Podcasts about Danger Man

The Dæmons is the final story in the eighth season of Doctor Who, with Jon Pertwee playing the eponymous hero (see episode 48 covering The House That Dripped Blood for some fantastic Pertrivia). It aired over five weeks on BBC1 from 22 May to 19 June 1971. In The Dæmons, the Master, played by Roger Delgado, awakens the ancient horned alien Azal, hoping to gain his immense power. Delgado, a close friend of Pertwee, worked extensively on stage, TV, film, and radio. His work included the BBC's Quatermass II, Battle of the River Plate, Hammer's The Mummy's Shroud, and English dubbing for The Horror Express (see episode 7). He often played villains in British action-adventure series like Danger Man, The Saint, The Champions, and Randall and Hopkirk (Deceased). Tragically, Delgado died in a car accident in Turkey while filming a Franco-German mini-series. He was only 55 years old. The Dæmons began as an audition scene for Jo Grant, played by Katy Manning, and was later reworked into episode four. Manning attended Miss Dixon and Miss Wolfe's School for Girls, becoming close friends with Liza Minnelli. She socialized with stars like James Mason, Dirk Bogarde, and had tea with Noël Coward at The Savoy. As a teenager, she modeled for Biba and dated Jimi Hendrix, Richard Eyre, David Troughton, Derek Fowlds, Stewart Bevan, and Peter Bardens, Rod Stewart's keyboard player. Manning had a close bond with Pertwee, who would pick her up daily for filming, either in his car or on his motorbike, where she would ride pillion. They even raced with Dick Emery and Sir Ralph Richardson to see who could reach the BBC studios first. After three years on Doctor Who, Manning left to pursue other acting work. Pertwee was saddened by her departure, citing her exit and Delgado's death as two major reasons for leaving the show a year later. Producer Barry Letts wanted to write a story about black magic to tap into the zeitgeist of the Age of Aquarius and frighten young viewers. However, script editor Terrance Dicks had concerns it might be seen as Satanist. The story was revised to focus on a scientific threat with occult themes. Originally, the Master was to worship the demon in a church, but to avoid offending religious viewers, the scenes were moved to a crypt, later referred to as a cavern (though the set remained crypt-like). Letts co-wrote the script with playwright Robert Sloman under the pseudonym Guy Leopold, as the BBC frowned on production staff writing for their own shows. Much of the serial was filmed on location in Aldbourne, Wiltshire, with two weeks allocated for filming—more than double the usual time—leading to more outdoor scenes. The cast included comedy actress Damaris Hayman, who starred as Miss Hawthorne. Hayman had an interest in the supernatural and served as an unofficial adviser on the production. Her friend, a practicing witch, praised the accuracy of the scripts. Future Sooty puppeteer Matthew Corbett had a brief role in the final episode as a hooded coven member who objects to Jo's sacrifice. Corbett, whose great-uncle was Harry Ramsden of fish-and-chip fame, had to change his name when joining the actors' union Equity, as there was already a Peter Corbett registered.Studio taping for The Dæmons was completed on 16 May 1971, just weeks before the final episode aired. This episode included footage of a model church being blown up, which was so realistic that it prompted viewer complaints. If the clip of the Brigadier's helicopter crashing into the heat shield looks familiar, it was borrowed from the James Bond film From Russia with Love. Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. Hosted on Acast. See acast.com/privacy for more information.

Ep 243, Recorded 10/24/2024. White washed. Smashed. ***Juiced. Chick-fil-PLAY. Waymo taken for a ride. Todd tells a boring story. X-not X. We don't need no water. Danger Man strikes again. Theatre corner returns. That's a rumble strip. He walks!

The man to watch this weekend... Hosted on Acast. See acast.com/privacy for more information.

The Sponsors We want to thank Underground Printing for starting this and making it possible—stop by and pick up some gear, check them out at ugpmichiganapparel.com, or check out our selection of shirts on the MGoBlogStore.com. And let's not forget our associate sponsors: Peak Wealth Management, Matt Demorest - Realtor and Lender, Human Element, Ann Arbor Elder Law, Michigan Law Grad, Venue by 4M, Winewood Organics, Sharon's Heating & Air Conditioning, Autograph: Fandom Rewarded, Champion Circle, who just launched an app where you earn rewards for things like reading MGoBlog and listening to our podcast, SignalWire where we are recording this, and introducing Royal Oath Insurance Group, which is Owen Rosen's new firm. Featured Musicians: The Missing Chums The Video: [After THE JUMP: The things to be said.] --------------------- 1. Texas After Review starts at the top The defensive story isn't that bad. Down to down they can hang. Jyaire Hill is a work in progress that Texas picked on and broke a few times. Their problem seems to be Wink, who has NFL ideas for 3rd down that are at fault for them not getting off the field. Busts go back to running too much stuff. They can fix this. Offensively they can't fix this. Their OL is just not good. Priebe's 2023 film was more honest than the 2024 offseason talk: he's just a guy. Link and Giudice are so far from being playable. Don't think we've ever had the program talk guys up so much and this be the result. ALSO the offensive brain trust doesn't know how to use their personnel. We're just guys on the internet but 13 snaps each for Mullings and Bredeson when those are two of your best weapons is inexplicable. It looks like they're just trying to be last year's offense with Donovan Warren. 2. Arkansas State: Offense starts at 22:11 Return Jaylen Raynor who started as a freshman. He's a runner who will take off when his 2nd read isn't there. Tackles are in rough shape since losing LT Makilan Thomas to injury; he's questionable for this game. Dangerman is wide receiver Corey Rucker, who plays big for a 6'0/214 guy. Butch Jones offense: spread to dink with a few bombs to keep you honest. 3. Arkansas State: Defense starts at 32:56 Defense has a lot of transfers, one guy that Alex liked was edge Bryan Whitehead, a Liberty transfer, but Seth notes that Tulsa has one of the worst LTs in the country; is Evan Link bad for a P4 player or bad for a football player? Safeties are a real weak spot: not fast and not big, they should be double-moved by Loveland. 4. Unverified Voracity Live starts at 43:11 RIP to James Earl Jones, who was a tremendous flex and a tremendous Michigan story. RIP also to Greg Harden, our former guest who had a hand in creating the Michigan program culture. Less sad RIPs: the Big Ten being immune from lawsuits, as Denard Robinson and Braylon Edwards show House isn't going to settle this. In other legal news, the ACC seems to be winning against FSU's big threat of having the state of Florida declare sovereign immunity. Pac 2 is now up to Pac 6, but don't expect Cal/Stanford to join any time soon, since they culturally want nothing to do with Wazzu and Oregon State, and they're held by the same Grant of Rights as the other ACC teams. Maybe UNLV if they bring along Reno. About the Featured Musician: The Missing Chums Longtime MGoBlog fans—notably drummer Mike K (@outofthegates) of Michigan twitter—The Missing Chums (website) are an upbeat local indie with the name of a Hardy Boys novel that makes them ungoogleable. Their latest album Reveries just came out. Song choices: "No, Not Nancy!" "Née Jones"    "Just Loretta" Also because Across 110th Street will get our Youtubes taken now now, the opener and outro: “The Employee is Not Afraid”—Bear vs. Shark “Ruska Vodka”—Motorboat

Michael Hooper & Nick Phipps join Sean and Morgs to review another wallabies victory! Morale is high after another golden performance from the national side. See omnystudio.com/listener for privacy information.

‘…We're only going to a party, what's the worst that can happen?'  New York, 2068. Lone wolf secret agent X-06 faces his two worst nightmares at once – being recognised on a mission and having to work with a partner! An 'old school' spy-fi thriller inspired by 60's TV shows like the Avengers, Danger Man, Thunderbirds and The Saint. X-06 - James Baxter Alice - Maisie Granger Kurt - Ben Wolf Page Mrs Black - Lunabelle767 Carlos/Robots/Others - Jacob Calta Announcer - Giles Cosgrove Music by Mister Brown. Meadow Waltz theme by Keys of Moon promoted by chosic.com and used under Creative Commons licence. Created, directed, produced by James Baxter This episode features unpaid adverts for: 'The Short Circuit Revolution' Starring Agent Roger Steele. Wolven Spy-Fi From The World of 365 INFANTRY. Created by Jacob Calta. https://a.co/d/c3ufFHb 'Astral Beacon' An independent, handcrafted father/daughter story in miniature Astral Beacon | An independent, handcrafted father/daughter story in miniature | Patreon Please like, comment, subscribe, and look us up on social media!

After a week off the pod we are back to report on two extremely uninteresting tournamenst in golf!  What will the DP Tour look like in 5 years and has the PGA Tour played a blinder!!  Also, we answer more of your questions in this weeks TGS Helpline!

Britain's top scientists are defecting to the Soviet Red Bloc, never to be seen again. Still, we can rely on the loyalty of agent X-06... can't we? An 'old school' spy-fi thriller inspired by 60's TV shows like the Avengers, Danger Man, Thunderbirds and The Saint. X-06: James Baxter Nadia: Kat Leroy Volkov: Matthew Woodcock Dr Blake: Cai Ross Sir Jeremy: Scott Campbell Prof. Day: Niamh Griffiths Announcer: Giles Cosgrove Other parts played by the cast. Music by Mister Brown, Created, directed, produced by James Baxter This episode features adverts for the book 'Free for All: Rediscovering the Prisoner' published by Quoit media and the podcast 'Down' by Definitely Human Please like, comment, subscribe, and look us up on social media!

Welcome to Sci-Fi Talk, where today we leap into the enigmatic world of "The Prisoner," the TV show that revolutionized spy-fi and continues to captivate audiences with its themes of individuality and freedom. Joining Tony Tellado ,are Gavin Hignight and Chris “Doc” Wyatt of Wandering Planet.  We delve into the legacy of Patrick McGoohan, not just an acclaimed actor, a BAFTA award winner, who became the UK's highest-paid TV star. We explore the influence of his earlier work on "Danger Man" and how it paved the way for "The Prisoner," embarking on a deep dive into the artistic liberties that set the series apart. With excitement, we discuss the much-anticipated wave of collectible action figures celebrating "The Prisoner." We'll reveal the fascinating process behind their creation—from the meticulous attention to detail.  Additionally, we'll recount Tony's personal connection to the series, the profound effect it had on his youth, and recite memorable dialogues that resonate to this day. We'll chat about obtaining rights, visits to Port Marion, and reminisce about our favorite characters, like Leo McKern, while touching on the deeper themes of this surreal show that continues to transcend generations. Stay tuned as we discuss the exclusive availability of these action figures via Kickstarter, admire Patrick McGoohan's versatility as an actor, and debate themes of individual rights and societal structures that are as relevant now as they were at the show's inception. Visit Wandering Planet Subscribe To Sci-Fi Talk Free For A Lifetime until May 1st.

Will Westercauw is joined by his friend Dusty Hoesly to talk about identical twins, glossolalia, Danger Man, and the modern rock hits of December 1993. Songs under discussion include: James - "Laid" The Smashing Pumpkins - "Today" Dead Can Dance - "The Ubiquitous Mr. Lovegrove" Blur - "Chemical World" Season 6 (1993) Spotify Playlist: https://open.spotify.com/playlist/3RV2gzADXh93VuQieGrbVX?si=b3c96fa3c5044a15

It's been a while, but we are happy as heck to welcome back writer, journalist and From the Sublime editor Iain Hepburn back to the show for a long chat about some classic British popular culture (and other stuff). We start with the recent passing of film and tv music composer Laurie Johnson at age 96. Although probably best known for The Avengers (and New Avengers) themes, he had a long career that includes Jason King and The Professionals on TV and films including Dr. Strangelove. We talk about his career and other British TV composers like Ron Grainer (The Prisoner and Doctor Who) and Edwin Astley (Randall and Hopkirk Decased, Danger Man). This leads into a chat about 1960 British shows, the ones that made it to the US and the ones that didn't and the fun of spotting actors on those before before they were famous. Then, there's plenty of chat about Doctor Who and the return of Russell T. Davies to run the show. We talk about how the vast Doctor Who library is now on BBC iplayer, the Tales of the Tardis special featuring classic cast members, modernizing old episodes for a contemporary audience and the hunt for missing episodes. This segues into a chat about physical media, streaming services, the phenomenon of Talking Pictures TV in the UK, preservation and restoration of older programs, how that relates to classic wresting TV shows and more. There's also chat about Iain's magazine From the Sublime, who third/fourth issue is currently in production. We talk about the previous issues and some of the topics, including a Buck Rogers-themed restaurant in Glascow in the 1980s and futbol kit culture, including an unexpected discussion of the NASL and MLS. If you want a copy of From the Sublime and you order from their website, enter “WINTERPALACE” for 15% discount. It's always great to talk to Iain about stuff, so hopefully it won't be more than eight years before he is back on the podcast.

Stu is back to talk about what we wanted to talk about last time (ep 167). Of course we start off with some real obscurity – the 60s classic ‘Danger Man' which was not at all classic. We then get … Continue reading →

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The Sponsors We want to thank Underground Printing for starting this and making it possible—stop by and pick up some gear, check them out at ugpmichiganapparel.com, or check out our selection of shirts on the MGoBlogStore.com. And let's not forget our associate sponsors: Peak Wealth Management, Matt Demorest - Realtor and Lender, Human Element, Ann Arbor Elder Law, Michigan Law Grad, The Phil Klein Insurance Group, Venue by 4M, Winewood Organics, Sharon's Heating & Air Conditioning, and SignalWire where we recorded this. Featured Musician: Pajamas The Video: [After THE JUMP: The things said.] --------------------- 1. Indiana Preview: Offense starts at noon Might be the worst we face, despite a few nice pieces. QB situation is awful: Tayven Jackson won the job because Brendan Sorsby is worse and the guy they were hoping to use is probably out for the season. They really miss AJ Barner as they have a group of TEs who are all pretty bad. A couple of longtime starters on the interior. Jaylin Lucas is a jitterbug to be wary of, and the one thing that's really been working. Seth thinks Cam Camper is a star, Alex refuses to Dangerman more than one player on this awful offense. 2. Indiana Preview: Defense starts at 12:15pm Tom Allen knows how to coach a defense. Watch out for cornerback blitzes and funky stuff, but they're pretty rough in some places. Don't know how they got Andre Carter from WMU—their other transfers are bad and there are many of them. Aaron Casey at MLB is the guy to watch as a squirrely LB who get his nose into places. How did they give OSU fits? 3. Seth's Hockey Cast starts around 12:30pm First weekend results are mixed. The 4-on-5 and 5-on-6 units need work. Goalie situation: not great. Defense is three deep—three dudes not lines—even though the top is great. Grittiness is a check but speed lacking from previous talent-overloaded teams. 4. Minnesota After Review starts around 12:45pm More of the same. JJ and Graham are All-Americans. Offense is bringing out interesting counters to Power as they develop that game instead of zone stretch. Defense's thing this week was stretches, because they will spread out their edges and leave the DTs with no linebacker help. Understandable, but exploitable. Also it only got them a 54-yard FG attempt. The TD was a situational awareness issue. Colson talk? About the Featured Musician: PAJAMAS This year we are partnering with The Blind Pig for bumper music, since that's where I've seen most of the bands I've been pushing anyways. This is the week I've been saving for personal fave Pajamas, an Ann Arbor jammy quartet that creates a psychedelic improvisational rock and funk music. Since forming in 2015 Pajamas has played hundreds of shows across the Midwest and beyond. They've opened for big touring acts across the Midwest and are coming to the Blind Pig on October 28th (the bye week) for two sets. The second is a bunch of Pink Floyd covers. Song choices: Time & Place Where the Story Ends Soothe Your Groove Also because Across 110th Street will get our Youtubes taken now now, the opener and outro: “The Employee is Not Afraid”—Bear vs. Shark “Ruska Vodka”—Motorboat

By popular request we are replaying all the of the Spyvibe Segments from Jason Whiton. This week Danger Man. https://spyvibe.blogspot.com/  

Repeat guest Devin O'Shea regales the boys with a tale straight from ‘90s conspiracy theory culture. It concerns the prolific parapolitical researcher and St. Louis native Kenn Thomas. Thomas' magazine Steamshovel Press made him a minor celebrity and earned mentions in The New Yorker, Time, Newsweek, and The Smithsonian. The magazine was also a source of inspiration for the writers of The X-Files. In 1996, Thomas published his career-defining book: The Octopus: The Secret Government and the Death of Danny Casolaro. The book weaves a complex tale of a massive conspiracy involving a journalist who died in an apparent suicide, Native American reservations, a state-of-the-art-security program, a source named Danger Man, the Contras, the Shah of Iran, and a private security firm called “Wackenhut.” Subscribe for $5 a month to get an extra episode of QAA every week + access to ongoing series like 'Manclan,' 'Trickle Down' and 'The Spectral Voyager': www.patreon.com/QAnonAnonymous QAA's Website: www.qanonanonymous.com Music by Pontus Berghe and Nick Sena. Editing by Corey Klotz. Episode Written by Devin O'Shea https://twitter.com/devintoshea

EPISODE 92 | Octopus's Garden: Dan Casolaro, INSLAW & Death (WIW 10) A number of unusual deaths, law enforcement software, mob families, casinos, drug running, arms dealing, and a possible nationwide, possible international, conspiracy known as the Octopus – this wild and complicated tale reads like a whole series of thriller novels and is further proof that the world is weird indeed. Like what we do? Then buy us a beer or three via our page on Buy Me a Coffee. #ConspiracyClearinghouse #sharingiscaring #donations #support #buymeacoffee You can also SUBSCRIBE to this podcast. Review us here or on IMDb! SECTIONS 01:59 - Complicated Life - 1977: The weird death of Charles “Chuck” Morgan, Don Devereux investigates 08:48 - Herbie Goes Bananas - 1990: Joseph Bonanno aka Joe Bananas aka Don Peppino, Devereux helps Unsolved Mysteries on a story about Morgan, Doug Johnston dies across the street from Devereux's house, Dan Casolaro contacts Devereux in 1991 12:58 - Squid Game - 1973-1991: Dan Casolaro, dilletante & part-time journalist, starts poking around into rumors around INSLAW's PROMIS software, the 1980 October Surprise theory, Iran Contra and the BCCI Scandal 21:36 - Danger Man & the Octopus - 1989-1991: Casolaro encounters Michael Riconosciuto ("Danger Man"), begins to see the shape of the Octopus, starts getting threats 25:43 - Meeting in Martinsburg - 1991: Casolaro goes to Martinsburg, West Virginia but never makes it home, weirdness at his funeral, unanswered questions and "missing" files 32:47 - You Better You Bet - 1978-1981: Cabazon murders in Rancho Mirage, the the Fantasy Springs Resort Casino  in Indio, secret government dealings, mafia dudes, INSLAW and Michael Riconosciuto again, Wackenhut, drug running, software trojan horses, hitman James Hughes 40:35 - Giant Octopus Kraken - 1982-1991: Riconosciuto's roommate is killed, NSA guy Alan David Standorf is killed, Riconosciuto's lawyer is killed, journalist Anson Ng Yong is killed in Guatemala while researching much of all this, arms running, INSLAW, BCCI, and the DOJ 44:33 - Death & Espionage - 1976-2001: John Munson tries to frame Riconosciuto, then his girlfriend dies; the Spiro family are killed in Southern California; arms dealer turned Israeli spy Ari Ben-Menashe, counterintelligence agent Robert Hanssen turns double agent 50:10 - Trying to make some sense of it all Music by Fanette Ronjat Lapsus Linguae: I consistently mispronounce the name of Michael Riconosciuto thruoghout this episode, only finding out after I had recorded and edited that it should be closer to "Re-con-SHOO-toh" My bad. More Info: The Odd Mystery behind Charles C. Morgan's Death Cold Case: Strange evidence found in '77 on, near man's body Joe Bonanno Tuscon Arizona Crew Members video  The Kinship of Killers FBI Phoenix History The Odd Death of Charles C. Morgan on Unsolved Wiki Chuck Morgan on Unsolved Mysteries A Case of Mistaken Identity? The Strange Death of Doug Johnston Devereux Reports website Danny Casolaro on Alchetron Danny Casolaro on Unsolved Mysteries The Last Days of Danny Casolaro article plus several links The Strange Death of Danny Casolaro New York Times article, reprinted What Killed Danny Casolaro? Washington Post article THE STRANGE DEATH OF DANNY CASOLARO in Vanity Fair FBI files on Dan Casolaro Dan's file titled CIA Frank Terpil Renegades Danny Casolaro's files and notes Danny Casolaro Died for You backstory The Mysterious Death Of Danny Casolaro The INSLAW File The INSLAW Affair - chapter 17 of The Last Circle: Danny Casolaro's Investigation into the Octopus and the PROMIS Software Scandal by Cheri Seymour The INSLAW Affair documents Federal Corruption: INSLAW by Harry V. Martin The Promis Threat: An Octopus Slouches Toward Mena, Arkansas, Area 51 and The International UFO Congress in Las Vegas by Kenn Thomas, Steamshovel press, #7 Octopus Revisited by Kenn Thomas The Undying Octopus: FBI and the PROMIS affair Part 1 Black Arcadia - Danny Casolaro and the Octopus - Parts 1-3 Parts 4-7, Lindsay Biziak Murder parts 1-2 Parts 8-10 The INSLAW Octopus in Wired Code for PROMIS software BCCI SCANDAL: BEHIND THE 'BANK OF CROOKS AND CRIMINALS' in the Washington Post The Dictator-Run Bank That Tells the Story of America's Foreign Corruption BCCI Scandal document Danny Casolaro and the Octopus Syndicate video Casolaro Murder excerpts from The Village Voice Cabazon: How 'Indian gaming' began - LaRouche article Arrest in 1981 tribal murders revives old mystery Badlands - article in Spy Magazine about many of these stories Worldwide Conspiracy, Or Fantasy? -- Felon's Story Checks Out - Kind Of Journalist Investigating Bank Was Second To Die Guatemala: Journalist's Murder May Be Linked With Bcci Scandal Murder in Rancho Santa Fe Investigators closed a mysterious murder case Wednesday and blamed... Secret Government Program Linked To Local Murders? KESQ new story on murders, INSLAW and more Transcript of interview with Ari Ben-Menashe for Journeyman.tv Justice Department records confirm PROMIS scandal's ties to Israel How an FBI Sting Took Down KGB Spy Robert Hanssen on Spyscape How Robert Hanssen Spied for the Soviets Because there's a LOT more to this, the timeline from Danny Casolaro Died for You Follow us on social for extra goodies: Facebook Twitter Other Podcasts by Derek DeWitt DIGITAL SIGNAGE DONE RIGHT - Winner of a 2022 Gold Quill Award, 2022 Gold MarCom Award, 2021 AVA Digital Award Gold, 2021 Silver Davey Award, 2020 Communicator Award of Excellence, and on numerous top 10 podcast lists.  PRAGUE TIMES - A city is more than just a location - it's a kaleidoscope of history, places, people and trends. This podcast looks at Prague, in the center of Europe, from a number of perspectives, including what it is now, what is has been and where it's going. It's Prague THEN, Prague NOW, Prague LATER

Episode 221 – Raising Christian Kids in a Creepy Culture 4 Welcome to Anchored by Truth brought to you by Crystal Sea Books. In John 14:6, Jesus said, “I am the way, the truth, and the life.” The goal of Anchored by Truth is to encourage everyone to grow in the Christian faith by anchoring themselves to the secure truth found in the inspired, inerrant, and infallible word of God. Script Notes: Train up a child in the way he should go; even when he is old he will not depart from it. Proverbs, chapter 22, verse 6. English Standard Version ******** VK: Hello! Welcome to another episode of Anchored by Truth brought to you by Crystal Sea Books. I’m Victoria K and today we’re going to conclude a series we began last time on Anchored by Truth. We called this series “Raising Christian Kids in a Creepy Culture.” We called it that because today our culture can be downright hostile to people, especially children, develop a relationship with Jesus. Christian parents must make consistent, conscious, and disciplined choices to raise a Christian kid in this creepy culture. So, to help us finish off this series we’re happy to have someone in the studio who has done that – who has raised two kids who are now out in the world but still standing firmly with Jesus. As she has been throughout this series Candy Coates is with us in the studio again. Candy was a working mom with a very accomplished professional career and she is also the wife of a successful lawyer and businessman. Candy shared her own story of how her upbringing in a small Florida community helped shape her own steadfast faith in an earlier episode of Anchored by Truth. We would encourage all Anchored by Truth listeners who missed that episode to go to our website (crystalseabooks.com) and catch her inspiring story. I think Candy’s story makes a very important point in a very powerful way. Candy’s grandparents had a strong Christian faith. Her grandparents imparted that faith to her parents and her parents did that for her. And now Candy has passed that legacy along. We have no doubt that that tree of life that has been so faithfully cultivated will continue to bear fruit in future generations. Candy’s story emphasizes the fact that it is possible for faith to be passed from generation to generation. That is both sobering and encouraging for anyone with kids, grandkids, or great-grandkids. We can, and should, leave a legacy of faith until the Lord returns for us all. And today we want to discuss one way for parents and grandparent to ensure that they have ample opportunities to pass their faith along – and that is by using Crystal Sea’s humor series that we call Life Lessons with a Laugh. It’s not very common in our day and age for people to be able to use humor to begin discussions with their kids about the Bible or faith in Jesus but Crystal Sea’s Life Lessons do just that. We introduced our Life Lessons to Candy when she first came into the studio to share her testimony and I think it’s safe to say she loved them right from the beginning. Candy, when we first gave you copies of our David and Goliath and Noah Life Lessons you pretty much enjoyed them right away, didn’t you. Candy: I did indeed. And I’d also like to tell you how pleased I am to be back with Anchored by Truth as we close out this series. It’s been an amazing and important series because every Christian parent today needs help with the goal of helping their child build their faith in the Savior. And as you said I did enjoy the Life Lessons right from the start. As you soon as you played the first sample for me while we were touring in the studio I was engaged. That’s why I asked you to provide me with some samples that I could play in the car on the way home. VK: And just to clarify for the broadcast and podcast audience we produce episodes of Anchored by Truth several weeks before they are aired on radio or made available on the internet. So, when Candy first came into the studio none of the Life Lessons were available from our website. But several of our Life Lesson series are now available at crystalseabooks.com. And we will continue to release more of them there as time goes by. So, it makes sense to visit our website frequently to get our latest releases. Anyway, Candy was so engaged by the samples that we played in the studio that she asked to take a couple of series home with her. Of course, we were only too happy to do that. And the next time she came back she asked for more. Candy, why was that? Candy: Well, the simple answer is that they are funny. They are really funny and enjoyable in the best kind of way. The humor is clean and good-natured unlike so much of what is classified as comedy these days. There wasn’t anything in the Life Lessons that I would have minded playing for my kids. And I think that was kind of your point wasn’t it. You wanted parents or even youth group pastors or ministers to have a way to introduce spiritual topics to kids in a way that everyone would enjoy. VK: Well, yes that was our goal. We want people to return to being able to share their Christian faith, not only in their family, but also with friends and neighbors just as they would share a good backyard bar-b-que or a play date in the park. That seems to be so difficult these days for a lot of people. So, we wanted to make talking about faith, Jesus, and the Bible easier. And people always enjoy a good laugh. Candy: And I think you’ve achieved that. But one of the things I really appreciate about the Life Lessons is that each one helps kids, and grownups for that matter, think about the Bible and the Savior. And they do it in a way that makes it easy for kids to remember what they’ve heard. I really love the little songs that you’ve included in many of them. Kids are really drawn to music and rhymes. So, the ones you’ve used are spot on. VK: So, let’s play a sample of one of the song parodies that we have included in a Life Lesson. This example is from our Life Lesson series on David and Goliath. This lesson notes that the reason David had gone down to the valley of Elah and wound up in the confrontation with Goliath was because David’s father had sent some bread and cheese to David’s brothers and their comrades. Well, of course when you put bread and cheese together you’re pretty close to a pizza. - David No. 3: That’s amore’ parody - Candy: I love that example. The lyrics are clever but most importantly they make a point that kids need to know – that God loves us and that God wants us to know that He loves us. The parody you have used makes that clear but a mom or dad who is listening to that Life Lesson with their kids can point that out and reinforce it. And while you didn’t play the whole lesson - because we just don’t have the time - the lesson goes on the point out the importance of fellowship by using the example of David’s friendship with Jonathan, one of King Saul’s sons. We would never think of it today but David’s friendship with Jonathan was one the big reasons he eventually became the king himself. And how neat it would be for a family to listen to that Life Lesson and then have pizza with some friends. That’s one of the things I think the Life Lessons do so well. They point out that we can use pizza and friendships to serve the Savior. VK: And the song parodies that are included in some of the Life Lessons are one way we try to help parents and kids absorb and retain information. Too many people today forget that one of the reasons we can be so confident that the Bible’s history is accurate is because the Bible relates real names, places, and events. We can locate the valley of Elah on a map because it is a real place. And we know that many of the names that are contained in the Bible have been confirmed by archeological finds. And certainly people can understand that bread and cheese are real foods that have been eaten for thousands of years. So when the Bible reports that those were all part of David’s encounter with Goliath we can have confidence in the story’s accuracy. Candy: And helping people absorb important Bible details is something I think the Life Lessons do very well. I enjoyed the information that you gave in a couple of the lessons from the Noah series about how big the ark actually was and especially that the dimensions the Bible gives us for the ark made it stable on the ocean. VK: Let’s play a sample from that section of the Noah series. As the Life Lesson points out God gave Noah some very important information before Noah started building the ark. God answered a very important question for Noah – “How deep is your ark?” - Noah No. 4: starting with “I mean the ark had to be truly remarkable” - Candy: That section is great. You have another one of the cute song parodies. You have some funny lines like “a floppy rudder endangers a distressed dingy.” And you have some good information for parents and kids. The dimensions the Bible gives us for the ark are the same dimensions that are used to build ocean liners today. That shows that the information about the ark’s size makes sense from a real world perspective. In another one of the Noah Life Lessons that I listened to you talked about how large the ark was. The ark would have been big enough to hold up to 2,000 railroad cars of cargo – plenty of room for a lot of animals and the food to feed them since the vast majority of the animals on board were actually about chicken or rabbit size. Parents or youth group leaders can – at least, they should be able to – use any of those points to start a discussion about something important with their child or group. VK: We sometimes refer to audio products like the Life Lessons as “discussion starters.” A parent, grandparent, youth group pastor, or homeschool group leader can play a Life Lesson to get a discussion going. The Life Lessons only last about 6 to 8 minutes so in a group setting that is planned for an hour there is plenty of time after the Life Lesson ends for further discussion. Even in a half-hour time slot, there’s time for a Life Lesson followed by the parent or leader helping amplify the points raised. Candy: And one of the things I like about the Life Lessons is that you have covered a wide variety of Biblical topics. You have Life Lesson series on many of the famous Bible stories like David and Goliath, the Flood of Noah, and Daniel and the lion’s den. But you also have series on Bible topics like creation, angels, the Ten Commandments, and prophets. VK: We wanted to have enough different Life Lesson series so that a homeschooler, youth group leader, or parent who is teaching their child the Bible would have plenty of variety. And we wanted to cover important topics like the miracles that Jesus performed. Let’s listen to a sample from Life Lesson series on the miracles of Jesus. - Miracles No. 3: starting opening sections - Candy: See I love that section. There’s a strong visual about a bunch of construction workers building something. That will get kids – well, and adults too – attention about what is going on. And I like the fact that the AI is quoting scripture and that you provide the scripture reference. And I like the fact that later on in that lesson in a part we didn’t hear today that the kids learn about why that episode points to the fact that Jesus was divine as well as human. Even kids who have never read the Bible will hear the Bible and then hear a short explanation about why that part of the Bible is important to a basic Christian truth: that Jesus was fully divine as well as fully human. There’s a lot of teaching going on in that Life Lesson but it’s introduced in a humorous fashion. VK: As one of our recent visitors to Crystal Sea just said when he was listening to a sample Life Lesson humor gets people to lower their defenses. People need to know that Jesus can be their Savior. Candy: Amen to that. VK: But Jesus cannot be anyone’s Savior unless He is able to satisfy the demands of God’s perfectly holy justice. When we sin we sin against an infinite God. And a finite man cannot pay a debt to an infinite God. But Jesus can pay our sin debt because Jesus is both fully divine as well as being fully human. Theologians say that Jesus is one Person with two natures and there are a lot of scripture verses that demonstrate that. All that is great for a Sunday morning sermon or even an entire course in a seminary. But a lot of people, especially kids are not in church these days and they certainly are not going to seminary. But we can introduce even deep Christian topics in a simple and funny way and then see where the discussion goes. Candy: And one of the things that kind of a Life Lesson might do is stimulate the adults to go and look up the scripture for themselves. Too many adults these days can’t help kids develop their Christian faith because they have a weak faith themselves. So, even though these Life Lessons are great for kids, frankly there are a lot of adults who need them as well. And I know that I have listened to just about all of the Life Lessons that you have created and I can testify that they are funny. There are recurring jokes like RD getting Jerry’s name wrong all the time, but there is also a lot of variety. The visuals are funny and the sound effects are hilarious. But most importantly, the Life Lessons teach kids about Jesus. VK: That is always the most important thing, isn’t it? Kids need to know about Jesus, especially in this day and time. Many people today, even Christians have been hesitant about sharing their faith. But as Romans, chapter 10, verse 14 says, “how can they call on him to save them unless they believe in him? And how can they believe in him if they have never heard about him? And how can they hear about him unless someone tells them.” Those of us who know about Jesus have a responsibility to tell others about him. But these days that can be hard for some people to do. Candy: But that’s the beauty of the Life Lessons. They can make it much easier for people to tell others about the Savior even in those situations like a church youth group where you would think everyone would already know about Him. Well, they may know about Him but that’s not the question. Do you know what I mean? The question is not whether they know about Jesus but whether they know Jesus as their Savior. A lot of people might not know that you can use humor to help people know Jesus as their Savior but the Life Lessons with a Laugh prove that you can. You have a couple of songs in the Life Lessons that really demonstrate that. VK: And here is a short rhythmical piece from our Names of Jesus Life Lesson series that is a good illustration of that. - Names of Jesus No. 5: Jesus name rap - Candy: And I really like the parody that you did that you call “Danger Man.” VK: Before we close for today, let’s listen to that. Candy: I love that because people who don’t know Jesus are in danger – eternal danger. And none of us know how much longer that we have available to make a decision for Jesus to become our Savior. The Life Lessons are a great way to make sure that everybody, especially children, are introduced to the Bible and to the Savior. As you said, humor can get people to lower their defenses and a lot of people today are defensive when it comes to talking about Jesus. I think you guys have done a great job of helping people overcome any hesitation they might have about starting conversations with their kids or friends. VK: It’s clear from these last few episodes that Candy never had any hesitation about ensuring that her children knew about Jesus. And because of that her kids emerged from their school years, including college, with their faith intact. That’s a real compliment to her and her husband and to their commitment to truth. Well, we’d really like to thank Candy Coates for being our guest on Anchored by Truth today. I think we can all see that one big reason Candy’s children know Jesus and have a genuine love for him is because she has that love and knowledge. Candy’s story is a clear illustration of how sacred scripture –the Bible – continues to demonstrate its supernatural nature through lives that are changed for the better for all eternity by its saving power. Today for our closing prayer, how about if we listen to a prayer for our young children? We should always be in prayer for our children but we must also be willing to be doers of the Word not just hearers. Prayer and actively instructing children about Jesus are concrete steps that put our faith into action. ---- PRAYER FOR YOUNG CHILDREN VK: We hope you’ll be with us in the future when we’ll continue our discussion with Candy. And we hope you’ll take some time to encourage some friends to tune in too, or listen to the podcast version of this show. If you’d like to hear more, try out crystalseabooks.com where “We’re not perfect but our Boss is!” (Bible Quote from the English Standard Version) Proverbs, chapter 22, verse 6. English Standard Version ADDITIONAL STORIES 1. I think there are 3 big principles to keep in mind if you want to raise Christian kids in a creepy culture. (Get 3 or 4 different tracks of this discussion) a. Your actions must be intentional, purposeful, and consistent b. You must protect your children and allow them to behave in a manner consistent with their age; let kids be kids in an appropriate way; create a safe way for them to be kids c. You must either find a community that will be supportive of your desire for your kids to grow up as strong Christians or build one. Cross City was the kind of community you want for your kids but if your current community does not offer what you need, you must find it. Might be at church, might be at a Christian school or homeschool group, might be a ministry offshoot, might be a neighborhood. 2. God can touch other people’s lives through yours in amazing ways. Sometimes you can inspire and help people find or regain their faith when you aren’t even aware that you are doing it. For instance, one of the great times we had when our children were little was our trip out west. Caitlin was 4 and Mason was 6 and we … 3. One of the keys to raising kids who mature and develop properly is to be involved with their teachers and schools. Sometimes you may be blessed to have a great teacher like we were with one of Mason’s social studies teachers. We went to see him one day because … 4. When you’re trying to be faithful, God will sometimes confirm that you are doing something right when you least expect it. For instance, when Caitlin was in (grade or middle) school, I had to have some serious surgery. So, I hired a high school friend to … 5. Now, I’m not saying that raising Christian kids who maintain their faith is easy. It can such the fillings out of your head sometimes, but you have to do it. There is no alternative. But it can be challenging. A lot of the time you may be the only parent or one of a few that is truly shouldering the burden. At (Mason or Caitlin)’s school they used to put on a teacher appreciation breakfast … 6. To raise a Christian kid you also have to be prepared to listen to your child carefully. For instance when Caitlin was in the 4th grade one day she told me that she wanted to go to Holy Comforter School. …. 7. To raise Christian children you must be very conscious of the environment that will surround your children. Our oldest Mason went to public schools until he went to college. But the public schools were changing as he was going through them. By the time Caitlin was going through them … (Holy Comforter, Maclay) 8. We always made it a practice to not only know Mason and Caitlin’s schools and teachers but also to know their friends. And we would go out of our way to meet the parents of their friends. This was important … 9. You are going to have challenges crop up that you never expect. For instance, Caitlin had been a model student when she was in elementary and middle school, but when she got to high school one day she came to me and said … 10. As Christians we know that God is sovereign and that He knows what’s best even when we don’t understand that at the time. A good example is when Caitlin was getting ready to graduate from the University of Alabama and she thought she had completed all of her requirements. She had worked with her counselor … but (hammer it with prayer; stone; 311)

Hello and welcome to The Everything is Black and White Podcast - it's time for The View from the Opposition. Jonathan Greenwood from Newcastle Fans TV is back in the hosting chair and is joined by Tom Canton, the Arsenal reporter from Football London. Arsenal travel to St James' Park for Sunday's game, knowing they really have to win to keep their hopes of winning the title alive. Newcastle meanwhile know victory for them would all but secure a place in the Champions League for next season. *** Get your tickets for our live event on May 25th by clicking here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Contact us here ForgottenAmericanPodcast@yahoo.com Twitter  @ForgotAmerican Gab @ForgottenAmerican If removed from your favorite podcast service, listen here https://forgottenamerican.libsyn.com/

First broadcast on FAB RADIO INTERNATIONAL at 19:00 on March 5th 2023 A few weeks ago on VISION ON SOUND we celebrated the life of the television writer TERRANCE DICKS and, in passing, we mentioned his writing colleague and mentor MALCOLM HULKE, who co-wrote several television scripts alongside TERRANCE, including contributions to THE AVENGERS and DOCTOR WHO, as well as writing a quarter of the stories (on television) which featured JON PERTWEE as the Doctor from 1970 to 1974, some of which are arguably amongst the most iconic from that era, when TERRANCE DICKS was working as the Script Editor on the series. As well as his work on DOCTOR WHO, MALCOLM also wrote scripts for the PATHFINDERS series, CROSSROADS, DANGER MAN, GIDEONS WAY, UNITED!, SPYDER'S WEB and many others, in a prolific twenty year career sadly cut short when MALCOLM HULKE died at the age of 54 years old way back in 1979. Perhaps because of this, his story, and his contribution to television writing as a whole, sometimes gets rather overlooked when people talk about the great television writers of the 1960s and 1970s. Nowadays MALCOLM HULKE is often cited as a huge influence on the careers of the writers that followed in his footsteps, not least because of his efforts as a member of the Writers Guild, and his book WRITING FOR TELEVISION which became a must-read volume for aspiring writers in that era. Recently, the freelance historian MICHAEL HERBERT, our guest in today's edition of VISION ON SOUND contributed an essay on the life and works of MALCOLM HULKE to the rather excellent book SURVIVAL TV: 1970s BRITAIN AND THE TELEVISION SERIES which was published and edited by RODNEY MARSHALL. MICHAEL is also working on a new biography of MALCOLM that he is hoping to complete this year, and he joined me to talk about the intriguingly complex life and work of this often complicated and iconic television writer. PLEASE NOTE - For Copyright reasons, musical content sometimes has to be removed for the podcast edition. All the spoken word content remains (mostly) as it was in the broadcast version. Hopefully this won't spoil your enjoyment of the show.

Can AI DJ's catch colds?...with tracks by... Dirty Laces, Buncheong, Sumac Dub, The Maucals, The Window View, Popiq, Nichenka Zoryana, Seed Organization, Dangerman, Preen, Depresion Tropical, Fountain of Tears, Soursop, Dubanko, Janax Pacha Dirty Laces - Seeker [Puffer Fish Press] Buncheong - Sur les Nerfs (On Edge) [La Souterraine] Sumac Dub & The [...] The post PCP#782… Can AI DJ’s catch colds?… appeared first on Pete Cogle's Podcast Factory.

https://ontargetpodcast.caY'all are gonna get All Shook Up by this episode. From the Grizzly Bear that fills you with Panic and that Green Door you Push Push Push because you're a Danger Man who taunts, "Arrest Me" and, Would You Believe, you're actually Looking In The Eyes Of A Fool? No No No? well, Just ask me.-----------------------------------------------The playlist is:"25 Miles"Truman Thomas - Veep"The Grizzly Bear"The Chanteurs- Vee-Jay"Yaw'll"The Maskman & The Agents- Dynamo"Carrying That Load"Ray Charles- Atlantic"Arrest Me"Jamo Thomas- Thomas"Push Push Push"Joe Cuba Sextet- Tico"Green Door"Wynder K Frog- United Artisits"Sock It To Me"Judy Carne- Reprise"I Like The Way You Dance"Sammy Davis Jr. - United Artisits"I Want You Back"The Webs- Verve"All Shook Up"Roger Freeman- R"Nothing Too Good For My Baby"Stevie Wonder- Tamla"Panic"Reparata & The Delrons- Mala"Just Ask Me"Lenis Guess- S.P.Q.R."Would You Believe"Jackie Lee- Mirwood"Danger Man"Red Price Combo- Parlophone"Comin' Home Baby"Mel Tormé- Atlantic"No No No"Ola & The Janglers- Gazell"Don't Be Sore At Me"The Parliaments- Revilot"Look Into The Eyes Of A Fool"Darrell Banks- Atco"Love Train"Bunny Sigler- Columbia

¿Qué tal? ¡Cuánto tiempo! Nueva temporada de Cienfiebres Musicales y nueva forma de compartir mis calenturas cotidianas con su consiguiente banda sonora. ¿La esencia? Recordar las canciones que me van encontrando día a día y que elevan mi temperatura. ¿Las primeras canciones de este episodio 95, 1º de la 6ª temporada? Las siguientes: ECHO & THE BUNNYMEN: Sideways eight GABINETE CALIGARI: Tócala Uli THE KINKS: You really got me LOS BRINCOS: Mejor ARETHA FRANKLIN: Cry like a baby SUFJAN STEVENS: Should Have Known Better TORRES SATÉLITE: Un mundo nuevo WET LEG: Wet dream THE MASQUERADERS: We fell in love LOS FLECHAZOS: Kinky boots PEDRIÑANES 77: Jesús el de los pájaros LOUIS PHILLIPE: Wichi Tai To THE HOUSEMARTINS: Drop down dead THE BEAUTIFUL SOUTH: Song for whoever TRIÁNGULO DE AMOR BIZARRO: El fantasma de la transición THE TIMES: Theme from Danger Man

'Twas then that I wished that I was dead and Columbo could go to sea no more."Last Salute to the Commodore" was the sixth episode of Columbo's fifth season, which aired on May 2, 1976. Starring Peter Falk, Columbo is a crime drama series that follows the adventures of the ostensibly-bumbling, quietly-cunning Lieutenant Columbo. The formula is simple: The audience gets to see a too-clever-by-half killer attempt to get away with a crime, and then watch Columbo toy with — and ultimately bust — the murderer. It's great fun."Last Salute to the Commodore" was at one time conceived as a send-off to the series. Directed by Danger Man and The Prisoner star Patrick McGoohan, it's attracted a reputation as a baffling mess that somewhat randomly breaks the mold set by the series. It's all about In addition to Falk, it also stars The Man from U.N.C.L.E.'s Robert Vaughn, Wilfrid Hyde-White, John Dehner, Dennis Dugan, Diane Baker, Bruce Kirby, Joshua Brant, Susan Foster, Fred Draper, Rod McCary, and John Finnegan.Listen to Áine and Kevin meander around the mizzenmast with topics like pacing, Patrick McGoohan's career, and behind-the-scenes Mystery to Me drama.Follow us on the usual social media suspects:FacebookTwitterInstagramAnd send your stenciled messages to mysterytomepodcast@gmail.com.Mystery to Me is a production of Mystery Sheet LLC.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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It all begins here as Andy, Bill, Dave and Paul start their trip through the world of “The Prisoner”. To start things off, they look at an episode of the classic series: “Danger Man”, which is considered to be the foundation on which our continued story is built. C’mon along [...]

Hear the WORLD PREMIERE single from Nottingham punx Hip Priests upcoming LP, new punk & hardcore tunes from Deener's Skate Rock Vol. 2, KRAXA, Gideon, Lugosi, Lionheart , Iron Lizards, Fatal Flaw, Poppy, Foxcunt, Marie Therese, & Oversize, classics from Deathtraps, Dead Kennedys, Cydernyde, D.O.A., Blunders, Poison Girls, Ramones, Nomeansno, Bush Tetras, Pork Dukes, Frightwig, Sick Of It All, GG Allin, Avail, Household Gods, Paint It Black, Dead Milkmen, & Iggy Pop, and the Luscious Listener's Choice!    Deathtraps- Fucked Up Cydernyde- Prioridades Oversize- Dissolve Poison Girls- Crisis Ramones- Pinhead Nomeansno- Dead Souls Bush Tetras- Too Many Creeps Foxcunt- It's Obvious Pork Dukes- Bend And Flush G.G. Allin- Don't Talk To Me Marie Therese- Luna Iggy Pop- The Passenger Fatal Flaw- Victoria Poppy- Trophy Hunter Dead Milkmen- Bitchin' Camaro Paint It Black- Womb Envy Paint It Black- Atticus Finch Household Gods- Conflict Bias Avail- New #2 Hip Priests- Shakin' Ain't Fakin' Iron Lizards- Rip It Up Lionheart- Live By The Gun (feat. Ice-T) Lugosi- I Wish Gideon- Too Much Is Never Enough Sick Of It All- Maladjusted Kraxa- Ukraina Frightwig- My Crotch Does Not Say "Go" Blunders- The Outrage Industry Dead Kennedys- California Uber Alles D.O.A.- Dangerman

On this spooky season edition of Parallax Views, documentarian Joe O'Connell joins us to discuss his latest feature, RONDO AND BOB, about the parallel lives of Robert A. Burns, the behind-the-scenes art force behind such cult classic horror movies as Tober Hooper's THE TEXAS CHAINSAW MASSACRE, Stuart Gordon's RE-ANIMATOR, Joe Dante's THE HOWLING, and Wes Craven's THE HILLS HAVE EYES, and Rondo Hatton, an acromelgaly-afflicted journalist of the early 20th century who made his way to Hollywood to become Tinsel Town's 1940s equivalent to monster movie icon Boris Karloff. Before getting into RONDO AND BOB, however, Joe and I discuss his previous documentary DANGER MAN. Said film focused on the life and times of stuntman Gary Kent, who was involved with a plethora of B-movie and independent films in the 1960s and 1970s. Kent also is one of the stuntmen upon which Brad Pitt's character in Quentin Tarantino's ONCE UPON TIME IN HOLLYWOOD was based. Specifically, the fact that Gary Kent had an encounter with Charles Manson while filming a movie on Spahn Ranch (where the Manson Family were living before the Tate/LaBianca murders) became a plot point in the aforementioned Tarantino feature. We then delve into the stories of Bob Burns and Rondo Hatton, including the similarities and differences in their lives. Burns was someone who appeared normal on the outside but was an eccentric in life and also felt unlovable. Rondo, most known for his appearances as "The Creeper" in films like the Sherlock Holmes caper PEARL OF DEATH, HOUSE OF HORRORS, and THE BRUTE MAN, appeared odd on the outside but was a normal, affable, and much loved man in his every day life. What can we learn from the lives of these two creative individuals who lived life on their on terms? That's the question in this fascinating edition of Parallax Views. Among the topics discussed: - The career of Gary Kent, who went to Hollywood with no experience but grew to become a long-running stuntman in Hollywood who often worked on the independent/grindhouse/drive-in movie circuit productions of Sam Sherman, Al Adamson, Don Jones, and Ray Dennis Steckler; his credits include movies like Schoolgirls in Chains, Bubba Ho-Tep, Psych-Out, Hell's Bloody Devils, Satan's Sadists, the Bruce Willis vehicle Color of Night, and Monte Hellman's Ride in the Whirlwind; how the documentary Danger God came together; the challenges of stunt work; Gary Kent's role in Rondo and Bob - The strange and fantastic lives of Bob Burns and Rondo Hatton; Rondo's early life, involvement with WWI, and his career in Hollywood; Bob's eccentric personality and loneliness; the continued fandom around Bob's work; Bob's acting as serial killing drifter Henry Lee Lucas in Confessions of a Serial Killer; Bob's movies Mongrel (with Hollywood star Aldo Ray) and his unreleased comedy Scream Test; Bob's home-made pinball machined based on the adult movie comedy Deep Throat with Linda Lovelace; the ways in which Rondo and Bob's lives mirror each other and the tragedies in their lives; Bob Burns, Tobe Hooper, and the University of Texas tower shooting - The influence of the George Lazenby/James Bond 007 documentary Becoming Bond on Rondo and Bob; the half-documentary/half-documentary approach of Rondo and Bob And much, much more!

Hello and welcome to The Everything is Black and White Podcast - The View from the Opposition. Andrew Musgrove is joined by Bournemouth Echo's Jack Tanner to get the insight into Saturday's opposition.

The Urban Super-Hero "DangerMan" comes BACK to "Across The County" (after Noah rings him up) for his September Back-To-School UPDATE and to talk about his CONTINUED "Books NOT Bullets Tour"!  On this month's UPDATE, he'll bring up the importance making kids feel secure as they head back to school; parents can be a part of helping them feel that way.  The "DangerMan Returns" web series continues, and there's things happening!  That's why it's EPIC that Noah was able to pull even just a few minutes of this REAL-LIFE Urban Super-Hero to the airwaves!  He IS "DangerMan"!   http://www.TheDangerMan.com     http://www.DangerManReturns.com      #DangerMan  #ProtectTheKids  #DangerManReturns#BackToSchoolUpdate  #StayHealthy  #Prayer  #BooksNotBulletsTour  #KeepingItSafeSee omnystudio.com/listener for privacy information.

**TEASER** UNLOCK THE FULL EPISODE HERE: https://www.patreon.com/GhostStoriesForTheEnd     Danny Casolaro's pursuit of the Octopus brings him into contact with a geek burnout and spook fixer called Michael Riconosciuto. Riconosciuto is an operative of some kind (we think), and he has a lot to tell Danny about about software hacking, CIA ops, UFOs, bioweapons and gun deals in the desert. Casolaro is intoxicated, but following Rico's leads and trying to untangle truth and fantasy mires him even deeper in a bizarre underworld of rogue spies, gangsters and corrupt politicians. We also discuss the early spread of the stolen PROMIS software and consider how it might have been bugged and what its utility might have been. 

Episode 129, Recorded 8/17/2022. Bored Apes. Footnotes. Dangerman. Car numbers. Facebook is listening. Bobby Bonilla strikes again. FSU Proofreaders. Gap clothing is trash. MA DAV. Celebrity Ru. Storage wars. Password Fixes.

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

Adam has always wanted to wear a bowler hat and Heather has always wanted to punch people... so what better opportunity than Series 4 of swanky spy series, The Avengers? It's British TV's most arch and knowing adventure show, and British TV's most medium theme tune - it's fine, it's sort of in the middle. Actually, I edited out the bit where we talk about it because we rambled on for two hours, and something has to get the chop, but that's the gist. But as TV theme tunes go, it certainly is one. No, it's good. Yeah, it's good, it's fine. I couldn't hum it, I always think of the Danger Man theme, which is the one from Mark and Lard. (Don't tell Heather I said this, she thinks it's the the bee's knees. Actually, she thinks it's the bees' knees, plural, that's how good she thinks it is.)Anyway, it's The Avengers, and we don't mention a certain superhero property once, not even once - aren't you proud of us?Please like, rate, review and share the podcast, otherwise otherwise you'll be sent to a special house that's REALLY ANNOYING, so annoying that you'll say, "This is annoying", and you'll get really cross and have to drink some brandy and also have a fight with a Welsh person who looks like Peter Baynham. https://twitter.com/retro_tubehttps://shows.acast.com/retrotubeemail: retrotubepodcast@gmail.comTheme Music by Adam S. Leslie, that is also called Berlin Horse.Warning: this podcast contains Bluebottle. You rotten swine you. See acast.com/privacy for privacy and opt-out information.

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ITC Entertained The World - episode 14 (Season 2, episode 1) - Danger Man (50 minutes) Hosted by Jaz Wiseman, Rodney Marshall and Al Samujh. Jaz, Rodney and Al discuss the first 22 episodes of Danger Man (50 minutes) - the 1964/66 ITC action/adventure series that starred Patrick McGoohan as secret agent John Drake.  You'll need to be a master of going undercover and be able to drive that nippy mini to enter the murky world of Cold War espionage. The 22 episodes featured are: Yesterday's Enemies  The Professionals  Colony Three  The Galloping Major  Fair Exchange  Fish on the Hook  The Colonel's Daughter  The Battle of the Cameras  No Marks for Servility  A Man to be Trusted  Don't Nail Him Yet  A Date with Doris  That's Two of Us Sorry  Such Men Are Dangerous  Whatever Happened to George Foster?  A Room in the Basement  The Affair at Castelevara  The Ubiquitous Mr. Lovegrove  It's Up to the Lady  Have a Glass of Wine  The Mirror's New  Parallel Lines Sometimes Meet 

Why did we choose The Prisoner? What's the secret to the perfect episode order? How did the first episode of Danger Man/Secret Agent lead directly to the most iconic aspect of The Prisoner, and is that earlier show that made Patrick McGoohan famous worth watching for a modern audience? The answers can only be found here! Us Twitter: @WorthWatching4 Facebook

The Swingin' '60s Summer Series continues with "Danger Man," the 1960 Patrick McGoohan-starring precursor to the sci-fi classic "The Prisoner." It is also known for the theme song "Secret Agent Man." The Spy-Fi Guys watched two episodes: "Josetta" and "Whatever Happened to George Foster?" Does this series hold up? Tune in to find out. You can find the Spy-Fi Guys at the following social media links: https://www.facebook.com/thespyfiguys/

First broadcast on FAB RADIO INTERNATIONAL at 19:00 on April 25th 2021 Regular contributor WARREN CUMMINGS returns to VISION ON SOUND to discuss the good, the bad, and the ugly of SPY DRAMAS on television, in a wide-ranging discussion that takes us from ESPIONAGE and RATCATCHERS, via Gerald Flood's chin and Glyn Owen's gravel, through the movie HELL DRIVERS, to shows like DANGER MAN, THE PRISONER, MISSION:IMPOSSIBLE, THE AVENGERS, CALLAN and THE SANDBAGGERS. We toy briefly with lost shows like THE SPIES, SPYCATCHER, and SPY TRAP, and dance around the delights of ITC series like JASON KING, DEPARTMENT S, and THE SAINT. We also consider some of the more troubling aspects of RETURN OF THE SAINT before moving on to THE SIX MILLION DOLLAR MAN and THE CHAMPIONS. Then we briefly discuss spy comedies, and the strange light entertainment shenanigans of the game show MASTERSPY. PLEASE NOTE - For Copyright reasons, musical content has to be removed for the podcast edition. All the spoken word content remains (mostly) as it was in the broadcast version. Hopefully this won't spoil your enjoyment of the show.

Danger Man Special By La Secta Crew 2017Promo Only.I don't own the rights to this music. 

Danger Man Special By La Secta Crew 2017Promo Only.I don't own the rights to this music. 

The Degenerate Duo are back in an episode all about the music of The King Of Pop. We talk about the Dangerman's love of MJ and Gaz sha-moans about everything and anything as per usual. There's plenty of laughs as the guys discuss the best and worst of the singles, AND LEST YE FORGET, the Dangerous quiz!--- Send in a voice message: https://anchor.fm/tidrp/message

With the Splendid Isolation mini-series ended, we are back to regular episodes. Thanks to those who listened while I tried to keep busy. We welcome back John Champion (@dvdgeeks) from the Mission Log Podcast (@missionlogpod) to discuss the recently-completed Star Trek Picard season one. We chat about what we liked and what was problematic and where the show might go in future seasons. On the Trek front, we talk about the changes to Mission Log, with Ken Ray departing and Norman Lao arriving at the beginning of the year. From there, it's lots of spy talk, starting naturally with Get Smart (since it's episode 86). From there, it's a cornucopia of shows on the docket, including Mission: Impossible, the Man from UNCLE and more. With the passing of Robert Conrad, we of course discussed the Wild Wild West, including why the show was so fun. And with the recent death of Honor Blackman, we talk about the Cathy Gale version of The Avengers, as well as her role in Goldfinger. To round up the show, it's some other British programs to examine, including Danger Man, the Prisoner, Randal and Hopkirk Deceased (which John had not seen before) , Department S, Jason King and how the star of the last two shows had a connection to the Bronze Age X-Men comic books. Thanks for listening. We hope you enjoy the show.

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The pod returns with a guest we have been trying to get on for quite a while. Longtime comics creator Karl Kesel (@karlkesel) is here to discuss his current Kickstarter project Section Zero 1959, a continuation of the series he and Tom Grummett started almost 20 years ago. We talk about the creation of that series in 2000 and its return as a Kickstarter project in 2017., with the hardcover out now and the story being serialized by Image Comics in April. We talk about the book's inspirations , notably the work of Jack Kirby. (I interviewed Karl way back in issue 27 of the Jack Kirby Collector about his love of the King and some of his more esoteric characters).We also do a deep dive into Karl's career, featuring some of our favorite books over the last couple decades. We chat about a few books he did with Stuart Immonen, Adventures of Superman, the Fantastic Four Annual from 1998 and the DC event series Final Night. We also discuss one of my all-time favorite (and all too brief) comic books series his run on Daredevil with Cary Nord.On the day of our interview, Section Zero 1959 had two weeks left to go in its Kickstarter campaign and was just over 80% funded. For information on the book and some very cool incentives if you pledge, head over to SectionZero1959.com.Two other pieces of business: We will soon be starting our series on the website called High Wire Act, which is an episode by episode break-down of the classic 1960s spy show Danger Man (aka Secret Agent). We hope to have a pod up soon discussing that with a returning podcast guest. Also, we are in talks to do our first convention in a few years in the summer. If we do the show, we will likely have a new issue of the magazine out to go along with the appearance.

Welcome to the next new episode my podcast! This episode has more of a focus on music for television. In the first section I explore the music composed by Stu Phillips for the original BATTLESTAR GALACTICA television series, which aired for one season on ABC in 1978, produced by Glen A. Larson. This show and its music was an early favorite of mine and Phillips composed many wonderful themes and motifs heard through that single season. In the second section I talk with my friend and fellow soundtrack fan Mike Hagen about his favorite scores from TV series of the 1960's and 70's, including STAR TREK, LOST IN SPACE and DANGER MAN, the latter a UK television series aired here in the U.S. as SECRET AGENT MAN. Plus there are other fun recollections of his including his time working at the Tower Records in New York City and also being an extra on "Saturday Night Live"! If you're interested in more of Stu Phillips, check out his website, http://www.stuwho.com/.  Connect with the podcast on Facebook and Twitter: www.facebook.com/ascoretosettle https://twitter.com/score2settlepod Email the show at ascoretosettlepodcast@gmail.com