Podcasts about Crazy Diamond

Time loops, arrows, pylons, mistaken lotteries, rock statues, starfish-- it's been an absolute hell of a season here and we're delighted to be able to recap these last 3 anime episodes with you today. It's been an incredible ride through the town of Morioh and all the stars are here to help say goodbye (and ascend to heaven). Enjoy our last Diamond is Unbreakable recap and stick around to the end of the show for a few hints to where JeffJeff's Bizarre Adventure goes next. [podcast covers anime episodes 37: "Crazy Diamond is Unbreakable, Part 1" , 38: "Crazy Diamond is Unbreakable, Part 2" and 39: "Goodbye, Morioh - The Golden Heart"]

Time loops, arrows, pylons, mistaken lotteries, rock statues, starfish-- it's been an absolute hell of a season here and we're delighted to be able to recap these last 3 anime episodes with you today. It's been an incredible ride through the town of Morioh and all the stars are here to help say goodbye (and ascend to heaven). Enjoy our last Diamond is Unbreakable recap and stick around to the end of the show for a few hints to where JeffJeff's Bizarre Adventure goes next. [podcast covers anime episodes 37: "Crazy Diamond is Unbreakable, Part 1" , 38: "Crazy Diamond is Unbreakable, Part 2" and 39: "Goodbye, Morioh - The Golden Heart"]

Send us a textRecap of my visit to Boston's legendary Shriner's Show. 

The post Beat Club: Shine On You Crazy Diamond appeared first on NiTfm.

Wow the lads ride again to get into it about to finish the tale of Diego's trip to Florida, the GNC checkout gauntlet, take a trip to the Energy Drink and MoviePass Corners and more! Follow us: @mikeabrusci @thisdiegolopez @alittletimepod www.patreon.com/alittletimepod

Welcome to Song Swap Showdown Quick Hits! The show where we dive into one-song reviews, pulled straight from the full episodes of Song Swap Showdown. Get ready for rapid-fire music insights and fun, all in a quick, bite-sized format. Each song is swapped and rated on a scale of 1-5 records, with 1 being a SKIP and 5 being heavenly music to our ears and going on our eternity playlists.

Ohayoooo ! Aujourd'hui, on parle de ce spin-off de l'univers de Jojo's Bizarre Adventure (pour changer!) en 3 tomes, que vous pouvez retrouver chez Delcourt Tonkam. Bonne écoute ! ------------------------------------

Episode 99 of Infusion Underground by CTDJ features 18 tracks of Progressive House and Melodic Techno selected and mixed live. This month's mix features 18 tracks as follows: 1. The Way by James Welsh 2. Reaching Stars by BP 3. 05.20 Am (Robert R. Hardy Remix by Christopher Fa Fa 4. Mad Bells by Jamie Stevens 5. Photophobic by EMPHI 6. High Eyes by Zuccasam 7. Midex by Alican 8. Raposa Rave by Philou 9. White Rainbow by Boris Brejcha 10. Oracion by Melissa Santa Maria 11. Shock Me (Aaron Silva Remix) by Joy Marquez 12. Anesthetizied Feeling (Musumeci & Dodi Palese Remix) by Three Less One 13. Theme by Catapulta 14. Slow Shot by Helly Larson 15. Inflammable Contraband by Dave Seaman 16. All The Time by Emanuel Satie 17. Crazy Diamond by Eagles & Butterflies, John Digweed & Nick Muir 18. Crazy Diamond (Reprise) by Eagles & Butterflies, John Digweed & Nick Muir Turn it up, listen loud, get lost in the journey of the music and enjoy. Thanks for listening, liking and sharing. CT DJ x

Extrait : «…Shine on you crazy diamond, la chanson qui donne envie de fumer une immense cigarette qui fait rire, de s'asseoir sur une plage, de regarder le soleil couchant et d'attendre que descende le grand vaisseau noir … »Pour l'écouter, c'est par ici si tu utilises Apple Podcasts, ici pour Deezer, là sur Spotify, voire, si tu préfères, Podcast Addict. Il y a plein d'autres app de podcasts, cherche Good Morning Music sur la tienne. Pour commenter les épisodes, tu peux le faire sur l'appli en question, ça aide énormément à faire croître l'audience. Mais aussi sur le site web dédié, il y a une section Le Bar, ouverte 24/24, pour causer du podcast ou de musique en général, je t'y attends avec impatience. Enfin, si tu souhaites me soumettre une chanson, c'est aussi sur le site web que ça se passe. Pour soutenir Good Morning Music et Gros Naze :1. Abonne-toi2. Laisse-moi un avis et 5 étoiles sur Apple Podcasts, ou Spotify et Podcast Addict3. Partage ton épisode préféré à 3 personnes autour de toi. Ou 3.000 si tu connais plein de monde. Good Morning Music Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

We spun the week's rock and roll roulette wheel and this is where the balls landed …  … why all rock biopics are worth seeing once. … ‘demixing': we spent ages perfecting records. Now we're unperfecting them. … the adorable hand-drawn flyer the 15 year-old Robert Plant made for his band Blacksnake Moan 60 years ago – “the weirdest, wildest sound in R&B!” … are all musicians driven by the urge to please their mums? … Pyjamarama, Crazy Diamond, Cigarettesnalcohol and other rock and roll racehorses. … why “The Room” by Fabiano do Nascimento and Sam Gendel is “healing music”. … has anyone been ‘bigger' than Taylor Swift? And how can she be so universally popular and yet we can go through life without hearing a note of her music? … the Pet Shop Boys at the London Palladium: “we don't do waving”. … “Something's lost but something's gained in living every day” – Joni Mitchell. … are any possesions more precious than records? ... and birthday guest Kevin Rose recommends the Brian Wilson biopic Love & Mercy – and we talk about Control (Joy Division), Backbeat (the early Beatles), Rocket Man and Baz Luhrmann's Elvis.Subscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, plus a whole load more!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

We spun the week's rock and roll roulette wheel and this is where the balls landed …  … why all rock biopics are worth seeing once. … ‘demixing': we spent ages perfecting records. Now we're unperfecting them. … the adorable hand-drawn flyer the 15 year-old Robert Plant made for his band Blacksnake Moan 60 years ago – “the weirdest, wildest sound in R&B!” … are all musicians driven by the urge to please their mums? … Pyjamarama, Crazy Diamond, Cigarettesnalcohol and other rock and roll racehorses. … why “The Room” by Fabiano do Nascimento and Sam Gendel is “healing music”. … has anyone been ‘bigger' than Taylor Swift? And how can she be so universally popular and yet we can go through life without hearing a note of her music? … the Pet Shop Boys at the London Palladium: “we don't do waving”. … “Something's lost but something's gained in living every day” – Joni Mitchell. … are any possesions more precious than records? ... and birthday guest Kevin Rose recommends the Brian Wilson biopic Love & Mercy – and we talk about Control (Joy Division), Backbeat (the early Beatles), Rocket Man and Baz Luhrmann's Elvis.Subscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, plus a whole load more!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

We spun the week's rock and roll roulette wheel and this is where the balls landed …  … why all rock biopics are worth seeing once. … ‘demixing': we spent ages perfecting records. Now we're unperfecting them. … the adorable hand-drawn flyer the 15 year-old Robert Plant made for his band Blacksnake Moan 60 years ago – “the weirdest, wildest sound in R&B!” … are all musicians driven by the urge to please their mums? … Pyjamarama, Crazy Diamond, Cigarettesnalcohol and other rock and roll racehorses. … why “The Room” by Fabiano do Nascimento and Sam Gendel is “healing music”. … has anyone been ‘bigger' than Taylor Swift? And how can she be so universally popular and yet we can go through life without hearing a note of her music? … the Pet Shop Boys at the London Palladium: “we don't do waving”. … “Something's lost but something's gained in living every day” – Joni Mitchell. … are any possesions more precious than records? ... and birthday guest Kevin Rose recommends the Brian Wilson biopic Love & Mercy – and we talk about Control (Joy Division), Backbeat (the early Beatles), Rocket Man and Baz Luhrmann's Elvis.Subscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, plus a whole load more!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Nach einer kurzen Unterbrechung hat Julian endlich JoJo's Bizarre Adventure: Diamond Is Unbreakable, die Adaption des 4. Teils der JoJo's Bizarre Adventure Reihe abgeschlossen. Und auch mit Lukas' Lieblings-Part scheint die konsequente Steigerung von Part zu Part nicht zu enden. Der Artstyle und die Artdirection wurden weiterentwickelt, das verhältnismäßig schlichte Setting wirkt frisch, der Ensemblecast (einschließlich der Stadt) ist abwechslungsreich und interessant und das Ganze wird mit einem der besten Bösewichte in Anime abgerundet. Julian hat aber trotzdem einen Kritikpunkt zu äußern, der eigentlich positiv aufgefasst werden würde.

The post Beat Club: Shine On You Crazy Diamond appeared first on NiTfm.

•Cult icon, enigma, recluse, crazy diamond, he was the founding member of one of the world's most  famous and succesful rock groups, but the life of Syd Barrett is full of unanswered questions.   •Was he a drug casualty of the sixties? Did he walk away from the pressures of the commercial music world? Did he suffer from an undiagnosed mental illness, did his muse abandon him? Was it a combination of these - or was it something more mysterious, something we can never really understand?   •'Have You Got It Yet?', an extraordinary new film about Syd, pieces together his comet-like rise to pop stardom, his creative and destructive impulses, breakdown, his exit from Pink Floyd and his subsequent life alone, all set against the social context of the psychedelic swinging sixties. It is built around interviews with Syd's friends, lovers, family and former band mates Roger Waters, David Gilmour, and Nick Mason. It is, as much as a tribute, a film about memory, friendship, lost youth, regret and the enduring power of music.   •Roddy Bogawa, the award winning co-director of the film and a crazy diamond in his own right, came to the Bureau to talk about 'Have You Got It Yet?' - and to try to answer some of the questions about Syd.    •And along the way, we dig deep into London in the '60s, LA in the '70s, punk, underground films - and of course, counterculture.   •For more details on the film Have You Got It Yet •For more about Roddy *Join our cult   Thanks, as ever, to Jenny Spires for connecting us with Roddy.     #tripping #psychedelics #theunconscious #consciousness #truth #madness #counterculture #drug  #lsd #memorey  #pinkfloyd  #sydbarrett #haveyougotityet? #crazydiamond #darksideofthemoon #wishyouwerehere #shineonyoucrazydiamond #ufoclub #madcap 

Ginger Joe nous raconte l'histoire d'une chanson. Aujourd'hui: PINK FLOYD-Shine On You Crazy Diamond

The post Beat Club: Shine On You Crazy Diamond appeared first on NiTfm.

Ginger Joe nous raconte l'histoire d'une chanson. Aujourd'hui: Shine On You Crazy Diamond de PINK FLOYD

How to bring your most creative ideas to life. Nicole Yershon one of the advertising industry's most imaginative creatives whose “never say never” approach to business has pushed boundaries, broken taboos, shifted needles and toppled monopolies. She's on the show partly to promote her book Rough Diamond – dedicated to all those people who walk amongst us who think differently, courageously and divergently to make our industry the envy of the creative world. But she's also on the show to tell us how she got started in the industry and to champion the good work of the creative education system, including Communications Arts; and to explain her proven theory of learning that helps us all to understand biohacking, cyborgism and humans as technology. How to develop empathy Where creativity comes from Mathematics for business New business advice How to achieve the work life balance The importance of trust Flooding Second Life Innovative thinking and survival Intrepreneurship and entrepreneurship LinkedIn https://www.linkedin.com/in/nicoleyershon/ Interweb https://www.nicoleyershon.com/ Insta https://www.instagram.com/nicoleyershon/ Buy the book! https://www.amazon.co.uk/Rough-Diamond-Disruption-Advantage-Business-ebook/dp/B0BJQSHB7M Learn more about your ad choices. Visit megaphone.fm/adchoices

Whack and Juniper drag Caleb kicking and screaming through the world of gooning, causing a crisis of identity. NSFW/NSFL warning! This episode contains lots of weird stuff along with lots of hooting and hollering. Here's the link to the Google Slides if you want to view pornography along with your beloved hosts  www.Patreon.com/WesternKabuki ‪Voicemail: (971) 374-2265‬    

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The backstory of Pink Floyd's masterpiece, Shine On You Crazy Diamond.

Chalupa Chimes in from Prague to let us know his thoughts on the last few shows and a little bit about his travels.  

Episode one hundred and fifty-seven of A History of Rock Music in Five Hundred Songs looks at “See Emily Play", the birth of the UK underground, and the career of Roger Barrett, known as Syd. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "First Girl I Loved" by the Incredible String Band. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, due to the number of Pink Floyd songs. I referred to two biographies of Barrett in this episode -- A Very Irregular Head by Rob Chapman is the one I would recommend, and the one whose narrative I have largely followed. Some of the information has been superseded by newer discoveries, but Chapman is almost unique in people writing about Barrett in that he actually seems to care about the facts and try to get things right rather than make up something more interesting. Crazy Diamond by Mike Watkinson and Pete Anderson is much less reliable, but does have quite a few interview quotes that aren't duplicated by Chapman. Information about Joe Boyd comes from Boyd's book White Bicycles. In this and future episodes on Pink Floyd I'm also relying on Nick Mason's Inside Out: A Personal History of Pink Floyd and Pink Floyd: All the Songs by Jean-Michel Guesdon and Philippe Margotin. The compilation Relics contains many of the most important tracks from Barrett's time with Pink Floyd, while Piper at the Gates of Dawn is his one full album with them. Those who want a fuller history of his time with the group will want to get Piper and also the box set Cambridge St/ation 1965-1967. Barrett only released two solo albums during his career. They're available as a bundle here. Completists will also want the rarities and outtakes collection Opel.  ERRATA: I talk about “Interstellar Overdrive” as if Barrett wrote it solo. The song is credited to all four members, but it was Barrett who came up with the riff I talk about. And annoyingly, given the lengths I went to to deal correctly with Barrett's name, I repeatedly refer to "Dave" Gilmour, when Gilmour prefers David. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A note before I begin -- this episode deals with drug use and mental illness, so anyone who might be upset by those subjects might want to skip this one. But also, there's a rather unique problem in how I deal with the name of the main artist in the story today. The man everyone knows as Syd Barrett was born Roger Barrett, used that name with his family for his whole life, and in later years very strongly disliked being called "Syd", yet everyone other than his family called him that at all times until he left the music industry, and that's the name that appears on record labels, including his solo albums. I don't believe it's right to refer to people by names they choose not to go by themselves, but the name Barrett went by throughout his brief period in the public eye was different from the one he went by later, and by all accounts he was actually distressed by its use in later years. So what I'm going to do in this episode is refer to him as "Roger Barrett" when a full name is necessary for disambiguation or just "Barrett" otherwise, but I'll leave any quotes from other people referring to "Syd" as they were originally phrased. In future episodes on Pink Floyd, I'll refer to him just as Barrett, but in episodes where I discuss his influence on other artists, I will probably have to use "Syd Barrett" because otherwise people who haven't listened to this episode won't know what on Earth I'm talking about. Anyway, on with the show. “It's gone!” sighed the Rat, sinking back in his seat again. “So beautiful and strange and new. Since it was to end so soon, I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worth while but just to hear that sound once more and go on listening to it for ever. No! There it is again!” he cried, alert once more. Entranced, he was silent for a long space, spellbound. “Now it passes on and I begin to lose it,” he said presently. “O Mole! the beauty of it! The merry bubble and joy, the thin, clear, happy call of the distant piping! Such music I never dreamed of, and the call in it is stronger even than the music is sweet! Row on, Mole, row! For the music and the call must be for us.” That's a quote from a chapter titled "The Piper at the Gates of Dawn" from the classic children's book The Wind in the Willows -- a book which for most of its length is a fairly straightforward story about anthropomorphic animals having jovial adventures, but which in that one chapter has Rat and Mole suddenly encounter the Great God Pan and have a hallucinatory, transcendental experience caused by his music, one so extreme it's wiped from their minds, as they simply cannot process it. The book, and the chapter, was a favourite of Roger Barrett, a young child born in Cambridge in 1946. Barrett came from an intellectual but not especially bookish family. His father, Dr. Arthur Barrett, was a pathologist -- there's a room in Addenbrooke's Hospital named after him -- but he was also an avid watercolour painter, a world-leading authority on fungi, and a member of the Cambridge Philharmonic Society who was apparently an extraordinarily good singer; while his mother Winifred was a stay-at-home mother who was nonetheless very active in the community, organising a local Girl Guide troupe. They never particularly encouraged their family to read, but young Roger did particularly enjoy the more pastoral end of the children's literature of the time. As well as the Wind in the Willows he also loved Alice in Wonderland, and the Little Grey Men books -- a series of stories about tiny gnomes and their adventures in the countryside. But his two big passions were music and painting. He got his first ukulele at age eleven, and by the time his father died, just before Roger's sixteenth birthday, he had graduated to playing a full-sized guitar. At the time his musical tastes were largely the same as those of any other British teenager -- he liked Chubby Checker, for example -- though he did have a tendency to prefer the quirkier end of things, and some of the first songs he tried to play on the guitar were those of Joe Brown: [Excerpt: Joe Brown, "I'm Henry VIII I Am"] Barrett grew up in Cambridge, and for those who don't know it, Cambridge is an incubator of a very particular kind of eccentricity. The university tends to attract rather unworldly intellectual overachievers to the city -- people who might not be able to survive in many other situations but who can thrive in that one -- and every description of Barrett's father suggests he was such a person -- Barrett's sister Rosemary has said that she believes that most of the family were autistic, though whether this is a belief based on popular media portrayals or a deeper understanding I don't know. But certainly Cambridge is full of eccentric people with remarkable achievements, and such people tend to have children with a certain type of personality, who try simultaneously to live up to and rebel against expectations of greatness that come from having parents who are regarded as great, and to do so with rather less awareness of social norms than the typical rebel has. In the case of Roger Barrett, he, like so many others of his generation, was encouraged to go into the sciences -- as indeed his father had, both in his career as a pathologist and in his avocation as a mycologist. The fifties and sixties were a time, much like today, when what we now refer to as the STEM subjects were regarded as new and exciting and modern. But rather than following in his father's professional footsteps, Roger Barrett instead followed his hobbies. Dr. Barrett was a painter and musician in his spare time, and Roger was to turn to those things to earn his living. For much of his teens, it seemed that art would be the direction he would go in. He was, everyone agrees, a hugely talented painter, and he was particularly noted for his mastery of colours. But he was also becoming more and more interested in R&B music, especially the music of Bo Diddley, who became his new biggest influence: [Excerpt: Bo Diddley, "Who Do You Love?"] He would often spend hours with his friend Dave Gilmour, a much more advanced guitarist, trying to learn blues riffs. By this point Barrett had already received the nickname "Syd". Depending on which story you believe, he either got it when he started attending a jazz club where an elderly jazzer named Sid Barrett played, and the people were amused that their youngest attendee, like one of the oldest, was called Barrett; or, more plausibly, he turned up to a Scout meeting once wearing a flat cap rather than the normal scout beret, and he got nicknamed "Sid" because it made him look working-class and "Sid" was a working-class sort of name. In 1962, by the time he was sixteen, Barrett joined a short-lived group called Geoff Mott and the Mottoes, on rhythm guitar. The group's lead singer, Geoff Mottlow, would go on to join a band called the Boston Crabs who would have a minor hit in 1965 with a version of the Coasters song "Down in Mexico": [Excerpt: The Boston Crabs, "Down in Mexico"] The bass player from the Mottoes, Tony Sainty, and the drummer Clive Welham, would go on to form another band, The Jokers Wild, with Barrett's friend Dave Gilmour. Barrett also briefly joined another band, Those Without, but his time with them was similarly brief. Some sources -- though ones I consider generally less reliable -- say that the Mottoes' bass player wasn't Tony Sainty, but was Roger Waters, the son of one of Barrett's teachers, and that one of the reasons the band split up was that Waters had moved down to London to study architecture. I don't think that's the case, but it's definitely true that Barrett knew Waters, and when he moved to London himself the next year to go to Camberwell Art College, he moved into a house where Waters was already living. Two previous tenants at the same house, Nick Mason and Richard Wright, had formed a loose band with Waters and various other amateur musicians like Keith Noble, Shelagh Noble, and Clive Metcalfe. That band was sometimes known as the Screaming Abdabs, The Megadeaths, or The Tea Set -- the latter as a sly reference to slang terms for cannabis -- but was mostly known at first as Sigma 6, named after a manifesto by the novelist Alexander Trocchi for a kind of spontaneous university. They were also sometimes known as Leonard's Lodgers, after the landlord of the home that Barrett was moving into, Mike Leonard, who would occasionally sit in on organ and would later, as the band became more of a coherent unit, act as a roadie and put on light shows behind them -- Leonard was himself very interested in avant-garde and experimental art, and it was his idea to play around with the group's lighting. By the time Barrett moved in with Waters in 1964, the group had settled on the Tea Set name, and consisted of Waters on bass, Mason on drums, Wright on keyboards, singer Chris Dennis, and guitarist Rado Klose. Of the group, Klose was the only one who was a skilled musician -- he was a very good jazz guitarist, while the other members were barely adequate. By this time Barrett's musical interests were expanding to include folk music -- his girlfriend at the time talked later about him taking her to see Bob Dylan on his first UK tour and thinking "My first reaction was seeing all these people like Syd. It was almost as if every town had sent one Syd Barrett there. It was my first time seeing people like him." But the music he was most into was the blues. And as the Tea Set were turning into a blues band, he joined them. He even had a name for the new band that would make them more bluesy. He'd read the back of a record cover which had named two extremely obscure blues musicians -- musicians he may never even have heard. Pink Anderson: [Excerpt: Pink Anderson, "Boll Weevil"] And Floyd Council: [Excerpt: Floyd Council, "Runaway Man Blues"] Barrett suggested that they put together the names of the two bluesmen, and presumably because "Anderson Council" didn't have quite the right ring, they went for The Pink Floyd -- though for a while yet they would sometimes still perform as The Tea Set, and they were sometimes also called The Pink Floyd Sound. Dennis left soon after Barrett joined, and the new five-piece Pink Floyd Sound started trying to get more gigs. They auditioned for Ready Steady Go! and were turned down, but did get some decent support slots, including for a band called the Tridents: [Excerpt: The Tridents, "Tiger in Your Tank"] The members of the group were particularly impressed by the Tridents' guitarist and the way he altered his sound using feedback -- Barrett even sent a letter to his girlfriend with a drawing of the guitarist, one Jeff Beck, raving about how good he was. At this point, the group were mostly performing cover versions, but they did have a handful of originals, and it was these they recorded in their first demo sessions in late 1964 and early 1965. They included "Walk With Me Sydney", a song written by Roger Waters as a parody of "Work With Me Annie" and "Dance With Me Henry" -- and, given the lyrics, possibly also Hank Ballard's follow-up "Henry's Got Flat Feet (Can't Dance No More) and featuring Rick Wright's then-wife Juliette Gale as Etta James to Barrett's Richard Berry: [Excerpt: The Tea Set, "Walk With Me Sydney"] And four songs by Barrett, including one called "Double-O Bo" which was a Bo Diddley rip-off, and "Butterfly", the most interesting of these early recordings: [Excerpt: The Tea Set, "Butterfly"] At this point, Barrett was very unsure of his own vocal abilities, and wrote a letter to his girlfriend saying "Emo says why don't I give up 'cos it sounds horrible, and I would but I can't get Fred to join because he's got a group (p'raps you knew!) so I still have to sing." "Fred" was a nickname for his old friend Dave Gilmour, who was playing in his own band, Joker's Wild, at this point. Summer 1965 saw two important events in the life of the group. The first was that Barrett took LSD for the first time. The rest of the group weren't interested in trying it, and would indeed generally be one of the more sober bands in the rock business, despite the reputation their music got. The other members would for the most part try acid once or twice, around late 1966, but generally steer clear of it. Barrett, by contrast, took it on a very regular basis, and it would influence all the work he did from that point on. The other event was that Rado Klose left the group. Klose was the only really proficient musician in the group, but he had very different tastes to the other members, preferring to play jazz to R&B and pop, and he was also falling behind in his university studies, and decided to put that ahead of remaining in the band. This meant that the group members had to radically rethink the way they were making music. They couldn't rely on instrumental proficiency, so they had to rely on ideas. One of the things they started to do was use echo. They got primitive echo devices and put both Barrett's guitar and Wright's keyboard through them, allowing them to create new sounds that hadn't been heard on stage before. But they were still mostly doing the same Slim Harpo and Bo Diddley numbers everyone else was doing, and weren't able to be particularly interesting while playing them. But for a while they carried on doing the normal gigs, like a birthday party they played in late 1965, where on the same bill was a young American folk singer named Paul Simon, and Joker's Wild, the band Dave Gilmour was in, who backed Simon on a version of "Johnny B. Goode". A couple of weeks after that party, Joker's Wild went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] But The Pink Floyd Sound weren't as musically tight as Joker's Wild, and they couldn't make a living as a cover band even if they wanted to. They had to do something different. Inspiration then came from a very unexpected source. I mentioned earlier that one of the names the group had been performing under had been inspired by a manifesto for a spontaneous university by the writer Alexander Trocchi. Trocchi's ideas had actually been put into practice by an organisation calling itself the London Free School, based in Notting Hill. The London Free School was an interesting mixture of people from what was then known as the New Left, but who were already rapidly aging, the people who had been the cornerstone of radical campaigning in the late fifties and early sixties, who had run the Aldermaston marches against nuclear weapons and so on, and a new breed of countercultural people who in a year or two would be defined as hippies but at the time were not so easy to pigeonhole. These people were mostly politically radical but very privileged people -- one of the founder members of the London Free School was Peter Jenner, who was the son of a vicar and the grandson of a Labour MP -- and they were trying to put their radical ideas into practice. The London Free School was meant to be a collective of people who would help each other and themselves, and who would educate each other. You'd go to the collective wanting to learn how to do something, whether that's how to improve the housing in your area or navigate some particularly difficult piece of bureaucracy, or how to play a musical instrument, and someone who had that skill would teach you how to do it, while you hopefully taught them something else of value. The London Free School, like all such utopian schemes, ended up falling apart, but it had a wider cultural impact than most such schemes. Britain's first underground newspaper, the International Times, was put together by people involved in the Free School, and the annual Notting Hill Carnival, which is now one of the biggest outdoor events in Britain every year with a million attendees, came from the merger of outdoor events organised by the Free School with older community events. A group of musicians called AMM was associated with many of the people involved in the Free School. AMM performed totally improvised music, with no structure and no normal sense of melody and harmony: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] Keith Rowe, the guitarist in AMM, wanted to find his own technique uninfluenced by American jazz guitarists, and thought of that in terms that appealed very strongly to the painterly Barrett, saying "For the Americans to develop an American school of painting, they somehow had to ditch or lose European easel painting techniques. They had to make a break with the past. What did that possibly mean if you were a jazz guitar player? For me, symbolically, it was Pollock laying the canvas on the floor, which immediately abandons European easel technique. I could see that by laying the canvas down, it became inappropriate to apply easel techniques. I thought if I did that with a guitar, I would just lose all those techniques, because they would be physically impossible to do." Rowe's technique-free technique inspired Barrett to make similar noises with his guitar, and to think less in terms of melody and harmony than pure sound. AMM's first record came out in 1966. Four of the Free School people decided to put together their own record label, DNA, and they got an agreement with Elektra Records to distribute its first release -- Joe Boyd, the head of Elektra in the UK, was another London Free School member, and someone who had plenty of experience with disruptive art already, having been on the sound engineering team at the Newport Folk Festival when Dylan went electric. AMM went into the studio and recorded AMMMusic: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] After that came out, though, Peter Jenner, one of the people who'd started the label, came to a realisation. He said later "We'd made this one record with AMM. Great record, very seminal, seriously avant-garde, but I'd started adding up and I'd worked out that the deal we had, we got two percent of retail, out of which we, the label, had to pay for recording costs and pay ourselves. I came to the conclusion that we were going to have to sell a hell of a lot of records just to pay the recording costs, let alone pay ourselves any money and build a label, so I realised we had to have a pop band because pop bands sold a lot of records. It was as simple as that and I was as naive as that." Jenner abandoned DNA records for the moment, and he and his friend Andrew King decided they were going to become pop managers. and they found The Pink Floyd Sound playing at an event at the Marquee, one of a series of events that were variously known as Spontaneous Underground and The Trip. Other participants in those events included Soft Machine; Mose Allison; Donovan, performing improvised songs backed by sitar players; Graham Bond; a performer who played Bach pieces while backed by African drummers; and The Poison Bellows, a poetry duo consisting of Spike Hawkins and Johnny Byrne, who may of all of these performers be the one who other than Pink Floyd themselves has had the most cultural impact in the UK -- after writing the exploitation novel Groupie and co-writing a film adaptation of Spike Milligan's war memoirs, Byrne became a TV screenwriter, writing many episodes of Space: 1999 and Doctor Who before creating the long-running TV series Heartbeat. Jenner and King decided they wanted to sign The Pink Floyd Sound and make records with them, and the group agreed -- but only after their summer holidays. They were all still students, and so they dispersed during the summer. Waters and Wright went on holiday to Greece, where they tried acid for the first of only a small number of occasions and were unimpressed, while Mason went on a trip round America by Greyhound bus. Barrett, meanwhile, stayed behind, and started writing more songs, encouraged by Jenner, who insisted that the band needed to stop relying on blues covers and come up with their own material, and who saw Barrett as the focus of the group. Jenner later described them as "Four not terribly competent musicians who managed between them to create something that was extraordinary. Syd was the main creative drive behind the band - he was the singer and lead guitarist. Roger couldn't tune his bass because he was tone deaf, it had to be tuned by Rick. Rick could write a bit of a tune and Roger could knock out a couple of words if necessary. 'Set the Controls for the Heart of the Sun' was the first song Roger ever wrote, and he only did it because Syd encouraged everyone to write. Syd was very hesitant about his writing, but when he produced these great songs everyone else thought 'Well, it must be easy'" Of course, we know this isn't quite true -- Waters had written "Walk with me Sydney" -- but it is definitely the case that everyone involved thought of Barrett as the main creative force in the group, and that he was the one that Jenner was encouraging to write new material. After the summer holidays, the group reconvened, and one of their first actions was to play a benefit for the London Free School. Jenner said later "Andrew King and myself were both vicars' sons, and we knew that when you want to raise money for the parish you have to have a social. So in a very old-fashioned way we said 'let's put on a social'. Like in the Just William books, like a whist drive. We thought 'You can't have a whist drive. That's not cool. Let's have a band. That would be cool.' And the only band we knew was the band I was starting to get involved with." After a couple of these events went well, Joe Boyd suggested that they make those events a regular club night, and the UFO Club was born. Jenner and King started working on the light shows for the group, and then bringing in other people, and the light show became an integral part of the group's mystique -- rather than standing in a spotlight as other groups would, they worked in shadows, with distorted kaleidoscopic lights playing on them, distancing themselves from the audience. The highlight of their sets was a long piece called "Interstellar Overdrive", and this became one of the group's first professional recordings, when they went into the studio with Joe Boyd to record it for the soundtrack of a film titled Tonite Let's All Make Love in London. There are conflicting stories about the inspiration for the main riff for "Interstellar Overdrive". One apparent source is the riff from Love's version of the Bacharach and David song "My Little Red Book". Depending on who you ask, either Barrett was obsessed with Love's first album and copied the riff, or Peter Jenner tried to hum him the riff and Barrett copied what Jenner was humming: [Excerpt: Love, "My Little Red Book"] More prosaically, Roger Waters has always claimed that the main inspiration was from "Old Ned", Ron Grainer's theme tune for the sitcom Steptoe and Son (which for American listeners was remade over there as Sanford and Son): [Excerpt: Ron Grainer, "Old Ned"] Of course it's entirely possible, and even likely, that Barrett was inspired by both, and if so that would neatly sum up the whole range of Pink Floyd's influences at this point. "My Little Red Book" was a cover by an American garage-psych/folk-rock band of a hit by Manfred Mann, a group who were best known for pop singles but were also serious blues and jazz musicians, while Steptoe and Son was a whimsical but dark and very English sitcom about a way of life that was slowly disappearing. And you can definitely hear both influences in the main riff of the track they recorded with Boyd: [Excerpt: The Pink Floyd, "Interstellar Overdrive"] "Interstellar Overdrive" was one of two types of song that The Pink Floyd were performing at this time -- a long, extended, instrumental psychedelic excuse for freaky sounds, inspired by things like the second disc of Freak Out! by the Mothers of Invention. When they went into the studio again with Boyd later in January 1967, to record what they hoped would be their first single, they recorded two of the other kind of songs -- whimsical story songs inspired equally by the incidents of everyday life and by children's literature. What became the B-side, "Candy and a Currant Bun", was based around the riff from "Smokestack Lightnin'" by Howlin' Wolf: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] That song had become a favourite on the British blues scene, and was thus the inspiration for many songs of the type that get called "quintessentially English". Ray Davies, who was in many ways the major songwriter at this time who was closest to Barrett stylistically, would a year later use the riff for the Kinks song "Last of the Steam-Powered Trains", but in this case Barrett had originally written a song titled "Let's Roll Another One", about sexual longing and cannabis. The lyrics were hastily rewritten in the studio to remove the controversial drug references-- and supposedly this caused some conflict between Barrett and Waters, with Waters pushing for the change, while Barrett argued against it, though like many of the stories from this period this sounds like the kind of thing that gets said by people wanting to push particular images of both men. Either way, the lyric was changed to be about sweet treats rather than drugs, though the lascivious elements remained in. And some people even argue that there was another lyric change -- where Barrett sings "walk with me", there's a slight "f" sound in his vocal. As someone who does a lot of microphone work myself, it sounds to me like just one of those things that happens while recording, but a lot of people are very insistent that Barrett is deliberately singing a different word altogether: [Excerpt: The Pink Floyd, "Candy and a Currant Bun"] The A-side, meanwhile, was inspired by real life. Both Barrett and Waters had mothers who used  to take in female lodgers, and both had regularly had their lodgers' underwear stolen from washing lines. While they didn't know anything else about the thief, he became in Barrett's imagination a man who liked to dress up in the clothing after he stole it: [Excerpt: The Pink Floyd, "Arnold Layne"] After recording the two tracks with Joe Boyd, the natural assumption was that the record would be put out on Elektra, the label which Boyd worked for in the UK, but Jac Holzman, the head of Elektra records, wasn't interested, and so a bidding war began for the single, as by this point the group were the hottest thing in London. For a while it looked like they were going to sign to Track Records, the label owned by the Who's management, but in the end EMI won out. Right as they signed, the News of the World was doing a whole series of articles about pop stars and their drug use, and the last of the articles talked about The Pink Floyd and their association with LSD, even though they hadn't released a record yet. EMI had to put out a press release saying that the group were not psychedelic, insisting"The Pink Floyd are not trying to create hallucinatory effects in their audience." It was only after getting signed that the group became full-time professionals. Waters had by this point graduated from university and was working as a trainee architect, and quit his job to become a pop star. Wright dropped out of university, but Mason and Barrett took sabbaticals. Barrett in particular seems to have seen this very much as a temporary thing, talking about how he was making so much money it would be foolish not to take the opportunity while it lasted, but how he was going to resume his studies in a year. "Arnold Layne" made the top twenty, and it would have gone higher had the pirate radio station Radio London, at the time the single most popular radio station when it came to pop music, not banned the track because of its sexual content. However, it would be the only single Joe Boyd would work on with the group. EMI insisted on only using in-house producers, and so while Joe Boyd would go on to a great career as a producer, and we'll see him again, he was replaced with Norman Smith. Smith had been the chief engineer on the Beatles records up to Rubber Soul, after which he'd been promoted to being a producer in his own right, and Geoff Emerick had taken over. He also had aspirations to pop stardom himself, and a few years later would have a transatlantic hit with "Oh Babe, What Would You Say?" under the name Hurricane Smith: [Excerpt: Hurricane Smith, "Oh Babe, What Would You Say?"] Smith's production of the group would prove controversial among some of the group's longtime fans, who thought that he did too much to curtail their more experimental side, as he would try to get the group to record songs that were more structured and more commercial, and would cut down their improvisations into a more manageable form. Others, notably Peter Jenner, thought that Smith was the perfect producer for the group. They started work on their first album, which was mostly recorded in studio three of Abbey Road, while the Beatles were just finishing off work on Sgt Pepper in studio two. The album was titled The Piper at the Gates of Dawn, after the chapter from The Wind in the Willows, and other than a few extended instrumental showcases, most of the album was made up of short, whimsical, songs by Barrett that were strongly infused with imagery from late-Victorian and Edwardian children's books. This is one of the big differences between the British and American psychedelic scenes. Both the British and American undergrounds were made up of the same type of people -- a mixture of older radical activists, often Communists, who had come up in Britain in the Ban the Bomb campaigns and in America in the Civil Rights movement; and younger people, usually middle-class students with radical politics from a privileged background, who were into experimenting with drugs and alternative lifestyles. But the  social situations were different. In America, the younger members of the underground were angry and scared, as their principal interest was in stopping the war in Vietnam in which so many of them were being killed. And the music of the older generation of the underground, the Civil Rights activists, was shot through with influence from the blues, gospel, and American folk music, with a strong Black influence. So that's what the American psychedelic groups played, for the most part, very bluesy, very angry, music, By contrast, the British younger generation of hippies were not being drafted to go to war, and mostly had little to complain about, other than a feeling of being stifled by their parents' generation's expectations. And while most of them were influenced by the blues, that wasn't the music that had been popular among the older underground people, who had either been listening to experimental European art music or had been influenced by Ewan MacColl and his associates into listening instead to traditional old English ballads, things like the story of Tam Lin or Thomas the Rhymer, where someone is spirited away to the land of the fairies: [Excerpt: Ewan MacColl, "Thomas the Rhymer"] As a result, most British musicians, when exposed to the culture of the underground over here, created music that looked back to an idealised childhood of their grandparents' generation, songs that were nostalgic for a past just before the one they could remember (as opposed to their own childhoods, which had taken place in war or the immediate aftermath of it, dominated by poverty, rationing, and bomb sites (though of course Barrett's childhood in Cambridge had been far closer to this mythic idyll than those of his contemporaries from Liverpool, Birmingham, Newcastle, or London). So almost every British musician who was making music that might be called psychedelic was writing songs that were influenced both by experimental art music and by pre-War popular song, and which conjured up images from older children's books. Most notably of course at this point the Beatles were recording songs like "Strawberry Fields Forever" and "Penny Lane" about places from their childhood, and taking lyrical inspiration from Victorian circus posters and the works of Lewis Carroll, but Barrett was similarly inspired. One of the books he loved most as a child was "The Little Grey Men" by BB, a penname for Denys Watkins-Pitchford. The book told the story of three gnomes,  Baldmoney, Sneezewort, and Dodder, and their adventures on a boat when the fourth member of their little group, Cloudberry, who's a bit of a rebellious loner and more adventurous than the other three, goes exploring on his own and they have to go off and find him. Barrett's song "The Gnome" doesn't use any precise details from the book, but its combination of whimsy about a gnome named Grimble-gromble and a reverence for nature is very much in the mould of BB's work: [Excerpt: The Pink Floyd, "The Gnome"] Another huge influence on Barrett was Hillaire Belloc. Belloc is someone who is not read much any more, as sadly he is mostly known for the intense antisemitism in some of his writing, which stains it just as so much of early twentieth-century literature is stained, but he was one of the most influential writers of the early part of the twentieth century. Like his friend GK Chesterton he was simultaneously an author of Catholic apologia and a political campaigner -- he was a Liberal MP for a few years, and a strong advocate of an economic system known as Distributism, and had a peculiar mixture of very progressive and extremely reactionary ideas which resonated with a lot of the atmosphere in the British underground of the time, even though he would likely have profoundly disapproved of them. But Belloc wrote in a variety of styles, including poems for children, which are the works of his that have aged the best, and were a huge influence on later children's writers like Roald Dahl with their gleeful comic cruelty. Barrett's "Matilda Mother" had lyrics that were, other than the chorus where Barrett begs his mother to read him more of the story, taken verbatim from three poems from Belloc's Cautionary Tales for Children -- "Jim, Who Ran away from his Nurse, and was Eaten by a Lion", "Henry King (Who chewed bits of String, and was cut off in Dreadful Agonies)", and "Matilda (Who Told Lies and Was Burned to Death)" -- the titles of those give some idea of the kind of thing Belloc would write: [Excerpt: The Pink Floyd, "Matilda Mother (early version)"] Sadly for Barrett, Belloc's estate refused to allow permission for his poems to be used, and so he had to rework the lyrics, writing new fairy-tale lyrics for the finished version. Other sources of inspiration for lyrics came from books like the I Ching, which Barrett used for "Chapter 24", having bought a copy from the Indica Bookshop, the same place that John Lennon had bought The Psychedelic Experience, and there's been some suggestion that he was deliberately trying to copy Lennon in taking lyrical ideas from a book of ancient mystic wisdom. During the recording of Piper at the Gates of Dawn, the group continued playing live. As they'd now had a hit single, most of their performances were at Top Rank Ballrooms and other such venues around the country, on bills with other top chart groups, playing to audiences who seemed unimpressed or actively hostile. They also, though made two important appearances. The more well-known of these was at the 14-Hour Technicolor Dream, a benefit for International Times magazine with people including Yoko Ono, their future collaborator Ron Geesin, John's Children, Soft Machine, and The Move also performing. The 14-Hour Technicolor Dream is now largely regarded as *the* pivotal moment in the development of the UK counterculture, though even at the time some participants noted that there seemed to be a rift developing between the performers, who were often fairly straightforward beer-drinking ambitious young men who had latched on to kaftans and talk about enlightenment as the latest gimmick they could use to get ahead in the industry, and the audience who seemed to be true believers. Their other major performance was at an event called "Games for May -- Space Age Relaxation for the Climax of Spring", where they were able to do a full long set in a concert space with a quadrophonic sound system, rather than performing in the utterly sub-par environments most pop bands had to at this point. They came up with a new song written for the event, which became their second single, "See Emily Play". [Excerpt: The Pink Floyd, "See Emily Play"] Emily was apparently always a favourite name of Barrett's, and he even talked with one girlfriend about the possibility of naming their first child Emily, but the Emily of the song seems to have had a specific inspiration. One of the youngest attendees at the London Free School was an actual schoolgirl, Emily Young, who would go along to their events with her schoolfriend Anjelica Huston (who later became a well-known film star). Young is now a world-renowned artist, regarded as arguably Britain's greatest living stone sculptor, but at the time she was very like the other people at the London Free School -- she was from a very privileged background, her father was Wayland Young, 2nd Baron Kennet, a Labour Peer and minister who later joined the SDP. But being younger than the rest of the attendees, and still a little naive, she was still trying to find her own personality, and would take on attributes and attitudes of other people without fully understanding them,  hence the song's opening lines, "Emily tries, but misunderstands/She's often inclined to borrow somebody's dream til tomorrow". The song gets a little darker towards the end though, and the image in the last verse, where she puts on a gown and floats down a river forever *could* be a gentle, pastoral, image of someone going on a boat ride, but it also could be a reference to two rather darker sources. Barrett was known to pick up imagery both from classic literature and from Arthurian legend, and so the lines inevitably conjure up both the idea of Ophelia drowning herself and of the Lady of Shallot in Tennyson's Arthurian poem, who is trapped in a tower but finds a boat, and floats down the river to Camelot but dies before the boat reaches the castle: [Excerpt: The Pink Floyd, "See Emily Play"] The song also evokes very specific memories of Barrett's childhood -- according to Roger Waters, the woods mentioned in the lyrics are meant to be woods in which they had played as children, on the road out of Cambridge towards the Gog and Magog Hills. The song was apparently seven minutes long in its earliest versions, and required a great deal of editing to get down to single length, but it was worth it, as the track made the top ten. And that was where the problems started. There are two different stories told about what happened to Roger Barrett over the next forty years, and both stories are told by people with particular agendas, who want particular versions of him to become the accepted truth. Both stories are, in the extreme versions that have been popularised, utterly incompatible with each other, but both are fairly compatible with the scanty evidence we have. Possibly the truth lies somewhere between them. In one version of the story, around this time Barrett had a total mental breakdown, brought on or exacerbated by his overuse of LSD and Mandrax (a prescription drug consisting of a mixture of the antihistamine diphenhydramine and the sedative methaqualone, which was marketed in the US under the brand-name Quaalude), and that from late summer 1967 on he was unable to lead a normal life, and spent the rest of his life as a burned-out shell. The other version of the story is that Barrett was a little fragile, and did have periods of mental illness, but for the most part was able to function fairly well. In this version of the story, he was neurodivergent, and found celebrity distressing, but more than that he found the whole process of working within commercial restrictions upsetting -- having to appear on TV pop shows and go on package tours was just not something he found himself able to do, but he was responsible for a whole apparatus of people who relied on him and his group for their living. In this telling, he was surrounded by parasites who looked on him as their combination meal-ticket-cum-guru, and was simply not suited for the role and wanted to sabotage it so he could have a private life instead. Either way, *something* seems to have changed in Barrett in a profound way in the early summer of 1967. Joe Boyd talks about meeting him after not having seen him for a few weeks, and all the light being gone from his eyes. The group appeared on Top of the Pops, Britain's top pop TV show, three times to promote "See Emily Play", but by the third time Barrett didn't even pretend to mime along with the single. Towards the end of July, they were meant to record a session for the BBC's Saturday Club radio show, but Barrett walked out of the studio before completing the first song. It's notable that Barrett's non-cooperation or inability to function was very much dependent on circumstance. He was not able to perform for Saturday Club, a mainstream pop show aimed at a mass audience, but gave perfectly good performances on several sessions for John Peel's radio show The Perfumed Garden, a show firmly aimed at Pink Floyd's own underground niche. On the thirty-first of July, three days after the Saturday Club walkout, all the group's performances for the next month were cancelled, due to "nervous exhaustion". But on the eighth of August, they went back into the studio, to record "Scream Thy Last Scream", a song Barrett wrote and which Nick Mason sang: [Excerpt: Pink Floyd, "Scream Thy Last Scream"] That was scheduled as the group's next single, but the record company vetoed it, and it wouldn't see an official release for forty-nine years. Instead they recorded another single, "Apples and Oranges": [Excerpt: Pink Floyd, "Apples and Oranges"] That was the last thing the group released while Barrett was a member. In November 1967 they went on a tour of the US, making appearances on American Bandstand and the Pat Boone Show, as well as playing several gigs. According to legend, Barrett was almost catatonic on the Pat Boone show, though no footage of that appears to be available anywhere -- and the same things were said about their performance on Bandstand, and when that turned up, it turned out Barrett seemed no more uncomfortable miming to their new single than any of the rest of the band, and was no less polite when Dick Clark asked them questions about hamburgers. But on shows on the US tour, Barrett would do things like detune his guitar so it just made clanging sounds, or just play a single note throughout the show. These are, again, things that could be taken in two different ways, and I have no way to judge which is the more correct. On one level, they could be a sign of a chaotic, disordered, mind, someone dealing with severe mental health difficulties. On the other, they're the kind of thing that Barrett was applauded and praised for in the confines of the kind of avant-garde underground audience that would pay to hear AMM or Yoko Ono, the kind of people they'd been performing for less than a year earlier, but which were absolutely not appropriate for a pop group trying to promote their latest hit single. It could be that Barrett was severely unwell, or it could just be that he wanted to be an experimental artist and his bandmates wanted to be pop stars -- and one thing absolutely everyone agrees is that the rest of the group were more ambitious than Barrett was. Whichever was the case, though, something had to give. They cut the US tour short, but immediately started another British package tour, with the Jimi Hendrix Experience, the Move, Amen Corner and the Nice. After that tour they started work on their next album, A Saucerful of Secrets. Where Barrett was the lead singer and principal songwriter on Piper at the Gates of Dawn, he only sings and writes one song on A Saucerful of Secrets, which is otherwise written by Waters and Wright, and only appears at all on two more of the tracks -- by the time it was released he was out of the group. The last song he tried to get the group to record was called "Have You Got it Yet?" and it was only after spending some time rehearsing it that the rest of the band realised that the song was a practical joke on them -- every time they played it, he would change the song around so they would mess up, and pretend they just hadn't learned the song yet. They brought in Barrett's old friend Dave Gilmour, initially to be a fifth member on stage to give the band some stability in their performances, but after five shows with the five-man lineup they decided just not to bother picking Barrett up, but didn't mention he was out of the group, to avoid awkwardness. At the time, Barrett and Rick Wright were flatmates, and Wright would actually lie to Barrett and say he was just going out to buy a packet of cigarettes, and then go and play gigs without him. After a couple of months of this, it was officially announced that Barrett was leaving the group. Jenner and King went with him, convinced that he was the real talent in the group and would have a solo career, and the group carried on with new management. We'll be looking at them more in future episodes. Barrett made a start at recording a solo album in mid-1968, but didn't get very far. Jenner produced those sessions, and later said "It seemed a good idea to go into the studio because I knew he had the songs. And he would sometimes play bits and pieces and you would think 'Oh that's great.' It was a 'he's got a bit of a cold today and it might get better' approach. It wasn't a cold -- and you knew it wasn't a cold -- but I kept thinking if he did the right things he'd come back to join us. He'd gone out and maybe he'd come back. That was always the analogy in my head. I wanted to make it feel friendly for him, and that where we were was a comfortable place and that he could come back and find himself again. I obviously didn't succeed." A handful of tracks from those sessions have since been released, including a version of “Golden Hair”, a setting by Barrett of a poem by James Joyce that he would later revisit: [Excerpt: Syd Barrett, “Golden Hair (first version)”] Eleven months later, he went back into the studio again, this time with producer Malcolm Jones, to record an album that later became The Madcap Laughs, his first solo album. The recording process for the album has been the source of some controversy, as initially Jones was producing the whole album, and they were working in a way that Barrett never worked before. Where previously he had cut backing tracks first and only later overdubbed his vocals, this time he started by recording acoustic guitar and vocals, and then overdubbed on top of that. But after several sessions, Jones was pulled off the album, and Gilmour and Waters were asked to produce the rest of the sessions. This may seem a bit of a callous decision, since Gilmour was the person who had replaced Barrett in his group, but apparently the two of them had remained friends, and indeed Gilmour thought that Barrett had only got better as a songwriter since leaving the band. Where Malcolm Jones had been trying, by his account, to put out something that sounded like a serious, professional, record, Gilmour and Waters seemed to regard what they were doing more as producing a piece of audio verite documentary, including false starts and studio chatter. Jones believed that this put Barrett in a bad light, saying the outtakes "show Syd, at best as out of tune, which he rarely was, and at worst as out of control (which, again, he never was)." Gilmour and Waters, on the other hand, thought that material was necessary to provide some context for why the album wasn't as slick and professional as some might have hoped. The eventual record was a hodge-podge of different styles from different sessions, with bits from the Jenner sessions, the Jones sessions, and the Waters and Gilmour sessions all mixed together, with some tracks just Barrett badly double-tracking himself with an acoustic guitar, while other tracks feature full backing by Soft Machine. However, despite Jones' accusations that the album was more-or-less sabotaged by Gilmour and Waters, the fact remains that the best tracks on the album are the ones Barrett's former bandmates produced, and there are some magnificent moments on there. But it's a disturbing album to listen to, in the same way other albums by people with clear talent but clear mental illness are, like Skip Spence's Oar, Roky Erickson's later work, or the Beach Boys Love You. In each case, the pleasure one gets is a real pleasure from real aesthetic appreciation of the work, but entangled with an awareness that the work would not exist in that form were the creator not suffering. The pleasure doesn't come from the suffering -- these are real artists creating real art, not the kind of outsider art that is really just a modern-day freak-show -- but it's still inextricable from it: [Excerpt: Syd Barrett, "Dark Globe"] The Madcap Laughs did well enough that Barrett got to record a follow-up, titled simply Barrett. This one was recorded over a period of only a handful of months, with Gilmour and Rick Wright producing, and a band consisting of Gilmour, Wright, and drummer Jerry Shirley. The album is generally considered both more consistent and less interesting than The Madcap Laughs, with less really interesting material, though there are some enjoyable moments on it: [Excerpt: Syd Barrett, "Effervescing Elephant"] But the album is a little aimless, and people who knew him at the time seem agreed that that was a reflection of his life. He had nothing he *needed* to be doing -- no  tour dates, no deadlines, no pressure at all, and he had a bit of money from record royalties -- so he just did nothing at all. The one solo gig he ever played, with the band who backed him on Barrett, lasted four songs, and he walked off half-way through the fourth. He moved back to Cambridge for a while in the early seventies, and he tried putting together a new band with Twink, the drummer of the Pink Fairies and Pretty Things, Fred Frith, and Jack Monck, but Frith left after one gig. The other three performed a handful of shows either as "Stars" or as "Barrett, Adler, and Monck", just in the Cambridge area, but soon Barrett got bored again. He moved back to London, and in 1974 he made one final attempt to make a record, going into the studio with Peter Jenner, where he recorded a handful of tracks that were never released. But given that the titles of those tracks were things like "Boogie #1", "Boogie #2", "Slow Boogie", "Fast Boogie", "Chooka-Chooka Chug Chug" and "John Lee Hooker", I suspect we're not missing out on a lost masterpiece. Around this time there was a general resurgence in interest in Barrett, prompted by David Bowie having recorded a version of "See Emily Play" on his covers album Pin-Ups, which came out in late 1973: [Excerpt: David Bowie, "See Emily Play"] At the same time, the journalist Nick Kent wrote a long profile of Barrett, The Cracked Ballad of Syd Barrett, which like Kent's piece on Brian Wilson a year later, managed to be a remarkable piece of writing with a sense of sympathy for its subject and understanding of his music, but also a less-than-accurate piece of journalism which led to a lot of myths and disinformation being propagated. Barrett briefly visited his old bandmates in the studio in 1975 while they were recording the album Wish You Were Here -- some say even during the recording of the song "Shine On, You Crazy Diamond", which was written specifically about Barrett, though Nick Mason claims otherwise -- and they didn't recognise him at first, because by this point he had a shaved head and had put on a great deal of weight. He seemed rather sad, and that was the last time any of them saw him, apart from Roger Waters, who saw him in Harrod's a few years later. That time, as soon as Barrett recognised Waters, he dropped his bag and ran out of the shop. For the next thirty-one years, Barrett made no public appearances. The last time he ever voluntarily spoke to a journalist, other than telling them to go away, was in 1982, just after he'd moved back to Cambridge, when someone doorstopped him and he answered a few questions and posed for a photo before saying "OK! That's enough, this is distressing for me, thank you." He had the reputation for the rest of his life of being a shut-in, a recluse, an acid casualty. His family, on the other hand, have always claimed that while he was never particularly mentally or physically healthy, he wasn't a shut-in, and would go to the pub, meet up with his mother a couple of times a week to go shopping, and chat to the women behind the counter at Sainsbury's and at the pharmacy. He was also apparently very good with children who lived in the neighbourhood. Whatever the truth of his final decades, though, however mentally well or unwell he actually was, one thing is very clear, which is that he was an extremely private man, who did not want attention, and who was greatly distressed by the constant stream of people coming and looking through his letterbox, trying to take photos of him, trying to interview him, and so on. Everyone on his street knew that when people came asking which was Syd Barrett's house, they were meant to say that no-one of that name lived there -- and they were telling the truth. By the time he moved back, he had stopped answering to "Syd" altogether, and according to his sister "He came to hate the name latterly, and what it meant." He did, in 2001, go round to his sister's house to watch a documentary about himself on the TV -- he didn't own a TV himself -- but he didn't enjoy it and his only comment was that the music was too noisy. By this point he never listened to rock music, just to jazz and classical music, usually on the radio. He was financially secure -- Dave Gilmour made sure that when compilations came out they always included some music from Barrett's period in the group so he would receive royalties, even though Gilmour had no contact with him after 1975 -- and he spent most of his time painting -- he would take photos of the paintings when they were completed, and then burn the originals. There are many stories about those last few decades, but given how much he valued his privacy, it wouldn't be right to share them. This is a history of rock music, and 1975 was the last time Roger Keith Barrett ever had anything to do with rock music voluntarily. He died of cancer in 2006, and at his funeral there was a reading from The Little Grey Men, which was also quoted in the Order of Service -- "The wonder of the world, the beauty and the power, the shapes of things, their colours lights and shades; these I saw. Look ye also while life lasts.” There was no rock music played at Barrett's funeral -- instead there were a selection of pieces by Handel, Haydn, and Bach, ending with Bach's Allemande from the Partita No. IV in D major, one of his favourite pieces: [Excerpt: Glenn Gould, "Allemande from the Partita No. IV in D major"]  As they stared blankly in dumb misery deepening as they slowly realised all they had seen and all they had lost, a capricious little breeze, dancing up from the surface of the water, tossed the aspens, shook the dewy roses and blew lightly and caressingly in their faces; and with its soft touch came instant oblivion. For this is the last best gift that the kindly demi-god is careful to bestow on those to whom he has revealed himself in their helping: the gift of forgetfulness. Lest the awful remembrance should remain and grow, and overshadow mirth and pleasure, and the great haunting memory should spoil all the after-lives of little animals helped out of difficulties, in order that they should be happy and lighthearted as before. Mole rubbed his eyes and stared at Rat, who was looking about him in a puzzled sort of way. “I beg your pardon; what did you say, Rat?” he asked. “I think I was only remarking,” said Rat slowly, “that this was the right sort of place, and that here, if anywhere, we should find him. And look! Why, there he is, the little fellow!” And with a cry of delight he ran towards the slumbering Portly. But Mole stood still a moment, held in thought. As one wakened suddenly from a beautiful dream, who struggles to recall it, and can re-capture nothing but a dim sense of the beauty of it, the beauty! Till that, too, fades away in its turn, and the dreamer bitterly accepts the hard, cold waking and all its penalties; so Mole, after struggling with his memory for a brief space, shook his head sadly and followed the Rat.

This week, Curtis and Ryan are joined with founder and president of Americans for Tax Reform, Grover Norquist. The guys discuss Grover's journey to build ATR at the request of Pres. Ronald Reagan, the success of eliminating the income tax in states across the U.S., and more.

Pink Floyd's original frontman, Syd Barrett, did so much LSD that he experienced a mental breakdown just as the band began to achieve mainstream success. His drug use began as mind-altering inspiration for his art, but quickly became a coping mechanism for the demands of commercial success. He became paralyzed in front of television cameras. He detuned his guitar until it was literally unplayable and refused to perform alongside his band. Then he stopped showing up at all.To hear all episodes of Disgraceland for free, visit amazon.com/disgraceland. Show notes are available at disgracelandpod.com. Follow us @disgracelandpod on Instagram, Twitter, and Facebook for music news, bonus episodes, and more. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Welcome back to One Guy One Roll, the solo RPG podcast. I am Herocydides and currently playing Nikora Sokolov using Ironsworn: Starforged. This is Episode 22 and I hope that y'all enjoy listening to it as much as I enjoyed creating it. We have been experiencing rolling brownouts over the last week due to record heat, so I have been attempting to get this episode published for the last couple days and I am super excited to finally be able to accomplish that. Thank you so much for all the amazing support you continue to provide! It really means a lot to me and continues to inspire me! As usual, this paragraph is going to be devoted to a summary of the episode which will likely contain some light spoilers. If you wish to avoid being spoiled, I recommend skipping this paragraph! The episode begins with a distant observation of Petra's mother who is making antagonistic plans with someone who used to be very close with Petra. Back aboard the Second Chance, Nikora and Petra are being escorted by two snub fighters back to their base which Petra believes will be a death sentence for them and the Second Chance. Nikora comes up with a crazy plan that could potentially end up with the complete destruction of the spaceship in a giant fireball. Luck seems to be on Nikora's side, until he ends up stumbling across some independent miners illegally harvesting minerals from the planetoids in this system. Suddenly, a Brotherhood of Steel (mercenary guild) corvette arrives and the non-complainant miners attempt to flee but get totally annihilated by the heavily armed spaceship. Just as the episode comes to a close, Nikora and Petra get spotted by the BoS and are told to prepare for boarding. Thank you so very much for taking the time to listen to the podcast! Your continued interest keeps me motivated to continue to produce and carefully edit each and every episode for your listening pleasure. If you enjoy listening to One Guy One Roll and wish to help me keep the podcast ad-free, I have provided a link to my Patreon page! I am incredibly appreciative to those of you who have decided to contribute already and if you wish to join the Solo Roleplaying Guild, head on over and check it out. As always, comments or suggestions are always appreciated! Take care and stay safe out there y'all.   Links: One Guy One Roll Patreon: https://www.patreon.com/oneguyoneroll Ironsworn and Ironsworn: Starforged: https://www.ironswornrpg.com/ Mythic GM Emulator: https://wordmillgames.com/mythic-game-master-emulator.html   Intro and Outro music provided by: Signal To Noise by Scott Buckley | https://soundcloud.com/scottbuckley Music promoted by https://www.free-stock-music.com Attribution 4.0 International (CC BY 4.0) https://creativecommons.org/licenses/by/4.0

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In this episode of your friendly neighbourhood cricket podcast, the gang comes together for a fond farewell and a celebration of Shane Warne, following the legend's untimely and shocking death. Through the recording of this episode, we came to realise just how much Warne meant to all of us. Gone too soon... It is our good fortune that he graced our sport. Notes: SHANE, the documentary - Trailer: https://www.youtube.com/watch?v=Z0e9kEF3uOA (Documentary now streaming on BookMyShow Stream in India) On Warne, by Gideon Haigh - https://www.amazon.com/Warne-Gideon-Haigh/dp/147110110X Jiggery Pokery, by The Duckworth Lewis Method (A hilarious song that relives Mike Gatting's 'Ball of the Century' dismissal by Warne) - https://www.youtube.com/watch?v=muc25lM_Y3I Memories... Some of Warne's greatest wickets - https://www.instagram.com/reel/CauTB_Qppmu/?utm_medium=share_sheet Shane Warne's poker grind - https://www.espncricinfo.com/story/andrew-miller-shane-warne-the-showman-who-could-do-hard-graft-1303734 Interview with Harsha Bhogle - https://youtu.be/-lQ0tecb2UQ Satish Acharya's cartoon - https://twitter.com/satishacharya/status/1499759122207895552 Sachin on Shane Warne - https://www.youtube.com/watch?v=5so5EsDtlfw * Follow and send us feedback! Mohan: https://twitter.com/mohank Srinath: https://twitter.com/srinathsripath Tony: https://twitter.com/notytony Kartik: https://twitter.com/krtgrphr Nitin: https://twitter.com/knittins *Intro music by Muzaproduction from Pixabay

Have you ever met anyone who, just being in their presence, makes you feel lighter, happier and energised? It is that invisible uplifting energy that chases the darkness away. If you have felt this, then you have been the recipient of vicariously lighting... This story is found in 'The Light Edition' of AwareNow Magazine: www.awarenowmagazine.com Written & Narrated by: Paul S. Rogers Music by: Sol Rising Produced by: Awareness Ties

This week we sat down with the incredible Dhaval Zota, a diamond dealer in NYC! A true Gujju badass, he gets into how to check if a diamond is high quality, what happens when customers try to rip him off (is it murder?!?!), and who really runs them diamond streets. Our Jungli story of the week: Pranav buys a cursed gemstone that ruins his life. Obviously his beautiful mom has to save him from destruction. This ep is a fast paced one full of jokes and gyaan -- enjoy! JOIN THAT PATREON ALREADY FOR THAT EXCLUSIVE CONTENT!FOLLOW US :@yourmangobae

 Spoilers for this and part 3 and 4 I guess------------------------------------------------------It's back and so are we! With a new Jokakaka! At least until JoJoLands starts up...____________________________________Join our Discord: https://discord.gg/qHtkdnh5eF Follow us on Twitch!! https://www.twitch.tv/jokakakapodcast Follow Jokakaka on Twitter:Jokakaka- https://twitter.com/JokakakaPodcastJim- https://twitter.com/kingprotusSam- https://twitter.com/Gokaikun

Existem grandes erros e grandes acertos nas adaptações dos contos de Philip K. Dick feitos pela Amazon. Neste episódio, comentamos os episódios 4 (Crazy Diamond, "baseado" no conto Argumento de Venda), episódio 5 (The Hood Maker, baseado no conto de mesmo nome), episódio 6 (Safe and Sound, baseado no conto Foster - você está morto!) e episódio 7 (The Father Thing, baseado no conto de mesmo nome) Veja a crítica de todos os episódios no blog: https://tavernadolugarnenhum.com.br/resenha/sonhos-eletricos/

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Acceso anticipado para Fans - Hoy en La Gran Travesía os dejamos un programa con Syd Barret, Pink Floyd, Arctic Monkeys, Tori Amos, Carly Simon, The Stooges, Goodbye June... Y recordad que si os gusta el programa podéis apoyarnos y colaborar con nosotros por el precio de una cerveza al mes, y así podréis acceder además a todo el contenido extra con más de 500 programas en exclusiva!! Muchas gracias a todos los colaboradores. Lourdes Pilar, José Diego, Dora, Raf, Suibne, Dani, Miguel Ángel Torres, Santi Oliva, familia Pignatelli, Jesús Miguel, Leticia, Sementalex, Azimut, Zimmy, Enrique FG, Sergio Castillo, Elliot SF, Miguel Ángel Tomás, Aida, Mati, Redneckman, Guillermo Gutiérrez, Daniel A, Raúl Andrés, Luis Miguel Crespo, Gonzalo Fernández, Tole, Álvaro Oliva, Vlado 74, Toni Sureda, Luis Benedicto, Luis Palo, Álvaro Pérez, Karlos Martínez, Vicente DC, Marcos París, Ángel Hernández, Quijovi, Milo Stone y a los colaboradores anónimos. Muchas gracias a todos!! Escucha este episodio completo y accede a todo el contenido exclusivo de La Gran Travesía. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/489260

This episode covers episodes 14 - 16 of JoJo's Bizarre Adventure: Diamond is Unbreakable! It's never shown on camera but I really hope the cube of grandparent goo got fixed by Crazy Diamond.

 Spoilers for these two funny little spin offs------------------------------------------------------ Merry Christmas! What a special little surprise! 2 new JoJo spin offs have released in lieu of JoJo. Yeeeya. ____________________________________ Join our Discord: https://discord.gg/qHtkdnh5eF Follow us on Twitch!! https://www.twitch.tv/jokakakapodcast Follow Jokakaka on Twitter: Jokakaka- https://twitter.com/JokakakaPodcast Jim- https://twitter.com/kingprotus Sam- https://twitter.com/Gokaikun

VIN AND SORI GEAR www.teespring.com/stores/the-village-market PAYPAL vinandsorimerch@gmail.com Patreon https://www.patreon.com/Vinandsori MAIL US SOMETHING AT Vin and Sori P.O. Box 7024d Lewiston, Maine 04243 EMAIL US vinandsori@gmail.com MIDDLE AMERICA WITH VIN AND SORI https://www.youtube.com/channel/UCojH... Facebook https://www.facebook.com/VinAndSori/ Twitter https://twitter.com/VinAndSori Instagram https://www.instagram.com/vinsoriseven/ --- Support this podcast: https://anchor.fm/conversations-with-vin-and-sori/support

VIN AND SORI GEAR www.teespring.com/stores/the-village-market PAYPAL vinandsorimerch@gmail.com Patreon https://www.patreon.com/Vinandsori MAIL US SOMETHING AT Vin and Sori P.O. Box 7024d Lewiston, Maine 04243 EMAIL US vinandsori@gmail.com MIDDLE AMERICA WITH VIN AND SORI https://www.youtube.com/channel/UCojH... Facebook https://www.facebook.com/VinAndSori/ Twitter https://twitter.com/VinAndSori Instagram https://www.instagram.com/vinsoriseven/ --- Support this podcast: https://anchor.fm/conversations-with-vin-and-sori/support

No Franchise Fatigue The Shining Franchise “Shine On (You Crazy Diamond)” All work and no play makes Jack a dull boy. All work and no play makes Jack a dull boy. All work and no play makes Jack a dull boy. All work and no play makes Jack a dull boy. All work and no play makes Jack a dull boy. All work and no play makes Jack a dull boy. All work and no play makes Jack a dull boy. All work and no play makes Jack a dull boy. All work and no play makes Jack a dull boy. All work and no play makes Jack a dull boy. All work and no play makes Jack a dull boy. All work and no play makes Jack a dull boy. All work and no play makes Jack a dull boy. All work and no play makes Jack a dull boy. Credits: Hosted by Matt Reifschneider and Sean Caylor Produced by Matt Reifschneider and Sean Caylor Edited by Sean Caylor bloodbrothersfilms.com patreon.com/nffpodcast Reach us at: nffpod.sean@gmail.com facebook.com/nofranchisefatigue twitter.com/nffpod Thank you for listening. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/nffpodcast/message Support this podcast: https://anchor.fm/nffpodcast/support

On today's show I am talking with Catherine Owens, bestselling author of Shine On You Crazy Diamond…Even When Your Crown Gets Heavy! It is a deep conversation that moves from why she wrote the book to what happened as she worked through the vulnerability that comes with writing your own story. Her experience is real and is something so many authors experience. Catherine speaks authentically about what it was like to go through the writing process and how she arrived at a book that will inspire so many women!  Shine on You Crazy Diamond is a book written especially for women. Through inspirational quotes and personal experiences, Catherine shares lessons learned as she went through the process of clearing out the debris of shame, guilt, unrealistic expectations from self and others, social stigmas and conditioning, childhood traumas, and all the other unnecessary and unrealistic pressures that we as women often put on ourselves.  Catherine's hope in writing this book is to inspire you to use your personal experiences, circumstances, past decisions, hurts and disappointments, as opportunities for healing and growth. She knows it is possible to free yourself from the cages that keep you from believing in yourself, to live your life with intention, joy, love and purpose, to stand in your truth and light and to become the incredible woman that you are meant to be.   Listen in as Catherine shares her story…. --------------------------- ABOUT CATHERINE OWENS: Catherine L. Owens is a consultant, speaker and author. As one of the industry's most well-respected senior living experts, Catherine has seen how seniors and their families can become overwhelmed while trying to make quality-of-life decisions.  Her passion for helping seniors and their families inspired her to write “Be Your Own Hero,” a book outlining the senior living decision process and offering her insights to those considering senior living options. Catherine speaks to audiences across the country about trends in the senior living industry, little-known senior resources, the right time to research senior living options, and the role that adult children often have in the decision process. Catherine's goal is to help seniors and their families make educated decisions when it comes to senior living, and to help senior living communities provide the best information and customer service possible.  Learn more about Catherine at www.catherinelowens.com.   PURCHASE HER BOOK: Catherine's book is available on Amazon at:  https://amzn.to/3pFxoQg      

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This is such a rough one for me. R.I.P. Cliff Johnson, Cliff Burton, My mother Toni Lee Kensinger and our beloved 10 month old puppy Rocky. Burton and my Mom were anniversaries but Johnson and Rocky were Monday and Tuesday of this week. I wish that I could've saved my Son and God Daughter the pain of losing Rocky but I couldn't. Please listen to my musical tribute to all four of them. Metallica - To Live is to Die>Elvis Presley - Old Shep>Pink Floyd - Mother>Grateful Dead - Death Don't Have No Mercy>Grateful Dead - Box of Rain>Grateful Dead - Brokedown Palace>Phish - Lifeboy>Pink Floyd - Shine on you Crazy Diamond 1 through 9>Pink Floyd - Wish you Were Here>Smokey Robinson - Really Gonna Miss You.

Utilizando la música como puente de oro, ese puente que nos lleva a nosotros mismos, siendo testigos de la experiencia de este Avatar, tomando conciencia, integrando, aceptando, reconociendo el amor que ya somos al igual que todos los colores. Obra maestra de Pink Floyd

Frits365 presents: Brit Floyd - Shine On You Crazy Diamond (Parts I-V)For more non-stop Frits365music visit https://laut.fm/frits365music or take a look on: https://linktr.ee/frits365 or download the Spreaker-radio app (for all devices),** Search for Frits365, make it your favorite, and join the club.**

Ep. 113 - Crazy Diamond Glass by Glass Chat

The Club investigate rumours of  gnoll on the Walk of Shrines who is said to be turning people into ooze! You can help us grow and get exclusive bonus content by visiting The Danger Club Patreon! Follow us on Facebook, Tumblr, Twitter, Instagram, YouTube, Twitch and Discord! Music thanks to: Kevin Macleod, and Ross Bugden.

In this episode, Joe, Jen, and Tom scour the internets for the latest crumbs of show news, and while we come up with little short of #hennews, we do have a great detailed topic, digging into the Borderlands nation number one in fan's hearts, Shienar! Be amazed, as Jen shows how prepared she is for the show! Be wary, as Joe goes from bad to "horse" with depressing topics! Learn, at Tom explains the origins of the Emerald Isle! As always, spoilers abound, as do hits from The Thompson Twins!#hennews: https://www.instagram.com/p/CP1G5udn1JO/?utm_medium=copy_linkPlease show your support by rating/reviewing us. http://getpodcast.reviews/id/1479634263https://www.thegreatblight.com/creator-talkaranrhiodhttps://www.talkaranrhiod.com/Email: podcast@talkaranrhiod.comTwitter: @arantalkInstagram: talk_aran_rhiodJoin us on Discord: https://discord.gg/GM5QkyGMerch: https://www.newcreationsbyjen.com/collections/talkaranrhiodSupport the show (https://www.patreon.com/talkaranrhiod)

L'histoire d'une chanson. Celle de Pink Floyd : « Shine on you crazy diamond » racontée par Ginger Joe.

We begin Book 4 of the Age of Worms! Welcome to the Hall of Harsh Reflections where nothing is as it seems and no-one can be trusted. Our heroes learn more about themselves and must resolve their differences before setting out on the road ahead.

Episode 20 is sort of special. The first real milestone of our podcast. Lets talk about some tunes! Music by McVay Tunes Produced by Old Rev

Good morning and good Tuesday Game Changers! We're continuing the discussion of God's intention for us to flourish in his favor! He wants us to shine, not to be dimmed!

(with music) TOPICS: attempts to bottle a perfect lightning storm of epiphanies that resulted in a whiff of ozone and not much else. The attempt was worth it, to me. It's Groundhog Day! Get up and chuck that hog out there!

This week's episode came to me in a huge ca-thunk of about one second and it was so ah-may-zing! I endeavor to unpack the huge downloads about how self-acceptance is key to getting un-stuck and getting to where you want to be in life, how making peace with your past and letting go of overwhelm and anxiety about your future frees yourself up to meet yourself where you are right now and get to where you're supposed to be, and more about the messy middle that is all of our minds sometimes. Plus, tips about how to actually let go and stop ruminating about the worst things that could happen, how to stop the overwhelm, and love where you are right now, on the way to where you're going. Episode reference: https://anchor.fm/kelly-ann-pierce/episodes/51--Liberate-The-Power-of-Creative-Intuition-Unconditional-Love-and-The-Pineal-Gland-epffvh Episode reference: https://anchor.fm/kelly-ann-pierce/episodes/29--Second-Arrow-Series-Shameless-eifj2i Enjoy! For more about how to work with me and how to sort out your thoughts to get more flowing into your life, reach out! Email me at info@quantumhighways.com. Coming Soon: I Am Worthy Mastermind – details soon to follow! Get a sneak preview at www.quantumhighways.com. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/kelly-ann-pierce/support

NEWS: Gamestop Stock goes to the Moon- 00:38 Apple working on high-end "niche" vr headset- 9:02 Microsoft reverses Xbox Live price hike decision and makes F2P games not require online- 12:25 Microsoft 2020 financials show 18m Game Pass subscribers, huge gaming revenue/hardware boosts- 16:31 Vicarious Visions becomes a Blizzard subsidiary- 18:08 Hyrule Warriors ships 3.5m to become best selling Musou of all time- 23:28 Runescape developer Jagex is bought for 530m- 27:32 KOTOR rumors leak; not being worked on by EA or BioWare- 28:55 19m people picked up Battlefront 2 when it was free on the Epic Game Store- 35:03 AMD suggests hardware won't be back in stock until 2nd half of 2021- 38:03 Resident Evil Presentation shows off Village and RE:Verse- 45:12 TOPICS: Hitman III- 1:02:02 Future of Fighting Game Tournaments- 1:09:24

In this episode, we discuss the crazy event that was UFC 257. We take a look and discuss the lightweight title picture and who is deserving of the next shot. We touch on Nate's return to lightweight and who his possible opponent might be.  Learn more about your ad choices. Visit megaphone.fm/adchoices

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Crazy Diamond stunts so hard.

FREE DOWNLOAD: Pink Floyd - Shine On You Crazy Diamond ( Purple Pill Edit ) https://soundcloud.com/purplepillmusicofficial Hailing from Tel-Aviv Israel which is well known for it’s unstoppable 24/7 underground nightlife, Elkana Paz & Omer inbar gave birth to Purple Pill. Their sounds which is well inspired from early influenced world music, their deep attention to groove and melodic soul, all together takes the listener to a colourful journey The duo met each other in Amsterdam in 2010 after building their own experience as strangers and since then became inseparable, not just as friends, but also as artists and fulltime partners Together they started experimenting new boundaries and live techniques in the digital/analog world in order to define emotions with their music. Releases on Parquet Recordings, Sprout Music, Iboga Tech, Beat Boutique, worldwide shows in Ibiza, Amsterdam, Prague, Slovenia (Ambasada Gavioli) and more Purple Pill is building themselves a show to be remembered by telling their story and influences to the audience with tripy grooves and hypnotic vibes while implanting the Purple Pill sounds to the world.

Pack your finest vacation khakis because this week, we're heading to Sin City with America's favorite rent-a-cop! In this one, the boys concoct a tale of ex-mall-cop-ladies of the night, gemstone related Vegas superstars, and a twist that would make Keyser Soze blush. Later on, we'll all take a regrettable look back on 2015's abominable Paul Blart Mall Cop 2. Snake Eyes!

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SYD BARRETT OF PINK FLOYD - MANDELA EFFECT ( fyi... this is the song I was trying to remember Baby, I Love Your Way: https://youtu.be/h6vpdMhkenY ) What makes more sense... A 1975 tribute song for Syd, called "Shine on you Crazy Diamond", for kicking him out of the band... or for his death from overdosing and drowning in his pool? Roger Keith "Syd" Barrett (6 January 1946 – 7 July 2006) was an English singer, songwriter, and musician who co-founded the rock band Pink Floyd in 1965. Barrett was ousted (drown in another timeline) from the band by the other members in 1968. The song, Shine on you Crazy Diamond, was conceived and written as a tribute and remembrance to their former band member Syd Barrett, a founding member of Pink Floyd. https://en.m.wikipedia.org/wiki/Shine_On_You_Crazy_Diamond LYRICS FOR SHINE ON YOU CRAZY DIAMOND Remember when you were young? You shone like the sun. Shine on, you crazy diamond Now there's a look in your eyes Like black holes in the sky Shine on, you crazy diamond You were caught in the crossfire Of childhood and stardom, Blown on the steel breeze Come on you target for faraway laughter; Come on you stranger, you legend, You martyr, and shine You reached for the secret too soon You cried for the moon Shine on, you crazy diamond Threatened by shadows at night And exposed in the light Shine on, you crazy diamond Well, you wore out your welcome With random precision Rode on the steel breeze Come on you raver, you seer of visions; Come on you painter, you piper, You prisoner, and shine Nobody knows where you are, How near or how far Shine on, you crazy diamond Pile on many more layers And I'll be joining you there Shine on, you crazy diamond And we'll bask in the shadow Of yesterday's triumph And sail on the steel breeze Come on you boy child, you winner and loser, Come on you miner for truth and delusion, And shine.

اولین قسمت از پادکست رادیو دژاوو منتشر شد! در این قسمت قراره بشنویم از داستانِ بنیان‌گذار اصلی پینک‌فلوید و گذری داشته باشیم به زندگی دراماتیک این الماس مجنون. گوینده: علی صالحی متن: هومان بهزادفر و یاسین همتی تدوین: هومان بهزادفر گرافیک: یاسین همتی و امین یزدان پناه لینک چنل تلگرام ما: T.me/MusicPhile T.me/Radio_Dejavu پلی لیست اسپاتیفای آهنگ های استفاده شده در این پادکست: https://open.spotify.com/playlist/5oVoT32nvmIxBIUUxPWCVX?si=ucE9NbmRSb2QS_jFuMs3Mg

http://feedproxy.google.com/~r/TrueBypassPod/~3/NJ6JBnncNxc/ep42-byron-pedals-week-episode-3-crazy.htmlderrickc147@gmail.com (Derrick Cowan)0noDerrick Cowanmusic,gear,guitars,pedals,amps,musichttps://truebypasspodcast.blogsp

There has always been an odd streak in the Stoics. Zeno used to practice begging people for money, even though he had plenty. Cleanthes worked as a manual laborer for so long, some in Athens thought it might be a front for something. Cato used to walk around bareheaded and barefooted, wearing dingy clothing. Seneca was completely unafraid both of regularly practicing poverty (despite his wealth) and unafraid of showing his wealth (despite his reputation as a Stoic). He also experimented with vegetarianism at a time when it was deeply transgressive in Rome. And can you imagine the scene Marcus Aurelius created when he would write and read philosophy while the gladiatorial games raged on beneath his box seats in the coliseum? The Stoics were not afraid to be themselves, to be seen as weird. In fact, that’s something Epictetus said: If you want to improve, if you want to achieve wisdom, you have to be okay looking strange or even clueless from time to time. Epictetus also tells us the story of Agrippinus, who refused to keep a low profile during Nero’s reign, who refused to conform or tamp down his independent thinking. Why do this, Agrippinus was asked, why not be like the rest of us? Because you consider yourself to be only one thread of those which are in the tunic. Well then it was fitting for you to take care how you should be like the rest of men, just as the thread has no design to be anything superior to the other threads. But I wish to be purple, that small part which is bright, and makes all the rest appear graceful and beautiful. Why then do you tell me to make myself like the many? And if I do, how shall I still be purple?Beautifully said. And a reminder to all of us today. Embrace who you really are, embrace what makes you unique. Let your freak flag fly—because chances are it’s special. Shine on you crazy diamond. Be purple. Be the small part that makes the rest bright.We desperately need you to do that.

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NO SPOILERS FOR RISE OF SKYWALKER IN THIS EPISODE. Chris shares his theory about how Luke Skywalker and Joseph Joestar are similar, and why Disney should've stolen from Araki. Also in this episode: a theory about Star Finger and Crazy Diamond, Stands being powered by emotions, and the meme of the week. Bloody Stream Trap Remix: https://www.youtube.com/watch?v=J6ELK_T1Fhs Imperial March Trap Remix: https://www.youtube.com/watch?v=QU8pe3dhz8s

Our cult fave Serbian and Norwegian footballers, the women’s Scottish Cup final, Hibs under Jack Ross and what Santa needs to bring the bottom 6.1:40 - This week Gavin and Owen kick off by picking out their favourite ever Norway and Serbia players ahead of one of those two teams being Scotland’s opponent if we navigate our play off semi final with Israel10:10 - We then talk about Glasgow City’s thrilling victory over Hibernian in the women’s Scottish Cup Final. Attendances, goal analysis and thoughts about next season.22:50 - Next up we analyse Jack Ross’ first game as Hibs manager. The diamond, defending, Scott Allan and two up top.35:20 - Finally we pick out what the bottom six in the Premiership should want Santa to bring them for Xmas. Do St Johnstone really need a centre back? Which full back should Accies bring in? What crazy free agent you’ve never heard of will we suggest for your club?Please subscribe, rate and review and follow www.twitter.com/PureFitbaw for more of the stories, stats and tactics from Scottish football and beyond, for fans by fans.

Vi så "Impossible Planet" (afsnit 2) og "Crazy Diamond" (afsnit 4), og du kan selv se dem og resten af “Philip K. Dick's Electric Dreams” på Viaplay og Amazons Prime Video. Og lære det sidste nye om neuralnetværksligestilling og kvantebevidsthed. God fornøjelse med Tech i TV #029 Følg os:Christian på Twitter @channibalDKJanus på Twitter @isdn Tech i TV på FacebookTech i TV på TwitterTech i TV på YouTubeTech i TV på SpotifyTech i TV på iTunes / Apple Podcast

Crazy Diamond, the fourth episode of Amazon’s anthology of Philip K Dick adaptations, is the subject of this week’s episode. We discuss the primary technical supposition in the story, chimeric genetically engineered pig-people, and use that as a window to discuss human genetic engineering and enhancement more generally. We also discuss the elusive tone of […]

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Everyone's crazy freshman representative, Alexandria Ocasio-Cortez, makes a plea for putting a stop to the end of the world...yeah, she's not insane or anything. And some of her peers are also parroting her insanity. Follow online : Twitter - @rantsoutloud and @adriansladeshow Also, follow on PARLER, GAB, COMVO, and MEWE - Search Adrian Slade. On SNIPPY too - search "Adrian Slade Rants Outloud" Check out the Podcast on iTunes, Soundcloud, Stitcher, Spreaker, Google Play Music, Tune-In App, iHeart Radio Get the Free Adrian Slade Show ROKU Channel STREAM IT LIVE : MOJO 5-0 every Wednesday 10pm EST, Saturday 5 pm EST and Sunday at Midnight and 5 pm on www.mojo50.com Please Donate to support the show, if you'd like at www.patreon.com/AdrianSladeShow You'll get exclusive early screenings of the show, before they are made public. You also get subscriber only exclusives - additional quick rants and exclusive extras! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/adrianslade/support

Everyone's crazy freshman representative, Alexandria Ocasio-Cortez, makes a plea for putting a stop to the end of the world...yeah, she's not insane or anything. And some of her peers are also parroting her insanity. Follow online : Twitter - @rantsoutloud and @adriansladeshow Also, follow on PARLER, GAB, COMVO, and MEWE - Search Adrian Slade. On SNIPPY too - search "Adrian Slade Rants Outloud" Check out the Podcast on iTunes, Soundcloud, Stitcher, Spreaker, Google Play Music, Tune-In App, iHeart Radio Get the Free Adrian Slade Show ROKU Channel STREAM IT LIVE : MOJO 5-0 every Wednesday 10pm EST, Saturday 5 pm EST and Sunday at Midnight and 5 pm on www.mojo50.com Please Donate to support the show, if you'd like at www.patreon.com/AdrianSladeShow You'll get exclusive early screenings of the show, before they are made public. You also get subscriber only exclusives - additional quick rants and exclusive extras! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/adrianslade/support

Josuke continues his battle with Kira and murders a ghost in Crazy Diamond is Unbreakable, Part 2. Our theme music is Jograssi by Milk Jooce, it can be found at https://milkjooce.bandcamp.com/If you enjoy the show, please consider supporting us at https://www.patreon.com/jojosworld

Josuke commences his life and death battle with Yoshikage Kira, serial killer and hand fetishist in Crazy Diamond is Unbreakable Part 1. Our theme music is Jograssi by Milk Jooce, it can be found at https://milkjooce.bandcamp.com/ If you enjoy the show, please consider supporting us at https://www.patreon.com/jojosworld

Shine On You Crazy Diamond discussed by voices including David Gilmour of Pink Floyd. Understood to have been written about Syd Barrett, their former band member, it’s both a tribute, and a call for him to ‘shine on’ despite suffering serious mental health issues. In this edition of Soul Music, David Gilmour of Pink Floyd recalls the legendary day that Syd Barrett unexpectedly appeared in the studio where they were recording Wish You Were Here, the album bookended by Shine On. Nobody recognised Syd at first; once handsome and slender, he'd gained weight and shaved his head and eyebrows. Another contributor to the programme, Anna Gascoigne, talks about the pain of losing her son, Jay. He was a gentle boy, a talented musician, who eventually succumbed to the multiple mental health problems he had battled for years. Shine On You Crazy Diamond, for Anna, speaks directly to her of Jay; he loved Pink Floyd and Shine On was played at his memorial service. Anna, herself, was driven to the brink of suicide by her son’s death. It was the support of her family – including her brother, Paul Gascoigne - that helped her to carry on. Ed Steelefox, a DJ based in Worcester, describes a New Year’s Eve house-party of a few years ago: as the guests gradually fell asleep he chose to slip out the door leaving a non-stop playlist of different, live, versions of Shine On You Crazy Diamond to penetrate their dreams. And Professor Allan Moore, a regular Soul Music contributor, takes to the grand piano to play and talk about what it is in the track that is so directly reminiscent of Syd Barrett. NB: Details of organisations offering information and support are available at bbc.co.uk/actionline, or you can call for free, at any time to hear recorded information on 08000 566 065. Please scroll further down this page to 'Related Links' for direct links to actionline, and for more information about Jay's story. Producer: Karen Gregor

Fragmento de nuestro programa donde te contamos la historia de "Shine on you Crazy Diamond" de Pink Floyd. Escucha el programa en vivo todos los viernes a las 18hs (Argentina) por radioub.com.arSeguinos en Twitter e Instagram: @ensostenidoEscucha todos los temasYoutube: https://www.youtube.com/watch?v=SwYN7mTi6HM&list=PLi5x3-ki0YgZ8ARYh1D-Si9A5ViXAfcqM /Spotify: https://open.spotify.com/user/opsmft6f1v98cmftrgwg9p4eg/playlist/1tFb2vCDNfzRIXxygp4Wsg?si=fGuotDY7QpW7rsv1FHoYKA

In this episode we finally confirm that stands are literally just puberty. We learn about even more bullshit things that stands can do. Okuyasu continues to be the best boy and Speedwagon Foundation scientists agree that he is 50% duckling. Koichi ovulates and Josuke kicks it across the room. As a podcast we do not actually think any of Josuke's Crazy Diamond strategies hold water, except for the one where he actually holds water, but then the water went ahead and killed his grandfather, so, that wasn't the greatest plan either. -- JoJo’s Bizarre Explainer JoJo's Bizarre Adventure! Either you love it, or you've never seen it. But what exactly is JoJo? Why is everyone talking about it? Why is it so great? Whether this is your first foray into Hirohiko Araki's decades-spanning masterpiece, or you're a seasoned JoJo Opinion Haver looking for more of your kind, JoJo's Bizarre Explainer is here for you! Hosted by Elizabeth Simins, Courtney Stanton, and Darius Kazemi, this podcast will tease out the running motifs, fascinating weirdnesses, occasional dog deaths, and ineffable charm of JoJo's Bizarre Adventure—anime-episode by anime-episode, with stops along the way for the manga, the videogames, and whatever else we can get our hands on. Join us as we attempt to do the impossible: Explain JoJo! explainjojo.com @explainjojo @explainjojo@crazynoisybizarre.town Here’s where to find the gang on the internet! Eliz: eliz.abeth.net @elizsimins Courtney: superopinionated.com @courtney@friend.camp Darius: tinysubversions.com @tinysubversions @darius@friend.camp

Panelen rekommenderar Debussy som gåbort-present, gillar Albert Schnelzers förortssagor, blir oense om Vaughn Williams krigssymfonier och så möter vi den brittiske tonsättaren Mark-Anthony Turnage. Veckans skivor: VAUGHAN WILLIAMS Symfoni nr 5 och 6 Kungliga filharmoniska orkestern i Liverpool Andrew Manze, dirigent Onyx ONYX4155 Betyg: 4 DEBUSSY RAVEL STRING QUARTETS Stråkkvartetter av Claude Debussy och Maurice Ravel Jerusalemkvartetten Harmonia Mundi HMM902304  Betyg: 5 Veckans toppnotering och en totalfemma! BUXTEHUDE ABENDMUSIKEN Vokal- och instrumentalmusik av Dietrich Buxtehude Ensemble Masques, barockensemble Olivier Fortin, ensembleledare Vox Luminis, kör Lionel Meunier, kördirigent ALPHA 287 Betyg: 4 ALBERT SCHNELZER TALES FROM SUBURBIA Tales from Suburbia, Crazy Diamond, cellokonsert och Brain Damage, konsert för orkester Göteborgs symfoniorkester Benjamin Shwartz, dirigent Claes Gunnarsson, cello BIS-2313 SACD  Betyg: 4 Referensen: Hur lät Debussys stråkkvartett för 50 år sedan? Vi jämför Jerusalemkvartettens aktuella inspelning med Via Nova-kvartettens inspelning från 1969, utgiven på Erato. Musikrevyn möter: Mark-Anthony Turnage. "Jag var rädd" När Mark-Anthony Turnages skolkamrater rankade fotbollsspelare poängsatte han tonsättare. Ohotad etta var Bach. I dag är brittiske Turnage en av vår tids mest eftersökta kompositörer och aktuell med cellokonserten "Maya" - ett partnerverk till Bachs första Brandenburgkonsert. Turnage har även gjort sig känd för sina operor "Anna Nicole" om skandalmodellen Anna Nicole Smith och "Coraline", baserad på Neil Gaimans bok. Efter mottagandet av den senare hamnade han dock i ett Twittergräl med en recensent och svor att aldrig mer skriva opera. Ett reportage av Sofia Nyblom. Andra i programmet nämnda eller rekommenderade inspelningar: Ebènekvartettens inspelning av Debussys stråkkvartett från 2008, utgiven av Virgin.

"The future comes, and now my watch begins. It shall not end until my death. I shall miss no game, withhold no news, report all rumors. I shall wear no jerseys and plead allegiance to no side. I shall live and die on my webpage. I am the word in the darkness. I am the watcher of the tv. I am the megaphone that informs the realms of geek. I pledge my hands and name to the Geek's Watch, for geeks and all the geeks to come." John and Mitch talk about geek news and then continue with 'Phillip K. Dick's: Electric Dreams' season 1 episode 4 "Crazy Diamond" on Amazon Video.

Où l’on constate que faire « Le Mur » n’est pas forcément une bonne idée. Références du morceau :Shine On You Crazy Diamond, Pts. 1-5, Pink Floyd (composition David Gilmour, Richard Wright, Roger Waters), album Wish You Were Here (1975) Quelques liens vers des morceaux incontournables de Pink Floyd :- See Emily Play, single (1967), apparaît sur la version américaine de l’album The Piper at the Gate of Dawn (1967)- Let There Be More Light, album A Saucerful of Secrets (1968)- Atom Heart Mother, album Atom Heart Mother (1970)- Time, album Dark Side Of The Moon (1973)- The Great Gig In The Sky, album Dark Side Of The Moon (1973)- Shine On You Crazy Diamond, Pts. 1-5, album Wish You Were Here (1975)- Wish You Were Here, album Wish You Were Here (1975)- Another Brick in the Wall (Part 2), album The Wall (1979)- Confortably Numb, album The Wall (1979)

The party hatches a plan to strike at the morale of the camp. Will they continue to move throughout the frost giant village unseen or will their streak of victories come to a dangerous end?!Become a supporter of the podcast at our Patreon page: http://www.patreon.com/glasscannon You can help us unlock goals for the future while unlocking fun GCP exclusive rewards for yourself!

The party hatches a plan to strike a moral blow to the camp. Will they continue to move clandestinely throughout the frost giant village or will their streak of victories come to a dangerous end?! Become a supporter of the podcast at our Patreon page: http://www.patreon.com/glasscannon You can help us unlock goals for the future while unlocking fun GCP exclusive rewards for yourself!

"Blade Runner", "Minority Report", "The Man in the High Castle", "Total Recall", "A Scanner Darkly" oder "Der Plan": All das verdanken wir Philip Kindred Dick. Doch der wahre Schatz des Chicagoer Science-Fiction-Autors sind seine rund 120 Kurzgeschichten Mit der Anthologie-Serie "Philip K. Dick's Electric Dreams" will Amazon jezt diesen Schatz heben und dem Netflix-Rivalen "Black Mirror" Konkurrent machen. Wir diskutieren nicht nur, inwieweit das miss- oder gelingt (1:30), sondern bewerten alle zehn Episoden der ersten Staffel und ihre Vorlagen von gut nach schlecht: Crazy Diamond (2:46) Menschlich ist... (13:39) Fosters neue Welt (20:18) Das wahre Leben (27:32) Der unmögliche Planet (36:54) Das Vater-Ding (43:35) Tötet alle anderen (49:03) Der Haubenmacher (1:00:20) Autofac (1:09:25) Der Pendler (1:17:02) Musik: „Please Listen Carefully“ von Jahzzar

Hello, PKD Fans! What would you do if you were promised everything you ever dreamed of? Would you take the risk of losing everything you've worked for? Read more... The post EDP04 – S1 – Crazy Diamond appeared first on Golden Spiral Media- Entertainment Podcasts, Technology Podcasts & More.

Hello, PKD Fans! What would you do if you were promised everything you ever dreamed of? Would you take the risk of losing everything you've worked for? Read more... The post EDP04 – S1 – Crazy Diamond appeared first on Golden Spiral Media- Entertainment Podcasts, Technology Podcasts & More.

Worst Little Podcast ->Download Link

So it’s come to this… the final installment of the summer Classic Series Commentary series has arrived, and oh what an arrival it was. Delta and the Bannermen gets put through one end of the RFS grinder and goodness only knows what will come out the other end. Warren’s notorious hatred of Sylvester McCoy’s tenure underlies the episode, but what did he think of the story when all was said and done? Add to that the collective pants-wetting over the upcoming release of The Seeds of Doom on DVD and pretty much the entire gamut of human emotion comes through in this episode of Radio Free Skaro! Check out the show notes at www.radiofreeskaro.com.