalikoner, slappa boer, pansartåg och mycket mer! Stötta oss på Patreon!Support till showen http://supporter.acast.com/krigshistoriepodden. Hosted on Acast. See acast.com/privacy for more information.

Clear soup, Irish stew and steamed puddings - this was the war work of Georgina Landemare, the Churchills' longest-serving cook.Throughout the war years, Georgina served the Prime Minister, delegations of diplomats and the occasional royal, as well as the other staff of 10 Downing Street, Chequers and the War Rooms.Annie Gray is back with Kate today to introduce us to Georgina; why she went into the service industry, where she learnt to cook the French way, and how she managed to make the most of wartime rations (with a few top-ups here and there).*WARNING there are adult words and themes in this episode*Produced by Charlotte Long and Sophie Gee. Mixed by Stuart Beckwith.Betwixt the Sheets: The History of Sex, Scandal & Society. A podcast by History Hit.For more History Hit content, subscribe to our newsletters here.If you'd like to learn more, we have hundreds of history documentaries, ad-free podcasts and audiobooks at History Hit - subscribe to History Hit today!Download the History Hit app from the Google Play store.Download the History Hit app from the Apple Store. Hosted on Acast. See acast.com/privacy for more information.

Frank and Emma want to throw a ball at the Crown Inn, but it doesn't happen. Instead, they say goodbye. Topics discussed include parent bait, soggy sandwiches, and Perry the Apothecary.Study questions: Topics discussed include what a ball would mean for Highbury, whether we believe Frank/the Churchills about his reason for leaving, Frank and Emma's relationship, and summer camp romance.Funniest quote: The party did not break up without Emma's being positively secured for the two first dances by the hero of the evening, nor without her overhearing Mr. Weston whisper to his wife, “He has asked her, my dear. That's right. I knew he would!”Questions moving forward: Does Emma love Frank? Does Frank love Emma? Will Frank come back? Will they have the ball? Does Knightley love Jane? Who does Jane love? Is Harriet okay?Who wins the chapters? Mr. WoodhouseGlossary of People, Places, and Things: Maya Leinenbach, The Last of Us, Romeo and Juliet, Billy Elliot, Gilmore Girls, Perry the PlatypusNext Episode: Vol. II Chapters 13-14 OR Chapters 31-32Our show art was created by Torrence Browne, and our audio is produced by Graham Cook. For bios and transcripts, check out our website at podandprejudice.com. Pod and Prejudice is transcribed by speechdocs.com. To support the show, check out our Patreon!Instagram: @podandprejudiceTwitter: @podandprejudiceFacebook: Pod and PrejudiceYoutube: Pod and PrejudiceMerch store: https://www.teepublic.com/stores/pod-and-prejudice?ref_id=23216

Frank gets a haircut, Emma goes to a party, Jane gets a piano from a secret admirer, and some suspicions arise about Mr. Knightley. Topics discussed include teeth brushing tactics and Knightley's love life.Study questions: Topics discussed include Emma's feelings toward the Coles, what we learn about the Churchills, Frank and Emma's dynamic, what the HELL happened between Frank and Jane, who sent the pianoforte, and the potential Knightfax pairing.Funniest quote: “Only to be sure it was paying him too great a compliment, but she did think there were some looks a little like Mr. Elton.” Emma restrained her indignation, and only turned from her in silence.Questions moving forward: Does Knightley like Jane? Did Frank send the piano? Does Frank like Jane? Does Frank know something about Jane? Who sent the pianoforte?Who wins the chapters? Mrs. WestonGlossary of Terms and Phrases:improvidently (adv.): lacking foresight; incautious; unwary.impudent (adj.): not showing due respect for another person; impertinent.outrée (adj.): passing the bounds of what is usual or considered proper; unconventional; bizarre.Glossary of People, Places, and Things: The Office, Leonardo DiCaprio, Wonderwall, Don't Make Me SingNext Episode: Vol. II Chapters 9-10 OR Chapters 27-28Our show art was created by Torrence Browne, and our audio is produced by Graham Cook. For bios and transcripts, check out our website at podandprejudice.com. Pod and Prejudice is transcribed by speechdocs.com. To support the show, check out our Patreon!Instagram: @podandprejudiceTwitter: @podandprejudiceFacebook: Pod and PrejudiceYoutube: Pod and PrejudiceMerch store: https://www.teepublic.com/stores/pod-and-prejudice?ref_id=23216

Fredrik langar över kreditkortet till barnen som vandrar över till Harrods medan han själv sätter sig på Churchills pub i London och upplever årets två bästa timmar. Filip kör vilse i kartell-land och varför provoceras Chris Härenstam av Micke Renbergs storkukslugn?

Í ágúst 1941 kom Winston Churchill í heimsókn til Reykjavík. Heimsóknin vakti mikla athygli, Reykvíkingar fögnuðu breska forsætisráðherranum ákaft og Churchill fannst lofið gott. En hvað var hann að vilja og hvernig gekk heimsóknin fyrir sig? Hér er leitað fanga m.a. í ævisögu lífvarðar Churchills og einnig vitnað í skrif hans sjálfs um heimsóknina, en þar þakkaði hann sér hugmyndina að hitaveitu á Íslandi. Umsjón: Illugi Jökulsson.

Í ágúst 1941 kom Winston Churchill í heimsókn til Reykjavík. Heimsóknin vakti mikla athygli, Reykvíkingar fögnuðu breska forsætisráðherranum ákaft og Churchill fannst lofið gott. En hvað var hann að vilja og hvernig gekk heimsóknin fyrir sig? Hér er leitað fanga m.a. í ævisögu lífvarðar Churchills og einnig vitnað í skrif hans sjálfs um heimsóknina, en þar þakkaði hann sér hugmyndina að hitaveitu á Íslandi. Umsjón: Illugi Jökulsson.

5:30 Club + Live at Churchills for Stuff The Truck + What is your best Thanksgiving or Holiday memory and so much more!See omnystudio.com/listener for privacy information.

In chapters 11 and 12 of Emma, Isabella and John Knightley come to visit, we witness the battle of Wingfield v. Perry, and Emma and Knightley try to keep the peace. Topics discussed include gruel, mostly, and the mystery of Jane Fairfax.Study Questions: Topics discussed include the purpose of John and Isabella, what we've learned about Emma, why Knightley forgives Emma and how they operate together in the story, and the Churchills.Funniest Quote: "And for a little while she hoped he would not talk of it, and that a silent rumination might suffice to restore him to the relish of his own smooth gruel."Questions Moving Forward: Why do people hate the Churchills? Will Frank come to visit? What's up with Harriet and Elton?Who Wins the Chapters? Emma and KnightleyGlossary of Terms and Phrases:forbearance (n): patient self-control; restraint and tolerancephilippic (n): a bitter attack or denunciationGlossary of People, Places, and Things: Gilmore Girls, Celine Dion, Goldilocks, Fiddler on the Roof, Aladdin, Mean GirlsNext Episode: Chapters 13-14Pod and Prejudice is sponsored by Athletic Greens. To get a full year's supply of Vitamin D AND 5 free travel packs with your first purchase of AG1, head on over to athleticgreens.com/WHOMST.Our show art was created by Torrence Browne, and our audio is produced by Graham Cook. For bios and transcripts, check out our website at podandprejudice.com. Pod and Prejudice is transcribed by speechdocs.com. To support the show, check out our Patreon!Instagram: @podandprejudiceTwitter: @podandprejudiceFacebook: Pod and PrejudiceYoutube: Pod and PrejudiceMerch store: https://www.teepublic.com/stores/pod-and-prejudice?ref_id=23216

Sandwiched between the massive lakes Winnipeg and Manitoba, the vast region colloquially known as the Interlake forms a giant migrator funnel for "Churchills" and other waterfowl. Goose hunting culture thrives here. Meeting with Troy Bennet and Dustin Dola over dinner, Ramsey gains insight into what its like growing up here, why goose hunting is so important, how waterfowl are hunted here versus other parts of Canada, and how local hunters may differ from some non-resident guests. He also begins to understand why his new buddies regard their own back yard as pretty damned special.     Related Links: Interlake Outdoors https://www.youtube.com/InterlakeOutdoors     Podcast Sponsors: BOSS Shotshells https://bossshotshells.com/ Benelli Shotguns https://www.benelliusa.com/shotguns/waterfowl-shotguns Tetra Hearing https://tetrahearing.com/ Kanati Waterfowl Taxidermy https://https://kanati.com/ Mojo Outdoors https://www.mojooutdoors.com/p Tom Beckbe https://tombeckbe.com/ Flash Back Decoys https://www.duckcreekdecoys.com/ Voormi https://voormi.com/ GetDucks.com USHuntList.com   It really is duck season somewhere for 365 days per year. Follow Ramsey Russell's worldwide duck hunting adventures as he chases real duck hunting experiences year-round: Instagram @ramseyrussellgetducks YouTube @GetDucks Facebook @GetDucks.com   Please subscribe, rate and review Duck Season Somewhere podcast. Share your favorite episodes with friends! Business inquiries and comments contact Ramsey Russell ramsey@getducks.com

 This week, Juston sits down with Thomas Maier. Thomas is an author and award-winning investigative journalist, having worked at NewDay since 1984. He has also written several historical books, including When Lions Roar about the Churchills and the Kennedys, and Masters of Sex, which was produced as a series on Showtime for four years. His latest book, Mafia Spies, details the inside story the inside story of the relationship between several senior figures in organized crime in the early 1960s and members of the Central Intelligence Agency who wanted Fidel Castro dead, as well as their unlikely and temporary alliance.Connect with Thomas:thomasmaierbooks@gmail.comConnect with Spycraft 101:Check out Justin's latest release, Covert Arms, here.spycraft101.comIG: @spycraft101Shop: spycraft-101.myshopify.comPatreon: Spycraft 101Find Justin's first book, Spyshots: Volume One, here.Download the free eBook, The Clandestine Operative's Sidearm of Choice, here.Support the show

https://youtu.be/YynHmjv1hmQ After America emerged as the undisputed leader of the West in 1945, however, the shocks, reversals, and humiliations at the hands of Stalin were greater than those that had caused Britain to declare war in 1939. America, however, chose a different course. Embracing the wisdom of George Kennan, America pursued a policy of containment and conscious avoidance of a Third World War.   When Stalin trashed the Yalta agreement, terrorizing the peoples of Poland and Eastern Europe for whom Britain had gone to war, America was stunned and sickened but issued no ultimata. When Moscow blockaded Berlin in violation of Allied rights, Truman responded with an airlift, not armored divisions or atom bombs.   When Stalin's agents carried out the Prague coup in 1948, Truman did not see in Czechoslovakia an issue that justified war, as Churchill had when the Czechs were forced to give up the Sudetenland. America's answer was NATO, drawing a red line across Europe that the West could defend, as Britain should have done in that March of 1939, instead of handing out the insane war guarantee to Poland. And where the British had failed to line up a Russian alliance before giving its war guarantee, America enlisted ten European allies before committing herself to defend West Germany.   Unlike Churchill in the 1930s, American leaders of the late 1940s and 1950s believed that, while the fate of Poland and Czechoslovakia was tragic, both were beyond any U.S. vital interest. From 1949 to 1989, the American army never crossed the Yalta line. When East Germans rose in 1953 and Hungarians in 1956, Eisenhower declined to act. In 1959, Ike welcomed the “Butcher of Budapest” to Camp David. When Khrushchev built the Berlin Wall, Kennedy called up the reserves, then sent them home after a year. In the missile crisis of 1962, Kennedy cut a secret deal to take U.S. missiles out of Turkey for Khrushchev's taking Russian missiles out of Cuba. When the Prague Spring was crushed in 1968, LBJ did nothing. U.S. inaction was not due to cowardice but cold calculation as to what was worth risking war with a nuclear-armed Soviet Union and what was not worth risking war. When the Polish workers' movement, Solidarity, was crushed in 1981, Ronald Reagan denounced the repression but he neither broke diplomatic relations with Warsaw nor imposed economic sanctions.   Eisenhower and Reagan were not Chamberlains, but neither were they Churchills. Who ruled in the capitals east of the Elbe was not to them a vital U.S. interest worth a war.   – Patrick J. Buchanan, Churchill, Hitler, and the Unnecessary War p. 417-8 Article discussed: Our Greatest Strength is Liberty, Not Force by Jeffrey Wernick Kyle Anzalone on the Libertarian Institute Conflicts of Interest on Odysee Kyle Anzalone on Twitter Spotify

This week's episode looks at “All You Need is Love”, the Our World TV special, and the career of the Beatles from April 1966 through August 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Rain" by the Beatles. 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/ NB for the first few hours this was up, there was a slight editing glitch. If you downloaded the old version and don't want to redownload the whole thing, just look in the transcript for "Other than fixing John's two flubbed" for the text of the two missing paragraphs. Errata I say "Come Together" was a B-side, but the single was actually a double A-side. Also, I say the Lennon interview by Maureen Cleave appeared in Detroit magazine. That's what my source (Steve Turner's book) says, but someone on Twitter says that rather than Detroit magazine it was the Detroit Free Press. Also at one point I say "the videos for 'Paperback Writer' and 'Penny Lane'". I meant to say "Rain" rather than "Penny Lane" there. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. Particularly useful this time was Steve Turner's book Beatles '66. I also used Turner's The Beatles: The Stories Behind the Songs 1967-1970. Johnny Rogan's Starmakers and Svengalis had some information on Epstein I hadn't seen anywhere else. Some information about the "Bigger than Jesus" scandal comes from Ward, B. (2012). “The ‘C' is for Christ”: Arthur Unger, Datebook Magazine and the Beatles. Popular Music and Society, 35(4), 541-560. https://doi.org/10.1080/03007766.2011.608978 Information on Robert Stigwood comes from Mr Showbiz by Stephen Dando-Collins. And the quote at the end from Simon Napier-Bell is from You Don't Have to Say You Love Me, which is more entertaining than it is accurate, but is very entertaining. Sadly the only way to get the single mix of "All You Need is Love" is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Magical Mystery Tour. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I start the episode -- this episode deals, in part, with the deaths of three gay men -- one by murder, one by suicide, and one by an accidental overdose, all linked at least in part to societal homophobia. I will try to deal with this as tactfully as I can, but anyone who's upset by those things might want to read the transcript instead of listening to the episode. This is also a very, very, *very* long episode -- this is likely to be the longest episode I *ever* do of this podcast, so settle in. We're going to be here a while. I obviously don't know how long it's going to be while I'm still recording, but based on the word count of my script, probably in the region of three hours. You have been warned. In 1967 the actor Patrick McGoohan was tired. He had been working on the hit series Danger Man for many years -- Danger Man had originally run from 1960 through 1962, then had taken a break, and had come back, retooled, with longer episodes in 1964. That longer series was a big hit, both in the UK and in the US, where it was retitled Secret Agent and had a new theme tune written by PF Sloan and Steve Barri and recorded by Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But McGoohan was tired of playing John Drake, the agent, and announced he was going to quit the series. Instead, with the help of George Markstein, Danger Man's script editor, he created a totally new series, in which McGoohan would star, and which McGoohan would also write and direct key episodes of. This new series, The Prisoner, featured a spy who is only ever given the name Number Six, and who many fans -- though not McGoohan himself -- took to be the same character as John Drake. Number Six resigns from his job as a secret agent, and is kidnapped and taken to a place known only as The Village -- the series was filmed in Portmeirion, an unusual-looking town in Gwynnedd, in North Wales -- which is full of other ex-agents. There he is interrogated to try to find out why he has quit his job. It's never made clear whether the interrogators are his old employers or their enemies, and there's a certain suggestion that maybe there is no real distinction between the two sides, that they're both running the Village together. He spends the entire series trying to escape, but refuses to explain himself -- and there's some debate among viewers as to whether it's implied or not that part of the reason he doesn't explain himself is that he knows his interrogators wouldn't understand why he quit: [Excerpt: The Prisoner intro, from episode Once Upon a Time, ] Certainly that explanation would fit in with McGoohan's own personality. According to McGoohan, the final episode of The Prisoner was, at the time, the most watched TV show ever broadcast in the UK, as people tuned in to find out the identity of Number One, the person behind the Village, and to see if Number Six would break free. I don't think that's actually the case, but it's what McGoohan always claimed, and it was certainly a very popular series. I won't spoil the ending for those of you who haven't watched it -- it's a remarkable series -- but ultimately the series seems to decide that such questions don't matter and that even asking them is missing the point. It's a work that's open to multiple interpretations, and is left deliberately ambiguous, but one of the messages many people have taken away from it is that not only are we trapped by a society that oppresses us, we're also trapped by our own identities. You can run from the trap that society has placed you in, from other people's interpretations of your life, your work, and your motives, but you ultimately can't run from yourself, and any time you try to break out of a prison, you'll find yourself trapped in another prison of your own making. The most horrifying implication of the episode is that possibly even death itself won't be a release, and you will spend all eternity trying to escape from an identity you're trapped in. Viewers became so outraged, according to McGoohan, that he had to go into hiding for an extended period, and while his later claims that he never worked in Britain again are an exaggeration, it is true that for the remainder of his life he concentrated on doing work in the US instead, where he hadn't created such anger. That final episode of The Prisoner was also the only one to use a piece of contemporary pop music, in two crucial scenes: [Excerpt: The Prisoner, "Fall Out", "All You Need is Love"] Back in October 2020, we started what I thought would be a year-long look at the period from late 1962 through early 1967, but which has turned out for reasons beyond my control to take more like twenty months, with a song which was one of the last of the big pre-Beatles pop hits, though we looked at it after their first single, "Telstar" by the Tornadoes: [Excerpt: The Tornadoes, "Telstar"] There were many reasons for choosing that as one of the bookends for this fifty-episode chunk of the podcast -- you'll see many connections between that episode and this one if you listen to them back-to-back -- but among them was that it's a song inspired by the launch of the first ever communications satellite, and a sign of how the world was going to become smaller as the sixties went on. Of course, to start with communications satellites didn't do much in that regard -- they were expensive to use, and had limited bandwidth, and were only available during limited time windows, but symbolically they meant that for the first time ever, people could see and hear events thousands of miles away as they were happening. It's not a coincidence that Britain and France signed the agreement to develop Concorde, the first supersonic airliner, a month after the first Beatles single and four months after the Telstar satellite was launched. The world was becoming ever more interconnected -- people were travelling faster and further, getting news from other countries quicker, and there was more cultural conversation – and misunderstanding – between countries thousands of miles apart. The Canadian media theorist Marshall McLuhan, the man who also coined the phrase “the medium is the message”, thought that this ever-faster connection would fundamentally change basic modes of thought in the Western world. McLuhan thought that technology made possible whole new modes of thought, and that just as the printing press had, in his view, caused Western liberalism and individualism, so these new electronic media would cause the rise of a new collective mode of thought. In 1962, the year of Concorde, Telstar, and “Love Me Do”, McLuhan wrote a book called The Gutenberg Galaxy, in which he said: “Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and superimposed co-existence.… Terror is the normal state of any oral society, for in it everything affects everything all the time.…” He coined the term “the Global Village” to describe this new collectivism. The story we've seen over the last fifty episodes is one of a sort of cultural ping-pong between the USA and the UK, with innovations in American music inspiring British musicians, who in turn inspired American ones, whether that being the Beatles covering the Isley Brothers or the Rolling Stones doing a Bobby Womack song, or Paul Simon and Bob Dylan coming over to the UK and learning folk songs and guitar techniques from Martin Carthy. And increasingly we're going to see those influences spread to other countries, and influences coming *from* other countries. We've already seen one Jamaican artist, and the influence of Indian music has become very apparent. While the focus of this series is going to remain principally in the British Isles and North America, rock music was and is a worldwide phenomenon, and that's going to become increasingly a part of the story. And so in this episode we're going to look at a live performance -- well, mostly live -- that was seen by hundreds of millions of people all over the world as it happened, thanks to the magic of satellites: [Excerpt: The Beatles, "All You Need is Love"] When we left the Beatles, they had just finished recording "Tomorrow Never Knows", the most experimental track they had recorded up to that date, and if not the most experimental thing they *ever* recorded certainly in the top handful. But "Tomorrow Never Knows" was only the first track they recorded in the sessions for what would become arguably their greatest album, and certainly the one that currently has the most respect from critics. It's interesting to note that that album could have been very, very, different. When we think of Revolver now, we think of the innovative production of George Martin, and of Geoff Emerick and Ken Townshend's inventive ideas for pushing the sound of the equipment in Abbey Road studios, but until very late in the day the album was going to be recorded in the Stax studios in Memphis, with Steve Cropper producing -- whether George Martin would have been involved or not is something we don't even know. In 1965, the Rolling Stones had, as we've seen, started making records in the US, recording in LA and at the Chess studios in Chicago, and the Yardbirds had also been doing the same thing. Mick Jagger had become a convert to the idea of using American studios and working with American musicians, and he had constantly been telling Paul McCartney that the Beatles should do the same. Indeed, they'd put some feelers out in 1965 about the possibility of the group making an album with Holland, Dozier, and Holland in Detroit. Quite how this would have worked is hard to figure out -- Holland, Dozier, and Holland's skills were as songwriters, and in their work with a particular set of musicians -- so it's unsurprising that came to nothing. But recording at Stax was a different matter.  While Steve Cropper was a great songwriter in his own right, he was also adept at getting great sounds on covers of other people's material -- like on Otis Blue, the album he produced for Otis Redding in late 1965, which doesn't include a single Cropper original: [Excerpt: Otis Redding, "Satisfaction"] And the Beatles were very influenced by the records Stax were putting out, often namechecking Wilson Pickett in particular, and during the Rubber Soul sessions they had recorded a "Green Onions" soundalike track, imaginatively titled "12-Bar Original": [Excerpt: The Beatles, "12-Bar Original"] The idea of the group recording at Stax got far enough that they were actually booked in for two weeks starting the ninth of April, and there was even an offer from Elvis to let them stay at Graceland while they recorded, but then a couple of weeks earlier, the news leaked to the press, and Brian Epstein cancelled the booking. According to Cropper, Epstein talked about recording at the Atlantic studios in New York with him instead, but nothing went any further. It's hard to imagine what a Stax-based Beatles album would have been like, but even though it might have been a great album, it certainly wouldn't have been the Revolver we've come to know. Revolver is an unusual album in many ways, and one of the ways it's most distinct from the earlier Beatles albums is the dominance of keyboards. Both Lennon and McCartney had often written at the piano as well as the guitar -- McCartney more so than Lennon, but both had done so regularly -- but up to this point it had been normal for them to arrange the songs for guitars rather than keyboards, no matter how they'd started out. There had been the odd track where one of them, usually Lennon, would play a simple keyboard part, songs like "I'm Down" or "We Can Work it Out", but even those had been guitar records first and foremost. But on Revolver, that changed dramatically. There seems to have been a complex web of cause and effect here. Paul was becoming increasingly interested in moving his basslines away from simple walking basslines and root notes and the other staples of rock and roll basslines up to this point. As the sixties progressed, rock basslines were becoming ever more complex, and Tyler Mahan Coe has made a good case that this is largely down to innovations in production pioneered by Owen Bradley, and McCartney was certainly aware of Bradley's work -- he was a fan of Brenda Lee, who Bradley produced, for example. But the two influences that McCartney has mentioned most often in this regard are the busy, jazz-influenced, basslines that James Jamerson was playing at Motown: [Excerpt: The Four Tops, "It's the Same Old Song"] And the basslines that Brian Wilson was writing for various Wrecking Crew bassists to play for the Beach Boys: [Excerpt: The Beach Boys, "Don't Talk (Put Your Head on My Shoulder)"] Just to be clear, McCartney didn't hear that particular track until partway through the recording of Revolver, when Bruce Johnston visited the UK and brought with him an advance copy of Pet Sounds, but Pet Sounds influenced the later part of Revolver's recording, and Wilson had already started his experiments in that direction with the group's 1965 work. It's much easier to write a song with this kind of bassline, one that's integral to the composition, on the piano than it is to write it on a guitar, as you can work out the bassline with your left hand while working out the chords and melody with your right, so the habit that McCartney had already developed of writing on the piano made this easier. But also, starting with the recording of "Paperback Writer", McCartney switched his style of working in the studio. Where up to this point it had been normal for him to play bass as part of the recording of the basic track, playing with the other Beatles, he now started to take advantage of multitracking to overdub his bass later, so he could spend extra time getting the bassline exactly right. McCartney lived closer to Abbey Road than the other three Beatles, and so could more easily get there early or stay late and tweak his parts. But if McCartney wasn't playing bass while the guitars and drums were being recorded, that meant he could play something else, and so increasingly he would play piano during the recording of the basic track. And that in turn would mean that there wouldn't always *be* a need for guitars on the track, because the harmonic support they would provide would be provided by the piano instead. This, as much as anything else, is the reason that Revolver sounds so radically different to any other Beatles album. Up to this point, with *very* rare exceptions like "Yesterday", every Beatles record, more or less, featured all four of the Beatles playing instruments. Now John and George weren't playing on "Good Day Sunshine" or "For No One", John wasn't playing on "Here, There, and Everywhere", "Eleanor Rigby" features no guitars or drums at all, and George's "Love You To" only features himself, plus a little tambourine from Ringo (Paul recorded a part for that one, but it doesn't seem to appear on the finished track). Of the three songwriting Beatles, the only one who at this point was consistently requiring the instrumental contributions of all the other band members was John, and even he did without Paul on "She Said, She Said", which by all accounts features either John or George on bass, after Paul had a rare bout of unprofessionalism and left the studio. Revolver is still an album made by a group -- and most of those tracks that don't feature John or George instrumentally still feature them vocally -- it's still a collaborative work in all the best ways. But it's no longer an album made by four people playing together in the same room at the same time. After starting work on "Tomorrow Never Knows", the next track they started work on was Paul's "Got to Get You Into My Life", but as it would turn out they would work on that song throughout most of the sessions for the album -- in a sign of how the group would increasingly work from this point on, Paul's song was subject to multiple re-recordings and tweakings in the studio, as he tinkered to try to make it perfect. The first recording to be completed for the album, though, was almost as much of a departure in its own way as "Tomorrow Never Knows" had been. George's song "Love You To" shows just how inspired he was by the music of Ravi Shankar, and how devoted he was to Indian music. While a few months earlier he had just about managed to pick out a simple melody on the sitar for "Norwegian Wood", by this point he was comfortable enough with Indian classical music that I've seen many, many sources claim that an outside session player is playing sitar on the track, though Anil Bhagwat, the tabla player on the track, always insisted that it was entirely Harrison's playing: [Excerpt: The Beatles, "Love You To"] There is a *lot* of debate as to whether it's George playing on the track, and I feel a little uncomfortable making a definitive statement in either direction. On the one hand I find it hard to believe that Harrison got that good that quickly on an unfamiliar instrument, when we know he wasn't a naturally facile musician. All the stories we have about his work in the studio suggest that he had to work very hard on his guitar solos, and that he would frequently fluff them. As a technical guitarist, Harrison was only mediocre -- his value lay in his inventiveness, not in technical ability -- and he had been playing guitar for over a decade, but sitar only a few months. There's also some session documentation suggesting that an unknown sitar player was hired. On the other hand there's the testimony of Anil Bhagwat that Harrison played the part himself, and he has been very firm on the subject, saying "If you go on the Internet there are a lot of questions asked about "Love You To". They say 'It's not George playing the sitar'. I can tell you here and now -- 100 percent it was George on sitar throughout. There were no other musicians involved. It was just me and him." And several people who are more knowledgeable than myself about the instrument have suggested that the sitar part on the track is played the way that a rock guitarist would play rather than the way someone with more knowledge of Indian classical music would play -- there's a blues feeling to some of the bends that apparently no genuine Indian classical musician would naturally do. I would suggest that the best explanation is that there's a professional sitar player trying to replicate a part that Harrison had previously demonstrated, while Harrison was in turn trying his best to replicate the sound of Ravi Shankar's work. Certainly the instrumental section sounds far more fluent, and far more stylistically correct, than one would expect: [Excerpt: The Beatles, "Love You To"] Where previous attempts at what got called "raga-rock" had taken a couple of surface features of Indian music -- some form of a drone, perhaps a modal scale -- and had generally used a guitar made to sound a little bit like a sitar, or had a sitar playing normal rock riffs, Harrison's song seems to be a genuine attempt to hybridise Indian ragas and rock music, combining the instrumentation, modes, and rhythmic complexity of someone like Ravi Shankar with lyrics that are seemingly inspired by Bob Dylan and a fairly conventional pop song structure (and a tiny bit of fuzz guitar). It's a record that could only be made by someone who properly understood both the Indian music he's emulating and the conventions of the Western pop song, and understood how those conventions could work together. Indeed, one thing I've rarely seen pointed out is how cleverly the album is sequenced, so that "Love You To" is followed by possibly the most conventional song on Revolver, "Here, There, and Everywhere", which was recorded towards the end of the sessions. Both songs share a distinctive feature not shared by the rest of the album, so the two songs can sound more of a pair than they otherwise would, retrospectively making "Love You To" seem more conventional than it is and "Here, There, and Everywhere" more unconventional -- both have as an introduction a separate piece of music that states some of the melodic themes of the rest of the song but isn't repeated later. In the case of "Love You To" it's the free-tempo bit at the beginning, characteristic of a lot of Indian music: [Excerpt: The Beatles, "Love You To"] While in the case of "Here, There, and Everywhere" it's the part that mimics an older style of songwriting, a separate intro of the type that would have been called a verse when written by the Gershwins or Cole Porter, but of course in the intervening decades "verse" had come to mean something else, so we now no longer have a specific term for this kind of intro -- but as you can hear, it's doing very much the same thing as that "Love You To" intro: [Excerpt: The Beatles, "Here, There, and Everywhere"] In the same day as the group completed "Love You To", overdubbing George's vocal and Ringo's tambourine, they also started work on a song that would show off a lot of the new techniques they had been working on in very different ways. Paul's "Paperback Writer" could indeed be seen as part of a loose trilogy with "Love You To" and "Tomorrow Never Knows", one song by each of the group's three songwriters exploring the idea of a song that's almost all on one chord. Both "Tomorrow Never Knows" and "Love You To" are based on a drone with occasional hints towards moving to one other chord. In the case of "Paperback Writer", the entire song stays on a single chord until the title -- it's on a G7 throughout until the first use of the word "writer", when it quickly goes to a C for two bars. I'm afraid I'm going to have to sing to show you how little the chords actually change, because the riff disguises this lack of movement somewhat, but the melody is also far more horizontal than most of McCartney's, so this shouldn't sound too painful, I hope: [demonstrates] This is essentially the exact same thing that both "Love You To" and "Tomorrow Never Knows" do, and all three have very similarly structured rising and falling modal melodies. There's also a bit of "Paperback Writer" that seems to tie directly into "Love You To", but also points to a possible very non-Indian inspiration for part of "Love You To". The Beach Boys' single "Sloop John B" was released in the UK a couple of days after the sessions for "Paperback Writer" and "Love You To", but it had been released in the US a month before, and the Beatles all got copies of every record in the American top thirty shipped to them. McCartney and Harrison have specifically pointed to it as an influence on "Paperback Writer". "Sloop John B" has a section where all the instruments drop out and we're left with just the group's vocal harmonies: [Excerpt: The Beach Boys, "Sloop John B"] And that seems to have been the inspiration behind the similar moment at a similar point in "Paperback Writer", which is used in place of a middle eight and also used for the song's intro: [Excerpt: The Beatles, "Paperback Writer"] Which is very close to what Harrison does at the end of each verse of "Love You To", where the instruments drop out for him to sing a long melismatic syllable before coming back in: [Excerpt: The Beatles, "Love You To"] Essentially, other than "Got to Get You Into My Life", which is an outlier and should not be counted, the first three songs attempted during the Revolver sessions are variations on a common theme, and it's a sign that no matter how different the results might  sound, the Beatles really were very much a group at this point, and were sharing ideas among themselves and developing those ideas in similar ways. "Paperback Writer" disguises what it's doing somewhat by having such a strong riff. Lennon referred to "Paperback Writer" as "son of 'Day Tripper'", and in terms of the Beatles' singles it's actually their third iteration of this riff idea, which they originally got from Bobby Parker's "Watch Your Step": [Excerpt: Bobby Parker, "Watch Your Step"] Which became the inspiration for "I Feel Fine": [Excerpt: The Beatles, "I Feel Fine"] Which they varied for "Day Tripper": [Excerpt: The Beatles, "Day Tripper"] And which then in turn got varied for "Paperback Writer": [Excerpt: The Beatles, "Paperback Writer"] As well as compositional ideas, there are sonic ideas shared between "Paperback Writer", "Tomorrow Never Knows", and "Love You To", and which would be shared by the rest of the tracks the Beatles recorded in the first half of 1966. Since Geoff Emerick had become the group's principal engineer, they'd started paying more attention to how to get a fuller sound, and so Emerick had miced the tabla on "Love You To" much more closely than anyone would normally mic an instrument from classical music, creating a deep, thudding sound, and similarly he had changed the way they recorded the drums on "Tomorrow Never Knows", again giving a much fuller sound. But the group also wanted the kind of big bass sounds they'd loved on records coming out of America -- sounds that no British studio was getting, largely because it was believed that if you cut too loud a bass sound into a record it would make the needle jump out of the groove. The new engineering team of Geoff Emerick and Ken Scott, though, thought that it was likely you could keep the needle in the groove if you had a smoother frequency response. You could do that if you used a microphone with a larger diaphragm to record the bass, but how could you do that? Inspiration finally struck -- loudspeakers are actually the same thing as microphones wired the other way round, so if you wired up a loudspeaker as if it were a microphone you could get a *really big* speaker, place it in front of the bass amp, and get a much stronger bass sound. The experiment wasn't a total success -- the sound they got had to be processed quite extensively to get rid of room noise, and then compressed in order to further prevent the needle-jumping issue, and so it's a muddier, less defined, tone than they would have liked, but one thing that can't be denied is that "Paperback Writer"'s bass sound is much, much, louder than on any previous Beatles record: [Excerpt: The Beatles, "Paperback Writer"] Almost every track the group recorded during the Revolver sessions involved all sorts of studio innovations, though rarely anything as truly revolutionary as the artificial double-tracking they'd used on "Tomorrow Never Knows", and which also appeared on "Paperback Writer" -- indeed, as "Paperback Writer" was released several months before Revolver, it became the first record released to use the technique. I could easily devote a good ten minutes to every track on Revolver, and to "Paperback Writer"s B-side, "Rain", but this is already shaping up to be an extraordinarily long episode and there's a lot of material to get through, so I'll break my usual pattern of devoting a Patreon bonus episode to something relatively obscure, and this week's bonus will be on "Rain" itself. "Paperback Writer", though, deserved the attention here even though it was not one of the group's more successful singles -- it did go to number one, but it didn't hit number one in the UK charts straight away, being kept off the top by "Strangers in the Night" by Frank Sinatra for the first week: [Excerpt: Frank Sinatra, "Strangers in the Night"] Coincidentally, "Strangers in the Night" was co-written by Bert Kaempfert, the German musician who had produced the group's very first recording sessions with Tony Sheridan back in 1961. On the group's German tour in 1966 they met up with Kaempfert again, and John greeted him by singing the first couple of lines of the Sinatra record. The single was the lowest-selling Beatles single in the UK since "Love Me Do". In the US it only made number one for two non-consecutive weeks, with "Strangers in the Night" knocking it off for a week in between. Now, by literally any other band's standards, that's still a massive hit, and it was the Beatles' tenth UK number one in a row (or ninth, depending on which chart you use for "Please Please Me"), but it's a sign that the group were moving out of the first phase of total unequivocal dominance of the charts. It was a turning point in a lot of other ways as well. Up to this point, while the group had been experimenting with different lyrical subjects on album tracks, every single had lyrics about romantic relationships -- with the possible exception of "Help!", which was about Lennon's emotional state but written in such a way that it could be heard as a plea to a lover. But in the case of "Paperback Writer", McCartney was inspired by his Aunt Mill asking him "Why do you write songs about love all the time? Can you ever write about a horse or the summit conference or something interesting?" His response was to think "All right, Aunt Mill, I'll show you", and to come up with a lyric that was very much in the style of the social satires that bands like the Kinks were releasing at the time. People often miss the humour in the lyric for "Paperback Writer", but there's a huge amount of comedy in lyrics about someone writing to a publisher saying they'd written a book based on someone else's book, and one can only imagine the feeling of weary recognition in slush-pile readers throughout the world as they heard the enthusiastic "It's a thousand pages, give or take a few, I'll be writing more in a week or two. I can make it longer..." From this point on, the group wouldn't release a single that was unambiguously about a romantic relationship until "The Ballad of John and Yoko",  the last single released while the band were still together. "Paperback Writer" also saw the Beatles for the first time making a promotional film -- what we would now call a rock video -- rather than make personal appearances on TV shows. The film was directed by Michael Lindsay-Hogg, who the group would work with again in 1969, and shows Paul with a chipped front tooth -- he'd been in an accident while riding mopeds with his friend Tara Browne a few months earlier, and hadn't yet got round to having the tooth capped. When he did, the change in his teeth was one of the many bits of evidence used by conspiracy theorists to prove that the real Paul McCartney was dead and replaced by a lookalike. It also marks a change in who the most prominent Beatle on the group's A-sides was. Up to this point, Paul had had one solo lead on an A-side -- "Can't Buy Me Love" -- and everything else had been either a song with multiple vocalists like "Day Tripper" or "Love Me Do", or a song with a clear John lead like "Ticket to Ride" or "I Feel Fine". In the rest of their career, counting "Paperback Writer", the group would release nine new singles that hadn't already been included on an album. Of those nine singles, one was a double A-side with one John song and one Paul song, two had John songs on the A-side, and the other six were Paul. Where up to this point John had been "lead Beatle", for the rest of the sixties, Paul would be the group's driving force. Oddly, Paul got rather defensive about the record when asked about it in interviews after it failed to go straight to the top, saying "It's not our best single by any means, but we're very satisfied with it". But especially in its original mono mix it actually packs a powerful punch: [Excerpt: The Beatles, "Paperback Writer"] When the "Paperback Writer" single was released, an unusual image was used in the advertising -- a photo of the Beatles dressed in butchers' smocks, covered in blood, with chunks of meat and the dismembered body parts of baby dolls lying around on them. The image was meant as part of a triptych parodying religious art -- the photo on the left was to be an image showing the four Beatles connected to a woman by an umbilical cord made of sausages, the middle panel was meant to be this image, but with halos added over the Beatles' heads, and the panel on the right was George hammering a nail into John's head, symbolising both crucifixion and that the group were real, physical, people, not just images to be worshipped -- these weren't imaginary nails, and they weren't imaginary people. The photographer Robert Whittaker later said: “I did a photograph of the Beatles covered in raw meat, dolls and false teeth. Putting meat, dolls and false teeth with The Beatles is essentially part of the same thing, the breakdown of what is regarded as normal. The actual conception for what I still call “Somnambulant Adventure” was Moses coming down from Mount Sinai with the Ten Commandments. He comes across people worshipping a golden calf. All over the world I'd watched people worshiping like idols, like gods, four Beatles. To me they were just stock standard normal people. But this emotion that fans poured on them made me wonder where Christianity was heading.” The image wasn't that controversial in the UK, when it was used to advertise "Paperback Writer", but in the US it was initially used for the cover of an album, Yesterday... And Today, which was made up of a few tracks that had been left off the US versions of the Rubber Soul and Help! albums, plus both sides of the "We Can Work It Out"/"Day Tripper" single, and three rough mixes of songs that had been recorded for Revolver -- "Doctor Robert", "And Your Bird Can Sing", and "I'm Only Sleeping", which was the song that sounded most different from the mixes that were finally released: [Excerpt: The Beatles, "I'm Only Sleeping (Yesterday... and Today mix)"] Those three songs were all Lennon songs, which had the unfortunate effect that when the US version of Revolver was brought out later in the year, only two of the songs on the album were by Lennon, with six by McCartney and three by Harrison. Some have suggested that this was the motivation for the use of the butcher image on the cover of Yesterday... And Today -- saying it was the Beatles' protest against Capitol "butchering" their albums -- but in truth it was just that Capitol's art director chose the cover because he liked the image. Alan Livingston, the president of Capitol was not so sure, and called Brian Epstein to ask if the group would be OK with them using a different image. Epstein checked with John Lennon, but Lennon liked the image and so Epstein told Livingston the group insisted on them using that cover. Even though for the album cover the bloodstains on the butchers' smocks were airbrushed out, after Capitol had pressed up a million copies of the mono version of the album and two hundred thousand copies of the stereo version, and they'd sent out sixty thousand promo copies, they discovered that no record shops would stock the album with that cover. It cost Capitol more than two hundred thousand dollars to recall the album and replace the cover with a new one -- though while many of the covers were destroyed, others had the new cover, with a more acceptable photo of the group, pasted over them, and people have later carefully steamed off the sticker to reveal the original. This would not be the last time in 1966 that something that was intended as a statement on religion and the way people viewed the Beatles would cause the group trouble in America. In the middle of the recording sessions for Revolver, the group also made what turned out to be their last ever UK live performance in front of a paying audience. The group had played the NME Poll-Winners' Party every year since 1963, and they were always shows that featured all the biggest acts in the country at the time -- the 1966 show featured, as well as the Beatles and a bunch of smaller acts, the Rolling Stones, the Who, the Yardbirds, Roy Orbison, Cliff Richard and the Shadows, the Seekers, the Small Faces, the Walker Brothers, and Dusty Springfield. Unfortunately, while these events were always filmed for TV broadcast, the Beatles' performance on the first of May wasn't filmed. There are various stories about what happened, but the crux appears to be a disagreement between Andrew Oldham and Brian Epstein, sparked by John Lennon. When the Beatles got to the show, they were upset to discover that they had to wait around before going on stage -- normally, the awards would all be presented at the end, after all the performances, but the Rolling Stones had asked that the Beatles not follow them directly, so after the Stones finished their set, there would be a break for the awards to be given out, and then the Beatles would play their set, in front of an audience that had been bored by twenty-five minutes of awards ceremony, rather than one that had been excited by all the bands that came before them. John Lennon was annoyed, and insisted that the Beatles were going to go on straight after the Rolling Stones -- he seems to have taken this as some sort of power play by the Stones and to have got his hackles up about it. He told Epstein to deal with the people from the NME. But the NME people said that they had a contract with Andrew Oldham, and they weren't going to break it. Oldham refused to change the terms of the contract. Lennon said that he wasn't going to go on stage if they didn't directly follow the Stones. Maurice Kinn, the publisher of the NME, told Epstein that he wasn't going to break the contract with Oldham, and that if the Beatles didn't appear on stage, he would get Jimmy Savile, who was compering the show, to go out on stage and tell the ten thousand fans in the audience that the Beatles were backstage refusing to appear. He would then sue NEMS for breach of contract *and* NEMS would be liable for any damage caused by the rioting that was sure to happen. Lennon screamed a lot of abuse at Kinn, and told him the group would never play one of their events again, but the group did go on stage -- but because they hadn't yet signed the agreement to allow their performance to be filmed, they refused to allow it to be recorded. Apparently Andrew Oldham took all this as a sign that Epstein was starting to lose control of the group. Also during May 1966 there were visits from musicians from other countries, continuing the cultural exchange that was increasingly influencing the Beatles' art. Bruce Johnston of the Beach Boys came over to promote the group's new LP, Pet Sounds, which had been largely the work of Brian Wilson, who had retired from touring to concentrate on working in the studio. Johnston played the record for John and Paul, who listened to it twice, all the way through, in silence, in Johnston's hotel room: [Excerpt: The Beach Boys, "God Only Knows"] According to Johnston, after they'd listened through the album twice, they went over to a piano and started whispering to each other, picking out chords. Certainly the influence of Pet Sounds is very noticeable on songs like "Here, There, and Everywhere", written and recorded a few weeks after this meeting: [Excerpt: The Beatles, "Here, There, and Everywhere"] That track, and the last track recorded for the album, "She Said She Said" were unusual in one very important respect -- they were recorded while the Beatles were no longer under contract to EMI Records. Their contract expired on the fifth of June, 1966, and they finished Revolver without it having been renewed -- it would be several months before their new contract was signed, and it's rather lucky for music lovers that Brian Epstein was the kind of manager who considered personal relationships and basic honour and decency more important than the legal niceties, unlike any other managers of the era, otherwise we would not have Revolver in the form we know it today. After the meeting with Johnston, but before the recording of those last couple of Revolver tracks, the Beatles also met up again with Bob Dylan, who was on a UK tour with a new, loud, band he was working with called The Hawks. While the Beatles and Dylan all admired each other, there was by this point a lot of wariness on both sides, especially between Lennon and Dylan, both of them very similar personality types and neither wanting to let their guard down around the other or appear unhip. There's a famous half-hour-long film sequence of Lennon and Dylan sharing a taxi, which is a fascinating, excruciating, example of two insecure but arrogant men both trying desperately to impress the other but also equally desperate not to let the other know that they want to impress them: [Excerpt: Dylan and Lennon taxi ride] The day that was filmed, Lennon and Harrison also went to see Dylan play at the Royal Albert Hall. This tour had been controversial, because Dylan's band were loud and raucous, and Dylan's fans in the UK still thought of him as a folk musician. At one gig, earlier on the tour, an audience member had famously yelled out "Judas!" -- (just on the tiny chance that any of my listeners don't know that, Judas was the disciple who betrayed Jesus to the authorities, leading to his crucifixion) -- and that show was for many years bootlegged as the "Royal Albert Hall" show, though in fact it was recorded at the Free Trade Hall in Manchester. One of the *actual* Royal Albert Hall shows was released a few years ago -- the one the night before Lennon and Harrison saw Dylan: [Excerpt: Bob Dylan, "Like a Rolling Stone", Royal Albert Hall 1966] The show Lennon and Harrison saw would be Dylan's last for many years. Shortly after returning to the US, Dylan was in a motorbike accident, the details of which are still mysterious, and which some fans claim was faked altogether. The accident caused him to cancel all the concert dates he had booked, and devote himself to working in the studio for several years just like Brian Wilson. And from even further afield than America, Ravi Shankar came over to Britain, to work with his friend the violinist Yehudi Menuhin, on a duet album, West Meets East, that was an example in the classical world of the same kind of international cross-fertilisation that was happening in the pop world: [Excerpt: Yehudi Menuhin and Ravi Shankar, "Prabhati (based on Raga Gunkali)"] While he was in the UK, Shankar also performed at the Royal Festival Hall, and George Harrison went to the show. He'd seen Shankar live the year before, but this time he met up with him afterwards, and later said "He was the first person that impressed me in a way that was beyond just being a famous celebrity. Ravi was my link to the Vedic world. Ravi plugged me into the whole of reality. Elvis impressed me when I was a kid, and impressed me when I met him, but you couldn't later on go round to him and say 'Elvis, what's happening with the universe?'" After completing recording and mixing the as-yet-unnamed album, which had been by far the longest recording process of their career, and which still nearly sixty years later regularly tops polls of the best album of all time, the Beatles took a well-earned break. For a whole two days, at which point they flew off to Germany to do a three-day tour, on their way to Japan, where they were booked to play five shows at the Budokan. Unfortunately for the group, while they had no idea of this when they were booked to do the shows, many in Japan saw the Budokan as sacred ground, and they were the first ever Western group to play there. This led to numerous death threats and loud protests from far-right activists offended at the Beatles defiling their religious and nationalistic sensibilities. As a result, the police were on high alert -- so high that there were three thousand police in the audience for the shows, in a venue which only held ten thousand audience members. That's according to Mark Lewisohn's Complete Beatles Chronicle, though I have to say that the rather blurry footage of the audience in the video of those shows doesn't seem to show anything like those numbers. But frankly I'll take Lewisohn's word over that footage, as he's not someone to put out incorrect information. The threats to the group also meant that they had to be kept in their hotel rooms at all times except when actually performing, though they did make attempts to get out. At the press conference for the Tokyo shows, the group were also asked publicly for the first time their views on the war in Vietnam, and John replied "Well, we think about it every day, and we don't agree with it and we think that it's wrong. That's how much interest we take. That's all we can do about it... and say that we don't like it". I say they were asked publicly for the first time, because George had been asked about it for a series of interviews Maureen Cleave had done with the group a couple of months earlier, as we'll see in a bit, but nobody was paying attention to those interviews. Brian Epstein was upset that the question had gone to John. He had hoped that the inevitable Vietnam question would go to Paul, who he thought might be a bit more tactful. The last thing he needed was John Lennon saying something that would upset the Americans before their tour there a few weeks later. Luckily, people in America seemed to have better things to do than pay attention to John Lennon's opinions. The support acts for the Japanese shows included  several of the biggest names in Japanese rock music -- or "group sounds" as the genre was called there, Japanese people having realised that trying to say the phrase "rock and roll" would open them up to ridicule given that it had both "r" and "l" sounds in the phrase. The man who had coined the term "group sounds", Jackey Yoshikawa, was there with his group the Blue Comets, as was Isao Bito, who did a rather good cover version of Cliff Richard's "Dynamite": [Excerpt: Isao Bito, "Dynamite"] Bito, the Blue Comets, and the other two support acts, Yuya Uchida and the Blue Jeans, all got together to perform a specially written song, "Welcome Beatles": [Excerpt: "Welcome Beatles" ] But while the Japanese audience were enthusiastic, they were much less vocal about their enthusiasm than the audiences the Beatles were used to playing for. The group were used, of course, to playing in front of hordes of screaming teenagers who could not hear a single note, but because of the fear that a far-right terrorist would assassinate one of the group members, the police had imposed very, very, strict rules on the audience. Nobody in the audience was allowed to get out of their seat for any reason, and the police would clamp down very firmly on anyone who was too demonstrative. Because of that, the group could actually hear themselves, and they sounded sloppy as hell, especially on the newer material. Not that there was much of that. The only song they did from the Revolver sessions was "Paperback Writer", the new single, and while they did do a couple of tracks from Rubber Soul, those were under-rehearsed. As John said at the start of this tour, "I can't play any of Rubber Soul, it's so unrehearsed. The only time I played any of the numbers on it was when I recorded it. I forget about songs. They're only valid for a certain time." That's certainly borne out by the sound of their performances of Rubber Soul material at the Budokan: [Excerpt: The Beatles, "If I Needed Someone (live at the Budokan)"] It was while they were in Japan as well that they finally came up with the title for their new album. They'd been thinking of all sorts of ideas, like Abracadabra and Magic Circle, and tossing names around with increasing desperation for several days -- at one point they seem to have just started riffing on other groups' albums, and seem to have apparently seriously thought about naming the record in parodic tribute to their favourite artists -- suggestions included The Beatles On Safari, after the Beach Boys' Surfin' Safari (and possibly with a nod to their recent Pet Sounds album cover with animals, too), The Freewheelin' Beatles, after Dylan's second album, and my favourite, Ringo's suggestion After Geography, for the Rolling Stones' Aftermath. But eventually Paul came up with Revolver -- like Rubber Soul, a pun, in this case because the record itself revolves when on a turntable. Then it was off to the Philippines, and if the group thought Japan had been stressful, they had no idea what was coming. The trouble started in the Philippines from the moment they stepped off the plane, when they were bundled into a car without Neil Aspinall or Brian Epstein, and without their luggage, which was sent to customs. This was a problem in itself -- the group had got used to essentially being treated like diplomats, and to having their baggage let through customs without being searched, and so they'd started freely carrying various illicit substances with them. This would obviously be a problem -- but as it turned out, this was just to get a "customs charge" paid by Brian Epstein. But during their initial press conference the group were worried, given the hostility they'd faced from officialdom, that they were going to be arrested during the conference itself. They were asked what they would tell the Rolling Stones, who were going to be visiting the Philippines shortly after, and Lennon just said "We'll warn them". They also asked "is there a war on in the Philippines? Why is everybody armed?" At this time, the Philippines had a new leader, Ferdinand Marcos -- who is not to be confused with his son, Ferdinand Marcos Jr, also known as Bongbong Marcos, who just became President-Elect there last month. Marcos Sr was a dictatorial kleptocrat, one of the worst leaders of the latter half of the twentieth century, but that wasn't evident yet. He'd been elected only a few months earlier, and had presented himself as a Kennedy-like figure -- a young man who was also a war hero. He'd recently switched parties from the Liberal party to the right-wing Nacionalista Party, but wasn't yet being thought of as the monstrous dictator he later became. The person organising the Philippines shows had been ordered to get the Beatles to visit Ferdinand and Imelda Marcos at 11AM on the day of the show, but for some reason had instead put on their itinerary just the *suggestion* that the group should meet the Marcoses, and had put the time down as 3PM, and the Beatles chose to ignore that suggestion -- they'd refused to do that kind of government-official meet-and-greet ever since an incident in 1964 at the British Embassy in Washington where someone had cut off a bit of Ringo's hair. A military escort turned up at the group's hotel in the morning, to take them for their meeting. The group were all still in their rooms, and Brian Epstein was still eating breakfast and refused to disturb them, saying "Go back and tell the generals we're not coming." The group gave their performances as scheduled, but meanwhile there was outrage at the way the Beatles had refused to meet the Marcos family, who had brought hundreds of children -- friends of their own children, and relatives of top officials -- to a party to meet the group. Brian Epstein went on TV and tried to smooth things over, but the broadcast was interrupted by static and his message didn't get through to anyone. The next day, the group's security was taken away, as were the cars to take them to the airport. When they got to the airport, the escalators were turned off and the group were beaten up at the arrangement of the airport manager, who said in 1984 "I beat up the Beatles. I really thumped them. First I socked Epstein and he went down... then I socked Lennon and Ringo in the face. I was kicking them. They were pleading like frightened chickens. That's what happens when you insult the First Lady." Even on the plane there were further problems -- Brian Epstein and the group's road manager Mal Evans were both made to get off the plane to sort out supposed financial discrepancies, which led to them worrying that they were going to be arrested or worse -- Evans told the group to tell his wife he loved her as he left the plane. But eventually, they were able to leave, and after a brief layover in India -- which Ringo later said was the first time he felt he'd been somewhere truly foreign, as opposed to places like Germany or the USA which felt basically like home -- they got back to England: [Excerpt: "Ordinary passenger!"] When asked what they were going to do next, George replied “We're going to have a couple of weeks to recuperate before we go and get beaten up by the Americans,” The story of the "we're bigger than Jesus" controversy is one of the most widely misreported events in the lives of the Beatles, which is saying a great deal. One book that I've encountered, and one book only, Steve Turner's Beatles '66, tells the story of what actually happened, and even that book seems to miss some emphases. I've pieced what follows together from Turner's book and from an academic journal article I found which has some more detail. As far as I can tell, every single other book on the Beatles released up to this point bases their account of the story on an inaccurate press statement put out by Brian Epstein, not on the truth. Here's the story as it's generally told. John Lennon gave an interview to his friend, Maureen Cleave of the Evening Standard, during which he made some comments about how it was depressing that Christianity was losing relevance in the eyes of the public, and that the Beatles are more popular than Jesus, speaking casually because he was talking to a friend. That story was run in the Evening Standard more-or-less unnoticed, but then an American teen magazine picked up on the line about the Beatles being bigger than Jesus, reprinted chunks of the interview out of context and without the Beatles' knowledge or permission, as a way to stir up controversy, and there was an outcry, with people burning Beatles records and death threats from the Ku Klux Klan. That's... not exactly what happened. The first thing that you need to understand to know what happened is that Datebook wasn't a typical teen magazine. It *looked* just like a typical teen magazine, certainly, and much of its content was the kind of thing that you would get in Tiger Beat or any of the other magazines aimed at teenage girls -- the September 1966 issue was full of articles like "Life with the Walker Brothers... by their Road Manager", and interviews with the Dave Clark Five -- but it also had a long history of publishing material that was intended to make its readers think about social issues of the time, particularly Civil Rights. Arthur Unger, the magazine's editor and publisher, was a gay man in an interracial relationship, and while the subject of homosexuality was too taboo in the late fifties and sixties for him to have his magazine cover that, he did regularly include articles decrying segregation and calling for the girls reading the magazine to do their part on a personal level to stamp out racism. Datebook had regularly contained articles like one from 1963 talking about how segregation wasn't just a problem in the South, saying "If we are so ‘integrated' why must men in my own city of Philadelphia, the city of Brotherly Love, picket city hall because they are discriminated against when it comes to getting a job? And how come I am still unable to take my dark- complexioned friends to the same roller skating rink or swimming pool that I attend?” One of the writers for the magazine later said “We were much more than an entertainment magazine . . . . We tried to get kids involved in social issues . . . . It was a well-received magazine, recommended by libraries and schools, but during the Civil Rights period we did get pulled off a lot of stands in the South because of our views on integration” Art Unger, the editor and publisher, wasn't the only one pushing this liberal, integrationist, agenda. The managing editor at the time, Danny Fields, was another gay man who wanted to push the magazine even further than Unger, and who would later go on to manage the Stooges and the Ramones, being credited by some as being the single most important figure in punk rock's development, and being immortalised by the Ramones in their song "Danny Says": [Excerpt: The Ramones, "Danny Says"] So this was not a normal teen magazine, and that's certainly shown by the cover of the September 1966 issue, which as well as talking about the interviews with John Lennon and Paul McCartney inside, also advertised articles on Timothy Leary advising people to turn on, tune in, and drop out; an editorial about how interracial dating must be the next step after desegregation of schools, and a piece on "the ten adults you dig/hate the most" -- apparently the adult most teens dug in 1966 was Jackie Kennedy, the most hated was Barry Goldwater, and President Johnson, Billy Graham, and Martin Luther King appeared in the top ten on both lists. Now, in the early part of the year Maureen Cleave had done a whole series of articles on the Beatles -- double-page spreads on each band member, plus Brian Epstein, visiting them in their own homes (apart from Paul, who she met at a restaurant) and discussing their daily lives, their thoughts, and portraying them as rounded individuals. These articles are actually fascinating, because of something that everyone who met the Beatles in this period pointed out. When interviewed separately, all of them came across as thoughtful individuals, with their own opinions about all sorts of subjects, and their own tastes and senses of humour. But when two or more of them were together -- especially when John and Paul were interviewed together, but even in social situations, they would immediately revert to flip in-jokes and riffing on each other's statements, never revealing anything about themselves as individuals, but just going into Beatle mode -- simultaneously preserving the band's image, closing off outsiders, *and* making sure they didn't do or say anything that would get them mocked by the others. Cleave, as someone who actually took them all seriously, managed to get some very revealing information about all of them. In the article on Ringo, which is the most superficial -- one gets the impression that Cleave found him rather difficult to talk to when compared to the other, more verbally facile, band members -- she talked about how he had a lot of Wild West and military memorabilia, how he was a devoted family man and also devoted to his friends -- he had moved to the suburbs to be close to John and George, who already lived there. The most revealing quote about Ringo's personality was him saying "Of course that's the great thing about being married -- you have a house to sit in and company all the time. And you can still go to clubs, a bonus for being married. I love being a family man." While she looked at the other Beatles' tastes in literature in detail, she'd noted that the only books Ringo owned that weren't just for show were a few science fiction paperbacks, but that as he said "I'm not thick, it's just that I'm not educated. People can use words and I won't know what they mean. I say 'me' instead of 'my'." Ringo also didn't have a drum kit at home, saying he only played when he was on stage or in the studio, and that you couldn't practice on your own, you needed to play with other people. In the article on George, she talked about how he was learning the sitar,  and how he was thinking that it might be a good idea to go to India to study the sitar with Ravi Shankar for six months. She also talks about how during the interview, he played the guitar pretty much constantly, playing everything from songs from "Hello Dolly" to pieces by Bach to "the Trumpet Voluntary", by which she presumably means Clarke's "Prince of Denmark's March": [Excerpt: Jeremiah Clarke, "Prince of Denmark's March"] George was also the most outspoken on the subjects of politics, religion, and society, linking the ongoing war in Vietnam with the UK's reverence for the Second World War, saying "I think about it every day and it's wrong. Anything to do with war is wrong. They're all wrapped up in their Nelsons and their Churchills and their Montys -- always talking about war heroes. Look at All Our Yesterdays [a show on ITV that showed twenty-five-year-old newsreels] -- how we killed a few more Huns here and there. Makes me sick. They're the sort who are leaning on their walking sticks and telling us a few years in the army would do us good." He also had very strong words to say about religion, saying "I think religion falls flat on its face. All this 'love thy neighbour' but none of them are doing it. How can anybody get into the position of being Pope and accept all the glory and the money and the Mercedes-Benz and that? I could never be Pope until I'd sold my rich gates and my posh hat. I couldn't sit there with all that money on me and believe I was religious. Why can't we bring all this out in the open? Why is there all this stuff about blasphemy? If Christianity's as good as they say it is, it should stand up to a bit of discussion." Harrison also comes across as a very private person, saying "People keep saying, ‘We made you what you are,' well, I made Mr. Hovis what he is and I don't go round crawling over his gates and smashing up the wall round his house." (Hovis is a British company that makes bread and wholegrain flour). But more than anything else he comes across as an instinctive anti-authoritarian, being angry at bullying teachers, Popes, and Prime Ministers. McCartney's profile has him as the most self-consciously arty -- he talks about the plays of Alfred Jarry and the music of Karlheinz Stockhausen and Luciano Berio: [Excerpt: Luciano Berio, "Momenti (for magnetic tape)"] Though he was very worried that he might be sounding a little too pretentious, saying “I don't want to sound like Jonathan Miller going on" --

The Seated Gun, this episode is with Jean Paul who is the man behind the Seated Gun YouTube channel and Instagram and anywhere else you can think. It was a real privilege to sit and chat about his story and journey into shooting from growing up in France to having so many invites a year shooting he can call it a job! But there is more to it than that of shooting, and this is a story you do not want to miss out on. We sat down at E. J. Churchills shooting ground to chew the fat and more importantly hear this fantastic story. So sit back and enjoy.    https://www.seated-gun.com/ https://www.instagram.com/theseatedgun   Don't forget to subscribe to outdoor man   like Subscribe Comment   Say hi on social:   Twitter: https://twitter.com/podcastOutdoor Instagram: https://www.instagram.com/outdoor_man_podcast Facebook: Outdoor Man (facebook.com)