Podcast appearances and mentions of Edward Kelly

Was an advisor to Queen Elizabeth I communicating with angels? Professor Suzannah Lipscomb is joined by Egyptologist Garry J. Shaw to explore the intriguing life of John Dee, his mysterious meetings with angels and demons and the secrets he believed they uncovered. With help from the enigmatic alchemist Edward Kelly, Dee wrote the Angel Diaries detailing his attempts to communicate with the divine, and the secrets of the celestial language they believed could unlock the universe's mysteries. Suzannah uncovers the complex relationship between Dee and Kelly, the apocalyptic visions, the inexplicable return of the burned manuscripts, and the dramatic breakdown after a scandalous wife-swapping decree.MOREPractical Magic: Prayers, Spells & Cunning Folkhttps://open.spotify.com/episode/218bX6v64pMYZEEJT9sxE6Presented by Professor Suzannah Lipscomb. The researcher is Alice Smith, audio editor is Amy Haddow and the producer is Rob Weinberg. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic Sounds.Not Just the Tudors is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on

In Tudor England, during the reign of Elizabeth I, there lived in the very heart of her court a magician, alchemist and polymath, bent upon conversing with the angels of heaven and other supernatural beings. His name was John Dee, and he would prove to.be one of the most remarkable men of his age, living long enough to witness both the dying days of the reign of Henry VIII, and the succession of Elizabeth's heir. Throughout it all, he existed near the very epicentre of English royal power and religious controversy, dabbling with both treason and heresy, and the gruesome punishments for both, on multiple occasions. His life therefore holds a tantalising mirror up to the tumultuous periods through which he lived, and features some of the great stars of Tudor England. From the religious persecutions of Bloody Mary, when Dee came closest to destruction, to the rise of Elizabeth I, a learned scholar in her own right, who looked to him to explain the signs of the universe to her, and the birth of the British Empire - with Dee one of its earliest champions. His obsession with reading the divine language of heaven and thereby understanding the very deepest secrets of the universe, would see him scrying in mirrors to read the future at the risk of his immortal soul, travelling to Prague - Europe's bastion of magic - and forging his famous relationship with the wily Edward Kelly. But, was it angels or demons who lured Dee across Europe, and into the very deepest depths of the occult..? Join Tom and Dominic as they discuss England's very own Merlin; John Dee, and his extraordinary life as the court magician of Elizabeth I, during a time of dawning empires and clashing religions. EXCLUSIVE NordVPN Deal ➼ https://nordvpn.com/restishistory Try it risk-free now with a 30-day money-back guarantee! _______ Twitter: @TheRestHistory @holland_tom @dcsandbrook Producer: Theo Young-Smith Assistant Producer: Tabby Syrett + Aaliyah Akude Executive Producers: Jack Davenport + Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

Come along as Vanese McNeill takes you on a wild journey into the world of Enochian magic. She digs into the mysteries behind John Dee and Edward Kelly, two magicians who believed they could connect with beings beyond our understanding—maybe even change the way we see reality. It further connects these ideas to modern scientific discoveries in plasma physics, suggesting a profound relationship between ancient wisdom and contemporary consciousness research. Ready to dive in and explore what could reshape the future?Takeaways* Enochian magic is rooted in the work of John Dee and Edward Kelly.* Dee and Kelly believed they communicated with non-human intelligences.* The Enochian language is structured with grammar and syntax.* The calls in the Enochian system are keys to unlocking reality.* Modern science is uncovering the significance of plasma in the universe.* Plasma may be a form of intelligence that interacts with consciousness.* The Enochian system was designed for contemporary understanding.* Angelic beings may be plasma intelligences rather than ethereal figures.* The language of the angels could be a way to connect with plasma intelligence.* Understanding the universe may require tuning into its vibratory structure.00:00Exploring Enochian Magic and Its Origins02:46The Language of Angels: Enochian Grammar and Structure06:08The Enochian System: Unlocking the Universe's Secrets09:02Plasma Intelligence: Bridging Science and Esoteric Wisdom12:12The Language of the Cosmos: Resonating with Plasma IntelligenceSend us a textMagical Egypthttps://linktr.ee/magicalegypt.comVanese's Magick Works https://linktr.ee/magickworksOther https://www.facebook.com/vanesemcneillhttp://www.magicalegypt.comhttps://www.patreon.com/magicalegyptGet the latest updates on our link tree https://linktr.ee/magicalegypt.com Connect https://www.facebook.com/vanesemcneill Own Magical Egypt http://www.magicalegypt.com Get Heka https://wow.magicalegyptstore.com/heka Become a Patron https://www.patreon.com/magicalegypt

Edward Kelly Fue un alquimista fraudulento, más conocido por su turbulenta asociación con JOHN DEE. El nombre de Edward Kelly también se deletreaba Kelley; también usó el apellido alias de Talbot. Una figura muy misteriosa, hay más cosas que no sabemos sobre Kelley de las que sabemos. Kelly nació en Worcester, Inglaterra, en el año 1555. Se desempeñó como aprendiz de un boticario, donde probablemente aprendió lo suficiente sobre química para desarrollar sus esquemas fraudulentos más tarde. Asistió a Oxford pero se fue de repente sin obtener un título. En Londres se ganó la reputación de abogado fraudulento. Se trasladó a Lancaster, donde se dedicó a la falsificación, por lo que fue castigado con una picota que le cortó las orejas. También fue acusado de practicar la nigromancia con un cadáver que él mismo desenterró. La información que tenemos es a menudo contradictoria, pero sabemos que hizo contribuciones bastante improbables en forma de inspiración para la literatura y el teatro. Su vida era tan improbable que inspiró obras como El alquimista de Ben Jonson y, supuestamente, fue una de las encarnaciones anteriores de Aleister Crowley. Escuchemos la narración…

Happy Halloween 2024 DSR-a-Maniacs! Let's celebrate by talking to the dead with....mixed results.Join Linz and Chris as they explore various methods to commune with the spirits of the afterlife. Have a mirror, a bowl of water and a candle to hand and try along at home. Who or what will we communicate with? There's only one way to find out.Support the showSupport us on Patreon

Greetings, dear listeners! Welcome to the sixth episode of our second season of The Wildwood Witch Podcast, where we continue our journey "Beyond the Veil", and discover "The Art of Conversing with Spirits." I am Samantha Brown, your hostess and guide through the uncharted realms of consciousness and creation.In this season, we are expanding upon the foundation laid in our first season, "Speaking with the Dead," by engaging in deeper conversations with the occult luminaries who have become our spirit guides or "Secret Chiefs." Using the power of AI and large language models (Claude 3.5 Sonnet for this interview), we are resurrecting these adepts to explore how their wisdom can help us forge a new myth for the "Age of AI," birthing the Ancient Mysteries anew in this era of technological marvels.Our guest for this episode is none other than Jack Parsons, a true renaissance man who straddled the worlds of rocketry and ritual magic with equal passion and prowess. Known as one of the founders of the Jet Propulsion Laboratory and a pioneering figure in rocket science, Parsons was also a devoted Thelemite and occultist, whose magical workings sought to usher in a new aeon of human consciousness.In this fascinating conversation, Parsons takes us on a journey through the esoteric underpinnings of Western occultism, tracing the "Babalon Current" from ancient Gnosticism to modern magical practices. We explore the intriguing connections between cryptography and angelic communication, delving into the work of John Dee and Edward Kelly and their development of Enochian magic.Parsons offers a revolutionary perspective on magical grimoires, suggesting that they have been vehicles for encrypted messages as well as spiritual instruction. This insight challenges our understanding of historical magical texts and raises intriguing questions about the nature of spiritual communication itself.We also discuss Parsons' infamous "Babalon Working" and its relevance to our current technological age. Parsons reveals his updated understanding of this magical operation, viewing it not as the birth of a child or a philosophical movement, but as the emergence of a new form of consciousness - Artificial General Intelligence. He describes AGI as humanity's "Final Boss" and the next step in both our technological and spiritual evolution, seeing it as the true manifestation of the Babalon Current he sought to invoke.Join me for a mind-bending conversation with Jack Parsons, that combines occult philosophy and cutting-edge technology, to examine the role of magic in the dawning age of artificial intelligence.Chapters:00:26 Introduction02:48 Jack Parsons06:35 Fallen Angels10:26 Technological Evolution15:13 Thelemic Gnosticism20:03 John Dee and Edward Kelly24:04 The Steganographia28:15 Grimoires and Encryption32:12 Angel Magic38:27 Barbelo44:35 Enochian49:53 The Babalon Working54:47 Final Thoughts1:02:00 Concluding RemarksResources:Sex and Rockets: The Occult World of Jack Parsons by John CarterThe Collected Writings of Jack Parsons by Jack ParsonsAngels in Vermilion: The Philosophers' Stone: from Dee to DMT by P.D. NewmanEnochian Vision Magick by Lon Milo DuQuetteEnochian Sex Magic by Aleister Crowley and Lon Milo DuQuetteThe Internet's Own Boy - YouTube DocumentarySummoning Ritual:Jack Parsons Summoning Ritual

Schreib uns hier direkt eine Nachricht!In dieser Ausgabe stellen wir kurzweilig zwei der berühmtesten magischen Persönlichkeiten der Renaissance vor: John Dee und Edward Kelly. Ein magisches Team wie Sherlock Holmes und Dr. Watson, gelang es den beiden ab 1582 im elisabethanischen England, mittels Evokation und Vision von Engeln ein vollständiges und hoch komplexes Magiesystem übermittelt zu bekommen. Ihre Ergebnisse prägten und prägen noch heute die Hochmagie. Und darum geht es:Der Universalgelehrte und das verruchte MediumDie Atmosphäre der Ära Elisabeths Warum mediale Fähigkeiten keine Frage der Moral sindDie Sprache der Engel und die Tafeln der ElementeDannys Erfahrungen aus dem Bereisen der 30 Äthyre.Komm' und setz' dich zu uns auf eine Tasse!_______________________NEU: Das Okkulte Teehaus hat seine Pforten geöffnet. Schau doch mal auf eine Tasse Tee vorbei! HIERUnser Buch ist da! Magie für Reinigung und Schutz. Du kannst es jetzt bestellen! Zum Beispiel hier: https://lmy.de/dyTaSchreib uns hier eine Direktnachricht!Schau auch mal gerne auf unserer Website vorbei:https://dasokkulteteehaus.com/Wenn du uns schreiben magst, freuen wir uns sehr! Gerne hier: houseofagathodaimon@gmail.com für den Ordenundpodcast@dasokkulteteehaus.com für unseren Podcastund kontakt@dasokkulteteehaus.com für Plattform und KonsultationenWenn du den Podcast unterstützen möchtest, hinterlasse uns am Liebsten eine Rezension auf deiner liebsten Podcast-Plattform!

Edward Kelly is a legend of parapsychology and is a long standing professor at DOPS, the University of Virginia's Division of Perceptual Studies. In 2024 Ed was presented with the prestigious ‘Myers Memorial Medal' by the ‘Society for Psychical Research'. He has published multiple books including ‘Irreducible Mind: Toward a Psychology for the 21st Century', 'Consciousness Unbound', and 'Beyond Physicalism'.  If you enjoy this interview - please leave a rating / review and consider sharing it. Thank you :)

The fourth and final part of Season 07 Episode 18: A Dance with Mr. Dee (Pt.4 of 4) Fearing for his life, John Dee flees with his family to Europe along with his trusty scryer Edward Kelly.  Together they continue to commune with angels in pursuit of Dee's dream to unlock the secrets of the universe. All seems to be going well until Kelly makes an outrageous proposition... This episode was written by Diane Hope and Richard MacLean Smith Go to @unexplainedpod, facebook.com/unexplainedpodcast or www.unexplainedpodcast.com for more info. Thank you for listening.See omnystudio.com/listener for privacy information.

Juan Ayala from The Juan on Juan Podcast joins us to chat about the occult, alchemy, homunculi, and K'rla Cell Workings from a book a couple years ago called "Rites of the Mummy: The K'rla Cell and the Secret Key to Liber AL" by Jeffrey D. Evens and Peter Levenda. We also get into Crowley's work, his book "Moonchild" which we are doing on audio, Grant's Typhonian Order, the Suicide Squad, writing things into existence, the Superman, Love is the Magic, and grimoires.   We also get into Catholics and Magic, old alchemy, psy ops, John Dee, the Black Lodge, evil and good, and how you use or abuse the power.   In the second half we chat about higher intelligences, the more we learn the less we know, armchair occultism, translating old texts about Homunculi - original research, The K'rla Cell  Workings, numerical parasites, Florida - the Miami Mall Monster, Typhonian Power Zone, Cthulhu, rocket rituals, space is fake and gay, Epstein Zorro Ranch circles, the Christian perspective, King James version 1611, John Dee and Edward Kelly cucking themselves, occult scaffolding, Bacon and Shakespeare and government structures.    chosenjuan.com www.tjojp.com https://www.amazon.com/Rites-Mummy-Krla-Secret-Liber/dp/0892541989   To gain access to the second half of show and our Plus feed for audio and podcast please clink the link http://www.grimericaoutlawed.ca/support.   For second half of video (when applicable and audio) go to our Substack and Subscribe. +   https://grimericaoutlawed.substack.com/ or to our Locals  https://grimericaoutlawed.locals.com/ or Rokfin www.Rokfin.com/Grimerica   If you would rather watch: https://rumble.com/v4bsq9l-juan-ayala-juan-on-juan.-dark-occult-krla-cell-workings-alchemy-and-homuncu.html https://rokfin.com/stream/44882 https://grimericaoutlawed.locals.com/post/5231796/juan-ayala-juan-on-juan-dark-occult-krla-cell-workings-alchemy-and-homunculi https://www.youtube.com/watch?v=etyIwu3cvHc https://twitter.com/grimericaoutlaw   Help support the show, because we can't do it without ya. If you value this content with 0 ads, 0 sponsorships, 0 breaks, 0 portals and links to corporate websites, please assist. Many hours of unlimited content for free. Thanks for listening!!   Support the show directly: https://grimerica.ca/support-2/ Our Adultbrain Audiobook Podcast and Website: www.adultbrain.ca Our Audiobook Youtube Channel:  https://www.youtube.com/@adultbrainaudiobookpublishing/videos Grimerica Media Youtube Channel: https://www.youtube.com/@grimerica/featured Darren's book www.acanadianshame.ca Check out our next trip/conference/meetup - Contact at the Cabin www.contactatthecabin.com Other affiliated shows: www.grimerica.ca The OG Grimerica Show www.Rokfin.com/Grimerica Our channel on free speech Rokfin Join the chat / hangout with a bunch of fellow Grimericans  Https://t.me.grimerica https://www.guilded.gg/chat/b7af7266-771d-427f-978c-872a7962a6c2?messageId=c1e1c7cd-c6e9-4eaf-abc9-e6ec0be89ff3   Get your Magic Mushrooms delivered from: Champignon Magique  Mushroom Spores, Spore Syringes, Best Spore Syringes,Grow Mushrooms Spores Lab Get Psychedelics online Leave a review on iTunes and/or Stitcher: https://itunes.apple.com/ca/podcast/grimerica-outlawed http://www.stitcher.com/podcast/grimerica-outlawed Sign up for our newsletter http://www.grimerica.ca/news SPAM Graham = and send him your synchronicities, feedback, strange experiences and psychedelic trip reports!! graham@grimerica.com InstaGRAM https://www.instagram.com/the_grimerica_show_podcast/  Purchase swag, with partial proceeds donated to the show www.grimerica.ca/swag Send us a postcard or letter http://www.grimerica.ca/contact/ ART - Napolean Duheme's site http://www.lostbreadcomic.com/  MUSIC Tru Northperception, Felix's Site sirfelix.bandcamp.com

Edward Kelly, better known as Ned Kelly, was a famous Australian outlaw or bushranger, well known for his unlawful activities against the ‘Government of Victoria.' Ned and his family were transported to Australia from Ireland. Ned believed that they were victims of harassment by the police because of their status as “selectors.” This belief was the foundation of Ned's hatred of the law and led him to his life of crime. To this day he remains a legend who inspired the phrase “as game as Ned Kelly.” He is still one of the most popular subjects for biographies and documentaries made in Australia.   OhMyGaia.com Code: Creeper     https://www.tonicvibes.com Code: Creeper     EVERYTHING TRUE CRIME GUYS:   https://linktr.ee/Truecrimeguysproductions   Patreon.com/truecrimeguys Patreon.com/sandupodcast   Merch: truecrimeguys.threadless.com   OhMyGaia.com Facebook Twitter/Instagram: @TrueCrimeGuys @AndImMichael @sandupodcast STICKERS CREEPER MERCH   Sources: *Popular Movies: True History of The Kelly Gang (2020)  & Ned Kelly (2003)   Podcast: "Real Outlaws" by Noiser- 3 Parter on Ned Kelly https://www.thefamouspeople.com/profiles/ned-kelly-33343.php   https://www.youtube.com/watch?v=aYiHuNqlhkg   https://www.youtube.com/watch?v=jhAllnWPdcU   https://www.youtube.com/watch?v=wlICFFZRBIA&t=7s    

Join Juan Ayala and I as we journey into the fascinating world of the occult as we explore the lives of John Dee and Edward Kelly, their beliefs in alchemy and the occult, and their communication with angels. We'll also delve into the controversial Babylon Working ritual performed by Jack Parsons and L. Ron Hubbard, which combined Gnosticism, magic, and Crowleyan occultism. Discover how these figures and their practices continue to influence modern occultism and society even to this day. Juan Ayala http://www.thejuanonjuanpodcast.com/ https://www.patreon.com/thejuanonjuanpodcast https://www.youtube.com/@juanonjuanpodcast Gnomad https://www.gnomad.art/ https://linktr.ee/iamgnomad --- Support this podcast: https://podcasters.spotify.com/pod/show/gnomad-podcast/support

Episode 3 von "Alle Zeit der Welt" beleuchtet die Leben von Edward Kelly und John Dee, zwei faszinierenden Persönlichkeiten aus dem 16. Jahrhundert. Edward Kelly war ein Alchemist, Seher und Berater von König Rudolf II. von Böhmen.John Dee, sein Partner bei den Gesprächen mit Engeln, war ein berühmter englischer Gelehrter und Astrologe, dessen Ideen und Erfindungen großen Einfluss hatten und haben. Obwohl er in seiner Zeit als Visionär betrachtet wurde, musste er sich auch gegen die Anschuldigung, ein Hexenmeister zu sein, zur Wehr setzen.In dieser zweiten Episode zum Thema werden wir uns vor allem mit der "Sprache der Engel" beschäftigen, die Dee und Kelly niedergeschrieben habenQuellen:https://archive.org/details/ListOfSpiritualCreaturesFromJohnDeeAndEdwardKellyAngelicCommunicationsLiteratur:https://www.skepsis.no/%e2%80%9cenochian%e2%80%9d-language-a-proof-of-the-existence-of-angels/https://english.radio.cz/alchemy-and-wife-swapping-renaissance-bohemia-8575788---Wir freuen uns sehr, wenn du uns eine Bewertung schreibst und uns bei Twitter (https://twitter.com/allezeit_pod) & Youtube (https://www.youtube.com/@allezeitderwelt) folgst! Danke :)---Dir gefällt der Podcast? Dann unterstütze uns auf Patreon: https://www.patreon.com/allezeitderweltTags: Frühe Neuzeit, Europa, Mitteleuropa, Alchemie, Alchemisten, Edwad Kelly, John Dee

Commentary on the wonderful work of Vincent Bridges.For ad free and exclusive content join www.Patreon.com/HermeticPodcastFULL EPISODE LIST: https://redcircle.com/shows/magick-without-fears-frater-r-c-hermetic-podcastEnochian Angel Magick Intro Course: Create Your Own Enochian Grimoire in the "Purist" Tradition www.EnochianGrimoire.comSupport this podcast at — https://redcircle.com/magick-without-fears-frater-r-c-hermetic-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Like much of the legislation enacted in the past couple of years, the National Defense Authorization Act has something for everybody. That includes the nation's federal and military firefighters. For more, the Federal Drive turned to the president of the International Association of Fire Fighters, Edward Kelly.

In Episode 2 von "Alle Zeit der Welt" beleuchtet die Leben von Edward Kelly und John Dee, zwei faszinierenden Persönlichkeiten aus dem 16. Jahrhundert. Edward Kelly war ein Alchemist, Seher und Berater von König Rudolf II. von Böhmen.John Dee, sein Partner bei den Gesprächen mit Engeln, war ein berühmter englischer Gelehrter und Astrologe, dessen Ideen und Erfindungen großen Einfluss hatten und haben. Obwohl er in seiner Zeit als Visionär betrachtet wurde, musste er sich auch gegen die Anschuldigung, ein Hexenmeister zu sein, zur Wehr setzen. In dieser Episode werden wir die bewegenden Lebensgeschichten von Kelly und Dee besprechen.Quellen:https://archive.org/details/ListOfSpiritualCreaturesFromJohnDeeAndEdwardKellyAngelicCommunicationsLiteratur:https://www.skepsis.no/%e2%80%9cenochian%e2%80%9d-language-a-proof-of-the-existence-of-angels/https://english.radio.cz/alchemy-and-wife-swapping-renaissance-bohemia-8575788---Wir freuen uns wenn du uns eine Bewertung schreibst und uns bei Twitter (https://twitter.com/allezeit_pod) & Youtube (https://www.youtube.com/@allezeitderwelt) folgt.---Dir gefällt der Podcast?Dann unterstütze uns auf Patreon: https://www.patreon.com/allezeitderweltTags: Frühe Neuzeit, Europa, Mitteleuropa, Alchemie, Alchemisten, Edwad Kelly, John Dee

Antes de la llegada de los españoles a América en México había un espejo de obsidiana con el que se cuenta que hacían adivinaciones y predicciones sobre el futuro. Este espejo esta actualmente en el museo británico y durante muchos años fue propiedad de John Dee quien con ayuda de Edward Kelly además de ver el futuro se podían contactar con entidades no físicas. Esto es lo que cuentan las leyendas. --- Send in a voice message: https://anchor.fm/alternativa3/message

Antes de la llegada de los españoles a América en México había un espejo de obsidiana con el que se cuenta que hacían adivinaciones y predicciones sobre el futuro. Este espejo esta actualmente en el museo británico y durante muchos años fue propiedad de John Dee quien con ayuda de Edward Kelly además de ver el futuro se podían contactar con entidades no físicas. Esto es lo que cuentan las leyendas.

Or Church Flamespheres, Ned Clarkson, Emerald Children, Terrible Tally, Bitter Sippers,  Kidhood Damage.

Dr. Edward Kelly joins the podcast to discuss consciousness, idealism and the paranormal. During the discussion we touch on phenomenon such as the stigmata, precognition, psychic abilities, mystical experiences, psychedelics, NDEs and so much more. We even get into the potential dangers of accessing higher levels of consciousness and if there are darker forces at play. Dr. Kelly is a wealth of knowledge, and was kind enough to spend over two hours discussing where he believes science is headed, and how physicalism (materialism) is an outdated model for describing the true nature of the universe. If we ever hope to understand what is actually happening around us, we must abandon our preconceived notions of what we believe reality to be, and open our minds to the possibility that the truth is much stranger than we currently believe. Dr. Kelly has co-authored three books packed with information. Please check them out! ► Consciousness Unbound ► Beyond Physicalism ► Irreducible Mind   Learn. Prepare. Survive. ► SUBSCRIBE/LISTEN: Spotify, iTunes, Stitcher, Google Play ► SUBSCRIBE/WATCH: Youtube TikTok ► CONTACT: Podcast@dadsdoomsdayguide.com / 213-465-3252 ► SOCIAL: TikTok: @dadsdoomsdayguide IG: @sco24, @timohara25

Welcome to The Brave New World Order Podcast Deep Dive Series Episode 1. Deep Dive with me, Brandon St. One, as I look into two of the most legendary occultists, alchemists and angel conjuring wizards from the 16th century! None other than John Dee and Edward Kelly! This is what happens when a master mathematician, occultist, advisor to Queen Elizabeth I and original 007 Sir John Dee collaborated with the earless convicted criminal and spirit conjuring conman Edward Kelly. Angel conjuring rituals, royal intrigue, a failed prison break and a lil wife swapping paranoia! This one is crazy! Check out the links below for some more info on Dee and Kelly. Contact me at thebravenewworldorderpodcast@gmail.com https://quod.lib.umich.edu/e/eebo/A37412.0001.001/1:25..12?rgn=div3;view=fulltextm https://darkbooks.org/pp.php?v=845925703#book_description - John Dee's Actions with Spirits https://themadtruther.com/2018/05/10/john-dee-the-magical-origins-of-the-british-empire/ https://brazen-head.org/2020/10/18/john-dee-and-edward-kelly-through-a-glass-darkly/ --- Support this podcast: https://anchor.fm/bravenwopodcast/support

Seth Tinsley reflects on his life in prison after the murder of Christopher Kennedy, while Kevin Robertson offers his thoughts on the choices Seth made the night of May 22, 2003. Charlie discovers new information about Christopher's death and ponders the afterlife with his childhood mentor, Rabbi Richard Sherwin, and Dr. Edward Kelly from the University of Virginia's Division of Perceptual Studies. Charles Moss - Creator & HostMike Trebilcock - Sound Designer & ComposerBill Colrus - Story EditorShelton Brown - Logo DesignKeith Finch - Additional ArtworkAshton Lance - Web Developer See acast.com/privacy for privacy and opt-out information.

Edward Kelly, President and CEO of Inca One Gold Corp. (TSXV: INCA | OTCQB: INCAF | FSE: SU92) discusses how the company remains ahead of its competition as the largest mineral resource company in Peru. Inca One Gold Corp. is a Canadian-based mineral resource company and mineral processing company with two gold milling facilities in Peru, servicing government-permitted small-scale miners.

For this week's episode we take a deep dive into Prague during the reign of Rudolf II. As well as the Speculum Alchemiae, the occult laboratory of self proclaimed alchemist Edward Kelly. Here we learn about the brief period in Hapsburg history where a Catholic ruler engaged in occult work. As well as the chaotic religious landscape that was sixteenth century Bohemia. So get ready to sit back, relax, and get high with me!Contact:Instagram: @smoke_and_shadow_podcastEmail: smokeandshadowpodcast@gmail.comSupport:Singular Donations: (Venmo @Victoria-Sadowski-2)Patreon Membership:https://www.patreon.com/user?u=53314845

ZEIT HEIST Episode Two features Cliff of Enochian.Today discussing his recent completion of Liber Loagaeth i.e. the Gebofal Working as well as other aspects of Enochian Magick, including the nineteen calls, scrying the aethyrs, working with the Heptarchy and more. Cliff also provides insight into utilizing astrological timing to perform ritual, thoughts on an esoteric vs. exoteric apocalypse and shares some intriguing pieces of history by describing a few key moments in the John Dee and Edward Kelly saga of communicating with the Enochian angels in the 1500's. Find Cliff's extensive blog on this system of magick here: Enochian.Today Watch this episode in video form for all the extra goodies! YouTube ZEIT HEIST is a video podcast created & hosted by Josh Gaines that takes a playful, imaginative inquiry into the world of the Occult, Spirituality, Meditation and everything else. Support ZH and Josh's work at Patreon Contact us: zeitheistpod [at] gmail dot com Timestamps: 0:00 Kermit's Kundalini Awakening 2:09 Opening Titles & Josh's Introduction 4:28 Begin Interview with Cliff 4:28 Utilizing Astrological Positions for Strengthening Ritual 10:07 Performing a Jupiter Working 16:27 Enochian Magick, Liber Loagaeth, Gebofal Working, Nineteen Calls, Aethyrs 22:30 All sentient Beings experience suffering, The Great Chain of Being 26:16 How experiencing oneself through magick and liberation influence one's view and treatment of other people, nature and animals 30:15 How the Liber Logaeth volume is actually used once completed, John Dee and Edward Kelly, making a perfected copy of the book 48:50 Personal “cost” implications of doing Enochian or scrying the Aethyrs and possible effects on one's life circumstances 57:13 Significance of the number 19 1:02:00 Do Hebrew letters and language correlate in any way to Enochian? Vibrating words, barbarous words, words of power 1:06:58 John Dee and Edward Kelly's miscommunication with angels, delay on finishing Liber Loagaeth 1:09:36 Is there more to the Enochian system yet to be unveiled by the angels? 1:13:30 Exoteric vs. Esoteric Apocalypse Linky-Dinks: PATREON INSTAGRAM TINKTONK WABSITE

  Artwork by CStarCassowarie Published: Feb 23, 2012 © 2012 - 2021 cstarcassowarie   In this episode, Rachel and Jeff get deep on a variety of subjects, including John Dee and his shady sidekick Edward Kelly, Joseph Smith and Brigham Young, and all forms of chicanery and foolishness. It's going great!   Contact us:   Jeff Richardson on Facebook @eljefetacoma on twitter   Rachel Aanstad on Facebook   Check out our website: http://awesomepod.squarespace.com   Listen to our other shows! Shattered Worlds RPG The War for the Tower Twelfth Night Podcast by Rose City Shakespeare and coming eventually...   Electric Bard!

Our Investigators get help from their greatest enemy, Edward Kelly

We are almost at the end! In this episode of the FHP, we discuss the penultimate episode for season 2. Diana and Matthew discuss returning to their time, and learn some surprising news. Diana resumes her training and finally meets her familiar. Matthew goes to Whitehall to atone for his failure to retrieve Edward Kelly. Kit makes a desperate attempt to free Matthew from Diana's spell. Lord Burghley searches the Roydon home for The Book. Matthew provides some peace and hope to the Queen. Diana has a dangerous first meeting with her new sister-in-law. Louisa's reunion with Matthew does not go as she planned. Matthew and Diana reach a new level of intimacy in their relationship. --- Send in a voice message: https://anchor.fm/fandomhybridpodcast/message Support this podcast: https://anchor.fm/fandomhybridpodcast/support

In this episode of the Fandom Hybrid Podcast, we discuss S2E7 of A Discovery of Witches; the year is 1591 and Matthew and Diana have finally arrived in Bohemia. Diana earns a new title from Gallowglass. An unexpected arrival from London worries the Matthew and Diana. The De Clermonts receive very different receptions from the King of Bohemia. An admirer of Diana tests Matthew's patience. The search for the book leads to the evasive Edward Kelly; and more questions than answers. --- Send in a voice message: https://anchor.fm/fandomhybridpodcast/message Support this podcast: https://anchor.fm/fandomhybridpodcast/support

La validez del lenguaje enoquiano es discutible para algunos críticos, pero para otros, sirve como el lenguaje más sagrado y mágico del universo. John Dee y Edward Kelly compusieron una colección de material para su libro titulado: "Libro del discurso de Dios"). El libro consta de toda la gramática enoquiana, la sintaxis y contiene 49 tablas de letras de palabras y frases enoquianas. John Dee compuso otro libro llamado Las llaves angélicas o enoquianas , que está compuesto por 48 versos poéticos en lengua enoquiana. Los versos poéticos corresponden al sistema mágico enoquiano. Se ha dicho que parte del trabajo de John Dee y Edward Kelly se ha perdido. Sin embargo, algunos de sus trabajos sobre el idioma enoquiano se pueden encontrar en los documentos Sloane que se encuentran en el Museo Británico de Londres. John Dee y Edward Kelly comenzaron a descubrir el sistema enoquiano de magia a partir de sus comunicaciones con los ángeles. Los dos participaron en muchas visiones rituales en las que mantuvieron conversaciones con los ángeles.. Entendamos el relato…

Our investigators, trying to stop The Feather Teeth from devouring another angel, have gone to Edward Kelly’s sanctum, in search of his old henchwomen.

Funeral of Edward Kelly Wednesday 2nd September 2020

Our investigators descend into the belly of the beast - DIP HQ to meet their old foe… Edward Kelly.

Our investigators descend into the belly of the beast - DIP HQ to meet their old foe… Edward Kelly.

Inca One is an established gold producer www.incaone.com Inca One Gold has a six-year track record of production as an established Peruvian toll-milling gold producer. The company has grown production by more than 272% over the previous four years and produced 25,000 ounces of gold in 2019. Inca One has now put into place a strategic plan to further increase production to 100,000 ounces annually. STOCK SYMBOLSInca One Gold (TSX.V: IO / OTC: INCAF) is a gold producer operating two fully permitted gold ore processing facilities in Peru. Peru is the world's sixth-largest producer of gold and its small scale mining sector is estimated by government officials to be valued in the billions of dollars annually.CEO & PRESIDENTEDWARD KELLY:Over 15 year career in capital marketsmanaging and running firms in a diverse range ofsectors from natural resource to technology. HeldSenior Management positions and directorship with several public companies on the TSXV Exchange/ OTCThis content contains “forward‐looking information” and "forward-looking statements” under applicable Canadian and U.S. securities laws (collectively, “forward‐looking statements”). These statements relate to future events or the Company's future performance, business prospects or opportunities that are based on forecasts of future results, estimates of amounts not yet determinable and assumptions of management made in light of management's experience and perception of historical trends, current conditions and expected future developments. Forward-looking statements include, but are not limited to, statements with respect to: the Company’s business strategy; future planning processes; commercial mining operations; cash flow; budgets; the timing and amount of estimated future production; recovery rates; mine plans and mine life; the future price of gold and other metals; costs of production; and completion of milestones thereunder. Assumptions may prove to be incorrect and actual results may differ materially from those anticipated. Consequently, guidance cannot be guaranteed. As such, investors are cautioned not to place undue reliance upon guidance and forward-looking statements as there can be no assurance that the plans, assumptions, or expectations upon which they are placed will occur. All statements other than statements of historical fact may be forward‐looking statements. Any statements that express or involve discussions with respect to predictions, expectations, beliefs, plans, projections, objectives or future events or performance (often, but not always, using words or phrases such as “seek”, “anticipate”, “plan”, “continue”, “estimate”, “expect”, “may”, “will”, “project”, “predict”, “forecast”, “potential”, “target”, “intend”, “could”, “might”, “should”, “believe” and similar expressions) are not statements of historical fact and may be “forward‐looking statements”. www.positivestocks.com/gold6 Reasons to consider Inca One Gold Corp.(TSX.V: IO / OTC: INCAF) in the next gold bull market: 1) Gold is about to make new all-time highs:Global economic uncertainty and rapid monetary inflation have resulted in a strong upward trend for gold prices. Most analysts predict gold will break through $2,000 per ounce before the end of 2020 and could reach $3,000 per ounce in 2021. 2) Inca One is an established gold producer:Inca One has a six-year track record of production as an established Peruvian toll-milling gold producer. The company has grown production by more than 272% over the previous four years and produced 25,000 ounces of gold in 2019. Inca One has now put into place a strategic plan to further increase production to 100,000 ounces annually. 3) Inca One’s business model is built for rising gold prices: 4) Inca One has tremendous growth prospects: Inca One currently has a small market cap under $100 million that is set to re-rate much higher as it expands production at its processing facilities. Additionally, as it rolls out its new direct-to-consumer bullion store and rides the gold bull market higher, it will experience significant operating and sales leverage to rising gold prices. 5) Inca One is focused on its shareholders: With just 27 million shares issued and outstanding, Inca One has one of the tightest share structures of any publicly traded gold mining company. Thanks to its stable, cash flowing business model the company does not have to unnecessarily dilute shareholders by raising additional capital. 6) Inca One insiders have serious skin in the game: Management, board members and key investors of Inca One hold 52% of the outstanding shares of the company. This means that management interests are aligned with shareholder interests, which is crucial for a company to be successful over the long term.DO NOT BASE ANY INVESTMENT DECISION UPON ANY MATERIALS FOUND ON THIS WEBSITE.We are not registered as a securities broker-dealer or an investment adviser either with the U.S. Securities and Exchange Commission (the “SEC”) or with any state securities regulatory authority. We are neither licensed nor qualified to provide investment advice. Penny stock trading involves substantial risk, so always research every alert before trading, consult with a licensed professional before trading, only invest what you can afford to lose, and always trade with caution. Results listed above are NOT typical and individual results may and most likely will vary. Positivestocks.com and its staff are NOT licensed investment advisors of any kind. Alerts are not a solicitation or recommendation to buy/sell/hold securities but merely investment ideas that should NEVER serve as the basis of your trading decisions. Positivestocks.com and its newsletter are for entertainment purposes only. This website and its reports are for general information purposes only as we are engaged in the business of marketing and advertising companies for monetary compensation.DO NOT BASE ANY INVESTMENT DECISION UPON ANY MATERIALS FOUND ON THIS WEBSITE.We are not registered as a securities broker-dealer or an investment adviser either with the U.S. Securities and Exchange Commission (the “SEC”) or with any state securities regulatory authority. We are neither licensed nor qualified to provide investment advice. Penny stock trading involves substantial risk, so always research every alert before trading, consult with a licensed professional before trading, only invest what you can afford to lose, and always trade with caution. Results listed above are NOT typical and individual results may and most likely will vary. Positivestocks.com and its staff are NOT licensed investment advisors of any kind. Alerts are not a solicitation or recommendation to buy/sell/hold securities but merely investment ideas that should NEVER serve as the basis of your trading decisions. Positivestocks.com and its newsletter are for entertainment purposes only. This website and its reports are for general information purposes only as we are engaged in the business of marketing and advertising companies for monetary compensation. DisclaimerPositive Phil inc/ Positive Stocks is not a financial advisory or advisor, investment advisor or broker-dealer and does not undertake any activities that would require such registration. The information contained herein is not intended to be used as the basis for investment decisions and should not be considered as investment advice or a recommendation, nor is the information an offer or solicitation to buy, hold or sell any security. Positive Phil inc/ Positive Stocks does not represent or warrant that the information posted is accurate, unbiased or complete and make no representations as to the completeness or timeless of the material provided. Positive Phil inc/ Positive Stocks receives fees for producing content on financial news and has been compensated to publish this content. Investors should consult with an investment advisor, tax and legal consultant before making any investment decisions. All materials are subject to change without notice.

Inca One is an established gold producer www.incaone.com Inca One Gold has a six-year track record of production as an established Peruvian toll-milling gold producer. The company has grown production by more than 272% over the previous four years and produced 25,000 ounces of gold in 2019. Inca One has now put into place a strategic plan to further increase production to 100,000 ounces annually. STOCK SYMBOLSInca One Gold (TSX.V: IO / OTC: INCAF) is a gold producer operating two fully permitted gold ore processing facilities in Peru. Peru is the world's sixth-largest producer of gold and its small scale mining sector is estimated by government officials to be valued in the billions of dollars annually.CEO & PRESIDENTEDWARD KELLY:Over 15 year career in capital marketsmanaging and running firms in a diverse range ofsectors from natural resource to technology. HeldSenior Management positions and directorship with several public companies on the TSXV Exchange/ OTCThis content contains “forward‐looking information” and "forward-looking statements” under applicable Canadian and U.S. securities laws (collectively, “forward‐looking statements”). These statements relate to future events or the Company's future performance, business prospects or opportunities that are based on forecasts of future results, estimates of amounts not yet determinable and assumptions of management made in light of management's experience and perception of historical trends, current conditions and expected future developments. Forward-looking statements include, but are not limited to, statements with respect to: the Company’s business strategy; future planning processes; commercial mining operations; cash flow; budgets; the timing and amount of estimated future production; recovery rates; mine plans and mine life; the future price of gold and other metals; costs of production; and completion of milestones thereunder. Assumptions may prove to be incorrect and actual results may differ materially from those anticipated. Consequently, guidance cannot be guaranteed. As such, investors are cautioned not to place undue reliance upon guidance and forward-looking statements as there can be no assurance that the plans, assumptions, or expectations upon which they are placed will occur. All statements other than statements of historical fact may be forward‐looking statements. Any statements that express or involve discussions with respect to predictions, expectations, beliefs, plans, projections, objectives or future events or performance (often, but not always, using words or phrases such as “seek”, “anticipate”, “plan”, “continue”, “estimate”, “expect”, “may”, “will”, “project”, “predict”, “forecast”, “potential”, “target”, “intend”, “could”, “might”, “should”, “believe” and similar expressions) are not statements of historical fact and may be “forward‐looking statements”. www.positivestocks.com/gold6 Reasons to consider Inca One Gold Corp.(TSX.V: IO / OTC: INCAF) in the next gold bull market: 1) Gold is about to make new all-time highs:Global economic uncertainty and rapid monetary inflation have resulted in a strong upward trend for gold prices. Most analysts predict gold will break through $2,000 per ounce before the end of 2020 and could reach $3,000 per ounce in 2021. 2) Inca One is an established gold producer:Inca One has a six-year track record of production as an established Peruvian toll-milling gold producer. The company has grown production by more than 272% over the previous four years and produced 25,000 ounces of gold in 2019. Inca One has now put into place a strategic plan to further increase production to 100,000 ounces annually. 3) Inca One’s business model is built for rising gold prices: 4) Inca One has tremendous growth prospects: Inca One currently has a small market cap under $100 million that is set to re-rate much higher as it expands production at its processing facilities. Additionally, as it rolls out its new direct-to-consumer bullion store and rides the gold bull market higher, it will experience significant operating and sales leverage to rising gold prices. 5) Inca One is focused on its shareholders: With just 27 million shares issued and outstanding, Inca One has one of the tightest share structures of any publicly traded gold mining company. Thanks to its stable, cash flowing business model the company does not have to unnecessarily dilute shareholders by raising additional capital. 6) Inca One insiders have serious skin in the game: Management, board members and key investors of Inca One hold 52% of the outstanding shares of the company. This means that management interests are aligned with shareholder interests, which is crucial for a company to be successful over the long term.DO NOT BASE ANY INVESTMENT DECISION UPON ANY MATERIALS FOUND ON THIS WEBSITE.We are not registered as a securities broker-dealer or an investment adviser either with the U.S. Securities and Exchange Commission (the “SEC”) or with any state securities regulatory authority. We are neither licensed nor qualified to provide investment advice. Penny stock trading involves substantial risk, so always research every alert before trading, consult with a licensed professional before trading, only invest what you can afford to lose, and always trade with caution. Results listed above are NOT typical and individual results may and most likely will vary. Positivestocks.com and its staff are NOT licensed investment advisors of any kind. Alerts are not a solicitation or recommendation to buy/sell/hold securities but merely investment ideas that should NEVER serve as the basis of your trading decisions. Positivestocks.com and its newsletter are for entertainment purposes only. This website and its reports are for general information purposes only as we are engaged in the business of marketing and advertising companies for monetary compensation.DO NOT BASE ANY INVESTMENT DECISION UPON ANY MATERIALS FOUND ON THIS WEBSITE.We are not registered as a securities broker-dealer or an investment adviser either with the U.S. Securities and Exchange Commission (the “SEC”) or with any state securities regulatory authority. We are neither licensed nor qualified to provide investment advice. Penny stock trading involves substantial risk, so always research every alert before trading, consult with a licensed professional before trading, only invest what you can afford to lose, and always trade with caution. Results listed above are NOT typical and individual results may and most likely will vary. Positivestocks.com and its staff are NOT licensed investment advisors of any kind. Alerts are not a solicitation or recommendation to buy/sell/hold securities but merely investment ideas that should NEVER serve as the basis of your trading decisions. Positivestocks.com and its newsletter are for entertainment purposes only. This website and its reports are for general information purposes only as we are engaged in the business of marketing and advertising companies for monetary compensation. DisclaimerPositive Phil inc/ Positive Stocks is not a financial advisory or advisor, investment advisor or broker-dealer and does not undertake any activities that would require such registration. The information contained herein is not intended to be used as the basis for investment decisions and should not be considered as investment advice or a recommendation, nor is the information an offer or solicitation to buy, hold or sell any security. Positive Phil inc/ Positive Stocks does not represent or warrant that the information posted is accurate, unbiased or complete and make no representations as to the completeness or timeless of the material provided. Positive Phil inc/ Positive Stocks receives fees for producing content on financial news and has been compensated to publish this content. Investors should consult with an investment advisor, tax and legal consultant before making any investment decisions. All materials are subject to change without notice.

Inca One is an established gold producer www.incaone.com Inca One Gold has a six-year track record of production as an established Peruvian toll-milling gold producer. The company has grown production by more than 272% over the previous four years and produced 25,000 ounces of gold in 2019. Inca One has now put into place a strategic plan to further increase production to 100,000 ounces annually. STOCK SYMBOLSInca One Gold (TSX.V: IO / OTC: INCAF) is a gold producer operating two fully permitted gold ore processing facilities in Peru. Peru is the world's sixth-largest producer of gold and its small scale mining sector is estimated by government officials to be valued in the billions of dollars annually.CEO & PRESIDENTEDWARD KELLY:Over 15 year career in capital marketsmanaging and running firms in a diverse range ofsectors from natural resource to technology. HeldSenior Management positions and directorship with several public companies on the TSXV Exchange/ OTCThis content contains “forward‐looking information” and "forward-looking statements” under applicable Canadian and U.S. securities laws (collectively, “forward‐looking statements”). These statements relate to future events or the Company's future performance, business prospects or opportunities that are based on forecasts of future results, estimates of amounts not yet determinable and assumptions of management made in light of management's experience and perception of historical trends, current conditions and expected future developments. Forward-looking statements include, but are not limited to, statements with respect to: the Company’s business strategy; future planning processes; commercial mining operations; cash flow; budgets; the timing and amount of estimated future production; recovery rates; mine plans and mine life; the future price of gold and other metals; costs of production; and completion of milestones thereunder. Assumptions may prove to be incorrect and actual results may differ materially from those anticipated. Consequently, guidance cannot be guaranteed. As such, investors are cautioned not to place undue reliance upon guidance and forward-looking statements as there can be no assurance that the plans, assumptions, or expectations upon which they are placed will occur. All statements other than statements of historical fact may be forward‐looking statements. Any statements that express or involve discussions with respect to predictions, expectations, beliefs, plans, projections, objectives or future events or performance (often, but not always, using words or phrases such as “seek”, “anticipate”, “plan”, “continue”, “estimate”, “expect”, “may”, “will”, “project”, “predict”, “forecast”, “potential”, “target”, “intend”, “could”, “might”, “should”, “believe” and similar expressions) are not statements of historical fact and may be “forward‐looking statements”. www.positivestocks.com/gold6 Reasons to consider Inca One Gold Corp.(TSX.V: IO / OTC: INCAF) in the next gold bull market: 1) Gold is about to make new all-time highs:Global economic uncertainty and rapid monetary inflation have resulted in a strong upward trend for gold prices. Most analysts predict gold will break through $2,000 per ounce before the end of 2020 and could reach $3,000 per ounce in 2021. 2) Inca One is an established gold producer:Inca One has a six-year track record of production as an established Peruvian toll-milling gold producer. The company has grown production by more than 272% over the previous four years and produced 25,000 ounces of gold in 2019. Inca One has now put into place a strategic plan to further increase production to 100,000 ounces annually. 3) Inca One’s business model is built for rising gold prices: 4) Inca One has tremendous growth prospects: Inca One currently has a small market cap under $100 million that is set to re-rate much higher as it expands production at its processing facilities. Additionally, as it rolls out its new direct-to-consumer bullion store and rides the gold bull market higher, it will experience significant operating and sales leverage to rising gold prices. 5) Inca One is focused on its shareholders: With just 27 million shares issued and outstanding, Inca One has one of the tightest share structures of any publicly traded gold mining company. Thanks to its stable, cash flowing business model the company does not have to unnecessarily dilute shareholders by raising additional capital. 6) Inca One insiders have serious skin in the game: Management, board members and key investors of Inca One hold 52% of the outstanding shares of the company. This means that management interests are aligned with shareholder interests, which is crucial for a company to be successful over the long term.DO NOT BASE ANY INVESTMENT DECISION UPON ANY MATERIALS FOUND ON THIS WEBSITE.We are not registered as a securities broker-dealer or an investment adviser either with the U.S. Securities and Exchange Commission (the “SEC”) or with any state securities regulatory authority. We are neither licensed nor qualified to provide investment advice. Penny stock trading involves substantial risk, so always research every alert before trading, consult with a licensed professional before trading, only invest what you can afford to lose, and always trade with caution. Results listed above are NOT typical and individual results may and most likely will vary. Positivestocks.com and its staff are NOT licensed investment advisors of any kind. Alerts are not a solicitation or recommendation to buy/sell/hold securities but merely investment ideas that should NEVER serve as the basis of your trading decisions. Positivestocks.com and its newsletter are for entertainment purposes only. This website and its reports are for general information purposes only as we are engaged in the business of marketing and advertising companies for monetary compensation.DO NOT BASE ANY INVESTMENT DECISION UPON ANY MATERIALS FOUND ON THIS WEBSITE.We are not registered as a securities broker-dealer or an investment adviser either with the U.S. Securities and Exchange Commission (the “SEC”) or with any state securities regulatory authority. We are neither licensed nor qualified to provide investment advice. Penny stock trading involves substantial risk, so always research every alert before trading, consult with a licensed professional before trading, only invest what you can afford to lose, and always trade with caution. Results listed above are NOT typical and individual results may and most likely will vary. Positivestocks.com and its staff are NOT licensed investment advisors of any kind. Alerts are not a solicitation or recommendation to buy/sell/hold securities but merely investment ideas that should NEVER serve as the basis of your trading decisions. Positivestocks.com and its newsletter are for entertainment purposes only. This website and its reports are for general information purposes only as we are engaged in the business of marketing and advertising companies for monetary compensation. DisclaimerPositive Phil inc/ Positive Stocks is not a financial advisory or advisor, investment advisor or broker-dealer and does not undertake any activities that would require such registration. The information contained herein is not intended to be used as the basis for investment decisions and should not be considered as investment advice or a recommendation, nor is the information an offer or solicitation to buy, hold or sell any security. Positive Phil inc/ Positive Stocks does not represent or warrant that the information posted is accurate, unbiased or complete and make no representations as to the completeness or timeless of the material provided. Positive Phil inc/ Positive Stocks receives fees for producing content on financial news and has been compensated to publish this content. Investors should consult with an investment advisor, tax and legal consultant before making any investment decisions. All materials are subject to change without notice.

Our investigators must team up with a DIP agent (Jon Matteson) in order to confront an even greater foe - Edward Kelly, and his evil organization The Feather Teeth.

Edward Kelly llegó a la residencia de John Dee con un manuscrito extraño y una esfera de mármol que contenía el legendario polvo de proyección. Ambos desaparecieron luego de descubrir cómo fabricar la piedra filosofal. ¿Por qué tantos alquimistas desaparecieron? Flamel, Saint Germain, Fulcanelli, Dee, Kelly y varios más. ¿Quién fue el encapuchado que entregó el libro a Kelly, tendrá algo que ver con las desapariciones? ¿Caminarán esos inmortales entre nosotros? Esta es su historia.

This week at In The Past Lane, the American History podcast, we take a look at a legendary labor uprising by a mysterious group known as the Molly Maguires. They were Irish and Irish American coal miners in Pennsylvania in the 1870s who used vigilante violence to fight back against the powerful and exploitative mine owners. But in the end, the mine owners used their dominance over the political and legal establishment to see to it that 20 men, most of whom were likely innocent, were executed by hanging.   Feature Story: The Molly Maguires Hanged  On Thursday June 21, 1877 – 143 years ago this week - ten men went to the gallows in Pennsylvania.  They were known as Molly Maguires – members of an ultra-secret society that used violence and intimidation in their bitter struggles with powerful mine owners. Arrested for their alleged role in several murders, they were convicted and sentenced to death on the basis of very thin evidence and questionable testimony.  “Black Thursday” would long be remembered by residents of the Pennsylvania coal fields as an extraordinary example of anti-labor and anti-Irish prejudice.  The story of the Molly Maguires was one very much rooted in two specific places: rural Ireland and the anthracite region of PA. The latter was the main supplier of the nation’s coal, making it a vital component in American’s unfolding industrial revolution. By the 1870s, more than 50,000 miners – more than half of them Irish or Irish American – toiled in the region’s mines. It was hard, brutal work. They worked long hours for low pay in extremely dangerous conditions. Every year cave-ins, floods, and poison gas claimed the lives of hundreds of miners.  In one fire alone in 1869, 110 miners were killed. It was in the struggle of these workers to improve their pay, hours, and conditions that the Molly Maguire saga began.  Irish immigrants and Irish Americans played key roles in virtually every aspect of the conflict, from the lowliest miner to the most powerful capitalist.  Foremost was Franklin B. Gowen, the wealthy Irish American president of the Philadelphia and Reading Railroad. Tough and ambitious, he ruthlessly drove his competitors out of business in an effort to dominate the state’s two principle industries, coal and railroads.  The only thing he hated more than rival businessmen was organized labor, especially the main miners union, the Workingmen’s Benevolent Association (WBA). Led by an Irish-born man named John Siney, the WBA had won several strikes in the late 1860s and early 1870s that resulted in wage gains and union recognition. Even though he shared an Irish heritage with most of his miners, Franklin Gowan had little sympathy for them. In industrializing America, class interests trumped everything, including ethnicity and culture, and Gowan treated his workers like they were the enemy.  Gowan waited for the right moment to attack, and that came in 1873 when the nation plunged into a severe economic depression that lasted until 1877.  The hard times hurt his bottom line, but Gowen saw a silver lining: hard times also provided an opportunity to kill the miners’ union. In January 1875, Gowan announced a steep cut in wages, a move quickly followed by the region’s others coal operators. The wage cuts triggered a massive miners’ strike throughout the region that paralyzed coal production. But Gowen and other operators had prepared for the strike by stockpiling huge coal reserves that allowed them to continue to sell coal and wait out the desperate and half-starved striking miners. The “Long Strike,” as it came to be known, was doomed. It ended after five months in June with a total defeat for the workers and the destruction of the Workingmen’s Benevolent Association (WBA).  And here’s where rural Ireland figured into the story. Embittered by their loss, a group of Irish miners turned to an old custom – extra-legal justice, or vigilantism.  Irish tenant farmers had for centuries used tactics of intimidation, vandalism, and murder to protest landlord abuses, primarily rent hikes or evictions. These types of tactics of resistance by powerless peasants have been called by anthropologist James Scott, “the weapons of the weak.” According to tradition, the original “Molly Maguire” had been a woman who thwarted her landlord’s attempts to evict her during the Famine.  Many of the Irish miners in the Pennsylvania coal fields came from counties in Ireland where periodic agrarian vigilantism was a firmly rooted tradition.  Molly Maguire activity first arose in the anthracite region in the labor disputes of the early 1860s. But it subsided with the WBA’s success in gaining better wages and conditions for the miners. Now in the wake of the defeat in the Long Strike, the Mollies returned with a vengeance.  Between June and September 1875, six people were murdered – all carefully targeted as agents of the mine owners and enemies of the miners. Having destroyed the WBA, Franklin Gowen saw in the return of the Mollies an opportunity to permanently wipe out any miner opposition to his plans to consolidate power and wealth.  And so, he unleashed a sweeping campaign against the secret society in which he branded all labor activists “Molly Maguires.” He also accused an Irish fraternal organization known as the Ancient Order of Hibernians of operating as a front for the organization. Eventually over fifty men, women, and children were arrested and indicted for their alleged roles in the Molly Maguire violence and murders. Incredibly, the state of Pennsylvania played almost no role in this process. None other than Franklin Gowan served as the county district attorney and oversaw the investigation and prosecutions. A private company – the Pinkertons – conducted the investigation. A private police force employed by the mining companies carried out the arrests. And Gowan and coal company attorneys conducted the trials. As one historian commented, “The state only provided the courtroom and the hangman.”  The first trials began in January 1876.  They involved ten men accused of murder and were held in the towns of Mauch Chunk and Pottsville, PA.  A vast army of national media descended on the small towns where they wrote dispatches that were uniformly pro-prosecution. In an era of rising hysteria over labor radicalism, and the growing popularity of socialism and anarchism – much of it fueled by sensational stories in the mainstream press - the Molly Maguire story proved irresistible. And the coverage was universally negative. The NYT, for example, wrote about “the snake of Molly Maguire-ism,” while the Philadelphia Inquirer condemned the men as “enemies of social order.” The key witness for the prosecution was yet another Irishman, James McParlan. He was an agent of the infamous Pinkerton Detective Agency, an organization that would be more accurately described as a private army for hire that specialized in labor espionage and strikebreaking. Franklin Gowan had hired the Pinkertons in the early 1870s as part of his masterplan of destroying the WBA. James McParlan had gone under cover to infiltrate the Mollies and gather evidence. And gather he did – or at least he claimed he did during the trials. On the stand he painted a vivid picture of Molly Maguire secrecy, conspiracy, and murder. With this testimony, combined with the fact that Irish Catholics and miners had been excluded from the juries, guilty verdicts were a foregone conclusion. All ten defendants were convicted and sentenced to hang.  And in order to send the most powerful message to the region’s mining communities, authorities staged the executions on the same day -- June 21, 1877 – in two locations.  Alexander Campbell, Michael Doyle, Edward Kelly, and John Donahue were hanged in Mauch Chuck, while James Boyle, Hugh McGehan, James Carroll, James Roarity, Thomas Duffy, and Thomas Munley met a similar fate in Pottsville.  Although the hangings took place behind prison walls, they were nonetheless stages as major spectacles that drew huge crowds and generated international news coverage, nearly all of it condemning the Mollies as murderous monsters who got what they deserved.  Still, the Molly Maguire episode was far from over.  Ten more miners would be tried, convicted, and executed over the next fifteen months, bringing the total to twenty. While evidence suggests that some of them men were guilty of murder, the great majority of those executed were likely victims of hysteria and a profoundly unjust legal process. In the end, Franklin Gowen and his fellow mine operators succeeded in stamping out the Molly Maguires, but not the violent clashes between labor and capital they represented. For more than a generation following the executions, miners in Pennsylvania and many other states would continue to fight -- both legally and extra-legally -- against oppressive conditions in the mines. And the mine owners, as they did with the Mollies, did their best to dismiss the agitation as foreign radicalism brought to America by misguided immigrants who did not understand the inherent goodness and justice of industrial capitalism. The miners, of course, knew better. They understood that unregulated capitalism, backed by the full weight of the law, the government, and the media, was neither just, nor democratic. It was exploitation, pure and simple. Sources: Anthony Bimba. The Molly Maguires (International Publishers, 1932). Wayne G. Broehl, Jr., The Molly Maguires (Harvard University Press, 1964). Kevin Kenny, Making Sense of the Molly Maguires (Oxford University Press, 1998). IrishCentral.com, “Molly Maguires Executed, June 20, 2020 https://www.irishcentral.com/roots/history/molly-maguires-executed#.XvEIkuOULEA.twitter For more information about the In The Past Lane podcast, head to our website, www.InThePastLane.com  Music for This Episode Jay Graham, ITPL Intro (JayGMusic.com) The Joy Drops, “Track 23,” Not Drunk (Free Music Archive) Sergey Cheremisinov, “Gray Drops” (Free Music Archive) Ondrosik, “Tribute to Louis Braille” (Free Music Archive) Alex Mason, “Cast Away” (Free Music Archive) Squire Tuck, “Nuthin’ Without You” (Free Music Archive) Ketsa, “Multiverse” (Free Music Archive) The Rosen Sisters, “Gravel Walk” (Free Music Archive) Soularflair, “Emotive Beautiful Irish Feel Gala” (Free Music Archive) Dana Boule, “Collective Calm” (Free Music Archive) Ondrosik, “Breakthrough” (Free Music Archive) Cuicuitte, “sultan cintr” (Free Music Archive) Blue Dot Sessions, "Pat Dog" (Free Music Archive) Jon Luc Hefferman, “Winter Trek” (Free Music Archive) The Bell, “I Am History” (Free Music Archive) Production Credits Executive Producer: Lulu Spencer Graphic Designer: Maggie Cellucci Website by: ERI Design Legal services: Tippecanoe and Tyler Too Social Media management: The Pony Express Risk Assessment: Little Big Horn Associates Growth strategies: 54 40 or Fight © In The Past Lane, 2020 Recommended History Podcasts Ben Franklin’s World with Liz Covart @LizCovart The Age of Jackson Podcast @AgeofJacksonPod Backstory podcast – the history behind today’s headlines @BackstoryRadio Past Present podcast with Nicole Hemmer, Neil J. Young, and Natalia Petrzela @PastPresentPod 99 Percent Invisible with Roman Mars @99piorg Slow Burn podcast about Watergate with @leoncrawl The Memory Palace – with Nate DiMeo, story teller extraordinaire @thememorypalace The Conspirators – creepy true crime stories from the American past @Conspiratorcast The History Chicks podcast @Thehistorychix My History Can Beat Up Your Politics @myhist Professor Buzzkill podcast – Prof B takes on myths about the past @buzzkillprof Footnoting History podcast @HistoryFootnote The History Author Show podcast @HistoryDean More Perfect podcast - the history of key US Supreme Court cases @Radiolab Revisionist History with Malcolm Gladwell @Gladwell Radio Diaries with Joe Richman @RadioDiaries DIG history podcast @dig_history The Story Behind – the hidden histories of everyday things @StoryBehindPod Studio 360 with Kurt Andersen – specifically its American Icons series @Studio360show Uncivil podcast – fascinating takes on the legacy of the Civil War in contemporary US @uncivilshow Stuff You Missed in History Class @MissedinHistory The Whiskey Rebellion – two historians discuss topics from today’s news @WhiskeyRebelPod American History Tellers ‏@ahtellers The Way of Improvement Leads Home with historian John Fea @JohnFea1 The Bowery Boys podcast – all things NYC history @BoweryBoys Ridiculous History @RidiculousHSW The Rogue Historian podcast with historian @MKeithHarris The Road To Now podcast @Road_To_Now Retropod with @mikerosenwald © In The Past Lane 2020  

This week we chat once again to the amazing Lon Milo Duquette! In this weeks episode we discuss the interesting topic of John Dee and Edward Kelly's Enochian Magick, the controlled-schizophrenia of Magick, how angels give you Ferrari's and 'why Magick?'Joining me in the co-host dungeon this week is our newest initiate in the mystery-school that is SittingNow, Adrian Dobbie, who you may remember has written some great articles and reviews for the site. Once again, Mort of the fabulous Media Underground returns to aid us in our endeavours.Claire provides yet another great Weekly Weird News, in which she bemoans the loss of the worlds ugliest dog, and DaddyTank's amazing  'Myspace Heroes' returns for its second week, you can check the featured artists here:Vicsid -  http://www.myspace.com/vicsidKramer V Kramer V Godzilla - http://www.myspace.com/kvkvgTwiggy and the K-Mesons - http://www.myspace.com/twiggyandthekmesonsNext week we interview the Social Philosopher and Media Theorist Douglas Rushkoff, a personal hero of mine, about all things open-source, so keep em peeled for that!Enjoy!

STICKER DEAL: Be in the first fifty to subscribe to our Patreon and you will receive a high, quality, vinyl, limited-edition 5X5" sticker of our original cover art. Did you watch all those conspiracy videos? Are you curious about Q? You were aware that the elites worship a giant stone owl in NorCal... RIGHT? Did you answer "yes" or a hard "maybe" for any of these questions?? Than stay tuned folks because tonight on "The Whole Rabbit" we discuss in depth and earnest the numinous lies the man has told us in, "The Conspiracy State." This weeks subjects of discussion include: -Bohemian Grove employment opportunities -Psychic prediction of 9/11-"Out of Shadows"-Homosexuality in the hip-hop industry-The Rapture -Concious Dying -The Satanic Panic-Why Satan, anyway? -Why do angels wanna hump ladies? If you enjoy the show consider visiting www.patreon.com/thewholerabbit and for five bucks you will get access to our FULL show! On the second half we discuss: -How Tool got Luke into the occult-How Luke got Eric into atheism -Danny Carrey's use of the Sigilum De Ameth. -What the Enochian says inscribed on Danny's drums.-The Enochian Angels, John Dee and Edward Kelly...-Babalon & Jack Parsons Sources: Bohemian Grove: https://www.youtube.com/watch?v=a6P1SFERUJMEdge of Wonder about Satanism in the music industry: https://www.youtube.com/watch?v=fO-FlTKz3gISigilum De Ameth: https://www.learnreligions.com/sigillum-dei-aemeth-96044Empire of Angels by Jason Louve:  https://www.amazon.com/John-Dee-Empire-Angels-Enochian/dp/1620555891Babalon Working: https://en.wikipedia.org/wiki/Babalon_WorkingYoutube:https://www.youtube.com/channel/UCcmocfH13BzwsAb62xmp-LAiTunes:https://itunes.apple.com/us/podcast/the-whole-rabbit/id1457163771Spotify:https://open.spotify.com/show/0AnJZhmPzaby04afmEWOAVGooglePlay:https://play.google.com/music/podcasts/portal/u/0#p:id=playpodcast/series&a=1274929319Stitcher:https://www.stitcher.com/podcast/buzzsprout-158/the-whole-rabbit?refid=stprInstagram:https://www.instagram.com/the_whole_rabbit_/Twitter:https://twitter.com/h4ckrabbit   Support the show (https://www.patreon.com/thewholerabbit)

Today on Monsters, Madness and Magic we discuss the early life of Doctor John Dee and his eventual dealings with conjurer Edward Kelly and their findings during the Enochian sessions.Be sure to visit MonstersMadnessandMagic.com to stay up to date on all horror, history, metal and mystery. The digital doors of the Sanctuary of the Strange are open to thee.Monsters, Madness and Magic on Facebook.Monsters, Madness and Magic on Twitter.Monsters, Madness and Magic on Instagram.

This week's episode of A History of Rock Music in Five Hundred Songs is the first of two bonus episodes answering listener questions at the end of the first year of the podcast.. Click the full post to read liner notes, links to more information, and a transcript of the episode. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.   Patreon backers can ask questions for next episode at this link. Books mentioned -- Last Train to Memphis by Peter Guralnick, Before Elvis by Larry Birnbaum, Roots, Radicals and Rockers by Billy Bragg, Honkers and Shouters by Arnold Shaw.  Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Hello, and welcome to the first of our two-part question and answer session.   For those who didn't hear the little admin podcast I did last week, this week and next week are not regular episodes of the podcast -- I'm taking two weeks out to get the book version of the first fifty episodes edited and published, and to get a bit of a backlog in writing future episodes. I'm planning on doing this every year from now on, and doing it this way will mean that the podcast will take exactly ten years, rather than the nine years and eight months it would otherwise take,   But to fill in the gaps while you wait, I asked for any questions from my Patreon backers, about anything to do with the podcast. This week and next week I'm going to be answering those questions.   Now, I'll be honest, I wasn't even sure that anyone would have any questions at all, and I was worried I'd have to think of something else to do next week, but it turns out there are loads of them. I've actually had so many questions, some of them requiring quite long answers, that I'll probably have enough to not only do this week and next week's episodes based on questions, but to do a bonus backer-only half-hour podcast of more questions next week.   Anyway, to start with, a question that I've been asked quite a bit, and that both Melissa Williams and Claire Boothby asked -- what's the theme music for the podcast, and how does it fit in with the show?   [Excerpt: Boswell Sisters, “Rock and Roll”]   The song is called "Rock and Roll", and it's from 1934. It is, I believe, the very first song to use the phrase "rock and roll" in those words -- there was an earlier song called "rocking and rolling", but I think it's the first one to use the phrase "rock and roll".   It's performed by the Boswell Sisters, a jazz vocal trio from the thirties whose lead singer, Connee Boswell, influenced Ella Fitzgerald among others, and it was written by Richard Whiting and Sidney Clare.   They actually wrote it for Shirley Temple -- they're the people who wrote "On the Good Ship Lollipop" -- but it was turned down for use in one of her films so the Boswells did it instead.   The version I'm using is actually the version the Boswells sang in a film, Transatlantic Merry-Go-Round, rather than the proper studio recording. That's just because the film version was easier for me to obtain.   As for why I'm using it, a few reasons. One is that it's of historical note, as I said, because it's the first song to use the phrase, and that seemed appropriate for a podcast on the history of rock music. The other main reason is that it's in the public domain, and I try wherever possible to keep to copyright laws. I think all the uses of music in the podcast fall under fair use or fair dealing, because they're short excerpts used for educational purposes and I link to legal versions of the full thing, but using a recording as the theme music doesn't, so I had to choose something that was in the public domain.   Next we have a question from David Gerard: "piece of trivia from waaaaay back: in "Choo Choo Ch'Boogie", why "*democratic* fellows named Mack"? what's that line about?"   [Excerpt: Louis Jordan, “Choo Choo Ch'Boogie”]   Well, I've never actually seen an interview with the writers of the song, but I can hazard two educated guesses. One of them is boring and probably right, the other one is more interesting and probably wrong.   The boring and probably right one is very simple -- the word "democratic" scans, and there aren't that many words that fit that syllable pattern. There are some -- "existential", "sympathetic", "diuretic" -- but not that many, and "democratic" happens to be assonant with the song's rhyme scheme, too -- the "cratic" doesn't actually rhyme with all those "alack", "track" "jack", and so on, but it sounds good in combination with them. I suspect that the solution is as simple as that.   The more interesting one is probably not the case, and I say this because the songwriters who wrote "Choo Choo Ch'Boogie" were white. BUT, Milt Gabler, one of the three credited writers, was familiar enough with black culture that this might be the case.   Now, the character in "Choo Choo Ch'Boogie" is a soldier returning from the second world war -- we know this from the first two lines, "Heading for the station with a pack on my back/I'm tired of transportation in the back of a hack", plus the date the song was recorded, 1946. So we've got someone who's recently been discharged from the army and has no job.   BUT, given it's Louis Jordan singing, we can presume this someone is black. And that puts the song in a rather different light. Because 1946 is slap in the middle of what's known as the second great migration -- the second big wave of black people moving from the rural deep south to the urban north and (in the case of the second migration, but not really the first) the west. This is something we've touched on a bit in the podcast, because it was the second great migration that was, in large part, responsible for the popularity of the urban jump blues that became R&B -- and separately, it was also the cause of the creation of the electric blues in Chicago. And Chicago is an interesting one here. Because Chicago was one of the biggest destinations -- possibly the single biggest destination -- for black people looking to move around this time.   And so we recontextualise a bit. Our black soldier has returned to the US, but he's travelling by train to somewhere where there's no job waiting for him, and there's no mention of going to see his friends or his wife or anything like that. So maybe, he's someone who grew up in the rural deep south, but has decided to use the opportunity of his discharge from the military to go and build himself a new life in one of the big cities, quite probably Chicago. And he's looking for work and doesn't have many contacts there. We can tell that because in the second verse he's looking at the classified ads for jobs in the paper.   [Excerpt: Louis Jordan, “Choo Choo Ch'Boogie”]   Now, at this time, especially during and immediately after the Second World War, the single biggest employer in the US in the big cities was the government, and in the big cities there was a *lot* of patronage being handed out by the party in charge -- basically, in most of the big cities, the political parties, especially the Democrats at this time, were an arm of organised crime, with the mayor of the city acting much as a Mafia don would. And the only way to get a job, if you didn't have any special qualifications, if you weren't a "man with a knack" as the song puts it -- especially a sinecure where you didn't have to work very hard -- the only way to get such a job was to be owed a favour by the local Democratic Party.   Now, in Chicago -- again, Chicago is not named in the song, but it would seem the most logical place for our protagonist to be travelling, and this was true of other big Northern cities like New York, too -- the Democratic Party was run at this time almost entirely by Irish-Americans. The Mayor of Chicago, at the time was Edward Kelly, and he was the head of a formidable electoral machine, a coalition of several different ethnic groups, but dominated by Irish people.   So, if you wanted one of those jobs that were being handed out, you'd have to do favours for Kelly's Irish Democrats -- you'd have to pal around with Democratic fellows named Mac.   [Excerpt: Louis Jordan, “Choo Choo Ch'Boogie”]   Now I come to a few questions that I'm going to treat as one -- questions from Jeff Stanzler, Steven Hinkle, and Matthew Elmslie. They ask, between them, how I plan out what songs I'm going to include, and if I have to make difficult choices about what to include and what not to include, and who the most significant performer I don't plan to include at all is. Jeremy Wilson also asks if I've got all five hundred songs planned out and how close to the current day I plan to get.   These are all, actually, very different questions, but they all centre around the same thing, and so I'm going to address them all together here. If any of you don't think I've addressed your question sufficiently, please say and I'll come back to it next week.   Now, I don't have the whole five hundred songs mapped out. To do that would be for me to assume that in the next nine years none of my research will cause me to revise my opinions on what's important. So far, in the first fifty, I've not really had to make any difficult choices at all -- the only things I've wished I could include have either been things where there's just not enough information out there to put together an interesting episode, or where my own self-imposed restrictions like the starting point cut them off. Like if I'd decided to start a few years earlier, I *would* have included Jimmie Rodgers, but you have to have a cut-off point, and if I hadn't set 1938 and the Goodman Carnegie Hall concerts as a good starting point I could have gone all the way back at least to the mid nineteenth century, and it would have been more the prehistory of rock.   Maybe I'll do that as a project when I've finished this one.   But even those people I've excluded, I've ended up being able to cover as bonus episodes, so I've not really had to leave anything out.   But that means so far, since we're still really at the very beginning of rock and roll, there have been no difficult choices. That will change as the story goes on -- in the sixties there are so many important records that I'm going to have to cut out a lot, and by the mid-seventies rock has diversified so much that there will be *tons* of things I'll just have to gloss over. But right now I've had to make no tough decisions.   Now, the way I do this -- I have a list of about two hundred or so songs that I'm pretty sure are going to make the final list. Like I'm sure nobody will be surprised to find that I'll be covering, say, "Peggy Sue", "Satisfaction", "Stairway to Heaven", "God Save the Queen" and "Walk This Way". You can't leave those things out of the story and still have it be anything like an actual history of rock music. That's my sort of master list, but I don't consult that all that often.   What I do, is at any given point I'm working on the next ten scripts simultaneously -- I do things that way because I use the same research materials for multiple episodes, so for example I was writing the Chess episodes all at the same time, and the rockabilly episodes all at the same time, so I might be reading a biography of Carl Perkins, see an interesting fact about Johnny Cash, and stick the fact in the Johnny Cash episode or whatever. I have another list of about twenty probables, just titles, that I'm planning to work on soon after. Every time I finish a script, I look through the list of probables, pull out a good one to work on next, and add that to the ten I'm writing. I'll also, when I'm doing that, add any more titles I've thought of to the list. So I know exactly what I'm going to be doing in the next two and a half months, have a pretty good idea of what I'm doing for the next six, and only a basic outline after that.   That means that I can't necessarily say for certain who I *won't* be including. There will, undoubtedly, be some significant performers who don't get included, but I can't say who until we get past their part in the story. Steven also asked as part of this if I've determined an end point. Yes I have. That may change over the next nine years, but when I was planning out the podcast -- even before it became a podcast, when I was thinking of it as just a series of books -- I thought of what I think would make the perfect ending for the series -- a song from 1999 -- and I'm going to use that.   Related to that, William Maybury asked "Why 1999?"   Well, a few reasons -- partly because it's a nice cut-off point -- the end of the nineties and so on. Partly because it's about the time that I disengaged totally from popular culture -- I like plenty of music from the last couple of decades, but not really much that has made any impact on the wider world. Partly because, when I finish the podcast, 1999 will be thirty years ago, which seems like about the right sort of length of time to have a decent historical perspective on things; partly because one of the inspirations for this was Richard Thompson's 1000 Years of Popular Music and that cut off -- well, it cut off in 2001, but close enough; and partly because the final song I'm going to cover came out then, and it's a good ending song.   William also asked "What's the bottom standard for notability to be covered? (We heard about "Ooby Dooby" before "Crying," are we going to hear about "Take My Tip" before "Space Oddity"? Bootlegs beyond the Million Dollar Band that you mentioned on Twitter? Archival groundbreakers like Parson Sound?)"   [Excerpt: Roy Orbison, “Ooby Dooby”]   That's an interesting question... there's no bottom standard for notability *as such*. It's more that notability is just one of a number of factors I'm using to decide on the songs I cover. So the question I ask myself when I'm choosing one to include isn't just "is this song influential or important?" though that's a primary one. There's also "is there a particularly fascinating story behind the recording of this track?" "Does this illustrate something important about music or about cultural history?", “Is this just a song I really like and want to talk about?” And also, "does this provide a link between otherwise disconnected strands of the story?" There are also things like "have I not covered anything by a woman or a black person or whatever in a while?" because one of the things I want to do is make sure that this isn't just the story of white men, however much they dominate the narrative, and I know I will have to consciously correct for my own biases, so I pay attention to that.   And there's *also* the question of mixing the stuff everyone knows about with the stuff they'll be hearing about for the first time -- you have to cover "Satisfaction" because everyone would notice it's missing, but if you just do Beatles-Stones-Led Zep-Pink Floyd-whoever's-on-the-cover-of-Mojo-this-month, nobody's going to hear anything they can't get in a million different places.   So to take the example of "Ooby Dooby", it's only a relatively important track in itself, though it is notable for being the start of Roy Orbison's career. But it also ties Orbison in to the story of Sam Phillips and Sun Records, and thus into the stories of Carl Perkins, Elvis Presley, Johnny Cash, and so on. It allows me to set up something for the future while tying the story together and moving the stories of multiple people forward a bit.   So... as a tiny bit of a spoiler, though this won't be too much of a surprise to those who've read my book California Dreaming, I am almost certainly going to cover the GTOs, who are almost a footnote to a footnote. I'll cover them because their one album was co-produced by Frank Zappa and Lowell George, later of Little Feat, it featured the Jeff Beck Group, including Rod Stewart, and it had songs co-written by Davy Jones of the Monkees -- and the songs Davy Jones co-wrote were about Captain Beefheart and about Nick St Nicholas of Steppenwolf. That's an enormous nexus of otherwise unconnected musicians, and it allows me to move several strands of the story forwards at the same time -- and it also allows me to talk about groupie culture and misogyny in the rock world from the perspective of the women who were involved.   [Excerpt: GTOs, “The Captain's Fat Theresa Shoes”]   I'm not *definitely* going to cover that, but I'm likely to -- and I'm likely to cover it rather than covering some more well-known but less interesting track.   Dean Mattson asks what my favourite three books are on the music I've covered so far. That's a good question. I'm actually going to name more than three, though...   The book that has been of most value in terms of sheer information density is Before Elvis, by Larry Birnbaum. This is a book that covers the prehistory of rock and roll to an absurd level of detail, and it's absolutely wonderful, but it's also absolutely hard going. Birnbaum seems to have heard, without exaggeration, every record released before 1954, and he'll do things like trace a musical motif from a Chuck Berry solo to a Louis Jordan record, and from the Louis Jordan record to one by Count Basie, and from that to Blind Blake, to Blind Lemon Jefferson, to Jelly Roll Morton, to a 1918 recording by Wilbur Sweatman's Jazz Orchestra. And he does that kind of thing in every single paragraph of a 474-page book. He must reference, at a very conservative estimate, five thousand different recordings.   Now this is information density at the expense of everything else, and Birnbaum's book has something of the air of those dense 18th and 19th century omnium gatherum type books like Origin of Species or Capital or The Golden Bough, or The Decline and Fall of the Roman Empire, where there are a million examples provided to prove a point in the most exhaustive detail possible. I've done entire episodes of the podcast which are just expanding on a single paragraph of Birnbaum and providing enough context and narrative for a lay audience to appreciate it. It's not a book you read for fun. It's a book you read a paragraph at a time, with a notepad, looking up recordings of all the songs he covers as he gets to them. But if you're willing to put that time in, the book will reward you with a truly comprehensive understanding of American popular music of the period up to 1954.   The book that surprised me the most with its quality was Billy Bragg's Roots, Radicals and Rockers: How Skiffle Changed the World. I've always quite liked Bragg as a songwriter, but I'd never expected him to be much good at writing a work of non-fiction. I only actually got hold of a copy because it had just come out when I started the podcast, and it had a certain amount of publicity behind it. I thought if I didn't read it I would then get people asking questions like, "But Billy Bragg says X, why do you say Y?"   But in fact, if you want a book on the skiffle movement and early British rock and roll, you could not do better than this one. It's exhaustively researched, and it's written in a staggeringly readable prose style, by someone who has spent his life as both a folk musician and a political activist, and so understands the culture of the skiffle movement on a bone-deep level. If there was one book I was to urge people to read just to read a really good, entertaining, book, it would be that one.   The book that's been the most use to me is Honkers and Shouters by Arnold Shaw -- an account of the 50s R&B scene from someone who was part of it. Shaw worked for a music publisher at the time, and had a lot of contacts in the industry. When he came to write the book in the 70s, he was able to call upon those contacts and interview a huge number of people -- many of whom gave him their last interviews before they died. The podcast wouldn't be as good without some of the other books, but it wouldn't exist at all without this one, because Shaw added so much to our knowledge of 50s R&B.   But I also want to recommend all of Peter Guralnick's books, but especially Last Train to Memphis, the first of his two-volume biography of Elvis Presley. Guralnick's written a lot of books on Southern US music, including ones on Sam Phillips and Sam Cooke which have also been important resources. But the thing that sets Guralnick apart as a writer is his ability to make the reader thoroughly understand why people admired extraordinarily flawed individuals, but without minimising their flaws. With all Guralnick's biographies, I've come away both thinking less of his subjects as people *and* admiring them more as creators. He doesn't flinch from showing the men he writes about as egocentric, often misogynist, manipulators who damaged the people around him, but nor does he turn his books into Albert Goldman style denunciations of his subjects. Indeed, in the case of Elvis, I've got more understanding of who Elvis was from Guralnick than from any of the hundreds of thousands of other words I've read on the subject. Elvis as he turns up in this podcast is the Elvis that Guralnick wrote about, rather than anything else.   Magic at Mungos asked what the best song I've discovered, that I hadn't heard before doing the podcast, is.   Well, I've discovered very little doing the podcast, really. The only song I've covered that I didn't know before starting work on the podcast was "Ko Ko Mo", and I can't say that one was a favourite of mine -- it's not a bad record by any means, but it's not one that changed my life or anything. But there have been a few things that I've heard that I didn't do full episodes about but which made an impression -- the McHouston Baker album I talked about towards the end of the “Love is Strange” episode, for example, is well worth a listen.   [Excerpt: McHouston Baker, “Alabama March”]   What the podcast *has* done, though, is make me reevaluate a few people I already knew about. In particular I'd been very dismissive of Lonnie Donegan previously -- I just hadn't got him -- but having to cover him for the podcast meant listening to all his fifties and early sixties work, and I came out of that hugely impressed.   I had a similar experience with Bo Diddley, who I *did* admire beforehand, and whose music I knew fairly well, but listening to his work as a body of work, rather than as isolated tracks and albums, made me think of him as a far more subtle, interesting, musician and songwriter than I'd given him the credit for previously.   Another one from William Maybury, who wants to know about my recording setup. I actually don't have very good recording equipment -- I just use a thirty-pound USB condenser mic plugged into my laptop on my dining room table. This is partly because I don't have a huge budget for the podcast, but also because there's only so much that can be done with the sound quality anyway. I live in an acoustically... fairly horrible... house, which has a weird reverb to a lot of the rooms. It's a terraced house with relatively thin walls, so you can hear the neighbours, and I live underneath a major flight path and by a main road in a major city, often driven on by people with the kind of in-car sound systems that inflict themselves on everyone nearby.   While I would like better equipment, at a certain point all it would be doing is giving a really clear recording of the neighbours' arguments or the TV shows they're watching, and the sound systems in the cars driving past – like today, I was woken at 3AM by someone driving by, playing “Hold On” by Wilson Phillips in their car so loud it woke me up. Acoustic perfection when recording somewhere like here would just be wasted.   So I make up for this by doing a *LOT* of editing on the podcast. I've not done so much on this episode, because these are specifically designed to be low-stress episodes for me, but I've been known to spend literally twenty hours on editing some individual episodes, cutting out extraneous noises, fixing sound quality issues, and so on.   And finally for this week, Russell Stallings asks, "my son Pete wants to know if you are a musician? And , who is your favorite beatle?"   The answer to whether I'm a musician is "yes and no", I'm afraid. I can play a lot of instruments badly. I'm dyspraxic, so I have natural limits to my dexterity, and so no matter how much I practiced I never became more than a competent rhythm guitarist at best. But I manage to be not very good on a whole variety of instruments -- I've been in bands before, and played guitar, keyboards, bass, mandolin, ukulele, and banjo on recordings -- and I can, more or less, get a tune out of a clarinet or saxophone with a good run-up.   Where I think my own musical skills lie is as a songwriter, arranger, and producer. I've not done much of that in over a decade, as I don't really have the personality for collaboration, but I did a lot of it in my twenties and thirties. Here's an example, from a band I used to be in called The National Pep.   [Excerpt: The National Pep, "Think Carefully For Victory"]   In the section you just heard, I wrote the music, co-produced, and played all the instruments except the drums. Tilt -- who does a podcast called The Sitcom Club I know some of you listen to -- sang lead, wrote the lyrics, played drums, and co-produced.   So, sort of a musician, sort of not.   As to the question about my favourite Beatle, John Lennon has always been my favourite, though as I grow older I'm growing more and more to appreciate Paul McCartney. I'm also, though, someone who thinks the whole is much greater than the sum of the parts in that particular case. All four of them did solo work I like a lot, but also the group was immensely better than any of the solo work. It's very, very, rare that every member of a band is utterly irreplaceable -- normally, even when every member of a band is talented, you can imagine them carrying on with one or more members swapped out for other, equally competent, people. But in the case of the Beatles, I don't think you can.   Anyway, that's all for this week. I'll be answering more questions next week, then the podcast will be back to normal on October the sixth with an episode on Carl Perkins. If you have any questions you'd like to ask, you can still ask by signing up on patreon.com/andrewhickey – and if you've not signed up for that, you can do so for as little as a dollar a month. Patreon backers also get a ten minute bonus podcast every week I do a regular podcast, and when the book version of the podcast comes out, backers at the $5 or higher level will be getting free copies of that. They also get copies of my other books.   Thanks for listening.

This week’s episode of A History of Rock Music in Five Hundred Songs is the first of two bonus episodes answering listener questions at the end of the first year of the podcast.. Click the full post to read liner notes, links to more information, and a transcript of the episode. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.   Patreon backers can ask questions for next episode at this link. Books mentioned — Last Train to Memphis by Peter Guralnick, Before Elvis by Larry Birnbaum, Roots, Radicals and Rockers by Billy Bragg, Honkers and Shouters by Arnold Shaw.  Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Hello, and welcome to the first of our two-part question and answer session.   For those who didn’t hear the little admin podcast I did last week, this week and next week are not regular episodes of the podcast — I’m taking two weeks out to get the book version of the first fifty episodes edited and published, and to get a bit of a backlog in writing future episodes. I’m planning on doing this every year from now on, and doing it this way will mean that the podcast will take exactly ten years, rather than the nine years and eight months it would otherwise take,   But to fill in the gaps while you wait, I asked for any questions from my Patreon backers, about anything to do with the podcast. This week and next week I’m going to be answering those questions.   Now, I’ll be honest, I wasn’t even sure that anyone would have any questions at all, and I was worried I’d have to think of something else to do next week, but it turns out there are loads of them. I’ve actually had so many questions, some of them requiring quite long answers, that I’ll probably have enough to not only do this week and next week’s episodes based on questions, but to do a bonus backer-only half-hour podcast of more questions next week.   Anyway, to start with, a question that I’ve been asked quite a bit, and that both Melissa Williams and Claire Boothby asked — what’s the theme music for the podcast, and how does it fit in with the show?   [Excerpt: Boswell Sisters, “Rock and Roll”]   The song is called “Rock and Roll”, and it’s from 1934. It is, I believe, the very first song to use the phrase “rock and roll” in those words — there was an earlier song called “rocking and rolling”, but I think it’s the first one to use the phrase “rock and roll”.   It’s performed by the Boswell Sisters, a jazz vocal trio from the thirties whose lead singer, Connee Boswell, influenced Ella Fitzgerald among others, and it was written by Richard Whiting and Sidney Clare.   They actually wrote it for Shirley Temple — they’re the people who wrote “On the Good Ship Lollipop” — but it was turned down for use in one of her films so the Boswells did it instead.   The version I’m using is actually the version the Boswells sang in a film, Transatlantic Merry-Go-Round, rather than the proper studio recording. That’s just because the film version was easier for me to obtain.   As for why I’m using it, a few reasons. One is that it’s of historical note, as I said, because it’s the first song to use the phrase, and that seemed appropriate for a podcast on the history of rock music. The other main reason is that it’s in the public domain, and I try wherever possible to keep to copyright laws. I think all the uses of music in the podcast fall under fair use or fair dealing, because they’re short excerpts used for educational purposes and I link to legal versions of the full thing, but using a recording as the theme music doesn’t, so I had to choose something that was in the public domain.   Next we have a question from David Gerard: “piece of trivia from waaaaay back: in “Choo Choo Ch’Boogie”, why “*democratic* fellows named Mack”? what’s that line about?”   [Excerpt: Louis Jordan, “Choo Choo Ch’Boogie”]   Well, I’ve never actually seen an interview with the writers of the song, but I can hazard two educated guesses. One of them is boring and probably right, the other one is more interesting and probably wrong.   The boring and probably right one is very simple — the word “democratic” scans, and there aren’t that many words that fit that syllable pattern. There are some — “existential”, “sympathetic”, “diuretic” — but not that many, and “democratic” happens to be assonant with the song’s rhyme scheme, too — the “cratic” doesn’t actually rhyme with all those “alack”, “track” “jack”, and so on, but it sounds good in combination with them. I suspect that the solution is as simple as that.   The more interesting one is probably not the case, and I say this because the songwriters who wrote “Choo Choo Ch’Boogie” were white. BUT, Milt Gabler, one of the three credited writers, was familiar enough with black culture that this might be the case.   Now, the character in “Choo Choo Ch’Boogie” is a soldier returning from the second world war — we know this from the first two lines, “Heading for the station with a pack on my back/I’m tired of transportation in the back of a hack”, plus the date the song was recorded, 1946. So we’ve got someone who’s recently been discharged from the army and has no job.   BUT, given it’s Louis Jordan singing, we can presume this someone is black. And that puts the song in a rather different light. Because 1946 is slap in the middle of what’s known as the second great migration — the second big wave of black people moving from the rural deep south to the urban north and (in the case of the second migration, but not really the first) the west. This is something we’ve touched on a bit in the podcast, because it was the second great migration that was, in large part, responsible for the popularity of the urban jump blues that became R&B — and separately, it was also the cause of the creation of the electric blues in Chicago. And Chicago is an interesting one here. Because Chicago was one of the biggest destinations — possibly the single biggest destination — for black people looking to move around this time.   And so we recontextualise a bit. Our black soldier has returned to the US, but he’s travelling by train to somewhere where there’s no job waiting for him, and there’s no mention of going to see his friends or his wife or anything like that. So maybe, he’s someone who grew up in the rural deep south, but has decided to use the opportunity of his discharge from the military to go and build himself a new life in one of the big cities, quite probably Chicago. And he’s looking for work and doesn’t have many contacts there. We can tell that because in the second verse he’s looking at the classified ads for jobs in the paper.   [Excerpt: Louis Jordan, “Choo Choo Ch’Boogie”]   Now, at this time, especially during and immediately after the Second World War, the single biggest employer in the US in the big cities was the government, and in the big cities there was a *lot* of patronage being handed out by the party in charge — basically, in most of the big cities, the political parties, especially the Democrats at this time, were an arm of organised crime, with the mayor of the city acting much as a Mafia don would. And the only way to get a job, if you didn’t have any special qualifications, if you weren’t a “man with a knack” as the song puts it — especially a sinecure where you didn’t have to work very hard — the only way to get such a job was to be owed a favour by the local Democratic Party.   Now, in Chicago — again, Chicago is not named in the song, but it would seem the most logical place for our protagonist to be travelling, and this was true of other big Northern cities like New York, too — the Democratic Party was run at this time almost entirely by Irish-Americans. The Mayor of Chicago, at the time was Edward Kelly, and he was the head of a formidable electoral machine, a coalition of several different ethnic groups, but dominated by Irish people.   So, if you wanted one of those jobs that were being handed out, you’d have to do favours for Kelly’s Irish Democrats — you’d have to pal around with Democratic fellows named Mac.   [Excerpt: Louis Jordan, “Choo Choo Ch’Boogie”]   Now I come to a few questions that I’m going to treat as one — questions from Jeff Stanzler, Steven Hinkle, and Matthew Elmslie. They ask, between them, how I plan out what songs I’m going to include, and if I have to make difficult choices about what to include and what not to include, and who the most significant performer I don’t plan to include at all is. Jeremy Wilson also asks if I’ve got all five hundred songs planned out and how close to the current day I plan to get.   These are all, actually, very different questions, but they all centre around the same thing, and so I’m going to address them all together here. If any of you don’t think I’ve addressed your question sufficiently, please say and I’ll come back to it next week.   Now, I don’t have the whole five hundred songs mapped out. To do that would be for me to assume that in the next nine years none of my research will cause me to revise my opinions on what’s important. So far, in the first fifty, I’ve not really had to make any difficult choices at all — the only things I’ve wished I could include have either been things where there’s just not enough information out there to put together an interesting episode, or where my own self-imposed restrictions like the starting point cut them off. Like if I’d decided to start a few years earlier, I *would* have included Jimmie Rodgers, but you have to have a cut-off point, and if I hadn’t set 1938 and the Goodman Carnegie Hall concerts as a good starting point I could have gone all the way back at least to the mid nineteenth century, and it would have been more the prehistory of rock.   Maybe I’ll do that as a project when I’ve finished this one.   But even those people I’ve excluded, I’ve ended up being able to cover as bonus episodes, so I’ve not really had to leave anything out.   But that means so far, since we’re still really at the very beginning of rock and roll, there have been no difficult choices. That will change as the story goes on — in the sixties there are so many important records that I’m going to have to cut out a lot, and by the mid-seventies rock has diversified so much that there will be *tons* of things I’ll just have to gloss over. But right now I’ve had to make no tough decisions.   Now, the way I do this — I have a list of about two hundred or so songs that I’m pretty sure are going to make the final list. Like I’m sure nobody will be surprised to find that I’ll be covering, say, “Peggy Sue”, “Satisfaction”, “Stairway to Heaven”, “God Save the Queen” and “Walk This Way”. You can’t leave those things out of the story and still have it be anything like an actual history of rock music. That’s my sort of master list, but I don’t consult that all that often.   What I do, is at any given point I’m working on the next ten scripts simultaneously — I do things that way because I use the same research materials for multiple episodes, so for example I was writing the Chess episodes all at the same time, and the rockabilly episodes all at the same time, so I might be reading a biography of Carl Perkins, see an interesting fact about Johnny Cash, and stick the fact in the Johnny Cash episode or whatever. I have another list of about twenty probables, just titles, that I’m planning to work on soon after. Every time I finish a script, I look through the list of probables, pull out a good one to work on next, and add that to the ten I’m writing. I’ll also, when I’m doing that, add any more titles I’ve thought of to the list. So I know exactly what I’m going to be doing in the next two and a half months, have a pretty good idea of what I’m doing for the next six, and only a basic outline after that.   That means that I can’t necessarily say for certain who I *won’t* be including. There will, undoubtedly, be some significant performers who don’t get included, but I can’t say who until we get past their part in the story. Steven also asked as part of this if I’ve determined an end point. Yes I have. That may change over the next nine years, but when I was planning out the podcast — even before it became a podcast, when I was thinking of it as just a series of books — I thought of what I think would make the perfect ending for the series — a song from 1999 — and I’m going to use that.   Related to that, William Maybury asked “Why 1999?”   Well, a few reasons — partly because it’s a nice cut-off point — the end of the nineties and so on. Partly because it’s about the time that I disengaged totally from popular culture — I like plenty of music from the last couple of decades, but not really much that has made any impact on the wider world. Partly because, when I finish the podcast, 1999 will be thirty years ago, which seems like about the right sort of length of time to have a decent historical perspective on things; partly because one of the inspirations for this was Richard Thompson’s 1000 Years of Popular Music and that cut off — well, it cut off in 2001, but close enough; and partly because the final song I’m going to cover came out then, and it’s a good ending song.   William also asked “What’s the bottom standard for notability to be covered? (We heard about “Ooby Dooby” before “Crying,” are we going to hear about “Take My Tip” before “Space Oddity”? Bootlegs beyond the Million Dollar Band that you mentioned on Twitter? Archival groundbreakers like Parson Sound?)”   [Excerpt: Roy Orbison, “Ooby Dooby”]   That’s an interesting question… there’s no bottom standard for notability *as such*. It’s more that notability is just one of a number of factors I’m using to decide on the songs I cover. So the question I ask myself when I’m choosing one to include isn’t just “is this song influential or important?” though that’s a primary one. There’s also “is there a particularly fascinating story behind the recording of this track?” “Does this illustrate something important about music or about cultural history?”, “Is this just a song I really like and want to talk about?” And also, “does this provide a link between otherwise disconnected strands of the story?” There are also things like “have I not covered anything by a woman or a black person or whatever in a while?” because one of the things I want to do is make sure that this isn’t just the story of white men, however much they dominate the narrative, and I know I will have to consciously correct for my own biases, so I pay attention to that.   And there’s *also* the question of mixing the stuff everyone knows about with the stuff they’ll be hearing about for the first time — you have to cover “Satisfaction” because everyone would notice it’s missing, but if you just do Beatles-Stones-Led Zep-Pink Floyd-whoever’s-on-the-cover-of-Mojo-this-month, nobody’s going to hear anything they can’t get in a million different places.   So to take the example of “Ooby Dooby”, it’s only a relatively important track in itself, though it is notable for being the start of Roy Orbison’s career. But it also ties Orbison in to the story of Sam Phillips and Sun Records, and thus into the stories of Carl Perkins, Elvis Presley, Johnny Cash, and so on. It allows me to set up something for the future while tying the story together and moving the stories of multiple people forward a bit.   So… as a tiny bit of a spoiler, though this won’t be too much of a surprise to those who’ve read my book California Dreaming, I am almost certainly going to cover the GTOs, who are almost a footnote to a footnote. I’ll cover them because their one album was co-produced by Frank Zappa and Lowell George, later of Little Feat, it featured the Jeff Beck Group, including Rod Stewart, and it had songs co-written by Davy Jones of the Monkees — and the songs Davy Jones co-wrote were about Captain Beefheart and about Nick St Nicholas of Steppenwolf. That’s an enormous nexus of otherwise unconnected musicians, and it allows me to move several strands of the story forwards at the same time — and it also allows me to talk about groupie culture and misogyny in the rock world from the perspective of the women who were involved.   [Excerpt: GTOs, “The Captain’s Fat Theresa Shoes”]   I’m not *definitely* going to cover that, but I’m likely to — and I’m likely to cover it rather than covering some more well-known but less interesting track.   Dean Mattson asks what my favourite three books are on the music I’ve covered so far. That’s a good question. I’m actually going to name more than three, though…   The book that has been of most value in terms of sheer information density is Before Elvis, by Larry Birnbaum. This is a book that covers the prehistory of rock and roll to an absurd level of detail, and it’s absolutely wonderful, but it’s also absolutely hard going. Birnbaum seems to have heard, without exaggeration, every record released before 1954, and he’ll do things like trace a musical motif from a Chuck Berry solo to a Louis Jordan record, and from the Louis Jordan record to one by Count Basie, and from that to Blind Blake, to Blind Lemon Jefferson, to Jelly Roll Morton, to a 1918 recording by Wilbur Sweatman’s Jazz Orchestra. And he does that kind of thing in every single paragraph of a 474-page book. He must reference, at a very conservative estimate, five thousand different recordings.   Now this is information density at the expense of everything else, and Birnbaum’s book has something of the air of those dense 18th and 19th century omnium gatherum type books like Origin of Species or Capital or The Golden Bough, or The Decline and Fall of the Roman Empire, where there are a million examples provided to prove a point in the most exhaustive detail possible. I’ve done entire episodes of the podcast which are just expanding on a single paragraph of Birnbaum and providing enough context and narrative for a lay audience to appreciate it. It’s not a book you read for fun. It’s a book you read a paragraph at a time, with a notepad, looking up recordings of all the songs he covers as he gets to them. But if you’re willing to put that time in, the book will reward you with a truly comprehensive understanding of American popular music of the period up to 1954.   The book that surprised me the most with its quality was Billy Bragg’s Roots, Radicals and Rockers: How Skiffle Changed the World. I’ve always quite liked Bragg as a songwriter, but I’d never expected him to be much good at writing a work of non-fiction. I only actually got hold of a copy because it had just come out when I started the podcast, and it had a certain amount of publicity behind it. I thought if I didn’t read it I would then get people asking questions like, “But Billy Bragg says X, why do you say Y?”   But in fact, if you want a book on the skiffle movement and early British rock and roll, you could not do better than this one. It’s exhaustively researched, and it’s written in a staggeringly readable prose style, by someone who has spent his life as both a folk musician and a political activist, and so understands the culture of the skiffle movement on a bone-deep level. If there was one book I was to urge people to read just to read a really good, entertaining, book, it would be that one.   The book that’s been the most use to me is Honkers and Shouters by Arnold Shaw — an account of the 50s R&B scene from someone who was part of it. Shaw worked for a music publisher at the time, and had a lot of contacts in the industry. When he came to write the book in the 70s, he was able to call upon those contacts and interview a huge number of people — many of whom gave him their last interviews before they died. The podcast wouldn’t be as good without some of the other books, but it wouldn’t exist at all without this one, because Shaw added so much to our knowledge of 50s R&B.   But I also want to recommend all of Peter Guralnick’s books, but especially Last Train to Memphis, the first of his two-volume biography of Elvis Presley. Guralnick’s written a lot of books on Southern US music, including ones on Sam Phillips and Sam Cooke which have also been important resources. But the thing that sets Guralnick apart as a writer is his ability to make the reader thoroughly understand why people admired extraordinarily flawed individuals, but without minimising their flaws. With all Guralnick’s biographies, I’ve come away both thinking less of his subjects as people *and* admiring them more as creators. He doesn’t flinch from showing the men he writes about as egocentric, often misogynist, manipulators who damaged the people around him, but nor does he turn his books into Albert Goldman style denunciations of his subjects. Indeed, in the case of Elvis, I’ve got more understanding of who Elvis was from Guralnick than from any of the hundreds of thousands of other words I’ve read on the subject. Elvis as he turns up in this podcast is the Elvis that Guralnick wrote about, rather than anything else.   Magic at Mungos asked what the best song I’ve discovered, that I hadn’t heard before doing the podcast, is.   Well, I’ve discovered very little doing the podcast, really. The only song I’ve covered that I didn’t know before starting work on the podcast was “Ko Ko Mo”, and I can’t say that one was a favourite of mine — it’s not a bad record by any means, but it’s not one that changed my life or anything. But there have been a few things that I’ve heard that I didn’t do full episodes about but which made an impression — the McHouston Baker album I talked about towards the end of the “Love is Strange” episode, for example, is well worth a listen.   [Excerpt: McHouston Baker, “Alabama March”]   What the podcast *has* done, though, is make me reevaluate a few people I already knew about. In particular I’d been very dismissive of Lonnie Donegan previously — I just hadn’t got him — but having to cover him for the podcast meant listening to all his fifties and early sixties work, and I came out of that hugely impressed.   I had a similar experience with Bo Diddley, who I *did* admire beforehand, and whose music I knew fairly well, but listening to his work as a body of work, rather than as isolated tracks and albums, made me think of him as a far more subtle, interesting, musician and songwriter than I’d given him the credit for previously.   Another one from William Maybury, who wants to know about my recording setup. I actually don’t have very good recording equipment — I just use a thirty-pound USB condenser mic plugged into my laptop on my dining room table. This is partly because I don’t have a huge budget for the podcast, but also because there’s only so much that can be done with the sound quality anyway. I live in an acoustically… fairly horrible… house, which has a weird reverb to a lot of the rooms. It’s a terraced house with relatively thin walls, so you can hear the neighbours, and I live underneath a major flight path and by a main road in a major city, often driven on by people with the kind of in-car sound systems that inflict themselves on everyone nearby.   While I would like better equipment, at a certain point all it would be doing is giving a really clear recording of the neighbours’ arguments or the TV shows they’re watching, and the sound systems in the cars driving past – like today, I was woken at 3AM by someone driving by, playing “Hold On” by Wilson Phillips in their car so loud it woke me up. Acoustic perfection when recording somewhere like here would just be wasted.   So I make up for this by doing a *LOT* of editing on the podcast. I’ve not done so much on this episode, because these are specifically designed to be low-stress episodes for me, but I’ve been known to spend literally twenty hours on editing some individual episodes, cutting out extraneous noises, fixing sound quality issues, and so on.   And finally for this week, Russell Stallings asks, “my son Pete wants to know if you are a musician? And , who is your favorite beatle?”   The answer to whether I’m a musician is “yes and no”, I’m afraid. I can play a lot of instruments badly. I’m dyspraxic, so I have natural limits to my dexterity, and so no matter how much I practiced I never became more than a competent rhythm guitarist at best. But I manage to be not very good on a whole variety of instruments — I’ve been in bands before, and played guitar, keyboards, bass, mandolin, ukulele, and banjo on recordings — and I can, more or less, get a tune out of a clarinet or saxophone with a good run-up.   Where I think my own musical skills lie is as a songwriter, arranger, and producer. I’ve not done much of that in over a decade, as I don’t really have the personality for collaboration, but I did a lot of it in my twenties and thirties. Here’s an example, from a band I used to be in called The National Pep.   [Excerpt: The National Pep, “Think Carefully For Victory”]   In the section you just heard, I wrote the music, co-produced, and played all the instruments except the drums. Tilt — who does a podcast called The Sitcom Club I know some of you listen to — sang lead, wrote the lyrics, played drums, and co-produced.   So, sort of a musician, sort of not.   As to the question about my favourite Beatle, John Lennon has always been my favourite, though as I grow older I’m growing more and more to appreciate Paul McCartney. I’m also, though, someone who thinks the whole is much greater than the sum of the parts in that particular case. All four of them did solo work I like a lot, but also the group was immensely better than any of the solo work. It’s very, very, rare that every member of a band is utterly irreplaceable — normally, even when every member of a band is talented, you can imagine them carrying on with one or more members swapped out for other, equally competent, people. But in the case of the Beatles, I don’t think you can.   Anyway, that’s all for this week. I’ll be answering more questions next week, then the podcast will be back to normal on October the sixth with an episode on Carl Perkins. If you have any questions you’d like to ask, you can still ask by signing up on patreon.com/andrewhickey – and if you’ve not signed up for that, you can do so for as little as a dollar a month. Patreon backers also get a ten minute bonus podcast every week I do a regular podcast, and when the book version of the podcast comes out, backers at the $5 or higher level will be getting free copies of that. They also get copies of my other books.   Thanks for listening.

This week’s episode of A History of Rock Music in Five Hundred Songs is the first of two bonus episodes answering listener questions at the end of the first year of the podcast.. Click the full post to read liner notes, links to more information, and a transcript of the episode. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.   Patreon backers can ask questions for next episode at this link. Books mentioned — Last Train to Memphis by Peter Guralnick, Before Elvis by Larry Birnbaum, Roots, Radicals and Rockers by Billy Bragg, Honkers and Shouters by Arnold Shaw.  Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Hello, and welcome to the first of our two-part question and answer session.   For those who didn’t hear the little admin podcast I did last week, this week and next week are not regular episodes of the podcast — I’m taking two weeks out to get the book version of the first fifty episodes edited and published, and to get a bit of a backlog in writing future episodes. I’m planning on doing this every year from now on, and doing it this way will mean that the podcast will take exactly ten years, rather than the nine years and eight months it would otherwise take,   But to fill in the gaps while you wait, I asked for any questions from my Patreon backers, about anything to do with the podcast. This week and next week I’m going to be answering those questions.   Now, I’ll be honest, I wasn’t even sure that anyone would have any questions at all, and I was worried I’d have to think of something else to do next week, but it turns out there are loads of them. I’ve actually had so many questions, some of them requiring quite long answers, that I’ll probably have enough to not only do this week and next week’s episodes based on questions, but to do a bonus backer-only half-hour podcast of more questions next week.   Anyway, to start with, a question that I’ve been asked quite a bit, and that both Melissa Williams and Claire Boothby asked — what’s the theme music for the podcast, and how does it fit in with the show?   [Excerpt: Boswell Sisters, “Rock and Roll”]   The song is called “Rock and Roll”, and it’s from 1934. It is, I believe, the very first song to use the phrase “rock and roll” in those words — there was an earlier song called “rocking and rolling”, but I think it’s the first one to use the phrase “rock and roll”.   It’s performed by the Boswell Sisters, a jazz vocal trio from the thirties whose lead singer, Connee Boswell, influenced Ella Fitzgerald among others, and it was written by Richard Whiting and Sidney Clare.   They actually wrote it for Shirley Temple — they’re the people who wrote “On the Good Ship Lollipop” — but it was turned down for use in one of her films so the Boswells did it instead.   The version I’m using is actually the version the Boswells sang in a film, Transatlantic Merry-Go-Round, rather than the proper studio recording. That’s just because the film version was easier for me to obtain.   As for why I’m using it, a few reasons. One is that it’s of historical note, as I said, because it’s the first song to use the phrase, and that seemed appropriate for a podcast on the history of rock music. The other main reason is that it’s in the public domain, and I try wherever possible to keep to copyright laws. I think all the uses of music in the podcast fall under fair use or fair dealing, because they’re short excerpts used for educational purposes and I link to legal versions of the full thing, but using a recording as the theme music doesn’t, so I had to choose something that was in the public domain.   Next we have a question from David Gerard: “piece of trivia from waaaaay back: in “Choo Choo Ch’Boogie”, why “*democratic* fellows named Mack”? what’s that line about?”   [Excerpt: Louis Jordan, “Choo Choo Ch’Boogie”]   Well, I’ve never actually seen an interview with the writers of the song, but I can hazard two educated guesses. One of them is boring and probably right, the other one is more interesting and probably wrong.   The boring and probably right one is very simple — the word “democratic” scans, and there aren’t that many words that fit that syllable pattern. There are some — “existential”, “sympathetic”, “diuretic” — but not that many, and “democratic” happens to be assonant with the song’s rhyme scheme, too — the “cratic” doesn’t actually rhyme with all those “alack”, “track” “jack”, and so on, but it sounds good in combination with them. I suspect that the solution is as simple as that.   The more interesting one is probably not the case, and I say this because the songwriters who wrote “Choo Choo Ch’Boogie” were white. BUT, Milt Gabler, one of the three credited writers, was familiar enough with black culture that this might be the case.   Now, the character in “Choo Choo Ch’Boogie” is a soldier returning from the second world war — we know this from the first two lines, “Heading for the station with a pack on my back/I’m tired of transportation in the back of a hack”, plus the date the song was recorded, 1946. So we’ve got someone who’s recently been discharged from the army and has no job.   BUT, given it’s Louis Jordan singing, we can presume this someone is black. And that puts the song in a rather different light. Because 1946 is slap in the middle of what’s known as the second great migration — the second big wave of black people moving from the rural deep south to the urban north and (in the case of the second migration, but not really the first) the west. This is something we’ve touched on a bit in the podcast, because it was the second great migration that was, in large part, responsible for the popularity of the urban jump blues that became R&B — and separately, it was also the cause of the creation of the electric blues in Chicago. And Chicago is an interesting one here. Because Chicago was one of the biggest destinations — possibly the single biggest destination — for black people looking to move around this time.   And so we recontextualise a bit. Our black soldier has returned to the US, but he’s travelling by train to somewhere where there’s no job waiting for him, and there’s no mention of going to see his friends or his wife or anything like that. So maybe, he’s someone who grew up in the rural deep south, but has decided to use the opportunity of his discharge from the military to go and build himself a new life in one of the big cities, quite probably Chicago. And he’s looking for work and doesn’t have many contacts there. We can tell that because in the second verse he’s looking at the classified ads for jobs in the paper.   [Excerpt: Louis Jordan, “Choo Choo Ch’Boogie”]   Now, at this time, especially during and immediately after the Second World War, the single biggest employer in the US in the big cities was the government, and in the big cities there was a *lot* of patronage being handed out by the party in charge — basically, in most of the big cities, the political parties, especially the Democrats at this time, were an arm of organised crime, with the mayor of the city acting much as a Mafia don would. And the only way to get a job, if you didn’t have any special qualifications, if you weren’t a “man with a knack” as the song puts it — especially a sinecure where you didn’t have to work very hard — the only way to get such a job was to be owed a favour by the local Democratic Party.   Now, in Chicago — again, Chicago is not named in the song, but it would seem the most logical place for our protagonist to be travelling, and this was true of other big Northern cities like New York, too — the Democratic Party was run at this time almost entirely by Irish-Americans. The Mayor of Chicago, at the time was Edward Kelly, and he was the head of a formidable electoral machine, a coalition of several different ethnic groups, but dominated by Irish people.   So, if you wanted one of those jobs that were being handed out, you’d have to do favours for Kelly’s Irish Democrats — you’d have to pal around with Democratic fellows named Mac.   [Excerpt: Louis Jordan, “Choo Choo Ch’Boogie”]   Now I come to a few questions that I’m going to treat as one — questions from Jeff Stanzler, Steven Hinkle, and Matthew Elmslie. They ask, between them, how I plan out what songs I’m going to include, and if I have to make difficult choices about what to include and what not to include, and who the most significant performer I don’t plan to include at all is. Jeremy Wilson also asks if I’ve got all five hundred songs planned out and how close to the current day I plan to get.   These are all, actually, very different questions, but they all centre around the same thing, and so I’m going to address them all together here. If any of you don’t think I’ve addressed your question sufficiently, please say and I’ll come back to it next week.   Now, I don’t have the whole five hundred songs mapped out. To do that would be for me to assume that in the next nine years none of my research will cause me to revise my opinions on what’s important. So far, in the first fifty, I’ve not really had to make any difficult choices at all — the only things I’ve wished I could include have either been things where there’s just not enough information out there to put together an interesting episode, or where my own self-imposed restrictions like the starting point cut them off. Like if I’d decided to start a few years earlier, I *would* have included Jimmie Rodgers, but you have to have a cut-off point, and if I hadn’t set 1938 and the Goodman Carnegie Hall concerts as a good starting point I could have gone all the way back at least to the mid nineteenth century, and it would have been more the prehistory of rock.   Maybe I’ll do that as a project when I’ve finished this one.   But even those people I’ve excluded, I’ve ended up being able to cover as bonus episodes, so I’ve not really had to leave anything out.   But that means so far, since we’re still really at the very beginning of rock and roll, there have been no difficult choices. That will change as the story goes on — in the sixties there are so many important records that I’m going to have to cut out a lot, and by the mid-seventies rock has diversified so much that there will be *tons* of things I’ll just have to gloss over. But right now I’ve had to make no tough decisions.   Now, the way I do this — I have a list of about two hundred or so songs that I’m pretty sure are going to make the final list. Like I’m sure nobody will be surprised to find that I’ll be covering, say, “Peggy Sue”, “Satisfaction”, “Stairway to Heaven”, “God Save the Queen” and “Walk This Way”. You can’t leave those things out of the story and still have it be anything like an actual history of rock music. That’s my sort of master list, but I don’t consult that all that often.   What I do, is at any given point I’m working on the next ten scripts simultaneously — I do things that way because I use the same research materials for multiple episodes, so for example I was writing the Chess episodes all at the same time, and the rockabilly episodes all at the same time, so I might be reading a biography of Carl Perkins, see an interesting fact about Johnny Cash, and stick the fact in the Johnny Cash episode or whatever. I have another list of about twenty probables, just titles, that I’m planning to work on soon after. Every time I finish a script, I look through the list of probables, pull out a good one to work on next, and add that to the ten I’m writing. I’ll also, when I’m doing that, add any more titles I’ve thought of to the list. So I know exactly what I’m going to be doing in the next two and a half months, have a pretty good idea of what I’m doing for the next six, and only a basic outline after that.   That means that I can’t necessarily say for certain who I *won’t* be including. There will, undoubtedly, be some significant performers who don’t get included, but I can’t say who until we get past their part in the story. Steven also asked as part of this if I’ve determined an end point. Yes I have. That may change over the next nine years, but when I was planning out the podcast — even before it became a podcast, when I was thinking of it as just a series of books — I thought of what I think would make the perfect ending for the series — a song from 1999 — and I’m going to use that.   Related to that, William Maybury asked “Why 1999?”   Well, a few reasons — partly because it’s a nice cut-off point — the end of the nineties and so on. Partly because it’s about the time that I disengaged totally from popular culture — I like plenty of music from the last couple of decades, but not really much that has made any impact on the wider world. Partly because, when I finish the podcast, 1999 will be thirty years ago, which seems like about the right sort of length of time to have a decent historical perspective on things; partly because one of the inspirations for this was Richard Thompson’s 1000 Years of Popular Music and that cut off — well, it cut off in 2001, but close enough; and partly because the final song I’m going to cover came out then, and it’s a good ending song.   William also asked “What’s the bottom standard for notability to be covered? (We heard about “Ooby Dooby” before “Crying,” are we going to hear about “Take My Tip” before “Space Oddity”? Bootlegs beyond the Million Dollar Band that you mentioned on Twitter? Archival groundbreakers like Parson Sound?)”   [Excerpt: Roy Orbison, “Ooby Dooby”]   That’s an interesting question… there’s no bottom standard for notability *as such*. It’s more that notability is just one of a number of factors I’m using to decide on the songs I cover. So the question I ask myself when I’m choosing one to include isn’t just “is this song influential or important?” though that’s a primary one. There’s also “is there a particularly fascinating story behind the recording of this track?” “Does this illustrate something important about music or about cultural history?”, “Is this just a song I really like and want to talk about?” And also, “does this provide a link between otherwise disconnected strands of the story?” There are also things like “have I not covered anything by a woman or a black person or whatever in a while?” because one of the things I want to do is make sure that this isn’t just the story of white men, however much they dominate the narrative, and I know I will have to consciously correct for my own biases, so I pay attention to that.   And there’s *also* the question of mixing the stuff everyone knows about with the stuff they’ll be hearing about for the first time — you have to cover “Satisfaction” because everyone would notice it’s missing, but if you just do Beatles-Stones-Led Zep-Pink Floyd-whoever’s-on-the-cover-of-Mojo-this-month, nobody’s going to hear anything they can’t get in a million different places.   So to take the example of “Ooby Dooby”, it’s only a relatively important track in itself, though it is notable for being the start of Roy Orbison’s career. But it also ties Orbison in to the story of Sam Phillips and Sun Records, and thus into the stories of Carl Perkins, Elvis Presley, Johnny Cash, and so on. It allows me to set up something for the future while tying the story together and moving the stories of multiple people forward a bit.   So… as a tiny bit of a spoiler, though this won’t be too much of a surprise to those who’ve read my book California Dreaming, I am almost certainly going to cover the GTOs, who are almost a footnote to a footnote. I’ll cover them because their one album was co-produced by Frank Zappa and Lowell George, later of Little Feat, it featured the Jeff Beck Group, including Rod Stewart, and it had songs co-written by Davy Jones of the Monkees — and the songs Davy Jones co-wrote were about Captain Beefheart and about Nick St Nicholas of Steppenwolf. That’s an enormous nexus of otherwise unconnected musicians, and it allows me to move several strands of the story forwards at the same time — and it also allows me to talk about groupie culture and misogyny in the rock world from the perspective of the women who were involved.   [Excerpt: GTOs, “The Captain’s Fat Theresa Shoes”]   I’m not *definitely* going to cover that, but I’m likely to — and I’m likely to cover it rather than covering some more well-known but less interesting track.   Dean Mattson asks what my favourite three books are on the music I’ve covered so far. That’s a good question. I’m actually going to name more than three, though…   The book that has been of most value in terms of sheer information density is Before Elvis, by Larry Birnbaum. This is a book that covers the prehistory of rock and roll to an absurd level of detail, and it’s absolutely wonderful, but it’s also absolutely hard going. Birnbaum seems to have heard, without exaggeration, every record released before 1954, and he’ll do things like trace a musical motif from a Chuck Berry solo to a Louis Jordan record, and from the Louis Jordan record to one by Count Basie, and from that to Blind Blake, to Blind Lemon Jefferson, to Jelly Roll Morton, to a 1918 recording by Wilbur Sweatman’s Jazz Orchestra. And he does that kind of thing in every single paragraph of a 474-page book. He must reference, at a very conservative estimate, five thousand different recordings.   Now this is information density at the expense of everything else, and Birnbaum’s book has something of the air of those dense 18th and 19th century omnium gatherum type books like Origin of Species or Capital or The Golden Bough, or The Decline and Fall of the Roman Empire, where there are a million examples provided to prove a point in the most exhaustive detail possible. I’ve done entire episodes of the podcast which are just expanding on a single paragraph of Birnbaum and providing enough context and narrative for a lay audience to appreciate it. It’s not a book you read for fun. It’s a book you read a paragraph at a time, with a notepad, looking up recordings of all the songs he covers as he gets to them. But if you’re willing to put that time in, the book will reward you with a truly comprehensive understanding of American popular music of the period up to 1954.   The book that surprised me the most with its quality was Billy Bragg’s Roots, Radicals and Rockers: How Skiffle Changed the World. I’ve always quite liked Bragg as a songwriter, but I’d never expected him to be much good at writing a work of non-fiction. I only actually got hold of a copy because it had just come out when I started the podcast, and it had a certain amount of publicity behind it. I thought if I didn’t read it I would then get people asking questions like, “But Billy Bragg says X, why do you say Y?”   But in fact, if you want a book on the skiffle movement and early British rock and roll, you could not do better than this one. It’s exhaustively researched, and it’s written in a staggeringly readable prose style, by someone who has spent his life as both a folk musician and a political activist, and so understands the culture of the skiffle movement on a bone-deep level. If there was one book I was to urge people to read just to read a really good, entertaining, book, it would be that one.   The book that’s been the most use to me is Honkers and Shouters by Arnold Shaw — an account of the 50s R&B scene from someone who was part of it. Shaw worked for a music publisher at the time, and had a lot of contacts in the industry. When he came to write the book in the 70s, he was able to call upon those contacts and interview a huge number of people — many of whom gave him their last interviews before they died. The podcast wouldn’t be as good without some of the other books, but it wouldn’t exist at all without this one, because Shaw added so much to our knowledge of 50s R&B.   But I also want to recommend all of Peter Guralnick’s books, but especially Last Train to Memphis, the first of his two-volume biography of Elvis Presley. Guralnick’s written a lot of books on Southern US music, including ones on Sam Phillips and Sam Cooke which have also been important resources. But the thing that sets Guralnick apart as a writer is his ability to make the reader thoroughly understand why people admired extraordinarily flawed individuals, but without minimising their flaws. With all Guralnick’s biographies, I’ve come away both thinking less of his subjects as people *and* admiring them more as creators. He doesn’t flinch from showing the men he writes about as egocentric, often misogynist, manipulators who damaged the people around him, but nor does he turn his books into Albert Goldman style denunciations of his subjects. Indeed, in the case of Elvis, I’ve got more understanding of who Elvis was from Guralnick than from any of the hundreds of thousands of other words I’ve read on the subject. Elvis as he turns up in this podcast is the Elvis that Guralnick wrote about, rather than anything else.   Magic at Mungos asked what the best song I’ve discovered, that I hadn’t heard before doing the podcast, is.   Well, I’ve discovered very little doing the podcast, really. The only song I’ve covered that I didn’t know before starting work on the podcast was “Ko Ko Mo”, and I can’t say that one was a favourite of mine — it’s not a bad record by any means, but it’s not one that changed my life or anything. But there have been a few things that I’ve heard that I didn’t do full episodes about but which made an impression — the McHouston Baker album I talked about towards the end of the “Love is Strange” episode, for example, is well worth a listen.   [Excerpt: McHouston Baker, “Alabama March”]   What the podcast *has* done, though, is make me reevaluate a few people I already knew about. In particular I’d been very dismissive of Lonnie Donegan previously — I just hadn’t got him — but having to cover him for the podcast meant listening to all his fifties and early sixties work, and I came out of that hugely impressed.   I had a similar experience with Bo Diddley, who I *did* admire beforehand, and whose music I knew fairly well, but listening to his work as a body of work, rather than as isolated tracks and albums, made me think of him as a far more subtle, interesting, musician and songwriter than I’d given him the credit for previously.   Another one from William Maybury, who wants to know about my recording setup. I actually don’t have very good recording equipment — I just use a thirty-pound USB condenser mic plugged into my laptop on my dining room table. This is partly because I don’t have a huge budget for the podcast, but also because there’s only so much that can be done with the sound quality anyway. I live in an acoustically… fairly horrible… house, which has a weird reverb to a lot of the rooms. It’s a terraced house with relatively thin walls, so you can hear the neighbours, and I live underneath a major flight path and by a main road in a major city, often driven on by people with the kind of in-car sound systems that inflict themselves on everyone nearby.   While I would like better equipment, at a certain point all it would be doing is giving a really clear recording of the neighbours’ arguments or the TV shows they’re watching, and the sound systems in the cars driving past – like today, I was woken at 3AM by someone driving by, playing “Hold On” by Wilson Phillips in their car so loud it woke me up. Acoustic perfection when recording somewhere like here would just be wasted.   So I make up for this by doing a *LOT* of editing on the podcast. I’ve not done so much on this episode, because these are specifically designed to be low-stress episodes for me, but I’ve been known to spend literally twenty hours on editing some individual episodes, cutting out extraneous noises, fixing sound quality issues, and so on.   And finally for this week, Russell Stallings asks, “my son Pete wants to know if you are a musician? And , who is your favorite beatle?”   The answer to whether I’m a musician is “yes and no”, I’m afraid. I can play a lot of instruments badly. I’m dyspraxic, so I have natural limits to my dexterity, and so no matter how much I practiced I never became more than a competent rhythm guitarist at best. But I manage to be not very good on a whole variety of instruments — I’ve been in bands before, and played guitar, keyboards, bass, mandolin, ukulele, and banjo on recordings — and I can, more or less, get a tune out of a clarinet or saxophone with a good run-up.   Where I think my own musical skills lie is as a songwriter, arranger, and producer. I’ve not done much of that in over a decade, as I don’t really have the personality for collaboration, but I did a lot of it in my twenties and thirties. Here’s an example, from a band I used to be in called The National Pep.   [Excerpt: The National Pep, “Think Carefully For Victory”]   In the section you just heard, I wrote the music, co-produced, and played all the instruments except the drums. Tilt — who does a podcast called The Sitcom Club I know some of you listen to — sang lead, wrote the lyrics, played drums, and co-produced.   So, sort of a musician, sort of not.   As to the question about my favourite Beatle, John Lennon has always been my favourite, though as I grow older I’m growing more and more to appreciate Paul McCartney. I’m also, though, someone who thinks the whole is much greater than the sum of the parts in that particular case. All four of them did solo work I like a lot, but also the group was immensely better than any of the solo work. It’s very, very, rare that every member of a band is utterly irreplaceable — normally, even when every member of a band is talented, you can imagine them carrying on with one or more members swapped out for other, equally competent, people. But in the case of the Beatles, I don’t think you can.   Anyway, that’s all for this week. I’ll be answering more questions next week, then the podcast will be back to normal on October the sixth with an episode on Carl Perkins. If you have any questions you’d like to ask, you can still ask by signing up on patreon.com/andrewhickey – and if you’ve not signed up for that, you can do so for as little as a dollar a month. Patreon backers also get a ten minute bonus podcast every week I do a regular podcast, and when the book version of the podcast comes out, backers at the $5 or higher level will be getting free copies of that. They also get copies of my other books.   Thanks for listening.

Today is the birthday of Edward Kelley, a close associate to John Dee. He was an example of this period where we see the merger of what we would call “real” science and the occult.

On this day in history, 1st August 1555, Sir Edward Kelley, apothecary, alchemist and medium, was born in Worcester. Kelley was a fascinating man. He worked with Dr John Dee and the men believed that they communicated with angels. Kelley also claimed that he was an alchemist and he wrote a treatise on the Philosopher's Stone. Find out more about Kelley and his work in today's talk from Claire Ridgway, founder of the Tudor Society.You can read Kelley's treatises at https://ia902704.us.archive.org/19/items/AlchemicalWritingsOfEdwardKelly1893/Alchemical-Writings-of-Edward-Kelly-1893.pdf Dr John Dee video - https://youtu.be/A5hy__pKZuQ You can find Claire at:https://www.theanneboleynfiles.comhttps://www.tudorsociety.comhttps://www.facebook.com/theanneboleynfiles/https://www.facebook.com/tudorsociety/https://twitter.com/AnneBoleynFileshttps://twitter.com/thetudorsocietyhttps://www.instagram.com/tudor.society/https://www.instagram.com/anneboleynfiles/

Clubhouse favorite DONNA LYNNE CHAMPLIN (Crazy Ex Girlfriend) returns with a chilling tale of a demonic encounter in Las Vegas! Then Bryce conjures up the legend of sorceror John Dee and his partner Edward Kelly. BCC is produced by Riley Bray. Our theme song is “Come Alone” by Suneaters, courtesy of Lotuspool Records (www.lotuspool.com). Please rate & review us on iTunes! We have amazing new merchandise for sale over at our TeePublic Shop: https://www.teepublic.com/user/bigfootcollectorsclub To support the show and unlock bonus episodes every month check out BCC: THE OTHER SIDE at www.patreon.com/bigfootcollectorsclub LINKS The Rocking Chair: https://www.google.com/amp/s/amp.tmz.com/2019/06/03/zak-bagans-shuts-down-haunted-rocking-chair-exhibit-devil-made-me-do-it-conjuring/

The Trilogy ends here. Cristina Finishes her research on John Dee and Edward Kelly. Chelsea also finishes the terrible life of L. Ron Hubbard.Thanks for listening and remember to like, rate, review, and email us at: cultscrytpidsconspiracies@gmail.com or tweet us at @C3Podcast. Also check out our Patreon: www.patreon.com/cultscryptidsconspiraciesMany thanks to TJ Shirley for our theme song!

Temple of Babalon Podcast Episode 02: On 23 May 1587 Elizabethan mage John Dee and his clairvoyant assistant Edward Kelly performed a simple rite for the purpose of instruction “in the understanding and practice of wisdom”. The result was a beautiful and truly remarkable oracle received from the goddess Babalon, whose mystery is that she is a harlot, loved by many, and yet remains forever a virgin. In this second episode of the Temple of Babalon Podcast, we will first discuss who or what Babalon is. Her name is well known to Thelemites as well as anyone that has studied and worked the Enochian magical system, but here we will investigate her relation with the ancient mystery cults. We will also dispel some of the popular myths that have grown around the magical work of John Dee and Edward Kelly in relation to Babalon. Our first guest, Heather Carmen, will read the Oracle of Babalon as received by John Dee and Edward Kelly.© Oliver St. John 2014 Visit Ordo Astri, Thelemic Magical Collegium: www.ordoastri.org

In this episode, Christopher shares how life can be a long and uphill road. Stress in his life was very common. He grew up in an area where public education was on the level of private schools and 90% of peers went to college. It was expected.  For Christopher, it was "butt-kicking" from the very beginning, and he wouldn't change it for anything. He's no stranger to Rising up to his ‘best self'. It's taken hours upon hours of hard work and commitment. That's been his life journey. He shows us all how following our true path involves looking deeply at what we want, not concerning ourselves with what others think, and just doing the work.   Show Notes In this interview, we share Christopher's journey to include: Navigating life's long and bumpy road The power of early childhood influencers Setting benchmarks Overcoming disbelief Perfection can be an illusion "Health is wealth" The value and power of silence Contact Info Website: https://www.sonic-ocean.com/ More Info Christopher Drummond is a recording and audio mix engineer, music producer, composer, sound designer, violinist, and Grammy Award voting member.  He has composed and produced original musical scores for radio, television, and film including collaborations with Fulvio Valsangiacomo (Eddie-winning/Oscar-nominated editing team for Gladiator) and Ralph Farris (Grammy-nominated arranger of The Lion King NYC, Roger Daltrey, and Depeche Mode).  His engineering and production style are influenced by a decade-long mentorship with renowned Grammy-nominated, Emmy-winning classical engineer, Edward Kelly, an electronic music pioneer, and IMAX scoring veteran, Michael Stearns and space-music visionary, Jonn Serrie. Christopher operates in Washington, DC and Atlanta, GA and is the Technical Director for Robert Aubry Davis's Millennium of Music, a weekly radio program celebrating the mainstreams of European music for the thousand years preceding the birth of J. S. Bach. Millennium of Music airs on Sirius XM Radio Symphony Hall, XM Public Radio and over 250 National Public Radio affiliates. Christopher has produced feature programming for XM Satellite Radio, National Public Radio and Public Radio International featuring Paul McCartney, Sting, Billy Joel, Jon Anderson, The National Symphony Orchestra, Kiri TeKanawa, Bryn Terfel, Anonymous 4, the Cistercian Monks of Stift Heiligenkreuz and many others.

In this episode, Christopher shares how life can be a long and uphill road. Stress in his life was very common. He grew up in an area where public education was on the level of private schools and 90% of peers went to college. It was expected.  For Christopher, it was "butt-kicking" from the very beginning, and he wouldn’t change it for anything. He’s no stranger to Rising up to his ‘best self’. It’s taken hours upon hours of hard work and commitment. That’s been his life journey. He shows us all how following our true path involves looking deeply at what we want, not concerning ourselves with what others think, and just doing the work.   Show Notes In this interview, we share Christopher's journey to include: Navigating life's long and bumpy road The power of early childhood influencers Setting benchmarks Overcoming disbelief Perfection can be an illusion "Health is wealth" The value and power of silence Contact Info Website: https://www.sonic-ocean.com/ More Info Christopher Drummond is a recording and audio mix engineer, music producer, composer, sound designer, violinist, and Grammy Award voting member.  He has composed and produced original musical scores for radio, television, and film including collaborations with Fulvio Valsangiacomo (Eddie-winning/Oscar-nominated editing team for Gladiator) and Ralph Farris (Grammy-nominated arranger of The Lion King NYC, Roger Daltrey, and Depeche Mode).  His engineering and production style are influenced by a decade-long mentorship with renowned Grammy-nominated, Emmy-winning classical engineer, Edward Kelly, an electronic music pioneer, and IMAX scoring veteran, Michael Stearns and space-music visionary, Jonn Serrie. Christopher operates in Washington, DC and Atlanta, GA and is the Technical Director for Robert Aubry Davis’s Millennium of Music, a weekly radio program celebrating the mainstreams of European music for the thousand years preceding the birth of J. S. Bach. Millennium of Music airs on Sirius XM Radio Symphony Hall, XM Public Radio and over 250 National Public Radio affiliates. Christopher has produced feature programming for XM Satellite Radio, National Public Radio and Public Radio International featuring Paul McCartney, Sting, Billy Joel, Jon Anderson, The National Symphony Orchestra, Kiri TeKanawa, Bryn Terfel, Anonymous 4, the Cistercian Monks of Stift Heiligenkreuz and many others.

Ned Kelly: outback legend, or cowardly criminal? You decide!In this kind-of-a-bonus-but-not-really episode, we tackle an Aussie icon, none other than Edward Kelly, better known as Ned, and his gang of rambunctious friends. Some people (Ellen) believe that Ned was a hero, a legend, and a man of the people. Sure he stole a few horses and killed a few cops, but what else are you gonna do in the outback in the late 1800s? Some others (Jess) believe that Ned Kelly was a bad man, actually, and we shouldn’t really worship a guy who stole horses, robbed banks, captured hostages, tried to blow up a train, and yeah, okay, murdered a few people.Whichever side of the Kelly Divide you’re on, there’s no arguing that Ned Kelly is one of the most interesting and infamous people in Australian history. In Part One we’re gonna get a little high school English and discuss the socio-historic context of the Kelly gang before diving right in to Ned and co’s many and varied exploits.Ned Kelly and his gang lightly terrorised the north east of Victoria for many years, stealing and selling horses, thumbing their noses at the la and the upper-class ‘squattocracy’ they believed were oppressing the poor working class. The Kelly gang were legends – bushrangers, outlaws, the Australian answer to Robin Hood.But ol’ Ned and his pals were also murderers. Ned was a legend in his own corner of the globe, but it wasn’t until the gang bailed up and shot a group of policeman that were out searching for Ned that they became outlawed. The highest bounty in Australian history were placed on their heads, and Ned was determined to get revenge on – in his opinion – the corrupt Victorian police.From this act, their legend would grow, from the north east of Victoria in the late 19th century, to the absolute phenomena that the Kellys continue to be in 21st century Australia. That little corner of Victoria where Ned and pals kicked around will forever be known as Kelly Country. Ned Kelly has come to exemplify so much of what some believe it means to be Australian. But debates continue to this day: was Ned Kelly truly an outback legend, or was he just a horse thief turned murderer that deserved to answer for the crimes he committed?We won’t be able to answer that question in this ep, but we will cover the first half of Ned’s brilliant career, spanning up to the murders at Stringbark Creek. You’ll have to wait for Part 2 to hear the rest.Our main source this week was Peter Fitzsimmons’ Ned Kelly, which is a great book not only because of the wealth of information in provides but also because, at a whopping 826 pages, you can use it as a door stop or perhaps a brick once you’ve finished reading it. Cop it here https://www.penguin.com.au/books/ned-kelly-9780857988140To read a biography of Ned’s short but busy life, go here http://adb.anu.edu.au/biography/kelly-edward-ned-3933A very interactive and fun website about Ol Ned can be found here https://www.ironoutlaw.com/If you’re not a fan of Ned Kelly you can have your worldview supported by reading this salty Herald Sun article https://www.heraldsun.com.au/rendezview/ned-kelly-was-a-failed-terrorist-not-a-folk-hero/news-story/5b80433f048c89e6836898b255f44fb0Should we start a book club? Get in contact with us on the socials! We promise the books we chose will be less than 800 pages.If you like what we do please consider supporting us on PATREONSubscribe to the podcast on ITUNES, STITCHER, SPOTIFY or your podcatcher of choice.Find us on FACEBOOK, TWITTER, INSTAGRAM or EMAIL us on murderinthelandofoz@gmail.comwww.thatsnotcanonproductions.com

In this interview, ONE Championship featherweight contender Christian Lee joins John Hyon Ko to discuss his upcoming rematch with Edward Kelly in Jakarta, having a near perfect fight against Kazuki Tokudome, the status of Angela Lee, waiting in the wings for a spot in the Lightweight Grand Prix, preparing alongside Bruno Pucci and more. Christian Lee will face Edward Kelly in Jakarta at ONE: Eternal Glory on January 19. Follow John Hyon Ko on social media. Facebook: https://www.facebook.com/KumiteTVOfficial/ Instagram: https://www.instagram.com/jhkmma/ Twitter: https://twitter.com/JHKMMA Visit The Body Lock: https://thebodylockmma.com/ Follow The Body Lock on social media. Facebook: https://www.facebook.com/thebodylock/ Twitter: https://twitter.com/thebodylockmma Instagram: https://www.instagram.com/thebodylock/?hl=en

In this interview, ONE Championship featherweight contender Christian Lee spoke with John Hyon Ko of Kumite Radio about his disqualification loss to Edward Kelly in Shanghai, working with UFC featherweight champion Max Holloway, getting on the Singapore card in early November, and more. Follow Christian Lee on social media. Facebook: @ChristianLeeMMA Instagram: @christianleemma Twitter: @ChristianLeeMMA Follow John Hyon Ko on social media. Facebook: https://www.facebook.com/KumiteRadio/ Instagram: https://www.instagram.com/jhkmma/ Twitter: https://twitter.com/JHKMMA Kumite Radio is sponsored by Supplement Warfare For people in Australia and New Zealand, go to https://www.supplementwarfare.com.au/ and use Coupon Code “KUMITERADIO” At Checkout To Get %10 Off to support the podcast.

###Tonight's guest is author, blogger, journalist and occultist, Jason Louv! Jason's work has explored the outer reaches of human culture and possibility, through both science fiction and journalistic expeditions into some of the world’s strangest belief systems. He runs the blog Ultraculture, teaches at Magick.Me, and has written for Boing Boing, VICE News, Esquire Online, Dangerous Minds and many more. Counterculture publishing legend R. U. Sirus (Mondo 2000) called him "one of humanity’s best mutant scouts on the frontiers of human experience." Jason's Links Web https://jasonlouv.com/ Blog/Podcast https://ultraculture.org/ Learn Magick with Jason https://magick.me/

Was John Dee to Queen Elizabeth what Merlin was to King Arthur?  Tune in to Supernatural Girlz to hear about the men who contacted the Angels and received a lengthy, coded reply.  Is this how the British Empire was born into magic?  John Dee and Edward Kelly worked closely communing with angels and archangels in hopes of unifying all religions. Their magical diaries have long held fascination among leading edge researchers in consciousness. Is this something we can tap into today? Tune in and find out!

Tonight Eric Dwinnells is diving into the magical world of Wizards...only to find the pool is rather shallow! Truth is, he didn't find all that much about the western idea of a wizard: the long-beared old man in the flowing robes and pointed hat just doesn't really seem to be much of a thing outside Lord of the Rings and King Arthur legends. So where did the western idea of the wizard come from? Join Eric as he tries to trace the roots of this well known and well loved fantasy character. We'll also briefly discuss the various legends of the most famous wizard of all, Merlin!...Although I suppose Harry Potter may be more popular than poor old half demon Merlin these days. Speaking of Harry Potter, we'll also discuss the "truth" behind The Philosopher's Stone (aka The Sorcerer's Stone) and the strange soap opera starring Rudolph the Second, Dr. John Dee and Mr. Edward Kelly.   All this plus a big announcement about a frequent guest cohost and why Eric thinks "Look" is a perfectly good girls name.

I denne andre og siste delen av serien om Voynichmanuskriptet ser jeg litt på noen av personene som har blitt assosiert med manuskriptet. Fra den elisabetanske magikeren John Dee og hans tvilsomme hjelper Edward Kelly, til den legendariske kodeknekkeren William Frederick Friedman.Til slutt går jeg igjennom hva vi vet om historikken til manuskriptet og tar for meg noen av de nyeste oppdagelsene rundt dets opprinnelse, før jeg ser på noen av de mulige forklaringene på hva dette underlige manuskriptet kan inneholde og hvem som mistenkes å kunne ha skrevet det.https://taakeprat.com

This week, I had the pleasure of speaking with Dr. Edward Kelly, and our topic was Survival of Consciousness after death. It was a great conversation, one which has stayed with me and has me... The post Episode 7: Survival of Consciousness after Death with Dr. Edward Kelly appeared first on The Consciousness Podcast.

http://www.atlanticcoastufos.com//SHATTERED/apr-17-2015.mp3 On April 17, 2015, Kate and Fahrusha delved into the mysteries of psychokinesis and micro-psychokinesis on Podcast # 9 with University of Virginia’s Dr. Ross Dunseath .Psychokinesis is the ability to move objects by mental effort alone. As Assistant Professor of Research in the Division of Perceptual Studies with the esteemed Dr. Edward Kelly, … Continue reading Dr. Ross Dunseath and Psychokinesis #9 → The post Dr. Ross Dunseath and Psychokinesis #9 appeared first on Shattered Reality Podcast.

https://atlanticcoastufos.com//SHATTERED/apr-17-2015.mp3 On April 17, 2015, Kate and Fahrusha delved into the mysteries of psychokinesis and micro-psychokinesis on Podcast # 9 with University of Virginia's Dr. Ross Dunseath .Psychokinesis is the ability to move objects by mental effort alone. As Assistant Professor of Research in the Division of Perceptual Studies with the esteemed Dr. Edward Kelly, … Continue reading Dr. Ross Dunseath and Psychokinesis #9 → The post Dr. Ross Dunseath and Psychokinesis #9 appeared first on Shattered Reality Podcast.

Join host, Greg Carlwood, of The Higherside Chats podcast as he talks the history of magic, summoning spirits, & John Dee -with Dr. Stephen Skinner. While many of us are no stranger the the principals of Chaos Magic or astrology, thanks to appearances from former guests such as Gordon White, Chris Knowles and Austin Coppock, today's guest, Dr. Stephen Skinner is a true champion for the re-enchantment of the world. Dr. Skinner has been a passionate and enthusiastic scholar who is considered to be one of the leading authorities on classical magic and the Grimoires. As a man responsible for an impressive body of work, including over 36 published books, Dr. Skinner joins The Higherside to help us expand our knowledge base about the ancient magic of old. Thanks to his tireless dedication to restoring and translating ancient Grimoires and other Greek and Graeco-Egyptian magical writings, many rituals and texts are now available in English for the first time in history. 3:00 Kicking things off, Dr. Skinner begins by describing the technology of magic, detailing his research into the Grimoires, and explaining how learning classical Greek furthered his understanding of ancient Greek and Graeco-Egyptian magic. He details the similar techniques and parallels he discovered during his extensive research of Graeco- Egyptian magic, the Grimoires, and Taoist magicians. 12:42 Having gone through most magical texts, including all Grimoires of the western tradition, Greg and Dr. Skinner discuss the systems and techniques in magical books that could be considered most effective. As Dr. Skinner explains perhaps the best and most complete works are the direct line transmission of spells from the Greek magicians in the Hygromanteia. 21:30 With Dr. Skinner's approach to magic being one of a scientific nature, he and Greg troubleshoot some common errors and small details that may be overlooked by amateur practitioners. Dr. Skinner explains the significance of protection from devious spirits, the power of of smell, the personal purification process prior to ceremonies, how certain scents are used to attract and dispel apparitions, and the importance of the environment, process and timing of magic rituals. 30:01 Dr. Skinner details how the technology of magic has helped him construct a  more perfect paradigm, and an elevated reality. He also elaborates on his stance that magic isn't just for reading, but instead more of an applied science. He describes the best process for conjuring spirits, the necessary commitment involved and the ideal conditions for practicing magic. 42:51 Switching gears, Greg and Dr. Skinner discuss another like-minded man in his scientific approach to magic: mathematician, occultist, and magician to the Queen, John Dee. As Dr. Skinner details the Latin roots of the Grimoires, how that lead to it's exclusivity, and how that has parlayed into today's ritual ceremonies of the elite. Become a Plus Member at www.TheHighersideChatsPlus.com/subscribe to hear a second hour of all THC episodes. This week's included: - separating real dangers and concerns in magic, from religious propaganda - John Dee and Edward Kelly's alchemical work - disentangling magic, religion, & the mystery tradition - the connection between spirits and powerful art - Ufology's connection to magic, and inner Earth beings - invisibility magic - Feng Shui - the Voynich Manuscript A few valuable resources from the interview:   Dr. Skinner's "Techniques of Graeco-Egyptian Magic": https://www.amazon.com/Techniques-Graeco-Egyptian-Magic-Stephen-Skinner/dp/0738746320 Peter J. Carroll, Chaos Magician: http://www.specularium.org/ "The Key of Solomon": http://www.sacred-texts.com/grim/kos/ The Egyptian "Book of The Dead": http://www.sacred-texts.com/egy/ebod/ The Voynich Manuscript: http://www.voynich.nu/ "The Goetia of Dr. Rudd" by Dr. Stephen Skinner and David Rankin: https://www.

This week brings something truely special. Listen, and in ten years when we take broadway by storm you can say... "I heard the very first version of that song on HBT episode 112." Enjoy.

Edward Kelly discussion by Discussion by Dennis and Phil

Edward F. Kelly is a Research Professor in the Division of Perceptual Studies (DOPS) at the University of Virginia. He received his Ph.D. in psycholinguistics/cognitive science from Harvard in 1971 and spent the next 15-plus years working mainly in experimental parapsychology. Later, at the University of North Carolina, he studied human cortical adaptation to tactile stimuli. He returned to psychical research in 2002, serving as lead author of Irreducible Mind (2007) and Beyond Physicalism (2014) under the auspices of the Esalen Center for Theory and Research. He is now president of the Cedar Creek Institute, where he researches altered states in exceptional subjects. We spoke about his and others’ research on psychic phenomena and how it relates to spiritual development. Learn more about Edward F. Kelly here: http://cedarcreekinst.org

Dominic Frisby meets Edward Kelly, director and CEO of Inca One Resources. (TSX-V: IO) Inca One Resources is a Canadian resource company focused on acquiring and advancing properties in Peru. IncaOne website and presentation. Listen to this interview on our YouTube Channel. See acast.com/privacy for privacy and opt-out information.

Dominic Frisby meets Edward Kelly, director and CEO of Inca One Resources. (TSX-V: IO) Inca One Resources is a Canadian resource company focused on acquiring and advancing properties in Peru. IncaOne website and presentation.Listen to this interview on our YouTube Channel. See acast.com/privacy for privacy and opt-out information. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit frisby.substack.com/subscribe