English musician and composer of electronic music
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"I'm an individualist." The Throbbing Gristle co-founder on extreme experimentation, difficult women and her new album, 2t2. As long as underground culture has existed, there have been pockets of resistance—people at the fringes who challenge societal expectations and create work that pushes against societal norms. Cosey Fanni Tutti is one of them. She's a founding member of the defunct British band Throbbing Gristle, a visual artist, pornographic model, solo musician and writer. Tutti, now 73, grew up in the English city of Hull, where she met like-minded performer Genesis P-Orridge. Together, they formed Throbbing Gristle and the collective COUM. Their activations and installations were, unequivocally, shocking. In one show, Tutti urinated on the audience as she swung naked across the stage. In another, the band performed alongside framed displays of her used menstrual pads. Throbbing Gristle's extreme experimentations flirted with the erotic and the grotesque, pushing the limits of sound and frequency. Their outsider approach to making music—and their erasure of the boundary that separates life and art—went on to influence a generation of creatives across genres, especially in early techno. After Throbbing Gristle disbanded, Tutti performed as synth pop duo Chris & Cosey with her husband and ex-band member, Chris Carter. Her work as a solo artist has blossomed in recent years. She published her memoir, Art Sex Music, in 2017. After turning 66, she also wrote two full-length albums and wrote another book, Re:Sisters, which explores the life and legacy of the late composer Delia Derbyshire who faced adversity as a woman in a male-dominated world, like Tutti herself. In this Exchange with with Chloe Lula, Tutti discusses her dedication to living alternatively, expressing herself by any means possible and her forthcoming album, 2t2, composed during a time of extreme difficulty in her personal life. The underground icon also talks about mastering Mongolian throat singing and her upcoming solo art exhibition in New York, which will display the pornographic photos she took as a model in her 20s. Listen to the episode in full.
"I'm an individualist." The Throbbing Gristle co-founder on extreme experimentation, difficult women and her new album, 2t2. As long as underground culture has existed, there have been pockets of resistance—people at the fringes who challenge societal expectations and create work that pushes against societal norms. Cosey Fanni Tutti is one of them. She's a founding member of the defunct British band Throbbing Gristle, a visual artist, pornographic model, solo musician and writer. Tutti, now 73, grew up in the English city of Hull, where she met like-minded performer Genesis P-Orridge. Together, they formed Throbbing Gristle and the collective COUM. Their activations and installations were, unequivocally, shocking. In one show, Tutti urinated on the audience as she swung naked across the stage. In another, the band performed alongside framed displays of her used menstrual pads. Throbbing Gristle's extreme experimentations flirted with the erotic and the grotesque, pushing the limits of sound and frequency. Their outsider approach to making music—and their erasure of the boundary that separates life and art—went on to influence a generation of creatives across genres, especially in early techno. After Throbbing Gristle disbanded, Tutti performed as synth pop duo Chris & Cosey with her husband and ex-band member, Chris Carter. Her work as a solo artist has blossomed in recent years. She published her memoir, Art Sex Music, in 2017. After turning 66, she also wrote two full-length albums and wrote another book, Re:Sisters, which explores the life and legacy of the late composer Delia Derbyshire who faced adversity as a woman in a male-dominated world, like Tutti herself. In this Exchange with with Chloe Lula, Tutti discusses her dedication to living alternatively, expressing herself by any means possible and her forthcoming album, 2t2, composed during a time of extreme difficulty in her personal life. The underground icon also talks about mastering Mongolian throat singing and her upcoming solo art exhibition in New York, which will display the pornographic photos she took as a model in her 20s. Listen to the episode in full.
Episode 171 Chapter 30, EMS Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 30, EMS Analog Synthesizers from my book Electronic and Experimental music. Playlist: MUSIC MADE WITH EMS ANALOG SYNTHESIZERS Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1. Delia Derbyshire, “Dance From ‘Noah' " (1970). Composed for a television program. Used the EMS VCS3. 00:55 01:44 2. Selections from the demonstration disc, EMS Synthi And The Composer (1971). Excerpts from Harrison Birtwistle, “Medusa,” Peter Zinovieff, “January Tensions,” and Tristram Cary, “Continuum.” 06:15 02:34 3. Peter Zinovieff and Harrison Birtwistle, “Chronometer” (1971–2). Featured both the EMS Synthi VCS3 and modified sound recordings of the ticking of Big Ben and the chimes of Wells Cathedral clock. 24:23 08:48 4. Mike Hankinson, “Toccata And Fugue In D Minor” (Bach) (1972) from The Classical Synthesizer. South African record realized using the Putney (EMS) VCS3. 07:04 33:06 5. Electrophon, “Arrival of the Queen of Sheba” (1973) from In a Covent Garden (1973). Electrophon Music was described as the studio where the electronics were recorded and produced in the UK by Radiophonic musicians Brian Hodgson, Dudley Simpson. A variety of synthesizers were used including the obscure EMS Synthi Range, a multi-effect instrument. 03:04 40:10 6. The Eden Electronic Ensemble, “Elite Syncopations” (Joplin) (1974) from The Eden Electronic Ensemble Plays Joplin. Realized using the EMS VCS3 and Minimoog synthesizers. 04:53 43:12 7. Peter Zinovieff, “A Lollipop For Papa” (1974). Realized with the EMS Synthi AKS. 06:26 48:04 8. Peter Zinovieff and Hans Werner Henze, “Tristan” (Long Section) (1975). Tape accompaniment realized with the EMS Synthi AKS. 07:40 54:40 9. J.D. Robb, “Poem of Summer” (1976) from Rhythmania And Other Electronic Musical Compositions. Realized using the EMS Synthi AKS. 02:04 01:02:18 10. J.D. Robb, “Synthi Waltz” (1976) from Rhythmania And Other Electronic Musical Compositions. Realized using the EMS Synthi AKS and Synthi Sequencer 256 (digital sequencer). 01:52 01:04:24 11. Bruno Spoerri, “Hymn Of Taurus (Taurus Is Calling You!)” (1978) from Voice Of Taurus. Realized using a host of equipment, including a few EMS instruments: EMS Synthi 100, EMS VCS3, EMS AKS, EMS Vocoder 2000, Alto Saxophone with EMS Pitch-to-voltage Converter & Random Generator, plus the Lyricon, Prophet-5 Polyphonic Synthesizer, ARP Omni & Odyssey, Minimoog, Moog Taurus Bass Pedal, RMI Keyboard Computer, Ondes Martenot , Vako Polyphonic Orchestron, Bode Frequency Shifter, AMS Tape Phase Simulator, Echoplex, Roland Echo, Roland Rhythm Box, Bruno Spoerri. 02:48 01:06:16 12. Henry Sweitzer, “Open Windows” (1979) from Te Deum. Realized with the EMS Synthi AKS. 11:11 01:09:02 13. Eduard Artemyev, Yuri Bogdanov, Vladimir Martynov, “Le Vent Dans La Plaine,” “Io Mi Son Giovinetta,” and “Why Ask You?” (1980) from Metamorphoses. Composed and realized using the EMS Synthi 100, a large synthesizer unit combining several EMS3 models and connecting circuitry. 08:38 01:20:14 14. Jean-Michel Jarre, “Les Chants Magnétiques,” (side 1) (1981) from Les Chants Magnétiques. Portions realized with the EMS Synthi AKS, EMS Synthi VCS3, and EMS Vocoder 1000. 17:58 01:28:52 15. Alessandro Cortini and Merzbow, “AAMC” (2017) from Alessandro Cortini And Merzbow. Recent recording with all sounds realized using a vintage EMS Synthi AKS. 04:49 01:46:40 Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.
Episode 162 Chapter 23, Radiophonic Music in the United Kingdom. Works Recommended from my book, Electronic and Experimental Music This episode of the podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 23, Radiophonic Music in the United Kingdom from my book Electronic and Experimental music. Playlist: RADIOPHONIC MUSIC IN THE UNITED KINGDOM Time Track Time Start Introduction –Thom Holmes 01:36 00:00 1. Daphne Oram, “Introduction to Oramics” (1960). Introduction to her Oramics studio and processes for making electronic music. Voice and musical examples by Daphne Oram, recorded in her home studio Tower Folly, Kent. 04:37 01:38 2. Daphne Oram, “Four Aspects” (1960). Tape composition by Daphne Oram recorded in her home studio Tower Folly, Kent. 08:07 06:14 3. Delia Derbyshire, “Doctor Who Theme” (Closing Credits) (1962). The most famous version of this theme for the popular television program, composed by Ron Grainer and realized by Derbyshire at the BBC studios. 02:23 14:20 4. Ray Cathode (George Martin), “Time Beat” (1962). Produced at the BBC Radiophonic Workshop. Written and produced by George Martin, around the time when he was starting his production work with The Beatles. 02:11 16:40 5. Ray Cathode (George Martin), “Waltz in Orbit” (1962). Produced at the BBC Radiophonic Workshop. Written and produced by George Martin, around the time when he was starting his production work with The Beatles. 01:52 18:52 6. Daphne Oram, “Costain Suite” (1964). Tape composition by Daphne Oram recorded in her home studio Tower Folly, Kent. 13:17 20:44 7. Delia Derbyshire, “Running” (1964). One of the seven parts from the “radio inventions” called "The Dreams," first broadcast on the BBC Third Programme, Sunday 5th January 1964. 08:08 34:02 8. Delia Derbyshire, “Falling” (1964). One of the seven parts from the “radio inventions” called "The Dreams," first broadcast on the BBC Third Programme, Sunday 5th January 1964. 08:45 42:08 9. Delia Derbyshire, “Land” (1964). One of the seven parts from the “radio inventions” called "The Dreams," first broadcast on the BBC Third Programme, Sunday 5th January 1964. 07:02 50:54 10. Daphne Oram, “Pulse Persephone” (1965). Tape composition by Daphne Oram recorded in her home studio Tower Folly, Kent. 04:03 58:06 11. Tristram Cary, “Sputnik Code” (1968). Cary was a British composer and pioneer of electronic music. He composed this work for a movie soundtrack. 01:50 01:02:08 12. Lily Greenham, “ABC in Sound” (1968). Early tape work by this pioneer of electronic music in the UK. Greenham was an Austrian-born Danish visual artist, performer, composer and leading proponent of sound poetry and concrete poetry. She settled in London. 02:39 01:04:02 13. White Noise (Delia Derbyshire, David Vorhaus, Brian Hodgson), “The Black Mass: An Electric Storm In Hell (The White Noise)” (1969). Experimental electronic music project established in London in 1968, originally as a group project between David Vorhaus and BBC Radiophonic Workshop members Delia Derbyshire and Brian Hodgson. Vocals by Annie Bird, John Whitman, Val Shaw. 07:20 01:06:40 14. White Noise (Delia Derbyshire, David Vorhaus, Brian Hodgson), “Your Hidden Dreams” (1969). Experimental electronic music project established in London in 1968, originally as a group project between David Vorhaus and BBC Radiophonic Workshop members Delia Derbyshire and Brian Hodgson. Vocals by Annie Bird, John Whitman, Val Shaw. 04:55 01:13:58 15. White Noise (Delia Derbyshire, David Vorhaus, Brian Hodgson), “Love Without Sound” (1969). Experimental electronic music project established in London in 1968, originally as a group project between David Vorhaus and BBC Radiophonic Workshop members Delia Derbyshire and Brian Hodgson. Vocals by Annie Bird, John Whitman, Val Shaw. 03:07 01:18:52 16. Electrophon (Brian Hodgson, Dudley Simpson), “Arrival of the Queen of Sheba” (Händel) (1973). Electronic interpretations of classical music for various synthesizers. 03:04 01:22:00 17. Paddy Kingsland, “Fourth Dimension” (1973). Produced by Kingsland for the BBC Radiophonic Workshop. “The synthesisers used on this disc are both British, and both made by E.M.S. of London. They are the VCS3, an amazingly versatile miniature synthesiser, and its big brother, the Synthi '100', known within the Radiophonic Workshop as 'The Delaware', after the address of the Workshop.” 02:19 01:25:02 18. Lily Greenham, “Traffic” (1975). Realized at the Electronic Music Studio, Goldsmiths' College, University of London. Technical Assistance, Hugh Davies. 10:33 01:27:18 19. White Noise (David Vorhaus), “Concerto Movement 1” (1975). Used what Vorhaus called the Kaleidophon Synthesizer that included two EMS VCS 3's connected via a console of electronic modules he designed. 11:33 01:37:50 20. Delia Derbyshire, “Dreaming” (1976). Produced for the BBC Radiophonic Workshop as a work to accompany a television program. 01:13 01:49:18 21. Glynis Jones, “Crystal City” (1976). Produced for the BBC Radiophonic Workshop as a work to accompany a television program. 01:01 01:50:30 22. Glynis Jones, “Magic Carpet” (1976). Includes three shorts works, Magic Carpet Take-Off, Magic Carpet Flight and Magic Carpet Land. Produced for the BBC Radiophonic Workshop as sound effects. 00:50 01:51:30 23. Brian Hodgson, “Tardis Land” (1976). Produced for the BBC Radiophonic Workshop as a sound effect. 00:23 01:52:22 Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.
A sample of this week's Patreon Exclusive episode. Become a supporter today - https://patreon.com/user?u=89125664&utm_medium=unknown&utm_source=join_link&utm_campaign=creatorshare_creator&utm_content=copyLink- and get early access to review episodes, plus exclusive content including our reviews of new Ncuti Gatwa episodes. MUSIC What if Delia Derbyshire did a Doctor Who theme? - https://youtu.be/mYMvDXZBp74?si=tF3nf1j_TQyVvCBt - from our friend GeorgeCMusic Audio Drama Exploration Earth October 4, 1976 Writer - Bernard Venables Director - Adam Bullock The TARDIS takes the Fourth Doctor and Sarah back in Time to witness stages of the Earth's development. However, as the planet evolves from a mass of heat and gas, Megron the High Lord of Chaos has his own designs on our homeworld. If his threats to endanger the stability of Earth have any substance, the existence of mankind itself is in question! COMICS 115 - Doctor Who - Mutant Strain - September 18 - October 23, 1976 Artist - John Canning A murder mystery involving a decorated WWII veteran turns into a weird, dumb story of a professor enlarging animals to create an army for world domination. The Comic Strip Companion We discuss the start of Patrick Troughton's run of comic strips including his encounters with the Daleks and Cybermen. BIG FINISH We conclude our look at Patreon subscriber Jameson's review at season 13 of Big Finish's Tom Baker run. NEWS We discuss the exact title of this year's Christmas special as a new trailer was released. We hope you enjoy this discussion and as a Patreon member, we ask that if there is something you'd like to hear us cover on the podcast, do not hesitate to reach out to us by email at thedoctorsbeardpodcast@gmail.com.
Ho! Ho! Ho! Wir haben Dezember, und außerdem nullen wir zum vierten Mal. Zwei hervorragende Gründe für eine Sonderfolge, sollte man meinen. Machen wir aber nicht. Stattdessen geht es diesmal um Ärzte. Oder zumindest Akademiker. Oder aber nicht mal das. Wir spielen Songs über Außerirdische und Chinesen, und über Doktoren, die entweder mit sehr vielen oder ganz ohne Pillen für Wohlbefinden sorgen. Dass es dabei musikalisch abwechslungsreich und informativ zugeht, versteht sich hoffentlich von selbst. Die Playlist zur Folge gibt es in der letzten Teilfolge des Monats am 26. Dezember. Die in der Folge erwähnte Mini-Doku über Delia Derbyshire von 1965 gibt es hier. Viel Spaß beim Hören!
Rossz példák a reklámszakmából, az autóiparból, a gépi szövegértési szektorból. Jó példák a műholdak, a felmérések és az elektronikus zene világából. Jegyzetek Ezért jó néha csütörtökön felvenni: Szerdai Híreink!!!!!! (https://kreativ.hu/cikk/a-lego-macska-varazslatos-karacsonya) FU LignoSat, a japán faszatelit (https://telex.hu/techtud/2024/11/05/fabol-keszult-muhold-japan-lignosat-kiotoi-egyetem) Damage felmérése (https://docs.google.com/forms/d/e/1FAIpQLSejnJuX2yQm0xksn9gtJD-c_-WeM37KTg3KUtDnBAwLp3tn2w/viewform?fbclid=IwY2xjawGXFhVleHRuA2FlbQIxMAABHduacR2xQVwyds1Ue633Nul8GZTXlzqUCA0FrRm7ichQlywqITx0ejkZLg_aem_rPkEk1r2f4CNIWgyRs_-DQ) Gím over rovat Tesla Full Self-Driving vs szarvas (https://jalopnik.com/tesla-using-full-self-driving-hits-deer-without-slowing-1851683918) NASA & Chill (https://www.nasa.gov/news-release/nasa-launches-beta-site-on-demand-streaming-app-update-coming-soon/) MI baj lehet belőle? rovat Hallucinál az egészségügyben használt AI eszköz (https://apnews.com/article/ai-artificial-intelligence-health-business-90020cdf5fa16c79ca2e5b6c4c9bbb14) AI-hoax Halloween-buli (https://www.independent.co.uk/news/world/europe/dublin-fake-halloween-parade-ireland-ai-advert-b2639505.html) Hogy szólnak rá a zeneszerzőre, hogy abba kéne hagynia az elektronikus zene programozását? rovat Delia Derbyshire (https://en.wikipedia.org/wiki/Delia_Derbyshire), az elektronikus zene úttörője (https://www.youtube.com/watch?v=qsRuhCflRyg) és a Dr. Who főcímdal készítője (https://www.youtube.com/watch?v=xkIEkLww3lg) Delian mode (https://www.youtube.com/watch?v=nXnmSgaeGAI) dokumentumfilm Ha van másfél órád, itt egy BBC-dokudráma (https://www.youtube.com/watch?v=3e9QDMWs76g) róla Orbital X Doctor Who (https://www.youtube.com/watch?v=8YxtPmUaFRI) Egészen szorosan kapcsolódik: Daphne Oram (https://en.wikipedia.org/wiki/Daphne_Oram), akit a techno nagymamájának (https://www.stylist.co.uk/visible-women/daphne-oram-mother-modern-electronic-music-biography-bbc/211466) is neveznek Hírlevél, hogy ne szoruljunk (http://eepurl.com/g7Bfd1) (az algoritmusra)
A pioneira inglesa da música eletrónica morreu há 23 anos.
Fresh off the back of celebrating 60 years of Dr Who last year and looking ahead to welcoming the 15th Doctor to the blockbuster show, Tony is joined by Sophie Aldred who played Dr Who's assistant Ace and the writer, broadcaster and Dr Who superfan, Matthew Sweet. Together they look back over an incredible history of this abidingly successful show, sharing all the Whoniverse gossip from the very first episode starring William Hartnell as the Doctor; the cutting-edge soundtrack created by Delia Derbyshire; hearing how Sophie got the role as Ace aged just 24; though to the show getting cancelled in 1989 and the creative ‘wilderness years' of Dr Who when it was off air but not out of mind; Russell T Davis's reboot and the new Doctors for a new generation. We also get answers to the popular questions: was Tony ever in Dr Who? What kind of Doctor would he have made and is Baldrick the ultimate time traveller? Hosted by Sir Tony Robinson | @Tony_Robinson With Sophie Aldred | @sophie_aldred Sophie played The Doctor's companion Ace in the original television series (to Sylvester McCoy's Doctor). She later reprised her role in ‘Ascend From Darkness'. She was in the last episode of Dr Who ‘Survival', before it was cancelled in 1989. Matthew Sweet | @DrMatthewSweet Journalist, broadcaster, author, and cultural historian. Matthew recently presented a Radio 4 programme about Dr Who to mark its 60th anniversary.Follow the Show: X @cunningcastpodIG @cunningcastpodFacebook @CunningcastSeries Producer: Melissa FitzGerald | @melissafitzgEpisode Producer: Simon Hollis Executive Producer: Dominic de Terville Cover Art: The Brightside A Zinc Media Group production If you enjoyed my podcast, please leave us a rating or review. Thank you, Love Tony x Hosted on Acast. See acast.com/privacy for more information.
Matthew Collin has written some of the most seminal books about electronic music culture. His latest, ”Dream Machines," captures the essence of innovators who embraced technology to shape the future of music, through looking at electronic in Britain from Doctor Who to Acid House. Our dialogue spans the rich textures of synth-pop, the deep grooves of dub, and the raw energy of hip-hop, all set against the backdrop of social and cultural revolutions that have ignited forward facing music.Uncover the influences that have invigorated the electronic music scene, from the revolutionary tape recorders post-World War II to the democratisation of music production that gave rise to bedroom techno artists and acid house legends. Matthew sheds light on the Hartnoll brothers' epic "Chime," and how the biggest expense for the track was £3.50 for cassette. We navigate the complexity of maintaining inclusivity in an industry that's ever-evolving, especially as new technologies like generative AI continue to push the boundaries of what's possible in music innovation.We explore the intriguing connections between psychedelic music and drugs, where the tabloid frenzy around acid house and ecstasy inadvertently fuelled a cultural movement. We reflect on the indelible marks left by pioneers like Delia Derbyshire and the BBC Radiophonic Workshop on synthesizer-driven pop. Matthew and Paul muse over the challenges of chronicling iconic figures and the importance of placing them within the ever-shifting cultural landscapes.Dream Machines is available now, published by Omnibus PressPaul Hanford on InstagramLost and Sound is proudly sponsored by Audio-TechnicaPaul's debut book, Coming To Berlin: Global Journeys Into An Electronic Music And Club Culture Capital is out now on Velocity Press. Click here to find out more. Subscribe to the Lost and Sound Substack for fresh updates and writing.Lost and Sound title music by Thomas Giddins
Auch in diesem Jahr sprechen wir zum Internationalen Frauentag über Frauen aus der Popgeschichte, die bislang viel zu wenig Beachtung bekommen haben. Mit dieser Spezialfolge wollen wir das ändern. Zu Gast bei Katharina Heinius ist die ehemalige Lucilectric-Sängerin Luci van Org. Nachdem es im letzten Spezial zum Internationalen Frauentag einen Rundumschlag gab zu Frauen, die in den Geschichtsbüchern zu kurz gekommen sind, wie Blueserfinderin Ma Rainey, Rock'n'Roll-Erfinderin Rosetta Tharpe oder Sylvia Robinson, die den ersten kommerziell erfolgreichen Hip-Hop-Song überhaupt produziert hat ("Rapper's Delight" von der Sugarhill Gang) geht es dieses Mal um die Pionierinnen der elektronischen Musik. Auch in diesem Jahr ist Musikerin, Produzentin, Songwriterin, Autorin und Schauspielerin Luci van Org wieder mit dabei und spricht mit SWR1 Musikredakteurin Katharina Heinius über großartige Frauen der Musikgeschichte. Für Luci van Org gibt es einen ganz besonderen Punkt, der sie an elektronischer Musik fasziniert: "Die Möglichkeit, autark ganze Musikstücke zu kreieren. Das ist gerade für Frauen ganz wichtig gewesen, weil [...] es gab immer Männer, die versucht haben, dir zu sagen, was du zu tun und zu lassen hast und wie du es zu machen hast. Und an so einem Rechner kannst du einfach sitzen und selbst bestimmen, wie etwas klingt [...]." Das ermächtigt die Musikerinnen und auch Musiker natürlich dazu unabhängiger von anderen zu werden. Wer möchte, kann durch diese Technik alle Rollen, die es beim Musikmachen auszuführen gibt, selber ausführen. Egal, ob Komponistin, Produzentin und auch ausführende Künstlerin. Die Anfänge der elektronischen Musik beginnen weitaus früher, als man vielleicht denkt, nämlich schon in den 1920er Jahren mit dem Theremin. Wie dieses obskure Instrument gespielt wird, das erklärt Musikerin Luci van Org, die selbst stolze Theremin-Besitzerin ist, im Meilensteine Podcast. Über das Theremin meint sie "Menschen, die Theremin spielen, wirken immer ein bisschen wie in einer Séance. Die halten die Hände in der Luft und machen seltsame Gesten." Und die erste große Theremin-Virtuosin war, die eigentlich als Violinistin ausgebildete Konzertgeigerin, Clara Rockmore. Die hat eine ganz besondere Technik erfunden, um das Instrument zu beherrschen. Dr. Who ist eine der bekanntesten Fernsehserien aller Zeiten und auch eine der Serien, die es schon am längsten gibt. 1963 startete die Serie und auch heute werden noch neue Folgen produziert. Und im Intro der Science-Fiction-Serie gab es schon 1963 elektronische Musik, gespielt von der Mathematikerin Delia Derbyshire auf Synthesizern. Bis zur "Dr. Who"-Serie war elektronische Musik ganz und gar nicht "in aller Munde", wie man so schön sagt, sondern es wurde immer eher verächtlich darauf geschaut, da elektronische Musik "kein Herz und keine Seele" habe. Heute wird ganz anders auf elektronische Musik geblickt und für diesen Wandel ist auch Delia Derbyshire und ihre Titelmelodie zu "Dr. Who" verantwortlich. Auch deshalb zählt sie für das Musikmagazin "Musikexpress" zu den "100 wichtigsten Frauen im Pop". Eine der ersten elektronischen Kompositionen aus einem Computer kommen von der US-Amerikanerin Laurie Spiegel. Mit Lochkarten, Klaviatur, Joystick und Tasten komponierte sie 1974 ihren Song "Appalachian Grove 1", mit dem sie die Melodien in die vorher avantgardistische, elektronische Musik brachte und dadurch auch mehr Gefühl. Während wir elektronische Musik (theoretisch) heute mit dem Laptop gemütlich von der Couch aus machen können, war der Computer, mit dem Laurie Spiegel Musik gemacht hat, so groß wie ein Wohnzimmer, unglaublich teuer und stand in einer Forschungseinrichtung. Laurie Spiegel komponierte aber nicht nur Musik auf dem Computer, sondern sie hat mit "Music Mouse" auch eines der ersten Computerprogramme zum Musik machen programmiert. __________ Shownotes SWR1 Meilensteine Folge zu "Sports" von Huey Lewis and The News: https://www.ardaudiothek.de/episode/swr1-meilensteine/huey-lewis-and-the-news-sports/swr1/94770170/ Spezialfolge zum Internationalen Frauentag 2023: https://www.ardaudiothek.de/episode/swr1-meilensteine/spezialfolge-zum-internationalen-frauentag-2023/swr1/12436977/ SWR1 Leute mit Luci van Org: https://www.ardaudiothek.de/episode/swr1-leute/mehr-starke-frauen-in-einer-maennerdominierten-welt/swr1/13104787/ Clara Rockmore spielt das Theremin: https://www.youtube.com/watch?app=desktop&v=pSzTPGlNa5U ARTE-Doku über "verkannte Heldinnen der elektronischen Musik: https://www.arte.tv/de/videos/104017-000-A/sisters-with-transistors-die-verkannten-heldinnen-der-elektronischen-musik/ Demo von Music Mouse: https://www.youtube.com/watch?v=D-mmEvGOopk SWR Artikel zu Luci van Org: https://www.swr.de/swr1/swr1leute/luci-van-org-lucilectric-cross-media-kunstlerin-100.html Künstlerseite zum Projekt "Luciana Soteira" von Luci van Org: https://www.laetitium.de/artists/lucina-soteira/ __________ Über diese Songs wird im Podcast gesprochen (08:04) – “The Swan” von Clara Rockmore (17:45) – “Dr. Who Titelmelodie” von Delia Derbyshire (33:02) – “Appalachian Grove 1” von Laurie Spiegel (40:40) – “Three Sonic Spaces” von Laurie Spiegel (41:32) – “Offen” von Meystersinger (43:18) – “Tempel” von Lucina Soteira __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de
Oh baby it's cold outside… That's a tricky song, well it's not really but a few years ago the silly pop-culture warriors on Twitter started acting as if the song was all “rapey” with the male in the song trying to pressure the woman into sex. The problem was they were absolutely ignorant of the correct cultural context in quite a misogynist way. In the era the song came from women could not be seen as openly actively wanting sex so they had to play flirting games like the one displayed in the song. The reason the modern “rapey” interpretation is misogynist is because it strips the woman off her power and agency and casts her as an innocent, sexless child with low intelligence, instead of an adult woman with sexual needs actively participating in a game of flirtation with the man she's chosen. Understanding cultural context is vitally important if we don't want to come off at idiots. History, geography, and time all blur this context but usually all you need to do to get the right feel for is to take a moment to familiarise yourself with a few other examples of contemporary media and absorb those differences. Rarely do you need to do more than that, but sometimes wider cultural study is needed. The very worst mistake you can ever make though is to look at something only through modern eyes in complete isolation from examples of stuff from the same time and place. At best, you will NEVER properly understand it, at worst you will come out with all sorts of idiotic theories like the Baby Its Cold Outside morons on Twitter. This week Gunwallace has given us a theme inspired by Un Re Stop Comics - Quatermass and the Pit! This is some freaky Delia Derbyshire early Doctor Who stuff. Freaky fractured soundscapes of mind twisting terror and wonder. This track sucks you into another dimension where you see with your ears and hear with your skin. You brain will never be the same! Topics and shownotes Links Oh Baby It's Cold Outside lyrics - https://genius.com/Idina-menzel-baby-its-cold-outside-lyrics Featured comic: Cometman - https://www.theduckwebcomics.com/news/2024/feb/20/featured-comic-cometman/ Featured music: Un Re Stop Comics - https://www.theduckwebcomics.com/Un_Re_Stop_Comics/ - by lagoticspy, rated E. Special thanks to: Gunwallace - http://www.virtuallycomics.com Ozoneocean - https://www.theduckwebcomics.com/user/ozoneocean Kawaiidaigakusei - https://www.theduckwebcomics.com/user/kawaiidaigakusei Tantz Aerine - https://www.theduckwebcomics.com/user/Tantz_Aerine/ Banes - https://www.theduckwebcomics.com/user/Banes/ VIDEO exclusive! Become a subscriber on the $5 level and up to see our weekly Patreon video and get our advertising perks! - https://www.patreon.com/DrunkDuck Even at $1 you get your name with a link on the front page and a mention in the weekend newsposts! Join us on Discord - https://discordapp.com/invite/7NpJ8GS
60th Anniversary today, but we don't have a podcast ready, so we thought we'd share this in its full 6 minutes and 20 seconds of glory. Play it loud, and play it proud. Big up to Ron Grainer and Delia Derbyshire. x
In celebration of Delia Derbyshire Day 2023 and the 60th Anniversary of the Doctor Who theme, Caro C is joined by fellow devotees Mark Ayres, David Butler and Cosey Fanni Tutti to discuss the Delia Derbyshire Day archives and the importance of her contributions to the development of electronic music.Chapters00:00 - Introduction01:26 - Delia Derbyshire ArchiveMark Ayres03:15 - Mark Ayres Introduction 07:44 - The Beginnings Of Electronic Music10:12 - Electronic Sound Sources13:10 - The Delia Derbyshire Archives18:40 - Favourite Piece - The Makeup Tape Of Blue Veils22:21 - The Future Of The ArchivesDavid Butler24:38 - David Butler Introduction28:59 - The Contents Of The Archives33:17 - Building A Network Of Collaborators35:03 - Methods And Techniques Revealed36:59 - Manipulating The Voice39:05 - Favourite Piece - Two Houses And Demo Cue Cosey Fanni Tutti41:42 - Cosey Fanni Tutti Introduction 43:42 - Delia Derbyshire Musical Influences45:24 - A Background In Physics48:50 - Favourite Piece - Amor Dei53:34 - The Importance Of The Archiveshttps://deliaderbyshireday.com/dd-archive/Delia Derbyshire BiogDelia Derbyshire (1937-2001) was a key figure in the development of electronic music in the UK. Born in Coventry but evacuated to Preston during the Blitz, Delia cites the sound of air raid sirens as inspiring her interest in electronic sound. She went on to study Maths and Music at Cambridge University and launched her career at the BBC in 1960 as a trainee Studio Manager. She moved to the Radiophonic Workshop in 1962, where she spent the next 11 years developing experimental sounds and music for their TV and radio shows, in addition to working as a freelancer on film, theatre and other live projects. Her most famous work is her electronic arrangement of Ron Grainer's Doctor Who theme, created in 1963.Delia composed and produced electronic music using tape, plus early synthesis and sampling methods before specific instruments were created for these purposes. Her work has influenced and inspired many modern artists including The Chemical Brothers, Aphex Twin, Portishead, Nainita Desai, Amon Tobin and Cosey Fanni Tutti, while Pink Floyd, Orbital and Hannah Peel have reinterpreted her work.Mark Ayres BiogMark Ayres is a composer, arranger, sound designer, mixer and mastering engineer. Mark wrote incidental music for Doctor Who in the 1980s. More recently he wrote the music for, sound-designed and mixed the reconstructed 'lost' Tom Baker adventure, “Shada”, and a celebratory feature length version of the original 1963 “Daleks” serial transmitted on BBC4 on 23rd November 2023, Doctor Who's 60th birthday. He has also composed for television and film including scores for 1996 feature "The Innocent Sleep" and the more recent "Scar Tissue".Mark was involved in the BBC Radiophonic Workshop's final days and went on to become their archivist. A personal friend of Delia Derbyshire, he was entrusted with her personal archive after her death in 2001, which is now on permanent loan to the University of Manchester John Rylands Library and accessible for study. He is a Trustee of the Delia Derbyshire Day Charity.His devotion to the Workshop after Doctor Who ceased broadcasting in 1989 proved vital in regenerating interest in their work, and he is now the driving force behind their live revival on the festival circuit and in the creation of new works including the score for Matthew Holness' disturbing psychological horror film, "Possum". He has produced and mastered many recordings for Silva Screen Records and others, and his work remastering classic television programmes including Doctor Who, Quatermass, and the films of Ken Russell and Alan Clarke for broadcast, DVD and Blu-ray, including 5.1 remixes of many titles, has been highly acclaimed.David Butler BiogDavid Butler is a Senior Lecturer in Drama and Film Studies at the University of Manchester. He helped to bring the Delia Derbyshire Archive to the John Rylands Library, Manchester in 2007 and is one of the archive's lead researchers and curators. David is the chair of trustees for Delia Derbyshire Day and helped set up the charity in 2016.Cosey Fanni Tutti BiogCosey Fanni Tutti is a musician and writer, best known for her part in experimental electronic bands Throbbing Gristle and Chris & Cosey. Cosey interacted with the Delia Derbyshire Archive when she composed the soundtrack for Caroline Catz's film 'Delia Derbyshire: The Myths And The Legendary Tapes' and in the writing of her book Re-Sisters: The Lives and Recordings of Delia Derbyshire, Margery Kempe and Cosey Fanni Tutti published by Faber in 2022.https://www.coseyfannitutti.com/Caro C BiogCaro C is an artist, engineer and teacher specialising in electronic music. Her self-produced fourth album 'Electric Mountain' is out now. Described as a "one-woman electronic avalanche" (BBC), Caro started making music thanks to being laid up whilst living in a double decker bus and listening to the likes of Warp Records in the late 1990's. This 'sonic enchantress' (BBC Radio 3) has now played in most of the cultural hotspots of her current hometown of Manchester, UK. Caro is also the instigator and project manager of electronic music charity Delia Derbyshire Day.URL: http://carocsound.com/Twitter: @carocsoundInst: @carocsoundFB: https://www.facebook.com/carocsound/
Siempre me ha intrigado la ausencia de mujeres compositoras en la música en general y también, lógicamente, en la música electrónica en particular. Las artes en general parecen ser cosa de hombres, supongo que por arrastrar prejuicios culturales que relegaban a la mujer a papeles secundarios o simplemente porque las labores prominentes eran desempeñadas habitualmente por hombres. En nuestro canal de Telegram, Oriol mencionó que sería interesante hacer un episodio especial dedicado a las mujeres pioneras en la música electrónica y la verdad es que me la idea me apeteció mucho. Investigando un poco van saliendo nombres que se merecen un reconocimiento y que han jugado un papel destacado en el desarrollo de los precoces instrumentos electrónicos. Su música a menudo es más una amalgama de sonidos experimentales donde se juega con el tono, el timbre o la frecuencia, en lugar de crear una "música bonita", así que os advierto: haremos un ejercicio de arqueología musical, muy interesante para las mentes curiosas y abiertas a conocer en perspectiva aquellos inciertos origenes, para escuchar composiciones extrañas y de difícil comprensión entre otras más amigables. Hoy retrocederemos en el tiempo para rendir un homenaje a algunas de las mujeres pioneras en la música electrónica. Lisa Bella Donna, Johanna M. Beyer, Else Marie Pade, Delia Derbyshire, Pauline Oliveros, Wendy Carlos, Éliane Radigue, Pril Smiley, Suzanne Ciani, Daphne Oram, Constance Demby, Laurie Spiegel, Laurie Anderson, Pauline Anna Strom, Doris Norton, Elsa Stansfield. El playlist detallado con enlaces a las audiciones íntegras de cada álbum: lostfrontier.org/episodios/2023/1013.
Director, animator, and author Kevin Jon Davies grew up enthralled by Doctor Who and Spike Milligan's The Goon Show. When he discovered the original Hitchhiker's Guide to the Galaxy radio show, it seemed like the best of both worlds. Before long, he was doing animation for the TV series. Kevin tells me how he got into animation, how he moved from animation into directing—including directing 30th anniversary documentaries for both Doctor Who and Hitchhiker's in the same year—and all about the process of writing his new book, 42: The Wildly Improbable Ideas of Douglas Adams. Episode breakdown: [00:07:22] Learning to direct through osmosis on set. Enjoyed being with others in live action. Lucky breaks in animation and directing. [00:14:58] Early Doctor Who, Spike Milligan's comedy influence. [00:17:53] Douglas Adams: famous for procrastinating. [00:24:42] Making 30 Years in the TARDIS. [00:28:48] The BBC's unfortunate habit of throwing things away. [00:32:32] The Alchemists of Sound documentary and unsung genius Delia Derbyshire. [00:39:20] Complex copyright issues for BBC staff artists. [00:43:06] Following in Douglas Adams's footsteps while researching the new book. [00:50:31] Adams's an increasing interest in science toward the end of his life. [00:55:48] Last Chance to See. [01:03:02] Adams's untimely death, and the continued celebration of his work. [01:08:05] Readers' sense of connection with Adams's work. Check out the show notes at fycuriosity.com, and connect with me and fellow creatives on Substack. Please leave a review and in it, tell us how a childhood influence has stuck with you. Want more? Here are some handy playlists with all my previous interviews with guests in writing and publishing and Doctor Who.
The Web Planet 13 February – 20 March 1965 The First Doctor (William Hartnell) and his travelling companions Ian Chesterton (William Russell), Barbara Wright (Jacqueline Hill), and Vicki (Maureen O'Brien) ally themselves with the Menoptra, the former inhabitants of the planet Vortis, as they struggle to win back the planet from the malignant Animus (Catherine Fleming) and its Zarbi slaves. The Crusades 27 March – 17 April 1965 The First Doctor (William Hartnell) and his travelling companions Ian Chesterton (William Russell), Barbara Wright (Jacqueline Hill), and Vicki (Maureen O'Brien) arrive in 12th century Palestine during the Third Crusade and find themselves entangled in the conflict between King Richard the Lionheart (Julian Glover) and Saladin (Bernard Kay). They also meet King Richard's sister Lady Joanna (Jean Marsh) and Saladin's brother Saphadin (Roger Avon). Dr Who and the Daleks (1965) is a 1965 British science fiction film directed by Gordon Flemyng and written by Milton Subotsky, and the first of two films based on the British science-fiction television series Doctor Who. It stars Peter Cushing as Dr. Who, Roberta Tovey as Susan, Jennie Linden as Barbara, and Roy Castle as Ian. It was followed by Daleks' Invasion Earth 2150 A.D. (1966). The story is based on the Doctor Who television serial The Daleks, produced by the BBC. Filmed in Technicolor, it is the first Doctor Who story to be made in colour and in a widescreen format. The film was not intended to form part of the ongoing story-lines of the television series. Elements from the programme are used, however, such as various characters, the Daleks and a police box time machine, albeit in re-imagined forms. Opening Credits; Introduction (.43); The Web Planet Synopsis (1.27); Television Thoughts (4.25); Let's Rate (25.04); Introducing The Crusades (27.04); The Crusades Synopsis ( 34.41); Discussing the Episode (38.15); Rating the Episodes (47.42); Film: Doctor Who and The Daleks (1965) (53.08); Doctor Who and the Daleks (1965) Trailer (54.14); Lights, Camera, Action (57.24); How Many Stars (1:09.59); End Credits (1:14.56); Closing Credits (1:21.53) Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music. Closing Credits: We're Not Gonna Take It by Twisted Sister. Taken from the album Stay Hungry. Copyright 1984 Atlantic Records Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast. All rights reserved. Used by Kind Permission. All songs available through Amazon Music.
The Rescue 02 - 09 January 1965 On the planet Dido, the Doctor, Ian, and Barbara encounter Vicki and Bennett, two survivors of a space crash who are awaiting a rescue ship. They live in fear of Koquillion, a bipedal inhabitant who is stalking the area. The Doctor enters Bennett's room, and follows a trap door to a temple where he unmasks Koquillion as Bennett. Bennett reveals he killed a crewmember on board the ship and was arrested, but the ship crashed before the crime could be radioed to Earth. He has been using the Koquillion alias so that Vicki would back up his story, and had hoped the planet would be destroyed when his version of events was given. Just as Bennett is about to kill the Doctor, two surviving native Didonians arrive and force Bennett to his death over a ledge. With no living family and nothing left for her on Dido, Vicki is welcomed aboard the TARDIS. The Romans 16 January – 6 February 1965 The First Doctor (William Hartnell) and his new companion Vicki (Maureen O'Brien) investigate intrigue surrounding the death of a lyre player en route to perform at the palace of Nero (Derek Francis) in Rome, while companion Ian Chesterton (William Russell) travels to Nero's palace to save his fellow schoolteacher Barbara Wright (Jacqueline Hill), who had been sold to Nero's wife Poppaea (Kay Patrick) as a slave. Opening Credits; Introduction (1.27); Background History: The Rescue (4.57); The Rescue: Plot Synopsis (5.22); Let's Discuss (7.43); Overall Thoughts (15.39); Let's Rate (17.10); Background History: The Romans (19.38 ); The Romans: Plot Synopsis (19.57); Let's Discuss (22.52); Let's Rate (34.18); Tune In Next Time (35.30); Closing Credits (37.11) Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music. Closing Credits: Rescue Me by OneRepublic. Taken from the album Human. Copyright 2019 Interscope/Motley Records. Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast. All rights reserved. Used with Kind Permission. All songs available through Amazon Music.
SEASON 2 Planet of Giants 31 October – 14 November The Doctor, his granddaughter Susan Foreman and her teachers Ian Chesterton and Barbara Wright are shrunk to the size of an inch after the Doctor's time machine the TARDIS arrives in contemporary England. The Dalek Invasion on Earth 21 November – 26 December 1964 The Doctor, his granddaughter Susan Foreman and teachers Ian Chesterton and Barbara Wright discover that the Earth in the 22nd century has been occupied by Daleks. They work with a human resistance group to stop the Daleks from mining out the Earth's core as part of their plan to pilot the planet through space. Opening Credits; Introduction (1.24); Planet of the Giants Plot Synopsis (4.40); Let's Discuss (7.57); The Daleks Invasion on Earth Background History (1953); Plot Synopsis (20.24); Let's Discuss (23.22); Let's Rate (40.46); Tune In Next Time (42.10); Closing Credits (44.54) Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music. Closing Credits: Giants by Calvin Harris and Rag-N-Bone Man. Copyright 2019 Columbia Records Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast. All rights reserved. Used with Kind Permission. All songs available through Amazon Music.
Flo is off the plot again today, this time at the veg patch of Cosey Fanni Tutti. Cosey is an artist, musician, and writer. She was a co-founder of COUM transmissions and later went on to form industrial music group, Throbbing Gristle. Both groups were highly censored and at one point they were accused by the mainstream press of being ‘wreckers of civilisation' for their shocking and confrontational work. Cosey went on to form Chris and Cosey, and later Carter Tutti Void with her bandmate and partner, Chris Carter. In this episode Cosey talks Flo through her DIY approach to gardening, her recent work scoring the Delia Derbyshire film, and their mutual love of the Rosemary Tonks book, The Bloater. Later in the podcast they discuss Cosey's choice of music to strip to, all whilst they sow carrot seeds and plant out onion sets. Check out Cosey Fanni Tutti's shows on NTSPresenter - Flo Dill, Producer - Lizzy King, Sound Recording - Jennifer Walton, Editor - Sam Stone, Mastering - Rory Bowens.Music - Cleaners from Venus - The Artichoke That Loved Me, courtesy of Martin Newell & Captured Tracks. Hosted on Acast. See acast.com/privacy for more information.
En el Reino Unido se le conoce como La Tía, The British Broadcasting Corporation es la radiodifusora nacional más antigua y mejor conocida del mundo. Subsiste del pago directo y obligatorio de una licencia de £159 por parte de todo hogar británico lo cual continua siendo un punto contencioso con los gobiernos conservadores. Celebramos, un poco tardiamente, un siglo de su existemcia. Hablamos de sus origenes italianos y mencionamos algunos de los hechos más memorables en su ya larga cronología. Ponderamos sobre ese arma de doble que es la supuesta imparcialidad de la BBC y la implicita censura en su Servicio Mundial (World Service). Igualmente, conversamos sobre la verdadera importancia y el papel crucial que juega la BBC en el discurso cultural y político de la Gran Bretaña. Con Isabel del Rio, Jorge Ramirez y Juan ToledoEscuchen la bizarra poesía que es un Shipping Forecast de la BBC y también el tema original del Dr Who de 1963 compuesto por el australiano Ron Ryner y la británica Delia Derbyshire
Oxfam treasures, panic-stricken falling, wordless stories. The multidisciplinary artist discusses three important albums.Rachel's picks:The Art Of Noise – In Visible SilenceDelia Derbyshire + Barry Bermange – Inventions For Radio No. 1: The DreamsJean-Michel Jarre – EquinoxeRachel's new album, Stories Came to Us, is out now via My Own Imaginary World. Check it out here. Rachel is also on Instagram as @rachellynmademedoit.Donate to Crucial Listening on Ko-fi: https://ko-fi.com/cruciallistening
Reign of Terror 8 August – 12 September 1964 The Doctor, his granddaughter Susan and teachers Ian Chesterton and Barbara Wright arrive in France during the period of the French Revolution known as the Reign of Terror, where they become involved with prisoners and English spies. Two of the six episodes remain missing after the BBC wiped them from archives. It later received several print adaptations and home media releases, with animated versions of the missing episodes constructed using off-air recordings. Opening Credits; Introduction (1.29); Background History (4.32); Plot Synopsis (5.08); Let's Discuss (9.20); Let's Rate (24.28); Tune In Next Time (29.16); Closing Credits (30.53) Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music. Closing Credits: Bella Ciao by Nawja. Copyright 2019 DRO Atlantic Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast. All rights reserved. Used with Kind Permission. All songs available through Amazon Music.
The Sensorites 20 June – 1 August 1964 The Doctor, his granddaughter Susan Foreman and her teachers Ian Chesterton and Barbara Wright visit a planet known as the Sense-Sphere to find the cure to a disease afflicting the alien race the Sensorites. Opening Credits; Introduction (1.29); Plot Synopsis (8.22); Let's Discuss (11.44); The Best and the Worse (27.43); Let's Rate (36.05); Tune In Next Time (41.28); Closing Credits (44.35) Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music. Closing Credits: Senses Working Overtime by XTC. Taken from the album English Settlement. Copyright 1981 Virgin Records. Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast. All rights reserved. Used with Kind Permission. All songs available through Amazon Music.
The Aztecs 23 May – 13 June 1964 The Doctor, his granddaughter Susan and teachers Ian Chesterton and Barbara Wright arrive in Mexico during the Aztec empire. Barbara becomes mistaken for the goddess Yetaxa, and accepts the identity in hope of persuading the Aztecs to give up human sacrifice, despite the Doctor's warnings about changing history. Opening Credits; Introduction (1.29); Plot Synopsis (6.25); Let's Discuss (10.23); Favourite Character (23.05 ); Let's Rate (25.32); Tune In Next Time (26.26); Closing Credits (28.38) Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music. Closing Credits: Human Sacrifice by Sweetbox. Taken from the album Jade. Copyright 2002 Avex Records. Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast. All rights reserved. Used with Kind Permission. All songs available through Amazon Music.
The Keys of Marinus 11 April – 16 May 1964 The First Doctor his granddaughter Susan Foreman and her teachers Ian Chesterton and Barbara Wright search for four keys to restore the Conscience of Marinus, a computer which maintains law and order. The group travel to two cities, a jungle, and an icy wasteland in search of the keys. Opening Credits; Introduction (1.29); Plot Synopsis (15.29); Let's Discuss (18.51); Favourite Moment (27.29); Let's Rate (49.06); Tune In Next Time (50.21); Closing Credits (53.43) Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music. Closing Credits: Keys To My Heart by Mr Dutch. Copyright 2020 Nigerian Street Music – Afrobeats. Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast. All rights reserved. Used with Kind Permission. All songs available through Amazon Music.
Groundbreaking musician, performance artist, and writer Cosey Fanni Tutti joins Jude on this week's episode of Songbook to delve in to Daphne Oram's An Individual Note of Music, Sound and Electronics- a remarkable study of the relationship between electronic music and technology, origninally published in 1972.Their conversation also takes in Cosey's memories of listening to pop music as a child, her relationship with her hometown of Hull, and the importance of abandoning pre-conceptions when listening to music.Cosey's 2022 book Re-Sisters: The Lives and Recordings of Delia Derbyshire, Margery Kempe and Cosey Fanni Tutti is a vital meditation on womanhood, creativity and self-expression, and a revelatory exploration into the lives of three visionary artists - Re-Sisters: The Lives and Recordings of Delia Derbyshire, Margery Kempe and Cosey Fanni Tutti a book by Cosey Fanni Tutti. (bookshop.org)Books mentioned in the podcast:Art Sex Music by Cosey Fanni Tutti Art Sex Music a book by Cosey Fanni Tutti. (bookshop.org)An Individual Note of Music, Sound and Electronics by Daphne Oram Daphne Oram - an Individual Note of Music, Sound and Electronics a book by Daphne Oram. (bookshop.org)Quantum Listening by Pauline Oliveros Quantum Listening a book by Pauline Oliveros. (bookshop.org)Sound Within Sound: Opening Our Ears to the Twentieth Century by Kate Molleson Sound Within Sound: Opening Our Ears to the Twentieth Century a book by Kate Molleson. (bookshop.org)Up Above the City, Down Beneath the Stars by Barry Adamson Up Above the City, Down Beneath the Stars a book by Barry Adamson. (bookshop.org)You can buy the paperback edition of Jude's The Sound of Being Human: How Music Shapes Our Lives here: The Sound of Being Human a book by Jude Rogers. (bookshop.org)Finally, White Rabbit's Spotify Playlist of 'booksongs' - songs inspired by books loved by our guests - is here: https://open.spotify.com/playlist/7chuHOeTs9jpyKpmgXV6uo Hosted on Acast. See acast.com/privacy for more information.
In this episode, we're going to hear about woman who is sometimes called a sculptress of sound — “the unsung heroine of British electronic music” — Delia Derbyshire, ably presented by our very own DLS co-founder Katy Derbyshire. A working-class girl from Coventry, England, Delia studied music and mathematics, and went on to work at the BBC's Radiophonic Workshop. If you're a SciFi fan, you've probably heard one of her best known works — the otherworldly theme tune to the TV show Doctor Who. A true pioneer of pre-synthesizer electronic sounds, Delia created music for more than 200 projects, but remained anonymous due to the BBC's bureaucratic structures. She also set up studios making electronic music for soundtracks, festivals and theatre productions, until she left the public eye in 1975. DLS co-founder Florian Duijsens joins producer Susan to set things up. You can see some photos of Delia Derbyshire and hear more of her amazing work on our show notes page: https://deadladiesshow.com/2023/02/16/podcast-59-Delia-Derbyshire Our theme music is “Little Lily Swing” by Tri-Tachyon. Drop us a line info@deadladiesshow.com or reach us on social media @deadladiesshow Thanks for listening! We'll be back with a new episode next month. **** The Dead Ladies Show is a series of entertaining and inspiring talks about women who achieved amazing things against all odds, presented live in Berlin and beyond. This podcast is based on that series. Because women's history is everyone's history. The Dead Ladies Show was founded by Florian Duijsens and Katy Derbyshire. The podcast is created, produced, edited, and presented by Susan Stone. Don't forget, we have a Patreon! Thanks to all of our current supporters! Please consider supporting our transcripts project and our ongoing work: www.patreon.com/deadladiesshowpodcast
MARCO POLO – (The Lost Story) 22 February – 4 April 1964 EPISODES: The Roof of the World The Singing Sands Five Hundred Eyes The Wall of Lives Rider from Shang-Tu Mighty Kublai Khan Assassin at Peking The story is set in Yuan-era China in the year 1289, where the Doctor , his granddaughter Susan Foreman and her teachers Ian Chesterton and Barbara Wright meet the Italian merchant-explorer Marco Polo and Mongolian Emperor Kublai Khan. Opening Credits; Introduction (1.29); Plot Synopsis (1.53); Let's Discuss (3.24); Amazing Design Advertisement (41.44); Tune In Next Time (42.57); Closing Credits (43.47) Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music. Closing Credits: Marco Polo by Bow Wow featuring Soulja Boy. Taken from the album New Jack City II. Copyright 2009 LBW Entertainment – Columbia. Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast. All rights reserved. Used with Kind Permission. All songs available through Amazon Music.
The Edge of Destruction 8 February – 15 February 1964 The Doctor, his granddaughter Susan and her teachers are in the Doctor's time and space machine the TARDIS when it appears to be taken over by an outside force. The travellers begin acting strangely and turn against each other. Opening Credits; Introduction (1.29); Plot Synopsis (8.39); Let's Discuss (10.51); Amazing Design Advertisement (25.15); Favourite and Least Favourite Character (26.26); Tune In Next Time (32.07); Closing Credits (34.07) Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music. Closing Credits: Elf's Lament by Barenaked Ladies with Michael Buble. Taken from the album Barenaked For The Holidays. Copyright 2004 Desperation Records. Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast. All rights reserved. Used with Kind Permission. All songs available through Amazon Music.
There's something wonderful and maybe even a little mystifying about a good theme song. A few familiar notes can serve as a cue to sit back, break from ordinary life, and enter new worlds and realities through the stories that splash across our screens. An iconic theme may even become a sort of character itself — bearing a personality of its own and possibly even evolving over time.For episode 58 of our podcast, Themes and Variation, Carter and Mahea sat down with composer, Tangelene Bolton to chat about some of our all-time favorite "Theme Songs." The episode centers around musical pieces that serve as themes for the shows What We Do In the Shadows, Westworld, and Doctor Who. The selections that feature in the discussion were created by Norma Tenega, Ramin Djawadi, Ron Grainer, and Delia Derbyshire.Check out all of our courses including Kiefer: Keys, Chords, & Beats here.Subscribe to all of Soundfly's premium course content here.Sign up to work one-on-one with one of our incredible mentors here.Check out each song mentioned on this episode with this handy Spotify playlist!Have questions or comments? Want to suggest a theme for a future episode? Drop us a line at podcast@soundfly.com or reach out on Twitter.
The Daleks – Part 2 21 December 1963 – 1 February 1964 Episodes 5 – 7 The Expedition The Ordeal The Rescue The Doctor, his granddaughter Susan Foreman and her teachers Ian Chesterton and Barbara Wright land in an alien jungle and are captured by the Daleks, a race of mutated creatures who survive off the radiation that remains in the atmosphere after a nuclear war with their enemies. As the group attempt to escape the Daleks, they discover more about the planet and the ensuing war and attempt to broker a peace. Opening Credits; Introduction (1.29); Plot Synopsis (8.19); Let's Discuss (10.49); Amazing Design Advertisement (57.27); Favourite and Least Favourite Character (58.39); Let's Rate (1:06.49); Tune In Next Time (1:12.41); Closing Credits (1:15.17) Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music. Closing Credits: Cause I'm a Blonde – by Julie Brown. Taken from the album Goddess in Progress. Copyright 1984 Rhino Records Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast. All rights reserved . Used with Kind Permission. All songs available through Amazon Music.
The Daleks – Part 1 21 December 1963 – 1 February 1964 Episode 1 – 4: The Dead Planet The Survivors The Escape The Ambush The First Doctor, his granddaughter Susan Foreman and her teachers Ian Chesterton and Barbara Wright land in an alien jungle and are captured by the Daleks, a race of mutated creatures who survive off the radiation that remains in the atmosphere after a nuclear war with their enemies. As the group attempt to escape the Daleks, they discover more about the planet and the ensuing war, and attempt to broker a peace. Opening Credits; Introduction (1.29(); The Daleks Part 1: Plot Synopsis (12.14); Let's Discuss (15.01); Amazing Designs Advertisement (52.48); Favourite Character, Least Favourite Character (54.00); Let's Rate (1:11.24); Tune In Next Time (1:15.36); Closing Credits (1:18.03) Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music. Closing Credits: Doctorin' The Tardis by The Timelords – taken from the album The KLF – History of the JAM aka The Timelords. 1988 copyright TVT Records. Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast. All rights reserved. Used with Kind Permission. All songs available through Amazon Music.
This week, Cosey Fanni Tutti: musician, performance artist, writer, an absolute icon and inspiration, not just with music and art but for anyone who just wasn't born to follow the herd. Her work, from Throbbing Gristle and COUM, to being half of Chris and Cosey, as one third of CarterTuttiVoid and her bestselling memoir Art Sex Music transcend and transgress boundaries. Once a cultural pariah described in the Houses of Parliament as a wrecker of civilisation,she shares reflections with Paul about her new book Re-Sisters, which looks at the lives of three trailblazing women - Delia Derbyshire, Margery Kemp and herself and her new album Delia Derbyshire: The Myths and the Legendary Tapes, about the nature of art and communication and so much more. This episode is sponsored by Audio-TechnicaPaul's debut book, Coming To Berlin: Global Journeys Into An Electronic Music And Club Culture Capital is out now on Velocity Press. Click here to find out more. Lost and Sound title music by E.S.OTo support this show, head on over to Paul's Patreon at:www.patreon.com/paulhanford
Season three of The Film Scorer Podcast is finally here! Joining me is legendary musician and composer Cosey Fanni Tutti. Film music fans may not be quite as familiar with Cosey, who's best known for being a founding member of the band Throbbing Gristle, arguably the pioneers of industrial music. However, Cosey has also been busy with solo work, collaborations, and even film scoring. As such, we primarily discuss her score for the film Delia Derbyshire: The Myths & The Legendary Tapes, about the influential electronic musician and composer Delia Derbyshire. We also talk about her new book, Re-Sisters: The Lives and Recordings of Delia Derbyshire, Margery Kempe and Cosey Fanni Tutti, which serves as a "meditation on womanhood, creativity and self-expression, and a revelatory exploration into the lives of three visionary artists" (description courtesy of Amazon). Cosey's score is fascinating, weird, and, at times, completely haunting; I really enjoyed it. It released on September 16 and is available on all major platforms and on vinyl from Cargo Records. Cosey's other music, both as a solo artist and in her various collaborations and bands, is also widely available.
It's May 18, 2021. Cherry, Bird, and Cow teach us about Dinosaur Day, the Lakota Sioux Tribe wanting US medals rescinded for the Wounded Knee Massacre, women synthesizer pioneers, kids in NYC who protested pesticides and won, a 6th grader who tests to see if a cat's anus touches everything in a household, and archaeologists thinking they discovered where the alphabet comes from.
Kevin Coral is not only a member of Future Children, he also probably has recorded one or more of your favorite bands. He’s also a wealth of musical knowledge and exploitation cinema. This was a fun one! We put some love on Donna Summer, The Box Tops, Big Star, Ennio Morricone, Delia Derbyshire, Arthur Verocai, […]
Possum is a 2018 British psychological horror film written and directed by Matthew (Garth Marenghi) Holness in his feature film debut, starring Sean Harris and Alun (Krull) Armstrong. It centres on a disgraced children's puppeteer who returns to his childhood home and is forced to confront the abuse and trauma he suffered there.Possum is an adaption of Holness' short story of the same name, published in the horror anthology The New Uncanny: Tales of Unease, and partially inspired by the theories on the uncanny by Sigmund Freud. Holness soon forgot about the idea of adapting the story until he had begun working on developing a possible horror film. As a fan of the horror genre, Holness stated he much preferred horror films that resonate with the audience and force them to reflect on the experience afterward. Possum's visual style was inspired by public information films Holness saw in his youth. Other inspirations include Dead of Night (covered by us in the mothership show), George Romero's Martin, and German Expressionist films. Filming began in Norfolk, with additional filming taking place in Great Yarmouth and Suffolk. The film's score was composed by sound effects and experimental electronic music studio The legendary Radiophonic Workshop, and featured unreleased material by the studio's original member Delia Derbyshire. This marked their first soundtrack purposely constructed for a feature film.In addition to garnering multiple awards and nominations, it was generally praised by critics for Harris' performance, the film's atmosphere, score, and unsettling imagery, though the story prompted several negative reviews. Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. Hosted on Acast. See acast.com/privacy for more information.
SEASON 1 AN UNEARTHLY CHILD Originally Aired: 23 November – 14 December 1963 Two teachers have concerns about a pupil who has alien views of England. They visit her address to find a blue TARDIS and the pupils voice coming from inside. William Hartnell makes his appearance as the first Dr Who, They visit the Palaeolithic tribe where fire shows who will be leader and the team get to involved in their politics to dangerous effects. Opening Credits; Introduction (1.29); Plot Synopsis (6.16); Let's Discuss (8.35); Amazing Design Ad (1:04.39); Favourite and Least Favourite Storyline (1:05.51); Favourite and Least Favourite Character (1:13.31 ); Let's Rate (1:1747); Tune In Next Time (1:19.56); Closing Credits (1:24.00) Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music. Closing Credits:- Right Back Where We Started From by Maxine Nightingale. Taken from the album Right Back Where We Started From. Copyright 1975 United Artist Records. Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast. All rights reserved. Used with Kind Permission. All songs available through Amazon Music.
Episode 022: The Keys to Room Twenty-Two: Selections from the Post-Psychedelic Era Part TwoThe Bee Gees - Sweet Song of Summer (UK 1972) A true oddity in the brothers Gibb's sprawling discography, sounding like a lost track from their psych era four years previous. They create quite an atmosphere that fuses trippy synth experiments with battle percussion and chants that sound like a crew of vikings backing them. Part of their "lost" period where they are coming out of their early Beatle-esque pop sound, but before they'd stumble on a super successful style more informed by American soul and R&B.Vangelis Papathanis - Sunny Earth (Greece 1973) Originally part of Greek psychedelic warlords Aphrodite's Child, this moody sound piece comes from Vangelis' second solo album. After a prolific run of albums, Vangelis would eventually find much success in the field of soundtrack world.Yoko Ono - Greenfield Morning I Pushed an Empty Baby Carriage All Over the City (US 1970) Yoko's work is often polarizing, sometimes dismissed as avant-garde rambling - but her early work does have its gems. On this standout track from her first album, her trademark shriek is backed by a thumping groove that provides just enough grounding for her to deliver her audible freak out.Spirit - The Other Song (1975) Recorded several years after their "heyday", this song sounds like it could be a relic from their Dr. Sardonicus era. Produced by the enigmatic Randy California, this phased wonder comes from the second album they recorded after their first initial reunion, Son of Spirit. White Noise - Love Without Sound (1969) Pioneers of early electronic exploration, this band began as a group project between David Vorhaus and BBC Radio Workshop members Delia Derbyshire and Brian Hodgson. Their first album contains some of the most forward thinking and bizarre electronic music of the time, and foreshadows how music would be made in the future with it's use of tape loops and wacky machines.Kevin Ayers - The Confessions of Dr. Dream (UK 1974) Originally part of prog-psych legends The Soft Machine, Kev Ayers solo discography is filled with many highlights and is most definitely worth exploring. This psychedelic masterpiece features the haunting voice of Nico, which adds to the spooky and otherworldly mood of the track.
Mandy is back to help me dissect this beloved classic book "Ways of Seeing" 1972 (and BBC TV show) by John Berger. Welcome back, Mandy! And, as always on Book Talks, much art-nerdery was indulged. Come along with us as we consider Berger's thoughts on Art: aka How it was changed by the age of reproduction, How the Nude functions as a tool for the Male Gaze, and How art is used as a status symbol for the wealthy, and in advertising to create Glamour. "Ways of Seeing" was created mainly by John Berger (writer/host), Michael Dibb (filmmaker), Delia Derbyshire (composer), and Richard Hollis (book designer) with help from others. The project was conceived specifically to "question some of the assumptions usually made about the tradition of European Painting. That tradition which was born about 1400, and dies about 1900.” In the TV series (and in direct contrast to Kenneth Clark's big budget show, “Civilisation”), Berger shows up against a slightly shabby blue screen in a partially unbuttoned white and brown patterned shirt (he bought it right before the shoot bc he had been wearing blue) with kind of wild curly hair (kinda like Michael Landon style), and in slacks…he's casual- he's scrappy - parts of the show were even assembled in his parent's living room. He's earnest, feminist, anti-capitalist and unlike the posh-speaking Clark, he has a slight speech impediment…and Berger is ready to burn it all to the ground. "Ways of Seeing," the book, is available at most bookstores and "Ways of Seeing," the BBC tv program, is available to stream for free on Youtube A few grateful shout-outs to writers who we used for research for this talk: Olivia Laing / The Guardian, Kate Abbott / The Guardian and Sam Haselby / Aeon.co John Berger's other books: His novel "G" and also books about art's role in contemporary society: "About Looking" and "The Shape of a Pocket" Extra shout-outs: Composer, Delia Derbyshire, "The Man with the Movie Camera" film by Dziga Vertov, poster by Alexander Rodchenko, Walter Benjamin's "The Work of Art in the Age of Mechanical Reproduction,” Eva Figes, book "Patriarchal Attitudes," Jane Kenrick, one of five who had been on trial for protesting against the 1970 Miss World contest, Laura Mulvey's “Visual Pleasure and Narrative Cinema,” Linda Nochlin's “Why Have There Been No Great Women Artists," "Landscape & Power" by WJT Mitchell, "Looking at the Overlooked" by Norman Bryson Send me a voice message on Speakpipe.com about what you love and dislike about NYC! I'll use the recording in a future ep about Marsden Hartley: https://www.speakpipe.com/peps Follow Pep Talks on IG: @peptalksforartists Donate to the Peps: Buy Me a Coffee or https://anchor.fm/peptalksforartistspod/support. Amy's website: https://www.amytalluto.com/ All music tracks and SFX are licensed from Soundstripe. --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support
Una parte importante de las series de televisión son sus sintonías. Sirven de presentación y nos dan información y contexto pero en muchas ocasiones se convierten en iconos de la cultura pop. Repasamos su evolución desde los inicios de la TV. Series cuyas intros son tan populares como los propios shows: Embrujada, Bonanza o Misión Imposible. Pioneras de la electrónica como Delia Derbyshire nos trajo el tema de Dr. Who. Dúos como Mike Post y Peter Carpenter parieron las sintonías de El equipo A o Canción triste de Hill Street. Stu Phillips nos trajo la canción de El coche fantástico. Grandes de la bandas sonoras de cine como Bill Conti, Henry Mancini o Danny Elfman crearon los temas de Falcon Crest, Hotel o Cuentos de la Cripta Las canciones pop se empezaron a hacer muy populares a partir de los 90 con las sintonías de Friends, Malcom o The wire. En los culebrones los propios actores nos cantaban que Los ricos también lloran. En España compositores como Waldo de los Ríos, Antón García Abril o Emilio Aragón crearon música y sintonías para Curro Jiménez o Médico de familia. En los últimos años series-evento como The Mandalorian o Juego de Tronos han tenido intros muy aplaudidas. Perdidos o Expediente X fueron sus inmediatos antecesores. Embarcaos en este viaje por la música de las series, un viaje por la historia de televisión, Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals
Talking about the music and sound in minutes 91-95 of Solo: A Star Wars Story with Jon Solomon! This set of minutes features a giant space tentacle monster, which, in part, is brought to life by the score and sound design. We talk about tension-building, our perceptions of musical "fastness," and a mysterious howling sound that Xanthe and Jon are now mildly obsessed with. Discussion Guide: 00:00 - Hello there! 08:39 - Placid chord when Lando says the L3 is part of the ship now. 18:37 - Stellar screen displays. 37:30 - Is this music as fast as music gets in Star Wars? What does "fast" mean? Strong beats? Density of notes? 43:53 - The difference between a smooth cross-country flight and a spaceship flying through a maelstrom with a giant multi-eyed creature in the middle of it. 46:41 - Loud MRI machines. 53:38 - What's up with this howling noise? 1:05:06 - Familiar themes but with a note tweaked to make it off-kilter. 1:09:27 - Cue vs. track vs. composition vs. score vs. recording vs. leitmotif vs. theme. Natural variation in themes. Skeleton vs. soft tissue, etc et. (I know, I know, how many times must I go on this spiel? Sorry!) 1:18:39 - Natural water filtration analogy. 1:25:18 - Multiple interpretation of the same howl/screech/alarm-ish sound. 1:40:25 - "Xanthe" shipyards? 1:45:24 - SWMM Questionnaire Things to Check Out: Jon and his daughter's Solo review: https://web.archive.org/web/20181106182944/https://phawker.com/2018/05/25/cinema-when-han-went-solo/ Complete Catalogue of the Musical Themes of Star Wars (by Frank Lehman): https://franklehman.com/starwars/. Themes: 1. Young Han Solo (Heroic, comp. JW) 8. L3-37 5. The Gang 2a. Young Han Solo (Searching, comp. JW) 1a. Main Theme (A Section) 2. Rebel Fanfare Where are we in the soundtrack(s)?: End of "Reminiscence Therapy" (last minute) "Into the Maw" "Kessel Run in Less Than 12 Parsecs (5M32-33A-B-C)" --------------- STAR WARS MUSIC MINUTE QUESTIONNAIRE: 1. In exactly 3 words, what does Star Wars sound like? Jon: A low hum. Maggie: Inspiring. Magical. Home. 2. What's something related to Star Wars music or sound that you want to learn more about? Jon: Disney+ series of documentary shorts about how specific sound effects were made: lightsaber, Maggie: Foley stuff and how the TIE fighter scream was made. 3. What's a score or soundtrack you're fond of besides anything Star Wars? Jon: Dr. Who and pretty much everything from Delia Derbyshire and The BBC Radiophonic Workshop Maggie: Six (Toby Marlow/Lucy Moss), Come From Away (Irene Sankoff/David Hein), Wicked (Stephen Schwartz), Hamilton (Lin-Manuel Miranda) --------------- Guest: Jon Solomon All Star Wars radio show: http://keepingscoreathome.com/?p=4779 Twitter: https://twitter.com/jonsolomon Instagram: https://instagram.com/jonsolomon ------------------ If you enjoyed this episode and want to show extra appreciation, feel free to buy me a coffee and shout out the guest! https://buymeacoffee.com/starwarsmusmin If you want to support the show, consider becoming a patron! https://patreon.com/chrysanthetan Leave a voice message, and I might play it on the show... https://starwarsmusicminute.com/comlink Where else to find SWMM: Spotify: https://smarturl.it/swmm-spotify Apple Podcasts: https://smarturl.it/swmm-apple YouTube: https://youtube.com/starwarsmusicminute TikTok: https://www.tiktok.com/@starwarsmusicminute? Twitter: https://twitter.com/StarWarsMusMin Instagram: https://instagram.com/starwarsmusicminute Email: podcast@starwarsmusicminute.com
This week's episode looks at “All You Need is Love”, the Our World TV special, and the career of the Beatles from April 1966 through August 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Rain" by the Beatles. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ NB for the first few hours this was up, there was a slight editing glitch. If you downloaded the old version and don't want to redownload the whole thing, just look in the transcript for "Other than fixing John's two flubbed" for the text of the two missing paragraphs. Errata I say "Come Together" was a B-side, but the single was actually a double A-side. Also, I say the Lennon interview by Maureen Cleave appeared in Detroit magazine. That's what my source (Steve Turner's book) says, but someone on Twitter says that rather than Detroit magazine it was the Detroit Free Press. Also at one point I say "the videos for 'Paperback Writer' and 'Penny Lane'". I meant to say "Rain" rather than "Penny Lane" there. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. Particularly useful this time was Steve Turner's book Beatles '66. I also used Turner's The Beatles: The Stories Behind the Songs 1967-1970. Johnny Rogan's Starmakers and Svengalis had some information on Epstein I hadn't seen anywhere else. Some information about the "Bigger than Jesus" scandal comes from Ward, B. (2012). “The ‘C' is for Christ”: Arthur Unger, Datebook Magazine and the Beatles. Popular Music and Society, 35(4), 541-560. https://doi.org/10.1080/03007766.2011.608978 Information on Robert Stigwood comes from Mr Showbiz by Stephen Dando-Collins. And the quote at the end from Simon Napier-Bell is from You Don't Have to Say You Love Me, which is more entertaining than it is accurate, but is very entertaining. Sadly the only way to get the single mix of "All You Need is Love" is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Magical Mystery Tour. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I start the episode -- this episode deals, in part, with the deaths of three gay men -- one by murder, one by suicide, and one by an accidental overdose, all linked at least in part to societal homophobia. I will try to deal with this as tactfully as I can, but anyone who's upset by those things might want to read the transcript instead of listening to the episode. This is also a very, very, *very* long episode -- this is likely to be the longest episode I *ever* do of this podcast, so settle in. We're going to be here a while. I obviously don't know how long it's going to be while I'm still recording, but based on the word count of my script, probably in the region of three hours. You have been warned. In 1967 the actor Patrick McGoohan was tired. He had been working on the hit series Danger Man for many years -- Danger Man had originally run from 1960 through 1962, then had taken a break, and had come back, retooled, with longer episodes in 1964. That longer series was a big hit, both in the UK and in the US, where it was retitled Secret Agent and had a new theme tune written by PF Sloan and Steve Barri and recorded by Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But McGoohan was tired of playing John Drake, the agent, and announced he was going to quit the series. Instead, with the help of George Markstein, Danger Man's script editor, he created a totally new series, in which McGoohan would star, and which McGoohan would also write and direct key episodes of. This new series, The Prisoner, featured a spy who is only ever given the name Number Six, and who many fans -- though not McGoohan himself -- took to be the same character as John Drake. Number Six resigns from his job as a secret agent, and is kidnapped and taken to a place known only as The Village -- the series was filmed in Portmeirion, an unusual-looking town in Gwynnedd, in North Wales -- which is full of other ex-agents. There he is interrogated to try to find out why he has quit his job. It's never made clear whether the interrogators are his old employers or their enemies, and there's a certain suggestion that maybe there is no real distinction between the two sides, that they're both running the Village together. He spends the entire series trying to escape, but refuses to explain himself -- and there's some debate among viewers as to whether it's implied or not that part of the reason he doesn't explain himself is that he knows his interrogators wouldn't understand why he quit: [Excerpt: The Prisoner intro, from episode Once Upon a Time, ] Certainly that explanation would fit in with McGoohan's own personality. According to McGoohan, the final episode of The Prisoner was, at the time, the most watched TV show ever broadcast in the UK, as people tuned in to find out the identity of Number One, the person behind the Village, and to see if Number Six would break free. I don't think that's actually the case, but it's what McGoohan always claimed, and it was certainly a very popular series. I won't spoil the ending for those of you who haven't watched it -- it's a remarkable series -- but ultimately the series seems to decide that such questions don't matter and that even asking them is missing the point. It's a work that's open to multiple interpretations, and is left deliberately ambiguous, but one of the messages many people have taken away from it is that not only are we trapped by a society that oppresses us, we're also trapped by our own identities. You can run from the trap that society has placed you in, from other people's interpretations of your life, your work, and your motives, but you ultimately can't run from yourself, and any time you try to break out of a prison, you'll find yourself trapped in another prison of your own making. The most horrifying implication of the episode is that possibly even death itself won't be a release, and you will spend all eternity trying to escape from an identity you're trapped in. Viewers became so outraged, according to McGoohan, that he had to go into hiding for an extended period, and while his later claims that he never worked in Britain again are an exaggeration, it is true that for the remainder of his life he concentrated on doing work in the US instead, where he hadn't created such anger. That final episode of The Prisoner was also the only one to use a piece of contemporary pop music, in two crucial scenes: [Excerpt: The Prisoner, "Fall Out", "All You Need is Love"] Back in October 2020, we started what I thought would be a year-long look at the period from late 1962 through early 1967, but which has turned out for reasons beyond my control to take more like twenty months, with a song which was one of the last of the big pre-Beatles pop hits, though we looked at it after their first single, "Telstar" by the Tornadoes: [Excerpt: The Tornadoes, "Telstar"] There were many reasons for choosing that as one of the bookends for this fifty-episode chunk of the podcast -- you'll see many connections between that episode and this one if you listen to them back-to-back -- but among them was that it's a song inspired by the launch of the first ever communications satellite, and a sign of how the world was going to become smaller as the sixties went on. Of course, to start with communications satellites didn't do much in that regard -- they were expensive to use, and had limited bandwidth, and were only available during limited time windows, but symbolically they meant that for the first time ever, people could see and hear events thousands of miles away as they were happening. It's not a coincidence that Britain and France signed the agreement to develop Concorde, the first supersonic airliner, a month after the first Beatles single and four months after the Telstar satellite was launched. The world was becoming ever more interconnected -- people were travelling faster and further, getting news from other countries quicker, and there was more cultural conversation – and misunderstanding – between countries thousands of miles apart. The Canadian media theorist Marshall McLuhan, the man who also coined the phrase “the medium is the message”, thought that this ever-faster connection would fundamentally change basic modes of thought in the Western world. McLuhan thought that technology made possible whole new modes of thought, and that just as the printing press had, in his view, caused Western liberalism and individualism, so these new electronic media would cause the rise of a new collective mode of thought. In 1962, the year of Concorde, Telstar, and “Love Me Do”, McLuhan wrote a book called The Gutenberg Galaxy, in which he said: “Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and superimposed co-existence.… Terror is the normal state of any oral society, for in it everything affects everything all the time.…” He coined the term “the Global Village” to describe this new collectivism. The story we've seen over the last fifty episodes is one of a sort of cultural ping-pong between the USA and the UK, with innovations in American music inspiring British musicians, who in turn inspired American ones, whether that being the Beatles covering the Isley Brothers or the Rolling Stones doing a Bobby Womack song, or Paul Simon and Bob Dylan coming over to the UK and learning folk songs and guitar techniques from Martin Carthy. And increasingly we're going to see those influences spread to other countries, and influences coming *from* other countries. We've already seen one Jamaican artist, and the influence of Indian music has become very apparent. While the focus of this series is going to remain principally in the British Isles and North America, rock music was and is a worldwide phenomenon, and that's going to become increasingly a part of the story. And so in this episode we're going to look at a live performance -- well, mostly live -- that was seen by hundreds of millions of people all over the world as it happened, thanks to the magic of satellites: [Excerpt: The Beatles, "All You Need is Love"] When we left the Beatles, they had just finished recording "Tomorrow Never Knows", the most experimental track they had recorded up to that date, and if not the most experimental thing they *ever* recorded certainly in the top handful. But "Tomorrow Never Knows" was only the first track they recorded in the sessions for what would become arguably their greatest album, and certainly the one that currently has the most respect from critics. It's interesting to note that that album could have been very, very, different. When we think of Revolver now, we think of the innovative production of George Martin, and of Geoff Emerick and Ken Townshend's inventive ideas for pushing the sound of the equipment in Abbey Road studios, but until very late in the day the album was going to be recorded in the Stax studios in Memphis, with Steve Cropper producing -- whether George Martin would have been involved or not is something we don't even know. In 1965, the Rolling Stones had, as we've seen, started making records in the US, recording in LA and at the Chess studios in Chicago, and the Yardbirds had also been doing the same thing. Mick Jagger had become a convert to the idea of using American studios and working with American musicians, and he had constantly been telling Paul McCartney that the Beatles should do the same. Indeed, they'd put some feelers out in 1965 about the possibility of the group making an album with Holland, Dozier, and Holland in Detroit. Quite how this would have worked is hard to figure out -- Holland, Dozier, and Holland's skills were as songwriters, and in their work with a particular set of musicians -- so it's unsurprising that came to nothing. But recording at Stax was a different matter. While Steve Cropper was a great songwriter in his own right, he was also adept at getting great sounds on covers of other people's material -- like on Otis Blue, the album he produced for Otis Redding in late 1965, which doesn't include a single Cropper original: [Excerpt: Otis Redding, "Satisfaction"] And the Beatles were very influenced by the records Stax were putting out, often namechecking Wilson Pickett in particular, and during the Rubber Soul sessions they had recorded a "Green Onions" soundalike track, imaginatively titled "12-Bar Original": [Excerpt: The Beatles, "12-Bar Original"] The idea of the group recording at Stax got far enough that they were actually booked in for two weeks starting the ninth of April, and there was even an offer from Elvis to let them stay at Graceland while they recorded, but then a couple of weeks earlier, the news leaked to the press, and Brian Epstein cancelled the booking. According to Cropper, Epstein talked about recording at the Atlantic studios in New York with him instead, but nothing went any further. It's hard to imagine what a Stax-based Beatles album would have been like, but even though it might have been a great album, it certainly wouldn't have been the Revolver we've come to know. Revolver is an unusual album in many ways, and one of the ways it's most distinct from the earlier Beatles albums is the dominance of keyboards. Both Lennon and McCartney had often written at the piano as well as the guitar -- McCartney more so than Lennon, but both had done so regularly -- but up to this point it had been normal for them to arrange the songs for guitars rather than keyboards, no matter how they'd started out. There had been the odd track where one of them, usually Lennon, would play a simple keyboard part, songs like "I'm Down" or "We Can Work it Out", but even those had been guitar records first and foremost. But on Revolver, that changed dramatically. There seems to have been a complex web of cause and effect here. Paul was becoming increasingly interested in moving his basslines away from simple walking basslines and root notes and the other staples of rock and roll basslines up to this point. As the sixties progressed, rock basslines were becoming ever more complex, and Tyler Mahan Coe has made a good case that this is largely down to innovations in production pioneered by Owen Bradley, and McCartney was certainly aware of Bradley's work -- he was a fan of Brenda Lee, who Bradley produced, for example. But the two influences that McCartney has mentioned most often in this regard are the busy, jazz-influenced, basslines that James Jamerson was playing at Motown: [Excerpt: The Four Tops, "It's the Same Old Song"] And the basslines that Brian Wilson was writing for various Wrecking Crew bassists to play for the Beach Boys: [Excerpt: The Beach Boys, "Don't Talk (Put Your Head on My Shoulder)"] Just to be clear, McCartney didn't hear that particular track until partway through the recording of Revolver, when Bruce Johnston visited the UK and brought with him an advance copy of Pet Sounds, but Pet Sounds influenced the later part of Revolver's recording, and Wilson had already started his experiments in that direction with the group's 1965 work. It's much easier to write a song with this kind of bassline, one that's integral to the composition, on the piano than it is to write it on a guitar, as you can work out the bassline with your left hand while working out the chords and melody with your right, so the habit that McCartney had already developed of writing on the piano made this easier. But also, starting with the recording of "Paperback Writer", McCartney switched his style of working in the studio. Where up to this point it had been normal for him to play bass as part of the recording of the basic track, playing with the other Beatles, he now started to take advantage of multitracking to overdub his bass later, so he could spend extra time getting the bassline exactly right. McCartney lived closer to Abbey Road than the other three Beatles, and so could more easily get there early or stay late and tweak his parts. But if McCartney wasn't playing bass while the guitars and drums were being recorded, that meant he could play something else, and so increasingly he would play piano during the recording of the basic track. And that in turn would mean that there wouldn't always *be* a need for guitars on the track, because the harmonic support they would provide would be provided by the piano instead. This, as much as anything else, is the reason that Revolver sounds so radically different to any other Beatles album. Up to this point, with *very* rare exceptions like "Yesterday", every Beatles record, more or less, featured all four of the Beatles playing instruments. Now John and George weren't playing on "Good Day Sunshine" or "For No One", John wasn't playing on "Here, There, and Everywhere", "Eleanor Rigby" features no guitars or drums at all, and George's "Love You To" only features himself, plus a little tambourine from Ringo (Paul recorded a part for that one, but it doesn't seem to appear on the finished track). Of the three songwriting Beatles, the only one who at this point was consistently requiring the instrumental contributions of all the other band members was John, and even he did without Paul on "She Said, She Said", which by all accounts features either John or George on bass, after Paul had a rare bout of unprofessionalism and left the studio. Revolver is still an album made by a group -- and most of those tracks that don't feature John or George instrumentally still feature them vocally -- it's still a collaborative work in all the best ways. But it's no longer an album made by four people playing together in the same room at the same time. After starting work on "Tomorrow Never Knows", the next track they started work on was Paul's "Got to Get You Into My Life", but as it would turn out they would work on that song throughout most of the sessions for the album -- in a sign of how the group would increasingly work from this point on, Paul's song was subject to multiple re-recordings and tweakings in the studio, as he tinkered to try to make it perfect. The first recording to be completed for the album, though, was almost as much of a departure in its own way as "Tomorrow Never Knows" had been. George's song "Love You To" shows just how inspired he was by the music of Ravi Shankar, and how devoted he was to Indian music. While a few months earlier he had just about managed to pick out a simple melody on the sitar for "Norwegian Wood", by this point he was comfortable enough with Indian classical music that I've seen many, many sources claim that an outside session player is playing sitar on the track, though Anil Bhagwat, the tabla player on the track, always insisted that it was entirely Harrison's playing: [Excerpt: The Beatles, "Love You To"] There is a *lot* of debate as to whether it's George playing on the track, and I feel a little uncomfortable making a definitive statement in either direction. On the one hand I find it hard to believe that Harrison got that good that quickly on an unfamiliar instrument, when we know he wasn't a naturally facile musician. All the stories we have about his work in the studio suggest that he had to work very hard on his guitar solos, and that he would frequently fluff them. As a technical guitarist, Harrison was only mediocre -- his value lay in his inventiveness, not in technical ability -- and he had been playing guitar for over a decade, but sitar only a few months. There's also some session documentation suggesting that an unknown sitar player was hired. On the other hand there's the testimony of Anil Bhagwat that Harrison played the part himself, and he has been very firm on the subject, saying "If you go on the Internet there are a lot of questions asked about "Love You To". They say 'It's not George playing the sitar'. I can tell you here and now -- 100 percent it was George on sitar throughout. There were no other musicians involved. It was just me and him." And several people who are more knowledgeable than myself about the instrument have suggested that the sitar part on the track is played the way that a rock guitarist would play rather than the way someone with more knowledge of Indian classical music would play -- there's a blues feeling to some of the bends that apparently no genuine Indian classical musician would naturally do. I would suggest that the best explanation is that there's a professional sitar player trying to replicate a part that Harrison had previously demonstrated, while Harrison was in turn trying his best to replicate the sound of Ravi Shankar's work. Certainly the instrumental section sounds far more fluent, and far more stylistically correct, than one would expect: [Excerpt: The Beatles, "Love You To"] Where previous attempts at what got called "raga-rock" had taken a couple of surface features of Indian music -- some form of a drone, perhaps a modal scale -- and had generally used a guitar made to sound a little bit like a sitar, or had a sitar playing normal rock riffs, Harrison's song seems to be a genuine attempt to hybridise Indian ragas and rock music, combining the instrumentation, modes, and rhythmic complexity of someone like Ravi Shankar with lyrics that are seemingly inspired by Bob Dylan and a fairly conventional pop song structure (and a tiny bit of fuzz guitar). It's a record that could only be made by someone who properly understood both the Indian music he's emulating and the conventions of the Western pop song, and understood how those conventions could work together. Indeed, one thing I've rarely seen pointed out is how cleverly the album is sequenced, so that "Love You To" is followed by possibly the most conventional song on Revolver, "Here, There, and Everywhere", which was recorded towards the end of the sessions. Both songs share a distinctive feature not shared by the rest of the album, so the two songs can sound more of a pair than they otherwise would, retrospectively making "Love You To" seem more conventional than it is and "Here, There, and Everywhere" more unconventional -- both have as an introduction a separate piece of music that states some of the melodic themes of the rest of the song but isn't repeated later. In the case of "Love You To" it's the free-tempo bit at the beginning, characteristic of a lot of Indian music: [Excerpt: The Beatles, "Love You To"] While in the case of "Here, There, and Everywhere" it's the part that mimics an older style of songwriting, a separate intro of the type that would have been called a verse when written by the Gershwins or Cole Porter, but of course in the intervening decades "verse" had come to mean something else, so we now no longer have a specific term for this kind of intro -- but as you can hear, it's doing very much the same thing as that "Love You To" intro: [Excerpt: The Beatles, "Here, There, and Everywhere"] In the same day as the group completed "Love You To", overdubbing George's vocal and Ringo's tambourine, they also started work on a song that would show off a lot of the new techniques they had been working on in very different ways. Paul's "Paperback Writer" could indeed be seen as part of a loose trilogy with "Love You To" and "Tomorrow Never Knows", one song by each of the group's three songwriters exploring the idea of a song that's almost all on one chord. Both "Tomorrow Never Knows" and "Love You To" are based on a drone with occasional hints towards moving to one other chord. In the case of "Paperback Writer", the entire song stays on a single chord until the title -- it's on a G7 throughout until the first use of the word "writer", when it quickly goes to a C for two bars. I'm afraid I'm going to have to sing to show you how little the chords actually change, because the riff disguises this lack of movement somewhat, but the melody is also far more horizontal than most of McCartney's, so this shouldn't sound too painful, I hope: [demonstrates] This is essentially the exact same thing that both "Love You To" and "Tomorrow Never Knows" do, and all three have very similarly structured rising and falling modal melodies. There's also a bit of "Paperback Writer" that seems to tie directly into "Love You To", but also points to a possible very non-Indian inspiration for part of "Love You To". The Beach Boys' single "Sloop John B" was released in the UK a couple of days after the sessions for "Paperback Writer" and "Love You To", but it had been released in the US a month before, and the Beatles all got copies of every record in the American top thirty shipped to them. McCartney and Harrison have specifically pointed to it as an influence on "Paperback Writer". "Sloop John B" has a section where all the instruments drop out and we're left with just the group's vocal harmonies: [Excerpt: The Beach Boys, "Sloop John B"] And that seems to have been the inspiration behind the similar moment at a similar point in "Paperback Writer", which is used in place of a middle eight and also used for the song's intro: [Excerpt: The Beatles, "Paperback Writer"] Which is very close to what Harrison does at the end of each verse of "Love You To", where the instruments drop out for him to sing a long melismatic syllable before coming back in: [Excerpt: The Beatles, "Love You To"] Essentially, other than "Got to Get You Into My Life", which is an outlier and should not be counted, the first three songs attempted during the Revolver sessions are variations on a common theme, and it's a sign that no matter how different the results might sound, the Beatles really were very much a group at this point, and were sharing ideas among themselves and developing those ideas in similar ways. "Paperback Writer" disguises what it's doing somewhat by having such a strong riff. Lennon referred to "Paperback Writer" as "son of 'Day Tripper'", and in terms of the Beatles' singles it's actually their third iteration of this riff idea, which they originally got from Bobby Parker's "Watch Your Step": [Excerpt: Bobby Parker, "Watch Your Step"] Which became the inspiration for "I Feel Fine": [Excerpt: The Beatles, "I Feel Fine"] Which they varied for "Day Tripper": [Excerpt: The Beatles, "Day Tripper"] And which then in turn got varied for "Paperback Writer": [Excerpt: The Beatles, "Paperback Writer"] As well as compositional ideas, there are sonic ideas shared between "Paperback Writer", "Tomorrow Never Knows", and "Love You To", and which would be shared by the rest of the tracks the Beatles recorded in the first half of 1966. Since Geoff Emerick had become the group's principal engineer, they'd started paying more attention to how to get a fuller sound, and so Emerick had miced the tabla on "Love You To" much more closely than anyone would normally mic an instrument from classical music, creating a deep, thudding sound, and similarly he had changed the way they recorded the drums on "Tomorrow Never Knows", again giving a much fuller sound. But the group also wanted the kind of big bass sounds they'd loved on records coming out of America -- sounds that no British studio was getting, largely because it was believed that if you cut too loud a bass sound into a record it would make the needle jump out of the groove. The new engineering team of Geoff Emerick and Ken Scott, though, thought that it was likely you could keep the needle in the groove if you had a smoother frequency response. You could do that if you used a microphone with a larger diaphragm to record the bass, but how could you do that? Inspiration finally struck -- loudspeakers are actually the same thing as microphones wired the other way round, so if you wired up a loudspeaker as if it were a microphone you could get a *really big* speaker, place it in front of the bass amp, and get a much stronger bass sound. The experiment wasn't a total success -- the sound they got had to be processed quite extensively to get rid of room noise, and then compressed in order to further prevent the needle-jumping issue, and so it's a muddier, less defined, tone than they would have liked, but one thing that can't be denied is that "Paperback Writer"'s bass sound is much, much, louder than on any previous Beatles record: [Excerpt: The Beatles, "Paperback Writer"] Almost every track the group recorded during the Revolver sessions involved all sorts of studio innovations, though rarely anything as truly revolutionary as the artificial double-tracking they'd used on "Tomorrow Never Knows", and which also appeared on "Paperback Writer" -- indeed, as "Paperback Writer" was released several months before Revolver, it became the first record released to use the technique. I could easily devote a good ten minutes to every track on Revolver, and to "Paperback Writer"s B-side, "Rain", but this is already shaping up to be an extraordinarily long episode and there's a lot of material to get through, so I'll break my usual pattern of devoting a Patreon bonus episode to something relatively obscure, and this week's bonus will be on "Rain" itself. "Paperback Writer", though, deserved the attention here even though it was not one of the group's more successful singles -- it did go to number one, but it didn't hit number one in the UK charts straight away, being kept off the top by "Strangers in the Night" by Frank Sinatra for the first week: [Excerpt: Frank Sinatra, "Strangers in the Night"] Coincidentally, "Strangers in the Night" was co-written by Bert Kaempfert, the German musician who had produced the group's very first recording sessions with Tony Sheridan back in 1961. On the group's German tour in 1966 they met up with Kaempfert again, and John greeted him by singing the first couple of lines of the Sinatra record. The single was the lowest-selling Beatles single in the UK since "Love Me Do". In the US it only made number one for two non-consecutive weeks, with "Strangers in the Night" knocking it off for a week in between. Now, by literally any other band's standards, that's still a massive hit, and it was the Beatles' tenth UK number one in a row (or ninth, depending on which chart you use for "Please Please Me"), but it's a sign that the group were moving out of the first phase of total unequivocal dominance of the charts. It was a turning point in a lot of other ways as well. Up to this point, while the group had been experimenting with different lyrical subjects on album tracks, every single had lyrics about romantic relationships -- with the possible exception of "Help!", which was about Lennon's emotional state but written in such a way that it could be heard as a plea to a lover. But in the case of "Paperback Writer", McCartney was inspired by his Aunt Mill asking him "Why do you write songs about love all the time? Can you ever write about a horse or the summit conference or something interesting?" His response was to think "All right, Aunt Mill, I'll show you", and to come up with a lyric that was very much in the style of the social satires that bands like the Kinks were releasing at the time. People often miss the humour in the lyric for "Paperback Writer", but there's a huge amount of comedy in lyrics about someone writing to a publisher saying they'd written a book based on someone else's book, and one can only imagine the feeling of weary recognition in slush-pile readers throughout the world as they heard the enthusiastic "It's a thousand pages, give or take a few, I'll be writing more in a week or two. I can make it longer..." From this point on, the group wouldn't release a single that was unambiguously about a romantic relationship until "The Ballad of John and Yoko", the last single released while the band were still together. "Paperback Writer" also saw the Beatles for the first time making a promotional film -- what we would now call a rock video -- rather than make personal appearances on TV shows. The film was directed by Michael Lindsay-Hogg, who the group would work with again in 1969, and shows Paul with a chipped front tooth -- he'd been in an accident while riding mopeds with his friend Tara Browne a few months earlier, and hadn't yet got round to having the tooth capped. When he did, the change in his teeth was one of the many bits of evidence used by conspiracy theorists to prove that the real Paul McCartney was dead and replaced by a lookalike. It also marks a change in who the most prominent Beatle on the group's A-sides was. Up to this point, Paul had had one solo lead on an A-side -- "Can't Buy Me Love" -- and everything else had been either a song with multiple vocalists like "Day Tripper" or "Love Me Do", or a song with a clear John lead like "Ticket to Ride" or "I Feel Fine". In the rest of their career, counting "Paperback Writer", the group would release nine new singles that hadn't already been included on an album. Of those nine singles, one was a double A-side with one John song and one Paul song, two had John songs on the A-side, and the other six were Paul. Where up to this point John had been "lead Beatle", for the rest of the sixties, Paul would be the group's driving force. Oddly, Paul got rather defensive about the record when asked about it in interviews after it failed to go straight to the top, saying "It's not our best single by any means, but we're very satisfied with it". But especially in its original mono mix it actually packs a powerful punch: [Excerpt: The Beatles, "Paperback Writer"] When the "Paperback Writer" single was released, an unusual image was used in the advertising -- a photo of the Beatles dressed in butchers' smocks, covered in blood, with chunks of meat and the dismembered body parts of baby dolls lying around on them. The image was meant as part of a triptych parodying religious art -- the photo on the left was to be an image showing the four Beatles connected to a woman by an umbilical cord made of sausages, the middle panel was meant to be this image, but with halos added over the Beatles' heads, and the panel on the right was George hammering a nail into John's head, symbolising both crucifixion and that the group were real, physical, people, not just images to be worshipped -- these weren't imaginary nails, and they weren't imaginary people. The photographer Robert Whittaker later said: “I did a photograph of the Beatles covered in raw meat, dolls and false teeth. Putting meat, dolls and false teeth with The Beatles is essentially part of the same thing, the breakdown of what is regarded as normal. The actual conception for what I still call “Somnambulant Adventure” was Moses coming down from Mount Sinai with the Ten Commandments. He comes across people worshipping a golden calf. All over the world I'd watched people worshiping like idols, like gods, four Beatles. To me they were just stock standard normal people. But this emotion that fans poured on them made me wonder where Christianity was heading.” The image wasn't that controversial in the UK, when it was used to advertise "Paperback Writer", but in the US it was initially used for the cover of an album, Yesterday... And Today, which was made up of a few tracks that had been left off the US versions of the Rubber Soul and Help! albums, plus both sides of the "We Can Work It Out"/"Day Tripper" single, and three rough mixes of songs that had been recorded for Revolver -- "Doctor Robert", "And Your Bird Can Sing", and "I'm Only Sleeping", which was the song that sounded most different from the mixes that were finally released: [Excerpt: The Beatles, "I'm Only Sleeping (Yesterday... and Today mix)"] Those three songs were all Lennon songs, which had the unfortunate effect that when the US version of Revolver was brought out later in the year, only two of the songs on the album were by Lennon, with six by McCartney and three by Harrison. Some have suggested that this was the motivation for the use of the butcher image on the cover of Yesterday... And Today -- saying it was the Beatles' protest against Capitol "butchering" their albums -- but in truth it was just that Capitol's art director chose the cover because he liked the image. Alan Livingston, the president of Capitol was not so sure, and called Brian Epstein to ask if the group would be OK with them using a different image. Epstein checked with John Lennon, but Lennon liked the image and so Epstein told Livingston the group insisted on them using that cover. Even though for the album cover the bloodstains on the butchers' smocks were airbrushed out, after Capitol had pressed up a million copies of the mono version of the album and two hundred thousand copies of the stereo version, and they'd sent out sixty thousand promo copies, they discovered that no record shops would stock the album with that cover. It cost Capitol more than two hundred thousand dollars to recall the album and replace the cover with a new one -- though while many of the covers were destroyed, others had the new cover, with a more acceptable photo of the group, pasted over them, and people have later carefully steamed off the sticker to reveal the original. This would not be the last time in 1966 that something that was intended as a statement on religion and the way people viewed the Beatles would cause the group trouble in America. In the middle of the recording sessions for Revolver, the group also made what turned out to be their last ever UK live performance in front of a paying audience. The group had played the NME Poll-Winners' Party every year since 1963, and they were always shows that featured all the biggest acts in the country at the time -- the 1966 show featured, as well as the Beatles and a bunch of smaller acts, the Rolling Stones, the Who, the Yardbirds, Roy Orbison, Cliff Richard and the Shadows, the Seekers, the Small Faces, the Walker Brothers, and Dusty Springfield. Unfortunately, while these events were always filmed for TV broadcast, the Beatles' performance on the first of May wasn't filmed. There are various stories about what happened, but the crux appears to be a disagreement between Andrew Oldham and Brian Epstein, sparked by John Lennon. When the Beatles got to the show, they were upset to discover that they had to wait around before going on stage -- normally, the awards would all be presented at the end, after all the performances, but the Rolling Stones had asked that the Beatles not follow them directly, so after the Stones finished their set, there would be a break for the awards to be given out, and then the Beatles would play their set, in front of an audience that had been bored by twenty-five minutes of awards ceremony, rather than one that had been excited by all the bands that came before them. John Lennon was annoyed, and insisted that the Beatles were going to go on straight after the Rolling Stones -- he seems to have taken this as some sort of power play by the Stones and to have got his hackles up about it. He told Epstein to deal with the people from the NME. But the NME people said that they had a contract with Andrew Oldham, and they weren't going to break it. Oldham refused to change the terms of the contract. Lennon said that he wasn't going to go on stage if they didn't directly follow the Stones. Maurice Kinn, the publisher of the NME, told Epstein that he wasn't going to break the contract with Oldham, and that if the Beatles didn't appear on stage, he would get Jimmy Savile, who was compering the show, to go out on stage and tell the ten thousand fans in the audience that the Beatles were backstage refusing to appear. He would then sue NEMS for breach of contract *and* NEMS would be liable for any damage caused by the rioting that was sure to happen. Lennon screamed a lot of abuse at Kinn, and told him the group would never play one of their events again, but the group did go on stage -- but because they hadn't yet signed the agreement to allow their performance to be filmed, they refused to allow it to be recorded. Apparently Andrew Oldham took all this as a sign that Epstein was starting to lose control of the group. Also during May 1966 there were visits from musicians from other countries, continuing the cultural exchange that was increasingly influencing the Beatles' art. Bruce Johnston of the Beach Boys came over to promote the group's new LP, Pet Sounds, which had been largely the work of Brian Wilson, who had retired from touring to concentrate on working in the studio. Johnston played the record for John and Paul, who listened to it twice, all the way through, in silence, in Johnston's hotel room: [Excerpt: The Beach Boys, "God Only Knows"] According to Johnston, after they'd listened through the album twice, they went over to a piano and started whispering to each other, picking out chords. Certainly the influence of Pet Sounds is very noticeable on songs like "Here, There, and Everywhere", written and recorded a few weeks after this meeting: [Excerpt: The Beatles, "Here, There, and Everywhere"] That track, and the last track recorded for the album, "She Said She Said" were unusual in one very important respect -- they were recorded while the Beatles were no longer under contract to EMI Records. Their contract expired on the fifth of June, 1966, and they finished Revolver without it having been renewed -- it would be several months before their new contract was signed, and it's rather lucky for music lovers that Brian Epstein was the kind of manager who considered personal relationships and basic honour and decency more important than the legal niceties, unlike any other managers of the era, otherwise we would not have Revolver in the form we know it today. After the meeting with Johnston, but before the recording of those last couple of Revolver tracks, the Beatles also met up again with Bob Dylan, who was on a UK tour with a new, loud, band he was working with called The Hawks. While the Beatles and Dylan all admired each other, there was by this point a lot of wariness on both sides, especially between Lennon and Dylan, both of them very similar personality types and neither wanting to let their guard down around the other or appear unhip. There's a famous half-hour-long film sequence of Lennon and Dylan sharing a taxi, which is a fascinating, excruciating, example of two insecure but arrogant men both trying desperately to impress the other but also equally desperate not to let the other know that they want to impress them: [Excerpt: Dylan and Lennon taxi ride] The day that was filmed, Lennon and Harrison also went to see Dylan play at the Royal Albert Hall. This tour had been controversial, because Dylan's band were loud and raucous, and Dylan's fans in the UK still thought of him as a folk musician. At one gig, earlier on the tour, an audience member had famously yelled out "Judas!" -- (just on the tiny chance that any of my listeners don't know that, Judas was the disciple who betrayed Jesus to the authorities, leading to his crucifixion) -- and that show was for many years bootlegged as the "Royal Albert Hall" show, though in fact it was recorded at the Free Trade Hall in Manchester. One of the *actual* Royal Albert Hall shows was released a few years ago -- the one the night before Lennon and Harrison saw Dylan: [Excerpt: Bob Dylan, "Like a Rolling Stone", Royal Albert Hall 1966] The show Lennon and Harrison saw would be Dylan's last for many years. Shortly after returning to the US, Dylan was in a motorbike accident, the details of which are still mysterious, and which some fans claim was faked altogether. The accident caused him to cancel all the concert dates he had booked, and devote himself to working in the studio for several years just like Brian Wilson. And from even further afield than America, Ravi Shankar came over to Britain, to work with his friend the violinist Yehudi Menuhin, on a duet album, West Meets East, that was an example in the classical world of the same kind of international cross-fertilisation that was happening in the pop world: [Excerpt: Yehudi Menuhin and Ravi Shankar, "Prabhati (based on Raga Gunkali)"] While he was in the UK, Shankar also performed at the Royal Festival Hall, and George Harrison went to the show. He'd seen Shankar live the year before, but this time he met up with him afterwards, and later said "He was the first person that impressed me in a way that was beyond just being a famous celebrity. Ravi was my link to the Vedic world. Ravi plugged me into the whole of reality. Elvis impressed me when I was a kid, and impressed me when I met him, but you couldn't later on go round to him and say 'Elvis, what's happening with the universe?'" After completing recording and mixing the as-yet-unnamed album, which had been by far the longest recording process of their career, and which still nearly sixty years later regularly tops polls of the best album of all time, the Beatles took a well-earned break. For a whole two days, at which point they flew off to Germany to do a three-day tour, on their way to Japan, where they were booked to play five shows at the Budokan. Unfortunately for the group, while they had no idea of this when they were booked to do the shows, many in Japan saw the Budokan as sacred ground, and they were the first ever Western group to play there. This led to numerous death threats and loud protests from far-right activists offended at the Beatles defiling their religious and nationalistic sensibilities. As a result, the police were on high alert -- so high that there were three thousand police in the audience for the shows, in a venue which only held ten thousand audience members. That's according to Mark Lewisohn's Complete Beatles Chronicle, though I have to say that the rather blurry footage of the audience in the video of those shows doesn't seem to show anything like those numbers. But frankly I'll take Lewisohn's word over that footage, as he's not someone to put out incorrect information. The threats to the group also meant that they had to be kept in their hotel rooms at all times except when actually performing, though they did make attempts to get out. At the press conference for the Tokyo shows, the group were also asked publicly for the first time their views on the war in Vietnam, and John replied "Well, we think about it every day, and we don't agree with it and we think that it's wrong. That's how much interest we take. That's all we can do about it... and say that we don't like it". I say they were asked publicly for the first time, because George had been asked about it for a series of interviews Maureen Cleave had done with the group a couple of months earlier, as we'll see in a bit, but nobody was paying attention to those interviews. Brian Epstein was upset that the question had gone to John. He had hoped that the inevitable Vietnam question would go to Paul, who he thought might be a bit more tactful. The last thing he needed was John Lennon saying something that would upset the Americans before their tour there a few weeks later. Luckily, people in America seemed to have better things to do than pay attention to John Lennon's opinions. The support acts for the Japanese shows included several of the biggest names in Japanese rock music -- or "group sounds" as the genre was called there, Japanese people having realised that trying to say the phrase "rock and roll" would open them up to ridicule given that it had both "r" and "l" sounds in the phrase. The man who had coined the term "group sounds", Jackey Yoshikawa, was there with his group the Blue Comets, as was Isao Bito, who did a rather good cover version of Cliff Richard's "Dynamite": [Excerpt: Isao Bito, "Dynamite"] Bito, the Blue Comets, and the other two support acts, Yuya Uchida and the Blue Jeans, all got together to perform a specially written song, "Welcome Beatles": [Excerpt: "Welcome Beatles" ] But while the Japanese audience were enthusiastic, they were much less vocal about their enthusiasm than the audiences the Beatles were used to playing for. The group were used, of course, to playing in front of hordes of screaming teenagers who could not hear a single note, but because of the fear that a far-right terrorist would assassinate one of the group members, the police had imposed very, very, strict rules on the audience. Nobody in the audience was allowed to get out of their seat for any reason, and the police would clamp down very firmly on anyone who was too demonstrative. Because of that, the group could actually hear themselves, and they sounded sloppy as hell, especially on the newer material. Not that there was much of that. The only song they did from the Revolver sessions was "Paperback Writer", the new single, and while they did do a couple of tracks from Rubber Soul, those were under-rehearsed. As John said at the start of this tour, "I can't play any of Rubber Soul, it's so unrehearsed. The only time I played any of the numbers on it was when I recorded it. I forget about songs. They're only valid for a certain time." That's certainly borne out by the sound of their performances of Rubber Soul material at the Budokan: [Excerpt: The Beatles, "If I Needed Someone (live at the Budokan)"] It was while they were in Japan as well that they finally came up with the title for their new album. They'd been thinking of all sorts of ideas, like Abracadabra and Magic Circle, and tossing names around with increasing desperation for several days -- at one point they seem to have just started riffing on other groups' albums, and seem to have apparently seriously thought about naming the record in parodic tribute to their favourite artists -- suggestions included The Beatles On Safari, after the Beach Boys' Surfin' Safari (and possibly with a nod to their recent Pet Sounds album cover with animals, too), The Freewheelin' Beatles, after Dylan's second album, and my favourite, Ringo's suggestion After Geography, for the Rolling Stones' Aftermath. But eventually Paul came up with Revolver -- like Rubber Soul, a pun, in this case because the record itself revolves when on a turntable. Then it was off to the Philippines, and if the group thought Japan had been stressful, they had no idea what was coming. The trouble started in the Philippines from the moment they stepped off the plane, when they were bundled into a car without Neil Aspinall or Brian Epstein, and without their luggage, which was sent to customs. This was a problem in itself -- the group had got used to essentially being treated like diplomats, and to having their baggage let through customs without being searched, and so they'd started freely carrying various illicit substances with them. This would obviously be a problem -- but as it turned out, this was just to get a "customs charge" paid by Brian Epstein. But during their initial press conference the group were worried, given the hostility they'd faced from officialdom, that they were going to be arrested during the conference itself. They were asked what they would tell the Rolling Stones, who were going to be visiting the Philippines shortly after, and Lennon just said "We'll warn them". They also asked "is there a war on in the Philippines? Why is everybody armed?" At this time, the Philippines had a new leader, Ferdinand Marcos -- who is not to be confused with his son, Ferdinand Marcos Jr, also known as Bongbong Marcos, who just became President-Elect there last month. Marcos Sr was a dictatorial kleptocrat, one of the worst leaders of the latter half of the twentieth century, but that wasn't evident yet. He'd been elected only a few months earlier, and had presented himself as a Kennedy-like figure -- a young man who was also a war hero. He'd recently switched parties from the Liberal party to the right-wing Nacionalista Party, but wasn't yet being thought of as the monstrous dictator he later became. The person organising the Philippines shows had been ordered to get the Beatles to visit Ferdinand and Imelda Marcos at 11AM on the day of the show, but for some reason had instead put on their itinerary just the *suggestion* that the group should meet the Marcoses, and had put the time down as 3PM, and the Beatles chose to ignore that suggestion -- they'd refused to do that kind of government-official meet-and-greet ever since an incident in 1964 at the British Embassy in Washington where someone had cut off a bit of Ringo's hair. A military escort turned up at the group's hotel in the morning, to take them for their meeting. The group were all still in their rooms, and Brian Epstein was still eating breakfast and refused to disturb them, saying "Go back and tell the generals we're not coming." The group gave their performances as scheduled, but meanwhile there was outrage at the way the Beatles had refused to meet the Marcos family, who had brought hundreds of children -- friends of their own children, and relatives of top officials -- to a party to meet the group. Brian Epstein went on TV and tried to smooth things over, but the broadcast was interrupted by static and his message didn't get through to anyone. The next day, the group's security was taken away, as were the cars to take them to the airport. When they got to the airport, the escalators were turned off and the group were beaten up at the arrangement of the airport manager, who said in 1984 "I beat up the Beatles. I really thumped them. First I socked Epstein and he went down... then I socked Lennon and Ringo in the face. I was kicking them. They were pleading like frightened chickens. That's what happens when you insult the First Lady." Even on the plane there were further problems -- Brian Epstein and the group's road manager Mal Evans were both made to get off the plane to sort out supposed financial discrepancies, which led to them worrying that they were going to be arrested or worse -- Evans told the group to tell his wife he loved her as he left the plane. But eventually, they were able to leave, and after a brief layover in India -- which Ringo later said was the first time he felt he'd been somewhere truly foreign, as opposed to places like Germany or the USA which felt basically like home -- they got back to England: [Excerpt: "Ordinary passenger!"] When asked what they were going to do next, George replied “We're going to have a couple of weeks to recuperate before we go and get beaten up by the Americans,” The story of the "we're bigger than Jesus" controversy is one of the most widely misreported events in the lives of the Beatles, which is saying a great deal. One book that I've encountered, and one book only, Steve Turner's Beatles '66, tells the story of what actually happened, and even that book seems to miss some emphases. I've pieced what follows together from Turner's book and from an academic journal article I found which has some more detail. As far as I can tell, every single other book on the Beatles released up to this point bases their account of the story on an inaccurate press statement put out by Brian Epstein, not on the truth. Here's the story as it's generally told. John Lennon gave an interview to his friend, Maureen Cleave of the Evening Standard, during which he made some comments about how it was depressing that Christianity was losing relevance in the eyes of the public, and that the Beatles are more popular than Jesus, speaking casually because he was talking to a friend. That story was run in the Evening Standard more-or-less unnoticed, but then an American teen magazine picked up on the line about the Beatles being bigger than Jesus, reprinted chunks of the interview out of context and without the Beatles' knowledge or permission, as a way to stir up controversy, and there was an outcry, with people burning Beatles records and death threats from the Ku Klux Klan. That's... not exactly what happened. The first thing that you need to understand to know what happened is that Datebook wasn't a typical teen magazine. It *looked* just like a typical teen magazine, certainly, and much of its content was the kind of thing that you would get in Tiger Beat or any of the other magazines aimed at teenage girls -- the September 1966 issue was full of articles like "Life with the Walker Brothers... by their Road Manager", and interviews with the Dave Clark Five -- but it also had a long history of publishing material that was intended to make its readers think about social issues of the time, particularly Civil Rights. Arthur Unger, the magazine's editor and publisher, was a gay man in an interracial relationship, and while the subject of homosexuality was too taboo in the late fifties and sixties for him to have his magazine cover that, he did regularly include articles decrying segregation and calling for the girls reading the magazine to do their part on a personal level to stamp out racism. Datebook had regularly contained articles like one from 1963 talking about how segregation wasn't just a problem in the South, saying "If we are so ‘integrated' why must men in my own city of Philadelphia, the city of Brotherly Love, picket city hall because they are discriminated against when it comes to getting a job? And how come I am still unable to take my dark- complexioned friends to the same roller skating rink or swimming pool that I attend?” One of the writers for the magazine later said “We were much more than an entertainment magazine . . . . We tried to get kids involved in social issues . . . . It was a well-received magazine, recommended by libraries and schools, but during the Civil Rights period we did get pulled off a lot of stands in the South because of our views on integration” Art Unger, the editor and publisher, wasn't the only one pushing this liberal, integrationist, agenda. The managing editor at the time, Danny Fields, was another gay man who wanted to push the magazine even further than Unger, and who would later go on to manage the Stooges and the Ramones, being credited by some as being the single most important figure in punk rock's development, and being immortalised by the Ramones in their song "Danny Says": [Excerpt: The Ramones, "Danny Says"] So this was not a normal teen magazine, and that's certainly shown by the cover of the September 1966 issue, which as well as talking about the interviews with John Lennon and Paul McCartney inside, also advertised articles on Timothy Leary advising people to turn on, tune in, and drop out; an editorial about how interracial dating must be the next step after desegregation of schools, and a piece on "the ten adults you dig/hate the most" -- apparently the adult most teens dug in 1966 was Jackie Kennedy, the most hated was Barry Goldwater, and President Johnson, Billy Graham, and Martin Luther King appeared in the top ten on both lists. Now, in the early part of the year Maureen Cleave had done a whole series of articles on the Beatles -- double-page spreads on each band member, plus Brian Epstein, visiting them in their own homes (apart from Paul, who she met at a restaurant) and discussing their daily lives, their thoughts, and portraying them as rounded individuals. These articles are actually fascinating, because of something that everyone who met the Beatles in this period pointed out. When interviewed separately, all of them came across as thoughtful individuals, with their own opinions about all sorts of subjects, and their own tastes and senses of humour. But when two or more of them were together -- especially when John and Paul were interviewed together, but even in social situations, they would immediately revert to flip in-jokes and riffing on each other's statements, never revealing anything about themselves as individuals, but just going into Beatle mode -- simultaneously preserving the band's image, closing off outsiders, *and* making sure they didn't do or say anything that would get them mocked by the others. Cleave, as someone who actually took them all seriously, managed to get some very revealing information about all of them. In the article on Ringo, which is the most superficial -- one gets the impression that Cleave found him rather difficult to talk to when compared to the other, more verbally facile, band members -- she talked about how he had a lot of Wild West and military memorabilia, how he was a devoted family man and also devoted to his friends -- he had moved to the suburbs to be close to John and George, who already lived there. The most revealing quote about Ringo's personality was him saying "Of course that's the great thing about being married -- you have a house to sit in and company all the time. And you can still go to clubs, a bonus for being married. I love being a family man." While she looked at the other Beatles' tastes in literature in detail, she'd noted that the only books Ringo owned that weren't just for show were a few science fiction paperbacks, but that as he said "I'm not thick, it's just that I'm not educated. People can use words and I won't know what they mean. I say 'me' instead of 'my'." Ringo also didn't have a drum kit at home, saying he only played when he was on stage or in the studio, and that you couldn't practice on your own, you needed to play with other people. In the article on George, she talked about how he was learning the sitar, and how he was thinking that it might be a good idea to go to India to study the sitar with Ravi Shankar for six months. She also talks about how during the interview, he played the guitar pretty much constantly, playing everything from songs from "Hello Dolly" to pieces by Bach to "the Trumpet Voluntary", by which she presumably means Clarke's "Prince of Denmark's March": [Excerpt: Jeremiah Clarke, "Prince of Denmark's March"] George was also the most outspoken on the subjects of politics, religion, and society, linking the ongoing war in Vietnam with the UK's reverence for the Second World War, saying "I think about it every day and it's wrong. Anything to do with war is wrong. They're all wrapped up in their Nelsons and their Churchills and their Montys -- always talking about war heroes. Look at All Our Yesterdays [a show on ITV that showed twenty-five-year-old newsreels] -- how we killed a few more Huns here and there. Makes me sick. They're the sort who are leaning on their walking sticks and telling us a few years in the army would do us good." He also had very strong words to say about religion, saying "I think religion falls flat on its face. All this 'love thy neighbour' but none of them are doing it. How can anybody get into the position of being Pope and accept all the glory and the money and the Mercedes-Benz and that? I could never be Pope until I'd sold my rich gates and my posh hat. I couldn't sit there with all that money on me and believe I was religious. Why can't we bring all this out in the open? Why is there all this stuff about blasphemy? If Christianity's as good as they say it is, it should stand up to a bit of discussion." Harrison also comes across as a very private person, saying "People keep saying, ‘We made you what you are,' well, I made Mr. Hovis what he is and I don't go round crawling over his gates and smashing up the wall round his house." (Hovis is a British company that makes bread and wholegrain flour). But more than anything else he comes across as an instinctive anti-authoritarian, being angry at bullying teachers, Popes, and Prime Ministers. McCartney's profile has him as the most self-consciously arty -- he talks about the plays of Alfred Jarry and the music of Karlheinz Stockhausen and Luciano Berio: [Excerpt: Luciano Berio, "Momenti (for magnetic tape)"] Though he was very worried that he might be sounding a little too pretentious, saying “I don't want to sound like Jonathan Miller going on" --
This week on Lost and Sound, Hannah Peel, Mercury 2021 shortlisted artist, composer, producer and late night broadcaster chats with Paul about creativity, inspiration, the importance of finding a balance, Delia Derbyshire, the theramin ban on her score for the new TV adaptation of The Midwich Cuckoos and so much more. The Midwich Cuckoos score is out now via Invada Records. Catch Hannah presenting Night Tracks on BBC Radio 3 .Paul's debut book, Coming To Berlin: Global Journeys Into An Electronic Music And Club Culture Capital is out now on Velocity PressLost and Sound title music by ESOwww.lostandsoundpodcast.com
This week's exciting Electronically Yours episode features a truly iconic figure in the history of electronic pop music, David Vorhaus. David started his career as an early member of the BBC Radiophonic Workshop, where he met Delia Derbyshire. They went on to form White Noise, whose first album An Electric Storm was released at the peak of the psychedelic revolution in 1969 on Island Records. One if my top 3 all-time electronic albums, it still sounds like the future today… He has also designed his own instruments including the legendary Kaleidophon, and together with Mike Painter is about to release the latest White Noise album, Lightning Strikes Twice. Ladies and Gentlemen - the man who reveals your hidden dreams - David Vorhaus... If you can, please support the Electronically Yours podcast via my Patreon: https://www.patreon.com/electronicallyours
L3 starts a revolution, Han moves coaxium containers, and the (perky, contrapuntal) music is the Force that binds us all together. Also worth considering: Is L3 a big ol' boom box? Newly minted Star Wars writer Riley Silverman is back on the show to discuss Solo Minutes 76-80 of Solo! Discussion Guide: 00:00 - Hello there! 04:45 - Riley's theory of droids in Star Wars 11:06 - Didactic & diegetic 14:35 - "Mine Mission" counterpoint 29:33 - Oasis of friendship, then back to the mission 36:36 - How music scales with size and scope. 45:50 - Tense action cue while Han moves the canisters. 48:11 - Coaxium music - dangerous, delicate, destiny? 56:21 - Solo interconnectivity, Solo criticism, Kathleen Kennedy, misguided Alden Ehrenreich blame. 1:03:58 - I love old characters. 1:14:42 - Screw the mine mission! My buddy's back! 1:19:47 - L3 is focused on her revolutionary ideals, but her revolution begins as an afterthought. 1:22:37 - Listener question: Do droids listen to music? 1:27:25 - Are droids capable of music composition? Playing instruments? Tangent about AI, art, and creativity. 1:39:52 - SWMM Questionnaire Things Mentioned: ANH 5: Hologram Opera (with Aiden Feltkamp) - https://youtu.be/MCzKs1MjefE Counterpoint is the relationship between two or more musical lines (or voices) which are harmonically interdependent yet independent in rhythm and melodic contour. https://en.wikipedia.org/wiki/Counterpoint Imitation is the repetition of a melody in a polyphonic texture shortly after its first appearance in a different voice. The melody may vary through transposition, inversion, or otherwise, but retain its original character. https://en.wikipedia.org/wiki/Imitation_(music) Invention: a short composition (usually for a keyboard instrument) in two-part counterpoint. https://en.wikipedia.org/wiki/Invention_(musical_composition) Bach - Invention No. 1 in C Major with sheet music - https://youtu.be/R4IzqJtD4dM "One Day More" from Les Miserables - https://youtu.be/4TbQfgfzvoE Well-Tempered Clavier (J.S. Bach), Book 1, Kimiko Ishizaka, piano - https://youtu.be/nPHIZw7HZq4 Beethoven X: The AI Project - https://www.beethovenx-ai.com/ (Review) The Intelligence of Bodies: The philosophical and musical failings of “Beethoven X: The AI Project” - https://van-magazine.com/mag/jan-swafford-beethoven-x/ Evolution of Star Trek Series Music Theme (1966-2020) | VioDance - https://youtu.be/h8MkYdtU61Y bookshop.org Themes: 8. L3-37 1. Young Han Solo (Heroic, comp. JW) 5. The Gang 6. Han & Chewie Complete Catalogue of the Musical Themes of Star Wars (by Frank Lehman): https://franklehman.com/starwars/. Where are we in the soundtrack(s)?: "Mine Mission" "Break Out" "Extra Deluxe Mine Mission (4M30B-5M30C-31)" --------------- STAR WARS MUSIC MINUTE QUESTIONNAIRE: 1. In exactly 3 words, what does Star Wars sound like? New answer: Epic space magic. Previous answer: Epic space magic. 2. What's something related to Star Wars music or sound that you want to learn more about? New answer: How many different screams are there? (like the Wilhelm scream) Previous answer: How do people go about designing music for a scene or character in the first place? Writers start with a blank page and somehow use words to convey scenes; what is the musical/sound version of that process like? 3. What's a score or soundtrack you're fond of besides anything Star Wars? New answer: Gentlemen Jack (composed by Murray Gold), Doctor Strange in the Multiverse of Madness (composed by Danny Elfman) Previous answer: Doctor Who, which has gone through dozens of composers over the decades. The original theme was composed by Ron Grainer and realized by Delia Derbyshire. Murray Gold was the composer from 2005 to 2017. --------------- Guest: Riley Silverman Star Wars: Exploring Tatooine: An Illustrated Guide (coming August 2022 -- preorder now, if you're seeing this before then!) https://www.rileysilverman.com/books Twitter: https://twitter.com/rileyjsilverman Instagram: https://www.instagram.com/rileysilverman/ Star Wars Music Minute ANH 15: Band of Weirdos (minutes 71-75) https://youtu.be/Pfip5QleeZ0 ------------------ If you enjoyed this episode and want to show extra appreciation, feel free to buy me a coffee and shout out the guest! https://buymeacoffee.com/starwarsmusmin If you want to support the show, consider becoming a patron! https://patreon.com/chrysanthetan Leave a voice message, and I might play it on the show... https://starwarsmusicminute.com/comlink Where else to find SWMM: Spotify: https://smarturl.it/swmm-spotify Apple Podcasts: https://smarturl.it/swmm-apple YouTube: https://youtube.com/starwarsmusicminute TikTok: https://www.tiktok.com/@starwarsmusicminute? Twitter: https://twitter.com/StarWarsMusMin Instagram: https://instagram.com/starwarsmusicminute Email: podcast@starwarsmusicminute.com
Tripp Nasty takes us deep into the strange and scary world of Denver's alt music scene. Tripp discusses his history as a computer programmer(??) and future physicist(???) before recently going for his masters in accounting(????) all while developing a deep appreciation of sound and Moog's synthesizers. He also talks about landing in jail for two days during the pandemic (?????) and a Denver industrial band that landed in jail themselves after a prolonged harassment campaign of Tripp and other local musicians that involved fake tours, tear gas, and home break-ins(?????????????). Because Tripp's connections in the underground run deep and Brandon and I already name drop so many bands that range in obscurity, I've included short clips interspersed and laid under as bed music throughout the episode for some additional context for people like Jennifer. The episode opens with Tripp Nasty's "Western Pride" and closes with "On a Snowy Afternoon," both off his recent album Making the Pythons Dance. Other clips in order of appearance include Shonen Knife, the Disco Biscuits, Echo Beds, William Basinski, Sun City Girls, Crash Worship, James Chance & the Contortions, Yonatan Gat and the Eastern Medicine Singers, Harry Pussy, Tripp Nasty's "Snowy Afternoon," the Forbidden Planet soundtrack, Delia Derbyshire, various modular synth clips from Tripp Nasty Sounds on Instagram, Ezra Buchla, and more from Tripp Nasty Sounds. I'm not gonna post song titles since I'm not trying to get us unlisted. You can find Tripp Nasty on his website, his bandcamp, and twitter. Jennifer C. Martin also has a new fiction piece up influenced by her new relationship. Give that a read at Olney Magazine.
Riley Silverman joins me to discuss the music and sound of minutes 71-75 of Star Wars Episode IV: A New Hope. This chunk of the film starts with Ben Kenobi telling Luke "The Force will be with you always" and ends with Luke, Han, and Chewie about to find Princess Leia. Discussion Guide: 00:00 - Hello there! 01:33 - Uniformity of the Imperial base vs. chaos of the Rebel base 25:10 - Chewbacca, shag rug of the Death Star 31:26 - Mouse droids and The Three Stooges 52:41 - Ben Burtt and his friends recorded this in a church 58:28 - Dismissiveness toward Star Wars 1:19:30 - SWMM Questionnaire Things Mentioned: Curly's Funniest Moments from 'The Three Stooges' - https://youtu.be/QxxQhZBxo4A Themes: 16) Imperial March Precursor 1a. Main Theme (A Section) Note: I use the theme names and numbers established in Frank Lehman's Complete Catalogue of the Musical Themes of Star Wars. You can download it free at his website: https://franklehman.com/starwars/. Soundtrack: "Wookiee Prisoner/Detention Block Ambush" "Mouse Robot/Blasting Off" STAR WARS MUSIC MINUTE QUESTIONNAIRE: 1. In exactly 3 words, what does Star Wars sound like? Epic space magic 2. What's something related to Star Wars music or sound that you want to learn more about? How do people go about designing music for a scene or character in the first place? Writers start with a blank page and somehow use words to convey scenes; what is the musical/sound version of that process like? 3. What's a score or soundtrack you're fond of besides anything Star Wars? Doctor Who, which has gone through dozens of composers over the decades. The original theme was composed by Ron Grainer and realized by Delia Derbyshire. Riley Silverman: Twitter: https://twitter.com/rileyjsilverman Instagram: https://www.instagram.com/rileysilverman/ Nerdist articles: https://nerdist.com/author/riley-silverman/ SyFy articles: https://www.syfy.com/authors/riley-silverman Star Wars Minute guest episodes: https://wiki.starwarsminute.com/index.php?title=Riley_Silverman Star Wars Music Minute: Website: starwarsmusicminute.com YouTube: /starwarsmusicminute Twitter: @StarWarsMusMin Instagram: @starwarsmusicminute TikTok: @StarWarsMusicMinute Email: podcast@starwarsmusicminute.com Leave a voice message: SWMM Comlink Xanthe: Twitter: @chrysanthetan Instagram: @chrysanthetan Spotify Artist Page: Chrysanthe Tan Website: chrysanthetan.com Patreon: patreon.com/chrysanthetan
The Legend of Hell House is a 1973 supernatural horror film directed by John Hough, and starring Pamela Franklin, Roddy McDowall, Clive Revill, and Gayle Hunnicutt. It follows a group of researchers who spend a week in Belasco House, the "Mount Everest of haunted houses." , originally owned by Emeric Belasco, an imposing, perverted millionaire and supposed murderer whose acts of debauchery were loosely based on the occultist Aleister Crowley. Belasco disappeared soon after a massacre occurred at the home and since the house is haunted by the victims of his twisted and sadistic desires. Subsequently, paranormal investigators to the house have been inexplicably killed. Matheson's screenplay, based upon his 1971 novel Hell House, drastically reduced some of the more extreme elements of the novel, particularly its graphic sexuality and BDSM. It also changed the location of the events to England, whereas the novel took place at an estate in rural Maine in the United States.The external shots of the house were filmed at Wykehurst Park, West Sussex.The mansion in the opening sequence is Blenheim Palace. The interior shot of the long room is the palace's library.The role of Belasco was played by an uncredited Batman's Michael Gough. His part consisted of a couple of recorded lines and an on-camera appearance as an embalmed corpse seated upright in a chair.The film features a score with an electronic music bassline (with occasional woodwind and brass stabs). The score and electronic sound effects were created by Delia Derbyshire and Brian Hodgson, recorded at Hodgson's Electrophon studio in London.The shot of the cat in the opening credits sequence was later used for the Granada Night Time ident on the ITV network in the United Kingdom in 1988.$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$Just in case anyone has too much money and wants to give a bit to us to help with our hosting n stuff. It would be amazing if you fancied sending us some pennies - thank you.https://supporter.acast.com/general-witchfinders$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$ Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. See acast.com/privacy for privacy and opt-out information.
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