Podcasts about david maysles

Send us a textIn today's episode, I interview John Kelly, the director of the short film "Retirement Plan," an animated short that follows a man as he dreams about what he will do in his retirement years. The film won the Grand Jury and Audience Awards at SXSW.Listen to hear about the inspiration for the story, the importance being nimble with style when creating over 100 animated shots, and the joy of getting to work with one of Ireland's leading actors of the moment.Books mentioned in this episode include:A Thread of Violence: A Story of Truth, Invention, and Murder by Mark O'ConnellHits, Flops, and Other Illusions: My Fortysomething Years in Hollywood by Ed ZwickThe Creative Act: A Way of Being by Rick RubinFilms and TV shows mentioned in this episode include:"Retirement Plan" directed by John KellyBob's Burgers (series)A Grand Day Out (Wallace & Gromit) directed by Nick ParkPeter Rabbit directed by Will GluckStar Wars Episode VII: The Force Awakens directed by J. J. AbramsEx Machina directed by Alex GarlandUp directed by Pete DocterFargo directed by Joel CoenRaising Arizona directed by Joel CoenBarton Fink directed by Joel CoenAmerican Movie directed by Chris SmithCrumb directed by Terry ZwigoffGrey Gardens directed by Albert Maysles, David Maysles, Ellen Hovde, and Muffie MeyerThe Jerk directed by Carl ReinerBeing There directed by Hal AshbyBluey (series)Fleabag (series)Scavengers Reign (series)Common Side Effect (series)You can follow John on Instagram @johnkelly_jnr and the film @retirementplan_film.Check out the Wheelie Yellow channel on YouTube that John mentioned.

On the two hundred and fifty-seventh episode of THE THIRD ACT PODCAST, the crew are giving the gift of film.Christian, Jericho, and Armando gather for the annual "Merry Flicksmas" celebration in partnership with the fine folks over at THE FLICKSATION PODCAST.  But first, they jump into the station wagon and drive over to the boisterous family gathering for a review of the new vibes-based indie Xmas movie, CHRISTMAS EVE IN MILLER"S POINT. Then, they unwrap their Flicksmas gifts and dive into thoughts on Brad Michael Elmore's queer vampire horror comedy, BIT (2019), Mike Leigh's pitch black philosophical character drama, NAKED (1993), and Albert and David Maysles's intimate portrait of two aging eccentrics, GREY GARDENS (1975).They also discuss THE BRUTALIST pre-sale tickets, Yultide cinematic canon rotation, the Brody bump, Hallmark movie tropes, and the Prince of Pap.Keep in touch with us on Instagram and email us anytime at: TheThirdActPodcast@gmail.com  

Many of you have by now seen the new doc, re-presenting the February 1964 footage of The Beatles' two-week jaunt in NYC, Washington and Miami, shot by Albert and David Maysles. As you know, producer Martin Scorsese has a history of music documentaries (including Living on the Material World) but this one is directed by his … 295: Beatles '64 with David Tedeschi and Margaret Bodde Read More »

Samira Ahmed's joined by this week's critics - Louisa Buck and Matt Everitt - to review Beatles '64, documenting the fab four's first trip to America with previously unseen footage shot by pioneering brothers Albert and David Maysles. They've also been to see Tate Modern's new exhibition Electric Dreams, exploring how artists were inspired to use machines and algorithms to create mind-binding art before the internet. Plus the star-studded new TV spy drama The Agency - starring Michael Fassbender, written by Jez Butterworth and produced by George Clooney - and we hear about this year's Deep Time music festival, taking it's inspiration from an imagined meeting between Jean-Michel Basquiat and John Cage in Edinburgh. Presenter: Samira Ahmed Producer: Sarah Jane Griffiths

The fifth episode of our season on the awesome movie year of 1969 features our documentary pick, the Maysles brothers' Salesman. Directed by Albert and David Maysles with Charlotte Zwerin, Salesman is a key film in the direct cinema movement.The contemporary reviews quoted in this episode come from Vincent Canby in The New York Times (https://www.nytimes.com/1969/04/18/archives/screen-salesman-a-slice-of-america.html), Margot Hentoff in The New York Review of Books (https://www.nybooks.com/articles/1969/03/27/wild-raspberries/), and Joe Morgenstern in Newsweek. Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 1969 installment, featuring Josh's personal pick, Ronald Neame's The Prime of Miss Jean Brodie.

George Christie BioGeorge Christie is a dynamic and uniquely informed Criminal Justice Expert who turned his life around after a four-decade stint as President of the Hells Angels Ventura County. He founded Felony Prison Consultants (www.felonyprisonconsultants.com) in order to share the information he gathered during his several incarcerations with those seeking real-life advice. Christie, whose show Outlaw Chronicles: Hells Angels premiered on The History Channel (Link to Trailer) in August to millions of viewers, has appeared as a guest advisor on numerous television shows including 60 minutes, Larry King, CBS News and most recently on CNN .The Altamont Speedway Free Festival was a counterculture-era rock concert held on Saturday, December 6, 1969, at the Altamont Speedway in northern California, between Tracy and Livermore. The event is best known for considerable violence, including the death of Meredith Hunter and three accidental deaths: two caused by a hit-and-run car accident and one by drowning in an irrigation canal. Four births were reported during the event.[2] Scores were injured, numerous cars were stolen and then abandoned, and there was extensive property damage.[3][4]The concert featured, in order of appearance: Santana, Jefferson Airplane, The Flying Burrito Brothers, and Crosby, Stills, Nash & Young, with the Rolling Stones taking the stage as the final act.[5] The Grateful Dead were also scheduled to perform, but declined to play shortly before their scheduled appearance due to the increasing violence at the venue.[6] "That's the way things went at Altamont—so badly that the Grateful Dead, prime organizers and movers of the festival, didn't even get to play," staff at Rolling Stone magazine wrote in a detailed narrative on the event,[5] terming it in an additional follow-up piece "rock and roll's all-time worst day, December 6th, a day when everything went perfectly wrong."[7]Approximately 300,000 people attended the concert, and some anticipated that it would be a "Woodstock West."[8] Filmmakers Albert and David Maysles shot footage of the event and incorporated it into a documentary film titled Gimme Shelter (1970).Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Ludvig Josephson om Gimme Shelter, dokumentärfilmen av Albert och David Maysles, som följer Rolling Stones under deras USA-turné 1969. Lyssna på alla avsnitt i Sveriges Radio Play. Under senhösten 1969 gjorde Rolling Stones en turné i USA. Bandet planerade en gratiskonsert på den amerikanska västkusten i början av december, tillsammans med flera av den tidens stora band. Det skulle bli en upprepning av framgången med Woodstockfestivalen i augusti samma år, ett Woodstock West. Med Rolling Stones som huvudattraktion, som skulle kröna dagen med ett framträdande efter solnedgången. Dokumentärfilmarna, bröderna Albert och David Maysles, följde Stones USA-turné och filmen, "Gimme Shelter", skulle avslutas med den planerade friluftskonserten. Så blev det också men festivalen i Altamont blev ingen lycklig pendang till Woodstockfestivalen. Det mesta kom att gå fullkomligt fel. I filmen följer vi förberedelserna inför eventet, medvetna om hur det slutar, medan de inblandade inte gör det. Själva vetskapen om den obönhörliga utvecklingen förvandlar vad som skulle bli en dokumentär till ett ödesdrama.

Para algunos, soberbio; para otros, imprescindible. Luis Monge Malo nunca deja indiferente a nadie. Y en este episodio de El Pódcast de Webpositer lo demuestra cada minuto.  Mentor en ventas y cofundador de Entradium, en esta entrevista hace alarde de esa mezcla de experiencia, sarcasmo e indiscutible habilidad para vender que atrapa a miles de suscriptores con los provocadores emails de su newsletter diaria.  Quédate porque Monge Malo desmonta mitos ancestrales sobre la venta, habla del temor al riesgo o de cómo entender la conversación mental de tu cliente hace de ti el mejor vendedor.  Como la conversación dio para largo, resumimos todos los recursos que Luis Monge Malo comparte en el pódcast:  Newsletter >>  https://mongemalo.com/  IG >> @mongemalo Personaje inspirador: Alex Hormozi Libros favoritos: Publicidad científica y Mi vida en publicidad, Claude Hopkins Película preferida: Salesman, de Albert Maysles, David Maysles y Charlotte Zwein

Valentine's celebrations abound, but questions remain as to where single heiresses might be found.End of January – mid-February 1933, newspapers keep track of the romantic entanglements of multiple heirs and heiresses. Foremost, Barbara Hutton's recent romances and the love triangle with Prince Alexis Mdivani and Louise Van Alen make her the hot topic to follow for the elites, public, and press alike.Other people and subjects include: Doris Duke, Nanaline Duke, James HR Cromwell aka “Jimmy,” Eva Stotesbury, E.T. Stotesbury, John Jacob Astor VI aka “Jakey,” Princess Donna Cristina Torlonia, Prince Don Torlonia of Italy, Elsie Moore, Cobina Wright, Doris Duke, Huntington Hartford, Mary Lee Epling Hartford, Henrietta Hartford, Josephine Hartford Makaroff, Vadim Makaroff (Makarov), Vincent Astor, Helen Astor, Prince Serge Obolensky, Ava Alice Muriel Astor Obolensky Hofmannsthal, Raimund von Hofmannsthal, Princess Silvia Obolensky, Madeleine Talmadge Force Astor Dick, Enzo Fiermonte, Princess Roussadana “Roussie” Mdivani Sert, Jessie Woolworth Donahue, Woolworth Donahue, James “Jeem” Donahue, Aunt Marjorie Merriweather Post Hutton, E.F. Hutton, Dina Hutton Merrill, Morley Kennerley, Jean Kennerley, Lili Damita, Addison Mizner, Monkey Nettie, Raymond Guest, Prince Girolamo “Jerome” Rospigliosi, Marian Snowden, Count Emmanuele Borromeo d'Adda, James Blakeley, Nancy Randolph, Cholly Knickerbocker, Walter Winchell, Ed Sullivan, Princess Luba Obolensky, Princess Anna Obolensky, Prince Serge Troubetzkoy, Peppy D'Albrew, Helen Whitney Bourne, Lady Sylvia Hawkes Ashley, Baroness Maude von Thyssen, Waldorf-Astoria, Savoy Hotel, Whitemarsh Hall, El Mirasol, Mar-A-Lago, Whitehall, Chicago Art Institute, Chicago Historical Society, the Drake, The White Elephant Room, Harvard, Eiffel Tower, Bremen ocean liner, Broadway, Manhattan, San Francisco, Chicago, Palm Beach, Reno, Newark, Hawaii, Paris, Australia, New Zealand, Cupid, Cupid's arrow, Foreign Legion, cardiac affairs, first American Valentine card, Esther Howland, Hulu FX's Feud Season 2: Truman Capote vs. The Swans, Truman Capote, Leland Hayward, “Slim” Nancy Mary Raye Gross Hawkes Hayward Keith, Howard Hawks, Kenneth Keith – Baron of Castleacre, Pamela Digby Churchill Hayward Harriman, Winston Churchill, Randolph Churchill, William Harriman, Baron de Rothschild, President Clinton, U.S. Ambassador to France, Aly Khan, Stavros Niarchos, Winston Guest, C.Z. Guest, Cornelia Guest, Diego Rivera, Salvador Dali, Prince David – King Edward VIII – Duke of Windsor, Wallis Simpson – Duchess of Windsor, William “Bill” Paley, Barbara “Babe” Cushing Paley, Betsey Cushing Roosevelt, James Roosevelt, Franklin Roosevelt, Eleanor Roosevelt, Mary “Minnie” Cushing, CBS Radio & Television, Princess Caroline Lee Bouvier Radziwill, Jackie Bouvier Kennedy, Albert Maysles, David Maysles, Big Edie Beale, Lil' Edie Beale, Grey Gardens, romance and seduction, rebuilding life after divorce and heartbreak, modern dating culture and problems, aggressive sexual fantasies, projection, wishful thinking, misjudgment--Extra Notes / Call to Action:Come visit As The Money Burns via social media and share your own related storiesShare, like, subscribe--Archival Music provided by Past Perfect Vintage Music, www.pastperfect.com.Opening Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance BandsSection 1 Music: Shout for Happiness by Ray Noble & His Orchestra, Album The Great British Dance BandsSection 2 Music: I Wonder Where My Baby Is Tonight? by Jack Hylton, Album Charleston – Great Stars Of the 20sSection 3 Music: I Only Have Eyes for You by Freddy Gardner, Album EleganceEnd Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance Bands--https://asthemoneyburns.com/TW / IG – @asthemoneyburnsFacebook – https://www.facebook.com/asthemoneyburns/

George Christie BioGeorge Christie is a dynamic and uniquely informed Criminal Justice Expert who turned his life around after a four-decade stint as President of the Hells Angels Ventura County. He founded Felony Prison Consultants (www.felonyprisonconsultants.com) in order to share the information he gathered during his several incarcerations with those seeking real-life advice. Christie, whose show Outlaw Chronicles: Hells Angels premiered on The History Channel (Link to Trailer) in August to millions of viewers, has appeared as a guest advisor on numerous television shows including 60 minutes, Larry King, CBS News and most recently on CNN .The Altamont Speedway Free Festival was a counterculture-era rock concert held on Saturday, December 6, 1969, at the Altamont Speedway in northern California, between Tracy and Livermore. The event is best known for considerable violence, including the death of Meredith Hunter and three accidental deaths: two caused by a hit-and-run car accident and one by drowning in an irrigation canal. Four births were reported during the event.[2] Scores were injured, numerous cars were stolen and then abandoned, and there was extensive property damage.[3][4]The concert featured, in order of appearance: Santana, Jefferson Airplane, The Flying Burrito Brothers, and Crosby, Stills, Nash & Young, with the Rolling Stones taking the stage as the final act.[5] The Grateful Dead were also scheduled to perform, but declined to play shortly before their scheduled appearance due to the increasing violence at the venue.[6] "That's the way things went at Altamont—so badly that the Grateful Dead, prime organizers and movers of the festival, didn't even get to play," staff at Rolling Stone magazine wrote in a detailed narrative on the event,[5] terming it in an additional follow-up piece "rock and roll's all-time worst day, December 6th, a day when everything went perfectly wrong."[7]Approximately 300,000 people attended the concert, and some anticipated that it would be a "Woodstock West."[8] Filmmakers Albert and David Maysles shot footage of the event and incorporated it into a documentary film titled Gimme Shelter (1970).

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

Nu kommer prinsessan Diana att stå i centrum. Både hennes liv och den bilolycka som ledde till hennes död. Hur bra är sista säsongen av The Crown? Lyssna på alla avsnitt i Sveriges Radio Play. DN:S KRITIKER MALIN ULLGREN OCH P1 KULTURS EMMA ENGSTRÖM DISKUTERAR ”THE CROWN”Det handlar om de första fyra avsnitten av den sista säsongen, med nummer sex - det vill säga vad som finns tillgängligt hittills på Netflix.HUR REAGERAR MAN I STORBRITANNIEN PÅ DE NYA AVSNITTEN AV ”THE CROWN”?Sveriges Radios korrespondent i Storbritannien, Pontus Mattsson, berättar om mediers reaktioner på hur den här traumatiska tiden i kungahusets historia skildras i tv-serien.DANSKA SUCCÉFÖRFATTAREN SOLVEJ BALLES DEL TVÅ OM TIDEN SOM STÅR STILLP1 Kulturs litteraturkritiker Nina Asarnoj har läst andra delen, av sju, i Balles romansvit ”Om uträkning av omfång”. Den kretsar kring en kvinnlig huvudperson som upplever att tiden har stannat på ett visst datum - medan den snurrar på för övriga inblandade. Men hur håller man uppe intresset hos läsaren i bok efter bok med en så, bokstavligen, stillastående intrig? Boken är översatt till svenska av Ninni Holmqvist.MÖT DEN KONTROVERSIELLA FRANSKA FILMREGISSÖREN CATHERINE BREILLATVår filmkritiker Björn Jansson har träffat Catherine Breillat, som har många explicita sexscener i sina filmer - och sett hennes senaste film, som visas på Stockholms pågående Filmfestival. Där får Breillat även pris för sitt kontroversiella filmskapande.KLASSIKERN: KULTFÖRKLARAD FILM OM MOR OCH DOTTER I EN FÖRFALLEN VILLADe gjorde filmer som Salesmen från 1968, om dörrknackande bibelförsäljare, och Gimme Shelter från 1969 om Rolling Stones. Men det var dokumentärfilmen Grey Gardens från 1975 som gjorde bröderna Albert och David Maysles berömda. Deras film om Big Edie och Little Edie, mor och dotter, från den amerikanska societeten som bor i en stor och förfallen villa har fått kultstatus. Katarina Wikars berättar mer i veckans Klassiker.Programledare: Lisa Bergström.Producent: Mattias Berg.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of manipulation, religion. It's time for a new spin around the world of documentaries, and we're starting things off with a certified gem that David brings from his “important film” days. In 1966, door-to-door sales were almost completely dead, but that didn't stop Albert and David Maysles from centering their first-ever film on the subject. Their documentary was honed and crafted from 100 hours of footage and four men giving their best pitches for the Greatest Book Ever Written, and completely self-distributed. But the final result is one of the most incisive, thoughtful and honest portrayals of hustle committed to film, and a true breakthrough for documentary filmmaking. We discuss Salesman for our second ever Documentary series this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from the film Salesman, copyright 1968, 2001 Maysles Films Inc. All rights reserved. Excerpt taken from the piece “Orson's Theme” from the film F for Fake, written and composed by Michel Legrand. Copyright 1975 Les Films de L'Astrophore.

Here at Cinema60 we've embraced the endless task of putting a pin in the entirety of Sixties cinema. However, one area where we have been remiss in our duties is documentaries – a genre that truly came into its own during this decade. Films like Robert Drew's Primary and Jean Rouch & Edgar Morin's Chronicle of a Summer began to break from the popular “voice of God” expository mode, giving way to a greater variety of non-fiction documentary filmmaking techniques. By the end of the decade, the narrated newsreel style was relegated primarily to television, and movie theaters were home to the newer forms.In this episode, Cinema60 looks at documentaries in 1969 – examining just how far the genre had progressed in ten years. Using Bill Nichols landmark text Representing Reality (1991) as a guide for describing what documentary looked like at the time, Bart and Jenna delve into the wealth of styles the genre had splintered into and take a look at some of the most exceptional documentaries ever made.The following films are discussed:• A Married Couple (1969) Directed by Allan King Starring Billy Edwards, Antoinette Edwards, Bogart Edwards• Salesman (1969) Directed by Albert Maysles, David Maysles & Charlotte Zwerin Starring Paul Brennan, Charles McDevitt, James Baker• In The Year of the Pig (1969) Directed by Emile de Antonio Starring Lyndon B. Johnson, Ho Chí Minh, Robert McNamara• The Sorrow and the Pity (1969) Le chagrin et la pitié Directed by Marcel Ophüls Starring Helmut Tausend, Marcel Verdier, Alexis Grave• The Olympics in Mexico (1969) Olimpiada en México Directed by Alberto Isaac Starring Enrique Lizalde, Tommie Smith, John Carlos• Diaries, Notes and Sketches (also known as Walden) (1969) Directed by Jonas Mekas Starring Timothy Leary, Edie Sedgwick, Norman Mailer

For Video Edition, Please Click and Subscribe Here: https://www.youtube.com/live/jXHLKM1UDw4?feature=share The difference between successful people and very successful people is that very successful people say ‘no' to almost everything.” – Warren Buffett Jerry Torre fled an abusive father to tend to the neatly manicured lawns of socialite mansions in East Hampton, New York. He rode his bike a different way than usual one day and approached a house where the hedges in front were so overgrown that only two peaks of the gabled roof beyond it were visible. This house belonged to Mrs. Edith Ewing Bouvier Beale and her daughter Edith Bouvier Beale, aunt and first cousin, respectively, of Jacqueline Kennedy; descendants of a well-bred New York family, whose names were found in the Social Register and on invitations for coming out parties and debutante balls. Today, of course, Mrs. Edith Ewing Bouvier Beale and her daughter Edith Bouvier Beale are more commonly known as Big Edie and Little Edie. And they are known not for being in society, but rather for shunning all of society when high society wouldn't accept their eccentricities. They chose instead to hole up in a neglected East Hampton mansion for more than twenty-five years, only opening to door to a few guests, one of whom was Torre. They were made famous, along with Jerry, and that rotting mansion called Grey Gardens, by the 1975 Albert and David Maysles documentary of the same name that became a cult sensation. So grab some Cheddar Cheese and join Zachary Ford and I as we celebrate The Marble Faun of Grey Gardens. 

For Video Edition, Please Click and Subscribe Here: https://www.youtube.com/live/2-aKo25XPkg?feature=share The Marble Faun of Grey Gardens is Jerry Torre's touching and at times haunting memoir about his teenage days as caretaker of Grey Gardens, the now-celebrated mansion chronicled in the iconic documentary Grey Gardens and two feature-length films. The book, co-written with film historian Tony Maietta, is a behind-the-scenes look at "Big Edie" and "Little Edie" and their bizarre and reclusive life of squalor amidst the tremendous wealth of East Hampton, the family bond that developed between Jerry and them, and the day everything was turned upside down forever with the arrival of documentary filmmakers Albert and David Maysles. What begins as a teenager coming upon what he assumed was an old, abandoned house takes on new dimensions when suddenly Edie appears on the porch draped in a shower curtain with an apron tied around her head. "You must be the Marble Faun," she tells the stunned Jerry. Rather than chasing him away as he at first feared, she invites Jerry to meet her mother upstairs. So begins a strange and unusually close friendship with the two women as Jerry takes on the task of volunteer gardener of their estate, often sleeping nights in their living room and staying out of the way of mother-daughter arguments. The Marble Faun of Grey Gardens is Jerry's look back on the filming of Grey Gardens but also how the notoriety the movie achieved changed his life along with the Beales as their private world is shared with audiences everywhere. Tony Maietta arrived in Los Angeles in the 1990s as a fresh faced twenty-something, eager to discover the “classic' Hollywood that he fell in love with as a child. Alas, he was disappointed. 

Ein Blick von außen auf Japan und seine Büroangestellten, die Salarymen: Die costa-ricanische Künstlerin und Fotografin Allegra Pacheco stolpert im wahrsten Sinne des Wortes über die Angestellten, die in ihren Businessanzügen auf dem Bürgersteig schlafen, weil sie betrunken die letzte Bahn nach Hause verpasst. Im Debütfilm erklärt sie sich selbst und uns diese Welt und kommt den Menschen als blonde Fremde erstaunlich nah. Die Salarymen werden sichtbar zwischen Samuraiselbstbild, Loyalität, Überforderung, Alkoholismus, Enttäuschung und Entfremdung von ihren eigenen Familien. Lucas hat da einen sehr kritischen Blick und vermisst die Intensität und den Anspruch von SALESMAN von Albert und David Maysles und Charlotte Zwerin von 1969. Thomas sieht den Film eher als visuell anspruchsvolle Reportage, der es gelingt den Status Quo darzustellen und eine sehr gute Einführung in das Thema bietet, auch wenn daraus keine These folgt. Ein versöhnliches Streitgespräch direkt nach dem Film.

Hadley and Alyssa uncover the fascinating history of Grey Gardens, the grand East Hampton estate of Big Edie and Little Edie Beale—eccentric aunt and cousin of Jacqueline Kennedy Onassis and Lee Radziwill—that was made famous in a 1975 documentary by Albert and David Maysles. After spotlighting the iconic women and their home, the co-hosts unpack its gradual downfall: Over time, the property fell into disrepair and was overrun by cats and raccoons (and perhaps something else not of this realm?). Little Edie held onto the property until two years after her mother died in 1977. Big Edie's spirit is said to watch over the house. Among the believers is author and Washington Post journalist Sally Quinn, who purchased the home from Little Edie in 1979 and swears it's haunted. CREDITS Alyssa Fiorentino - Co-host & Producer Hadley Mendelsohn - Co-host & Producer Jessy Caron - Producer Jacob Stone - Sound Editor & Mixer Ian Munsell - Assistant Audio Engineer & House Beautiful Lead Video Editor Hadley Keller - Story Editor Learn more about your ad choices. Visit megaphone.fm/adchoices

Ludvig Josephson om "Gimme Shelter", dokumentärfilmen av Albert och David Maysles, som följer Rolling Stones under deras USA-turné 1969. Under senhösten 1969 gjorde Rolling Stones en turné i USA. Bandet planerade en gratiskonsert på den amerikanska västkusten i början av december, tillsammans med flera av den tidens stora band. Det skulle bli en upprepning av framgången med Woodstockfestivalen i augusti samma år, ett Woodstock West. Med Rolling Stones som huvudattraktion, som skulle kröna dagen med ett framträdande efter solnedgången. Dokumentärfilmarna, bröderna Albert och David Maysles, följde Stones USA-turné och filmen, "Gimme Shelter", skulle avslutas med den planerade friluftskonserten. Så blev det också men festivalen i Altamont blev ingen lycklig pendang till Woodstockfestivalen. Det mesta kom att gå fullkomligt fel. I filmen följer vi förberedelserna inför eventet, medvetna om hur det slutar, medan de inblandade inte gör det. Själva vetskapen om den obönhörliga utvecklingen förvandlar vad som skulle bli en dokumentär till ett ödesdrama.

Frame Fatale es un podcast sobre películas no canónicas conducido por Sebastián De Caro y Santiago Calori. En este vigésimo séptimo episodio, nos ocupamos de American Movie (1999) de Chris Smith y Sarah Price y, como nos suele ocurrir, hablamos de esa, pero terminamos hablando de todas estas otras: Home Movie (2001) de Chris Smith y Sarah Price, Coven (2000) de Mark Borchardt, Amateur (2011), Todo el año es navidad (2018), Los ganadores (2016), Construcción de una ciudad (2007) y Los visionadores (2021) de Néstor Frenkel, Grey Gardens (1975) y Salesman (1969) de Albert y David Maysles, Tarnation (2003) de Jonathan Caouette, Capturing the Friedmans (2003) de Andrew Jarecki, Z Channel: A Magnificent Obsession (2004) de Xan Cassavetes, The Act of Killing (2012) de Joshua Oppenheimer, La película infinita (2018), Los jóvenes muertos (2010) de Leandro Listorti, Las cinephilas (2017) de María Álvarez, Tiempos violentos (Pulp Fiction, 1994) de Quentin Tarantino, The Yes Men (2003) de Chris Smith y Sarah Price, Jim & Andy: The Great Beyond (2017) y Fyre (2019) de Chris Smith, L7: Pretend We're Dead (2016) de Sarah Price, Anvil (2008) de Sacha Gervasi... ... por si justo te dio paja anotar, y hasta nos dignamos a contestar preguntas de lxs oyentes. Podés comentar este episodio o agregar tu pregunta usando el hashtag #FrameFatale en Twitter. Frame Fatale volverá el lunes que viene. Quizás sea una pegada total suscribirte en donde sea que escuches tus podcasts y tener la primicia que de todas maneras, ya explicamos varias veces, es lo menos importante.

Hi y'all, we're coming at you this week with a filler episode of a list of our/your favourite documentaries and docuseries. We thought we'd provide you some content until we can bring our next episode.Cat People: Cat people come in all shapes and sizes, but they share a love for their enchanting, unique feline friends. This docuseries reveals their tales. Available on Netflix in all 3 countries.The Secret: An assembly of writers, philosophers and scientists share The Secret, which reputedly brought success to Plato, da Vinci, Einstein and other greats. Available on Netflix in US, Australia, and we THINK UKAbducted in Plain Sight: In this true crime documentary, a family falls prey to the manipulative charms of a neighbor, who abducts their adolescent daughter. Twice. Available on Netflix in all 3 countries.Paris Is Burning: Filmed in the mid-to-late 1980s, it chronicles the ball culture of New York City and the African-American, Latino, gay, and transgender communities involved in it. Available with the MOST obnoxious ads on watchdocumentaries.com and amazon prime in the US.Good Hair: Chris Rock hops around the world going from beauty salons to science labs to comb through the mystery of Black hair. Available to stream on Netflix in US and to rent on youtube.Don't Fuck with Cats: A shocking online video brings together a widespread internet group of animal lovers out for justice.  Available on Netflix in US, Australia, and we THINK UKThree Identical Strangers:  In 1980 New York, three young men who were all adopted meet each other and find out they're triplets who were separated at birth. Available to stream on Netflix in UK or to rent on youtube.Future People: The Family of Donor 5114: Director Michael Rothman follows a group of adolescents who discover they were conceived from the same sperm donor, forming an unlikely family.  Available in the US on discovery +. If you find it in UK or Australia, let us know.Grey Gardens: 1975 American documentary film by Albert and David Maysles. The film depicts the everyday lives of two reclusive, upper-class women. Available on YouTube.Wild Wild Country: When a controversial guru builds a utopian city in the Oregon desert, it causes a massive conflict with local ranchers. NetflixForensic Files: Eagle-eyed technical experts prove there is no such thing as a perfect crime as they assemble the pieces every criminal leaves behind. Available on Binge in Australia, Netflix in USA, and Amazon Prime in UKUnsolved Mysteries: This series uses re-enactments and interviews to retell the circumstances of, well, mysteries that are unsolved. NetflixJeffree Epstein: Filthy Rich: Stories from survivors fuel an examination of how convicted sex offender Jeffrey Epstein used his wealth and power to carry out his abuses. NetflixDark Tourist: Most tourists like to visit popular sites and attractions, like beaches, stadiums and museums, while on vacation. There is a subset of tourism, however, that involves visiting places that are historically associated with death and tragedy. NetflixCheer: In the small town of Corsicana, Texas, hard-driving head cheer coach Monica Aldama demands perfection from her team of competitive college athletes. NetflixInside Worlds Toughest Prisons: Netflix

Ludvig Josephson om "Gimme Shelter", dokumentärfilmen av Albert och David Maysles, som följer Rolling Stones under deras USA-turné 1969. Under senhösten 1969 gjorde Rolling Stones en turné i USA. Bandet planerade en gratiskonsert på den amerikanska västkusten i början av december, tillsammans med flera av den tidens stora band. Det skulle bli en upprepning av framgången med Woodstockfestivalen i augusti samma år, ett Woodstock West. Med Rolling Stones som huvudattraktion, som skulle kröna dagen med ett framträdande efter solnedgången. Dokumentärfilmarna, bröderna Albert och David Maysles, följde Stones USA-turné och filmen, "Gimme Shelter", skulle avslutas med den planerade friluftskonserten. Så blev det också men festivalen i Altamont blev ingen lycklig pendang till Woodstockfestivalen. Det mesta kom att gå fullkomligt fel. I filmen följer vi förberedelserna inför eventet, medvetna om hur det slutar, medan de inblandade inte gör det. Själva vetskapen om den obönhörliga utvecklingen förvandlar vad som skulle bli en dokumentär till ett ödesdrama.

Nikita Gale speaks with Alexander Provan about Tina Turner, Phil Spector, and the prospect of being heard without being controlled. Gale tells the story of the genre-busting song that Turner and Spector, the infamous producer, recorded in 1966, “River Deep—Mountain High”: a commercial failure but a creative breakthrough for Turner, who had previously been defined as an R&B singer and dominated by her abusive husband and bandmate, Ike Turner. Gale, an artist who has often engaged with Turner's music and biography, talks about the song as a symbol for how the music industry determines whose voices are amplified and whose are silenced. She observes that the segregation of cities in midcentury America was echoed on the airwaves, and the definition of audiences via racial and demographic categories has been upheld by record labels, Spotify, and the Grammys.Nikita Gale is an artist who lives in Los Angeles. In addition to co-hosting Medium Rotation, Gale has worked with Triple Canopy on a residency at the Hammer Museum and a related series of performances and publications. Gale's recent and upcoming projects include exhibitions at the California African American Museum (Los Angeles) and LAX Art (Los Angeles), a commissioned performance at MoMA PS1 (New York City), and the record and book INFINITE RESOURCES (Aventures, 2021).In this episode, Gale draws on her essay “Little Girls,” published by Triple Canopy last year, which describes “River Deep—Mountain High” as the zenith of Spector's “wall of sound” technique—and as “the sound of being together—or of being packed together, forced together.” (A reading of Gale's essay by Kaneza Schaal is available as a bonus episode.) Gale connects Turner's effort to transcend the role of R&B singer, Spector's desire to defy genre, and her own frustration as a teenager in Atlanta with radio stations that played rap for Black listeners and alt-rock for white ones. With Provan, she speaks about the production and reception of “River Deep—Mountain High” as part of the trajectory from “race records” in the 1920s to “urban contemporary” in the 1970s to the ongoing subsumption of most genres by pop music.In order of appearance, the music and other recordings played on this episode are: Tina Turner performing in Gimme Shelter (Maysles Films, 1970), directed by David Maysles, Albert Maysles, and Charlotte Zwerin; Tracy Chapman, “Fast Car,” Tracy Chapman (Elektra, 1988); Tyler, the Creator speaking to the press after winning Best Rap Album at the Grammy Awards, 2020; outtakes from the recording of “River Deep—Mountain High,” from Ike & Tina Turner, What You See Is What You Get (Big Fro, 2018); the Ronettes, “Walking in the Rain” (Philles, 1964); Jackie Brenston and his Delta Cats (a.k.a. Ike Turner and his Kings of Rhythm), “Rocket 88” (Chess, 1951); Tina Turner interviewed on “The Late Show with David Letterman,” May 31, 1984; Phil Spector inducting Ike & Tina Turner into the Rock & Roll Hall of Fame, 1991; interview with Phil Spector from All You Need Is Love: The Story of Popular Music (London Weekend Television, 1977), directed by Tony Palmer; Brian Gibson, dir., What's Love Got to Do with It (Touchstone Pictures, 1993).Medium Rotation is produced by Alexander Provan with Andrew Leland, and edited by Provan with Matt Frassica. Tashi Wada composed the theme music. Matt Mehlan acted as audio engineer and contributed additional music.Medium Rotation is made possible through generous contributions from the Andy Warhol Foundation for the Visual Arts and Nicholas Harteau. This season of Medium Rotation is part of Triple Canopy's twenty-sixth issue, Two Ears and One Mouth, which receives support from the Stolbun Collection, the Shelley & Donald Rubin Foundation, Agnes Gund, the National Endowment for the Arts, the New York State Council on the Arts, and the New York City Department of Cultural Affairs in partnership with the City Council.

In this episode, we're talking about Grey Gardens chosen by Lowri. Grey Gardens is a documentary following the daily lives of a mother and daughter who live with cats and raccoons in a crumbling mansion in East Hampton. Grey Gardens was directed by David Maysles, Albert Maysles, Ellen Hovde and Muffie Meyer, it was released in 1975. Come and join the fun!Grey Gardens (1975) is available on YouTubeNext Episode's Film: Soul (2020) available on Disney+ See acast.com/privacy for privacy and opt-out information.

May 2021 is going to shake, rattle, and roll! Jonathan (@berkreviews) and Corey (@coreyrstarr) have decided to join their love of movies and their love of music for this month choosing to watch Music Documentaries. May will feature The Dandy Warhols, The Rolling Stones, Tina Turner, and Nirvana as they catch up on some documentaries that they've missed while also diving deep into their love of music. Definitely not a month to miss out on. As far as the podcast goes, each episode features an in-depth review of the movie for the week. They begin with a spoiler-free review before diving in completely after the needed spoiler warning. However, before getting into the review of the week, Jonathan and Corey discuss what other movies they've seen since the last episode as well as anything else they feel like discussing. To help them decide which of the many films to watch each month they started creating themes for them all. Gimme Shelter (1970) Plot Synopsis: When three hundred thousand members of the Love Generation collided with a few dozen Hells Angels at San Francisco's Altamont Speedway, the bloody slash that transformed a decade's dreams into disillusionment was immortalized on this film. Directed by Albert Maysles, David Maysles, and Charlotte Zwerin Featuring: The Rolling Stones Mick Jagger Charlie Watts Keith Richards Mick Taylor Bill Wyman --- Send in a voice message: https://anchor.fm/berkreviewsmovieclub/message Support this podcast: https://anchor.fm/berkreviewsmovieclub/support

A study of Boston-area Bible salesmen was the breakthrough documentary of the brothers Albert and David Maysles. The Maysles brothers,…

The 1970 documentary by Albert and David Maysles that unfortunately also documented the Altamont Speedway violence. --- Send in a voice message: https://anchor.fm/drzeusfilmpodcast/message Support this podcast: https://anchor.fm/drzeusfilmpodcast/support

This week on Extra Milestone, I'm joined by returning guest and fellow cinephile Andrew McMahon to break down an enticing double feature spanning numerous decades and genres. First up is a cinematic and musical appetizer in the form of Gimme Shelter, the iconic Rolling Stones documentary directed by Charlotte Zwerin and the Maysles Brothers, chronicling the doomed Altamont Speedway concert outside of San Francisco in December of 1969, a tragic failure that swiftly signaled the downfall of the Counterculture Movement. After that, we jump forward to Michael Mann's Heat, a stylish and captivating crime drama featuring the first onscreen collaboration between Al Pacino and Robert De Niro, and which has maintained its legacy as one of the best films of its kind. NOTE: Andrew mistakenly refers to the late Brian Jones as 'Brian Taylor' early in the show due to a confusion with Mick Taylor, Jones's replacement band member. SHOW NOTES: 00:02:02 – Gimme Shelter 00:45:26 – Heat HOSTED BY: Sam Noland and Andrew McMahon MUSIC IN THIS EPISODE: "Gimme Shelter" by The Rolling Stones, "God Moving Over the Face of the Waters" by Moby   Support the show on Patreon: https://www.patreon.com/cinemaholics See omnystudio.com/listener for privacy information.

This week on Extra Milestone, I'm joined by returning guest and fellow cinephile Andrew McMahon to break down an enticing double feature spanning numerous decades and genres. First up is a cinematic and musical appetizer in the form of Gimme Shelter, the iconic Rolling Stones documentary directed by Charlotte Zwerin and the Maysles Brothers, chronicling the doomed Altamont Speedway concert outside of San Francisco in December of 1969, a tragic failure that swiftly signaled the downfall of the Counterculture Movement. After that, we jump forward to Michael Mann's Heat, a stylish and captivating crime drama featuring the first onscreen collaboration between Al Pacino and Robert De Niro, and which has maintained its legacy as one of the best films of its kind. NOTE: Andrew mistakenly refers to the late Brian Jones as 'Brian Taylor' early in the show due to a confusion with Mick Taylor, Jones's replacement band member. SHOW NOTES: 00:02:02 – Gimme Shelter 00:45:26 – Heat HOSTED BY: Sam Noland and Andrew McMahon MUSIC IN THIS EPISODE: "Gimme Shelter" by The Rolling Stones, "God Moving Over the Face of the Waters" by Moby   Support the show on Patreon: https://www.patreon.com/cinemaholics See omnystudio.com/listener for privacy information.

in which we discuss Woodstock (then and now), meeting John Lewis, and the relevance of Hendrix's Star Spangled Banner

The Maysles' brothers documentary Salesman had an immense influence on documentary filmmaking, and speaks about the pursuit of the American Dream. The post Salesman by Albert and David Maysles appeared first on Factual America.

What words are there to describe Baraka? Revolutionary. Breathtaking. Unifying. Harmonious. If it weren't for the character limit on these summaries, there'd be quite a few more. Connor and Riley talk about the implications of a movie with no dialogue and how this movies serves as the anthem for all of humanity. Follow us: Facebook: https://www.facebook.com/rulesoftheframe/ Instagram: https://www.instagram.com/rulesoftheframe Twitter: https://twitter.com/RulesOfTheFrame Films mentioned in this episode: Baraka (1992) | Dir. Ron Fricke Grey Gardens (1975) | Dir. Albert & David Maysles, Ellen Hovde, Muffie Meyer Koyaanisqatsi (1982) | Dir. Godfrey Reggio Samsara (2011) | Dir. Ron Fricke Interstellar (2014) | Dir. Christopher Nolan The Tree of Life (2011) | Dir. Terrence Malick The Jungle Book (1967) | Dir. Wolfgang Reitherman Barry Lyndon (1975) | Dir. Stanley Kubrick

Grey Gardens is a landmark documentary film in cinema verite, or direct cinema. The Maysles brothers took a unique approach to filmmaking, simply turning the camera on the Beales and letting them tell their own story. Is the film exploitative? Is it an accurate representation of the Beales women? Are there mental disorders involved? All is possible with the enigmatic women of Grey Gardens. Major spoilers for Grey Gardens Follow us: Facebook: https://www.facebook.com/rulesoftheframe/ Instagram: https://www.instagram.com/rulesoftheframe Twitter: https://twitter.com/RulesOfTheFrame Films mentioned in this episode: Grey Gardens (1975) | Dir. Albert & David Maysles, Ellen Hovde, & Muffie Meyer Exporting Raymond (2010) | Dir. Philip Rosenthal Citizen Ruth (1996) | Dir. Alexander Payne Grey Gardens (2009) | Dir. Michael Sucsy The Beales of Grey Gardens (2006) | Dir. Albert & David Maysles Primary (1960) | Dir. Robert Drew Salesman (1969) | Dir. Albert & David Maysles, Charlotte Zwerin Gimme Shelter (1970) | Dir. Albert & David Maysles, Charlotte Zwerin That Summer (2017) | Dir. Goran Olsson

This episode covers Spines #123 and #361 in the Criterion Collection, Grey Gardens by Albert and David Maysles, Muffie Meyer and Ellen Hovde, and The Beales of Grey Gardens by Albert and David Maysles, featuring special guest Nicole Smith. Listen to it here: REVIEW                        

When they were first tasked with making a documentary about the Bouvier family and their reminiscences of East Hampton, Albert and David Maysles soon realized that they were dealing with some “staunch” characters in Big Edie and Little Edie Bouvier Beale, and that these women would make much more interesting… The post Episode 085 – Grey Gardens appeared first on The Magic Lantern.

This wonderful documentary explores the daily lives of two aging, eccentric relatives of Jackie Kennedy Onassis. Edie Bouvier Beale and her mother, Edith, are the sole inhabitants of a 28 room Long Island estate. Filmmakers Albert and David Maysles allow the women to reveal their rich, engaging personalities. A riveting watch.

Documentary films about artists and the process of creating and selling art is the topic this week as we each discuss some of our personal favorites and review LEANING INTO THE WIND by Thomas Riedelsheimer. Bart and Chris also interview directors Tommy Pallotta and Femke Wolting about their new film MORE HUMAN THAN HUMAN, which discusses developments in the field of artificial intelligence.   Group Review Documentary: LEANING INTO THE WIND (2018) / UK, Germany (Director: Thomas Riedelsheimer) Screening in theatres now   Film Featured in Interview Portion: MORE HUMAN THAN HUMAN (2018) / Netherlands (Directors: Tommy Pallotta, Femke Wolting)      Other Films/Articles/Books Mentioned: Running Fence / 1977 (Director: Charlotte Zwerin, Albert Maysles, David Maysles) The Gates / 1977 (Director: Antonio Ferrara, Albert Maysles, David Maysles, and Matthew Prinzing) That’s What They Call Art (video) Extraordinary Ordinary People / 2017 (Director: Alan Governar) Finding Vivian Maier / 2014 (Director: John Maloof, Charlie Siskel) In the Realms of the Unreal / 2004 (Director: Jessica Yu) Cutie and the Boxer / 2013 (Director: Zachary Heinzerling) F for Fake / 1977 (Director: Orson Welles) Every Frame a Painting (youtube video) Exit Through the Gift Shop / 2010 (Director: Banksy) My Kid Could Paint That / 2007 (Director: Amir Bar-Lev) Long Strange Trip / 2017 (Director: Amir Bar-Lev) Art & Craft / 2014 (Director:Sam Cullman, Jennifer Grausman, Mark Becker) Art of the Steal / 2009 (Director:Don Argott) My Architect / 2003 (Director: Nathaniel Kahn) Helvetica / 2007 (Director:Gary Hustwit) Objectified / 2009 (Director:Gary Hustwit) Urbanized / 2011 (Director:Gary Hustwit) Crumb / 1994 (Director: Terry Zwigoff) Heaven is a Traffic Jam on the 405 / 2016 (Director:Frank Stiefel) Rivers and Tides / 2002 (Director: Thomas Riedelsheimer) The Last Hijack / 2014 (Directors: Tommy Pallotta, Femke Wolting) Conversations with People Who Hate Me (podcast) The Rider / 2018 (Director: Chloé Zhao) Songs My Brothers Taught Me / 2015 (Director: Chloé Zhao) Crime + Punishment / 2018 (Director: Stephen Maing)   Timestamps: 01:45 - Intro discussion of Documentaries about Art 20:48 - Group Review of LEANING INTO THE WIND 33:07 - Christopher Llewellyn Reed interviews Tommy Pallotta and Femke Wolting of MORE HUMAN THAN HUMAN 47:48 -  Doc Talk   Hammer to Nail Links by Christopher Llewellyn Reed: http://www.hammertonail.com/reviews/leaning-into-the-wind-review/ http://www.hammertonail.com/film-festivals/more-human-review/   Website/Email: www.fogoftruth.com disinfo@fogoftruth.com   Credits: Artwork by Hilary Campbell Intro music by Jeremiah Moore Transitional music by BELLS (thanks to Christopher Ernst)

In this episode of the Bowery Boys, Greg digs into the back story of one of the most famous documentaries ever made – Grey Gardens. The film, made by brother directing team Albert and David Maysles, looks at the lives of two former society women leading a life of seclusion in a rundown old mansion in the Hamptons. Those of you who have seen the film – or the Broadway musical or the HBO film inspired by the documentary – know that it possesses a strange, timeless quality. Mrs Edith Bouvier Beale (aka Big Edie) and her daughter Miss Edith Bouvier Beale (aka Little Edie) live in a pocket universe, in deteriorating circumstances, but they themselves remain poised, witty, well read. But if our histories truly make us who we are, then to understand these two extraordinary and eccentric women, we need to understand the historical moments that put them on this path. And that is a story of New York City – of debutante balls, Fifth Avenue, Tin Pan Alley and the changing roles of women. And it’s a story of the Bouviers, who represent here the hundreds of wealthy, upwardly mobile families, trying to maintain their status in a fluctuating world of social registers and stock market crashes. This is story about keeping up appearances and the consequences of following your heart. FEATURING: A very special guest! The Marble Faun himself -- Jerry Torre, who swings by the show to share his recollection of these fascinating women. boweryboyshistory.com Support the show.

Jacob and Doug dig in the the nonfiction cinema that has made an impact on their lives...add scotch to taste, and enjoy. Documentaries covered include: Quick Mentions 00:02:16 THE ACT OF KILLING (Joshua Oppenheimer & Anonymous, 2012) KATE PLAYS CHRISTINE (Robert Greene, 2016) BEST WORST MOVIE (Michael Paul Stephenson, 2009) CITIZENFOUR (Laura Poitras, 2014) I AM NOT YOUR NEGRO (Raoul Peck, 2016) STORIES WE TELL (Sarah Polley, 2012) Various Chris Marker films CAMERAPERSON (Kirsten Johnson, 2016) QUEST (Jonathan Olshefski, 2017) DINA (Antonio Santini & Dan Sickles, 2017) NZ Documentaries 00:11:49 PATU! (Merata Mita, 1983) ON AN UNKNOWN BEACH (Adam Luxton & Summer Agnew, 2016) THE GROUND WE WON (Christopher Pryor, 2015) Various Florian Habicht films TICKLED (David Farrier & Dylan Reeve, 2016) OUT OF THE MIST (Tim Wong, 2015) CINEMA OF UNEASE (Sam Neill & Judy Rymer, 1995) Notable Directors 00:26:41 Errol Morris Les Blank Werner Herzog Agnès Varda Frederick Wiseman Top Tens 01:04:14 THE CENTURY OF THE SELF (Adam Curtis, 2002) HIGHWAY (Sergei Dvortsevoy, 1999) THE EMPEROR'S NAKED ARMY MARCHES ON (Kazuo Hara, 1987) LOST IN LA MANCHA (Keith Fulton & Louis Pepe, 2002) CUADECUC, VAMPIR (Pere Portabella, 1971) MANUFACTURED LANDSCAPES (Jennifer Baichwal, 2006) THE SALT OF THE EARTH (Juliano Ribeiro Salgado & Wim Wenders, 2014) BLIND LOVES (Juraj Lehotsky, 2008) STOP MAKING SENSE (Jonathan Demme, 1984) DEAR ZACHARY: A LETTER TO A SON ABOUT HIS FATHER (Kurt Kuenne, 2008) F FOR FAKE (Orson Welles, 1973) WE LIVE IN PUBLIC (Ondi Timoner, 2009) ALAMAR (Pedro González-Rubio, 2009) ONLY THE YOUNG (Elizabeth Mims & Jason Tippet, 2012) THE FIVE OBSTRUCTIONS (Lars von Trier & Jørgen Leth, 2003) ROOM 237 (Rodney Ascher, 2012) 5 FILMS ABOUT CHRISTO & JEANNE-CLAUDE (Albert & David Maysles et al, 2004) LEVIATHAN (Lucien Castaing-Taylor & Verena Paravel, 2012) MAN WITH A MOVIE CAMERA (Dziga Vertov, 1929) / DISORDER (Weikai Huang, 2009) TAXI (Jafar Panahi, 2015) / MAIDAN (Sergei Loznitsa, 2014)

This week we have slightly divergent feelings about the time commitment required to watch a six-part series on the Grateful Dead. Plus, Bart interviews Ellen Goldfarb of DARE TO BE DIFFERENT. Group Review Documentary: LONG STRANGE TRIP (2017) / (Director: Amir Bar-Lev / Producers: Alex Blavatnik, Ken Dornstein, Eric Eisner, Nick Koskoff, Justin Kreutzmann) Available to stream on Amazon   Film Featured in Interview Portion: DARE TO BE DIFFERENT (2017) / (Director / Producer: Ellen Goldfarb)   Other Documentaries Mentioned: Gaga: Five Foot Two / 2017 (Director: Chris Moukarbel) Stop Making Sense / 1984 (Director: Jonathan Demme) Bob Dylan: Don’t Look Back / 1967 (Director: D.A. Pennebaker) Searching for Sugar Man / 2012 (Director: Malik Bendjelloul) What Happened, Miss Simone? / 2015 (Directors: Liz Garbus, Hal Tulchin) Gimme Shelter / 1970 (Directors: Albert Maysles, David Maysles, Charlotte Zwerin) 20 Feet From Stardom / 2013 (Director: Morgan Neville) Buena Vista Social Club / 1999 (Director: Wim Wenders) Don't Stop Believin': Everyman's Journey / 2012 (Director: Ramona S. Diaz) Motherland / 2017 (Director: Ramona S. Diaz) What's Happening! The Beatles in the U.S.A. / 1964 (Directors: Albert Maysles, David Maysles) Monterey Pop / 1968 (Director: D.A. Pennebaker) David Bowie: The Last Five Years / 2017 (Director: Francis Whately) Cobain: Montage of Heck / 2015 (Director: Brett Morgan) Kurt & Courtney / 1998 (Director: Nick Broomfield) Song to Song / 2017 (Director: Terrence Malick) Bride of Frankenstein / 1935 (Director: James Whale) The Tillman Story / 2010 (Director: Amir Bar-Lev) Happy Valley / 2014 (Director: Amir Bar-Lev) Lemon / 1969 (Director: Hollis Frampton) Marley / 2012 (Director: Kevin Macdonald) Cassette: A Documentary Mixtape  / 2016 (Director: Zach Taylor) Sun Ra: A Joyful Noise / 1980 (Director: Robert Mugge) Too Funny to Fail: The Life and Death of the Dana Carvey Show / 2017 (Director: Josh Greenbaum) Conspiracy Theory Rocks / 1998 (Creator: Robert Smigel)   Timestamps: 12:41 - Group Review of LONG STRANGE TRIP 26:47 - Interview w Ellen Goldfarb, dire 40:20 - Doc Talk   Website/Email: www.fogoftruth.com disinfo@fogoftruth.com   Credits: Artwork by Hilary Campbell Intro music by Jeremiah Moore Transitional music by BELLS (thanks to Christopher Ernst)

Pour ce deuxième épisode du podcast, j'ai choisi de vous parler d'une de mes chansons préférées de tous les temps : "Wild Horses" des Rolling Stones, qui se trouve sur l'album Sticky Fingers (1971). Je vous raconte l'histoire de cette chanson, son enregistrement, ses paroles, et la façon dont je suis tombée sous son charme la première fois que je l'ai entendue, à 13 ans. Enfin, je vous en offre une version enregistrée à l'arrache dans mon salon, en une prise (j'ai juste ajouté une piste de chœurs, pas pu m'en empêcher). Soyez indulgents, ça ne sonne pas exactement comme du Phil Spector… Pour voir le film documentaire "Gimme Shelter", réalisé par David Maysles, Albert Maysles et Charlotte Zwerin : http://www.youtube.com/watch?v=rEw_FuglGVU Livre "Rocks Off, l'histoire des Rolling Stones en 50 titres", par Bill Janovitz : http://www.payot-rivages.fr/rivages/livre/rocks-9782743633356

Ok. We at I WANT YOU TO WATCH THIS implore you to join us in the madness! We have our very first listener suggested episode!!! Listener Caroline gives us the 1975 documentary Grey Gardens, which is about two of Jackie Kennedy's relatives, who ahhh, have a few screws missing. After watching it, I think we lose a few as well! We watched this one together, and recorded immediately afterwards making for a VERY fun episode. Grey Gardens (1975) Directed by: Albert Maysles, David Maysles, Ellen Hovde, Muffle Meyer Starring: Edith Bouvier Beale and Edith 'Little Edie' Bouvier Beale ****SPOILERS**** ****EXPLICIT**** Follow the podcast on Twitter.com @IWYTWT as well as all of us! Dennis is @TheDBux, Cullen is @CullenMunch and Craig is @Catharticus. You can find all of our episodes on soundcloud.com/IWYTWT. Write us a review! Share us with friends!! Have a movie you want us to do? message us on twitter @IWYTWT

This week on StoryWeb: Albert and David Maysles’s film Grey Gardens Watching the 1975 documentary film Grey Gardens is like slowing down to watch an accident in the next lane over. You know you shouldn’t, but you simply can’t help yourself. And if you’re really a rubbernecker like me (and apparently like tens of thousands of other Americans), you line up to watch the 2009 HBO Jessica Lange/Drew Barrymore biopic, which provides the backstory to the original film. Clearly, the 1975 documentary filmmakers Albert and David Maysles were on to something. What is it about Big Edie and Little Edie, the mother-daughter duo who languished in squalor as their formerly grand Hamptons estate, Grey Gardens, fell into disrepair? Why do we want to watch mentally ill, codependent hoarders living out the exact opposite of The Lifestyles of the Rich and Famous? The Kardashians, they’re not. The Maysles brothers’ idea for a documentary was spurred initially by their interest in the Bouvier family and then by national reports of the deplorable conditions in which the two women lived. In the summer of 1972, Big Edie’s niece Jacqueline Onassis intervened in an effort to make the house more habitable. When the Maysles brothers approached the two women – Edith Ewing Bouvier Beale and her daughter, Edith Bouvier Beale – about making the film, both Big Edie and Little Edie readily agreed. Ever ones for performing in the spotlight, the two women immediately fell in line, presumably because they thought this could finally be Little Edie’s big break into show business. It’s true that Grey Gardens was once a truly lavish estate, a fourteen-room mansion that could hold its own among the other Long Island estates in the Hamptons. And yes, it’s true that Big Edie was aunt to Jacqueline Bouvier Kennedy Onassis and had fond childhood memories of her niece. And it’s even true that Jackie came to Grey Gardens to visit Big Edie and Little Edie after their surroundings had begun to rot around them and that she stepped in with financial assistance to help rectify the situation. The Edies’ pretensions were grounded – at least in part – in some reality. But they also fancied themselves performers, with their shared sights set on Little Edie making it as a showgirl. When Little Edie decides at the last minute not to pursue her audition with Max Gordon, a successful Broadway producer, Big Edie blames her severely for blowing her big chance – or perhaps Little Edie accuses Big Edie of pressuring her to move back to Grey Gardens. It’s something they never quite resolve between themselves, but both ultimately believe that Little Edie lost her chance at the big time. Both women obviously have a flair for the dramatic, and Little Edie enjoys getting up outlandish costumes from scraps of clothing and fabric she finds around Grey Gardens. It is very much as if she is a four-year-old playing dress-up with the grown-up clothes and shoes. And even though she is in her thirties when she does this, she is – in her peculiar Little Edie way – provocative, charming, compelling. We can’t help but watch. If watching the original documentary and the HBO film isn’t enough for you, you might want to visit Grey Gardens Online, a website devoted to Big Edie and Little Edie. You should also check out Sara and Rebekah Maysles’s book Grey Gardens, which includes illustrations, photographs, film stills, production notes, and the like along with transcripts of the two women’s stories. The book comes with a 60-minute CD, which contains conversations with the Beales and their friends, songs and poetry recited by the two Edies, and audio of the Beales during and after watching the film for the first time. The New York Times provides an interesting account of the property itself, noting that Little Edie sold the mansion in 1979 to Sally Quinn and Benjamin C. Bradlee, former editor of The Washington Post. Quinn and Bradlee loved to entertain, and their summers at Grey Gardens found them hosting the likes of Lauren Bacall and Norman Lear. And if you visit the “5 Things You Didn’t Know About the Classic Documentary Grey Gardens,” you’ll even learn that, for a cool $250,000, you can rent out the restored mansion for the summer. HBO’s official Grey Gardens page has links to short video clips and stills from the film, including a featurette on the making of the 2009 film. Visit thestoryweb.com/Maysles for links to all these resources and to watch clips from the original 1975 documentary. Then watch some of the backstory from the 2009 HBO film, when the two Edies and Grey Gardens were in their prime.

Chay talks about feeling down. (Taking a small break whilst I move and reorganise and thought I'd end for the time being on a nice down note, like all the best films) Films mentioned in order: Salesman (Albert Maysles, David Maysles & Charlotte Zwerin, 1968) In the Mood for Love (Wong Kar-Wai, 2000) 8 1/2 (Federico Fellini, 1963) An Autumn Afternoon (Yasujirô Ozu, 1962) News from Home (Chantal Ackerman, 1977) Symbiopsychotaxiplasm: Take One (William Greaves, 1968) Persona (Ingmar Bergman, 1966) Juno (Jason Reitman, 2007)

In the mid-1970s Albert and David Maysles – first-generation sons of Jewish immigrants to the US from Eastern Europe – made Grey Gardens, one of their most famous films. The documentary told the story of a mother and daughter from the highest echelons of US Society, Edith and Edie Bouvier Beale, who were the aunt and cousin of Jacqueline Kennedy Onassis. The two Bouvier Beale women were discovered living as reclusive social outcasts in Grey Gardens, a dilapidated mansion overrun by cats that was so squalid the Health Department deemed it “unfit for human habitation”. Now another creative Jewish pair, composer Scott Frankel and lyricist Michael Korie, together with book writer Doug Wright, have brought their multi-award-winning musical based on the film to London.

The Criterion Collection, the last vestige of truly collectible DVD and Blu-Ray movies in existence. These are well produced, fancy pants editions of important and interesting films for the discerning film lover. We continue our journey through Jim's collection of movies with... Week 15: Gimme Shelter Spine Number: 99 Director: Albert and David Maysles and Charlotte Zwerin Genre: Documentary It can be argued, quite reasonably, that the documentary is the oldest form of film making in existence. The first films ever made were simply documenting things that happened every day. Be it a train pulling into a station or women leaving their jobs at a factory film began by simply recording things that happened. The early Thomas Edison films were largely recreations of things that regular people wouldn't have had a chance to see in person. From Annie Oakley to Jim Corbett, people would go and simply do what they were known for and a larger segment of the public would be able to see it. Over the years, this genre has been corrupted and perverted. Simply presenting something as it occurred was no longer sufficient, people began using the format to prove a point or propagate an idea. The simple act of showing something wasn't enough. People had to manipulate the events to support a thesis or to sensationalize the events so they would reach a wider audience. The framing and presentation of "reality" became another tool for persuasion. However, there were some people who had an ethical commitment to keeping this form of film making pure. Few people were as dedicated to this idea than the Maysles brothers. They were dedicated to the idea of simple observation and presenting what they observed. Their films "Grey Gardens" and "Salesman" in many ways set the standard for American documentary film making.  But it was their film "Gimme Shelter," detailing the Rolling Stones disastrous free concert at the Altamont Motor Speedway that went above and beyond what the genre had done in the past. In addition to documenting the complete lack of planning that went into the show, it highlighted the total lack of organization at the grounds, and ultimately kept a man from going to jail for murder. This film gives a fly on the wall look at one of the most important cultural moments in American history, the moment where, as many would say, the '60's died. It's simple, sparse, direct, and to the point. This is documentary film making at its purest. Jim will be out of town next week for a wedding, but we are not leaving you with nothing. Beginning on Thursday the 5th we will be presenting another week with The Life Masters, so get ready for some life coaching, because you are gonna get it. In two weeks: Spine Number 108: The Rock by Michael Bay (yes, that "The Rock.") Also, check this out. http://fantasymovieleague.com/ Looks like Summer Movie League has officially become Fantasy Movie League. It looks quite fun. Here's how it works. You have an 8 screen theater. Every week you pick movies and have a budget/salary cap you have to stay under. Then you compete against other theaters in your league. It's fantasy football for movie people. Our league is Film Thugs 2015 and the password is Porterhouse. And remember, you can be a part of the show any time you wild like. How's that? All you have to do is call or e-mail us. If you live in the US, or any place that makes calling the US easy, just dial 512-666-RANT and leave us a voicemail. We will read the Google Voice transcript and play your message. It's both funny AND informative. If you live outside the US you can call us on Skype at The_Film_Thugs. You can leave a message, or someone might actually answer. E-mail us at thefilmthugs@gmail.com and we will read/play whatever you send us, or you can e-mail thugquestions@gmail.com to be part of  an upcoming "Ask the Film Thugs" show, where we answer questions on any subject without having heard them first. Also, we are on twitter @thefilmthugs and on Facebook and Vine. You can also click on one of our sponsor links below and THEY will pay us. That's right. You won't have to pay a PENNY extra, and Amazon/Onnit/Teefury will give us a little taste. Also, be sure to check back often for our new endeavor The Life Masters, where we answer questions to other advice columnists. Thanks for listening, and until next week... Jim out.

On Episode 11 Paco and George caught up with musician Dan Deacon right before his set at Outside Lands Music Festival, and we chatted about the infamous and iconic doc Gimme Shelter (1970 film). The original location for the famed concert was right where this interview took place! Gimme Shelter is a 1970 documentary film directed by Albert and David Maysles and Charlotte Zwerin chronicling the last weeks of The Rolling Stones' 1969 US tour which culminated in the disastrous Altamont Free Concert. Great talk!Dan Deacon Twitter: ebaynetflixFollow us on:Twitter: @supdocpdocastInstagram: @supdocpodcastFacebook: @supdocpodcastsign up for our mailing listAnd you can show your support to Sup Doc by donating on Patreon.**Sup Doc has created a Patreon page for those that can help out. We will also be providing unique Sup Doc content for our contributors. If now is not good for you we always appreciate you listening and spreading the word about Sup Doc!

Check out this film's post @ MovieJeff.com here » https://themoviereviewshow.blogspot.com/1975/09/grey-gardens.html and leave a comment Grey Gardens is a 1975 American documentary film by Albert and David Maysles. The film depicts the everyday lives of two reclusive, upper-class women who have racoons as pets. Follow the show... @ Twitter https://twitter.com/MovieJeffDotCom @ YouTube https://www.youtube.com/channel/UCpONT6Yp423GzUrHDDqBL3g @ LetterBoxd https://letterboxd.com/jeffmovie AND, FOR AS LITTLE AS $1/MONTH » https://patreon.com/dad SUPPORT THIS SHOW AND OTHER VENTURES FROM HTTPS://WWW.MYAMERI.CA INDUSTRIES • THANK YOU --- Send in a voice message: https://anchor.fm/the-movie-review-show/message Support this podcast: https://anchor.fm/the-movie-review-show/support

Los hermanos Maysles mostraron muchas cosas, a veces volviéndose invisibles para las personas retratadas, a veces convirtiéndose en el público que sus sujetos necesitaban para expresarse. De una u otra manera, el resultados son obras expresivas, algo trabajosas y con un nivel de exposición de las personas que llega a parecer inverosímil, algo que ni siquiera un buen guión de ficción se atrevería a mostrar. Más allá de eso, los Maysles siempre intentaron -y casi siempre pudieron- retratar personas moviéndose en un mundo que ellas mismas crearon, aunque no siempre estén cómodas en él. De eso y más hablamos en el podcast.

Nate and Ryan welcome special guest Erick Fortmann to discuss the seminal documentary Grey Gardens, directed by the late Albert and David Maysles.  The Maysles established themselves as pioneers of documentary in a time when documentaries were the stuff of newsreels and educational film.  They made their name with 1968’s Salesman and… Continue reading The post Ep 23: Grey Gardens appeared first on Can We Still Be Friends? Podcast.

Dave and Alonso discuss Maggie Smith's tea prep tips as a way to avoid discussing Maggie Smith's movie. Like our Facebook page, follow us @linoleumcast, subscribe (and review us) at iTunes, and this is crazy. Linoleum Knife is brought to you by Audible is the Internet's leading provider of spoken word entertainment, information and educational programming. For a free audiobook of your choice and a free 30-day membership, visit AudiblePodcast.com/linoleum Dave's DVD pick of the week: HUMAN RESOURCES Alonso's DVD pick of the week: ROBOT AND FRANK