Podcasts about entertainments

In der heutigen Folge spricht OZ-Chefredakteur Lars Reckermann mit dem legendären Bingobären Michael Thürnau. Er spricht mit Lars nicht nur über seine Karriere und Erlebnisse als Moderator, sondern auch seine Sicht auf die Welt des Entertainments. Ein Blick hinter die Kulissen eines der bekanntesten Gesichter Norddeutschlands.

Rumbletime könnte man meinen. Eine spannende Woche liegt hinter uns aber auch vor uns. Trotzdem tauchen wir eine Weile in die Welt des Films und des Entertainments. Was brauchen die kurzen Aufmerksamkeitsspannen für Inhalte damit sie sich doch noch irgendwie für Filme begeistern können? Wir gehen auf die Suche. Finden tun wir am Ende auch noch unser kleines Lieblingsthema AI und schauen versöhnlich auf die kommende Wahl. Wholsomnes in jeder Podcastpore. Peace!

Podcastfolge "Runenlicht & Rabenpfad" im Thingcast: Yulegeschichten – "Das Erwachen der Götter: Balder und die Welt des Lichts" In dieser besonderen Yulegeschichte erwacht Balder, der Gott des Lichts und der Schönheit, inmitten der modernen Welt – einer Welt voller flackernder Bildschirme, greller Lichter und hektischer Bewegungen. Doch Balder erkennt schnell: Das Licht, das die Menschen heute umgibt, hat seine Seele verloren. Es ist überall präsent, doch oft kühl und distanziert, ohne die wärmende Kraft, die einst Hoffnung und Lebensfreude schenkte. Begleitet uns, wenn Balder durch die Straßen der Stadt wandert, fasziniert und zugleich enttäuscht von einer Gesellschaft, die das Licht nur noch als Technik und Kunstwerk betrachtet, nicht aber als uralte, spirituelle Kraft. In dieser Welt des Entertainments, wo Neonlichter und Leinwände dominieren, spürt er die tiefe Sehnsucht der Menschen nach wahrem Licht und innerer Erfüllung. Auf seiner Reise begegnet Balder einem erschöpften Regisseur, der verzweifelt versucht, mehr als nur schöne Bilder zu erschaffen. Balder zeigt ihm, dass wahre Kunst nicht nur mit den Augen gesehen wird, sondern die Herzen berühren und Hoffnung wecken muss. Licht ist mehr als nur eine physische Kraft – es ist das Symbol für das innere Leuchten, das uns auch in dunklen Zeiten Kraft gibt. In dieser Folge von Runenlicht & Rabenpfad gehen wir der Frage nach, was Licht in der modernen Welt wirklich bedeutet und wie wir die Essenz des Heidentums und der Naturspiritualität neu gestalten können. Balder bringt uns die Botschaft, dass wahres Licht in jedem von uns lebt und dass es unsere Aufgabe ist, dieses innere Strahlen zu bewahren. Lasst Euch von dieser Geschichte inspirieren, die Kraft des Lichts neu zu entdecken – als eine Quelle der Hoffnung und Freude, die tief in unseren Seelen wurzelt. #Thingcast #Yulegeschichten #DasErwachenDerGötter #Heidentum #Naturspiritualität #PaganismusGestalten #Animismus #BalderUndDasLicht #HoffnungErwecken #LichtInDerModernenWelt

Episode 146:The banning of printed satire.‘Every Man Out of His Humour' is produced by The Lord Chamberlin's Men.‘Cynthia's Revels' is performed at court but is not well received.‘Poetester' is performed at the Blackfriars and sparks ‘the war of the poets' with Dekker and Marston.‘Sejanus: His Fall' fails to impress.Jonson cultivates friendships with nobility close to the Stuart dynasty.The death of Elizabeth.Entertainments for the arrival of Queen Anne in England.Jonson's contribution to the official entry of King James into London.Jonson is ejected from court on Twelfth Night 1604.The Court Masque.‘The Masque of Blackness'.‘Eastward Ho' causes Jonson another spell in prison.Support the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.

sasserathNOW ist eine unabhängige Strategieberatung, die Marken, Menschen und Organisationen hilft, ihre Einzigartigkeit wirksam zu machen. In dieser Podcastfolge sprechen wir mit Michael Mack, CEO des weltberühmten Europaparks. Der Europapark ist Deutschlands größter Freizeitpark, der mit über 100 Attraktionen & Shows Groß und Klein verzaubert. Im Herzen Europas, zwischen Schwarzwald und Vogesen, liegt einer der schönsten Freizeitparks der Welt: der Europapark. Als Deutschlands größter Freizeitpark verzaubert er mit über 100 Attraktionen & Shows Groß und Klein. Über 5,7 Millionen Besucher aller Nationen kommen jede Saison, um sich von über einhundert Attraktionen und Shows begeistern zu lassen. In der Positionierung als Erlebnis-Resort verbindet der Europapark die klassischen Achterbahnen mit Virtual Reality Erlebnissen, Hotels und einem eigenen Animationsstudio: „der Europapark kombiniert unterschiedlichste Kompetenzen und entwickelt sich ständig weiter“. Im Zentrum dieses Erfolgs steht Michael Mack, der mit seiner einzigartigen Mischung aus Technikbegeisterung und Kreativität die Zukunft des Entertainments prägt. „Unsere Produkte ermöglichen es den Menschen, kurzzeitig der digitalen Welt zu entfliehen“ erklärt Michael. Denn trotz einer zunehmend digitalen Welt besteht der Wunsch nach echten und authentischen Erlebnissen. Der Europapark zeigt, dass die Unterhaltung der Zukunft hybrid ist: eine Verschmelzung aus analoger und digitaler Welt. Im weiteren Gespräch mit Michael diskutieren wir: Wie hat sich das Familienunternehmen über die Generationen weiterentwickelt? Wie definiert Michael Mack „gute Arbeit“ und was macht seinen Führungsstil besonders? Was steckt hinter der Kreativagentur MackOne? Ihr wollt mehr erfahren zu unserer Perspektive auf Marken – schaut auf unserer Website vorbei: https://www.sasserathnow.com Gäste des Talks: Michael Mack https://www.linkedin.com/in/mack-michael/ Anna Lüders https://www.linkedin.com/in/annalueders/ Marc Sasserath https://www.linkedin.com/in/marcsasserath/

Angela Merkel hat ein Buch geschrieben. Richtig dicker Wälzer. Über 700 Seiten. „Freiheit“ heißt es und erscheint in dieser Woche. 16 Jahre Bundeskanzlerin aus der Ich-Perspektive. Sie wird damit Multi-Millionärin heißt es. Klaas, Schmitti und Jakob schreiben keine Bücher. Sie waren auch nie Bundeskanzlerin. Sie publizieren nicht. Ihr Verlag heißt nicht Suhrkamp, nicht Kiepenheuer und Witsch. Ihr „Verlag“ ist ein aus Popeln, alten Amazon-Paketen und Pfeifes Reglers zusammen geschraubtes Studio. Ihr „Verlag“ heißt „Studio Bummens“. Dort sabbeln die drei jede Woche eine Speicherkarte mit ihren Leben voll. Aus Erlebtem werden Gigabytes. Aus Gigabytes ein Podcast. Das große Nichts. Sie bekommen keine Millionen. Sie bekommen gratis Holy-Brause. Merkels Widersacher heißen Putin und Trump. Bei Baywatch heißen Widersacher: Ramon Roselli. Ihre Ich-Perspektive richtet sich auf Lichterketten. Ihnen fehlt ein Pinökel, deswegen müssen sie im Auto Formatradio hören. Sie verhandeln nicht zu Nordstream 2. Sie verhandeln Regeln fürs Klo. Sie verurteilen nicht Erdogan. Sie verurteilen Comedians die Terassenmöbel in einen Hotelkamin verbrennen. Vielleicht ist es gut so. Vielleicht muss die Welt genauso sein? Unterhalter blasen das große Nichts, die Petitessen des Lebens mit Luft auf, damit sie noch leichter werden und bekömmlicher. Wie Aero Schokolade oder Mousse au Chocolat. Eben der Kern des Entertainments: die süße Leichtigkeit. Vielleicht ist es genau richtig so, dass klügere Politiker sich um die großen Fragen des Zusammenlebens kümmern. Ganz ohne sie aufzupusten; das große Existenzielle klein machen, um es zu lösen, ohne Luft mit Sachlichkeit. Politik ohne Entertainment. Kein Wrestling. Trocken. Ein Wälzer. 16 Jahre in 700 Seiten. Die aktuelle Folge „Baywatch Berlin“ heißt nicht „Freiheit“. Sie heißt "Schmitts Festival of Light" und hat 78 Minuten. Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/BaywatchBerlin

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Ab17 - der tägliche Podcast mit Kathrin und Tommy Wosch. Montag bis Freitag. Morgens und AbendsInstagram: https://www.instagram.com/ab17podcastWhatsapp: https://www.whatsapp.com/channel/0029VaBSCV98kyyQceNs4A1ISchreib uns: kontakt@diewoschs.deIn dieser Episode des Podcasts tauchen wir tief in aktuelle politische und gesellschaftliche Themen ein. Zu Beginn diskutieren Tommy und Kathrin die jüngsten Entwicklungen in der Migrationspolitik Deutschlands. An einem bedeutenden Treffen in Berlin nehmen hochrangige Vertreter der Bundesregierung und der Union teil, um Lösungen für die Herausforderungen der Migrationspolitik zu finden. Dabei wird auch die polarisierende Haltung der Union zu den syrischen Flüchtlingen thematisiert, was zu einer lebhaften Debatte führt.Die Diskussion entwickelt sich weiter zu einem internationalen Thema, als die beiden über die Reise von Wladimir Putin in die Mongolei sprechen, die eine der seltenen Gelegenheiten darstellt, bei denen der russische Präsident aufgrund des gegen ihn ausgestellten Haftbefehls international unterwegs ist. Diese Reise bietet eine Gelegenheit, die diplomatischen Beziehungen zwischen Russland und der Mongolei zu erkunden, sowie die geopolitischen Implikationen zu diskutieren.Ein weiteres großes Thema dieser Episode ist die politische Landschaft in Thüringen und die Herausforderungen, die mit der Bildung einer Minderheitsregierung einhergehen. Tommy und Kathrin analysieren die potenziellen Allianzen und die Rolle von Bodo Ramelow in diesem komplexen politischen Umfeld. Sie beleuchten, wie ungewöhnliche Koalitionen in Deutschland in Zukunft häufiger vorkommen könnten, da politische Parteien gezwungen sind, über traditionelle Parteigrenzen hinweg zusammenzuarbeiten.Besonders interessant ist das Segment über die Hells Angels und die Geschichte von "Blowjob Benny". Diese Geschichte wirft Fragen über Ehre, Loyalität und die strengen Verhaltensnormen innerhalb des Motorradclubs auf. Tommy und Kathrin nutzen diesen Vorfall, um über die sozialen und kulturellen Erwartungen in geschlossenen Gemeinschaften zu sprechen und darüber, wie abweichendes Verhalten sanktioniert wird.Abgerundet wird die Episode durch eine humorvolle und tiefgründige Betrachtung der Rückkehr von Stefan Raab ins Fernsehen, was zu einer Diskussion über die Bedeutung von Linearem Fernsehen und Lagerfeuer-Momenten in der heutigen Medienlandschaft führt. Tommy und Kathrin reflektieren über die potenzielle Wirkung dieser Rückkehr auf die deutsche Fernsehlandschaft und was dies für die Zukunft des Entertainments bedeutet.Diese Episode bietet eine Mischung aus ernsten politischen Diskussionen, gesellschaftlichen Beobachtungen und unterhaltsamen Kommentaren, die zum Nachdenken anregen und gleichzeitig für gute Unterhaltung sorgen.Inhalt:00:00:00 Beginn und Vorstellung der Themen00:01:30 Diskussion über Migrationspolitik in Deutschland00:04:00 Wladimir Putins Reise in die Mongolei00:06:20 Politische Entwicklungen in Thüringen00:08:50 Analyse von Minderheitsregierungen00:11:00 Die Geschichte von Blowjob Benny und den Hells Angels00:14:30 Diskussion über Ehre und Normen bei den Hells Angels00:18:00 Stefan Raabs Rückkehr ins deutsche Fernsehen00:20:45 Bedeutung von linearem Fernsehen und Lagerfeuer-Momenten00:22:30 Verabschiedung und Ausblick auf die nächste Episode Hosted on Acast. See acast.com/privacy for more information.

#LANCASTER REPORT:  SHOPPING AMISH FURNITURE AND OTHER SENIOR ENTERTAINMENTS. Jim McTague, former Washington Editor, Barrons. @MCTagueJ.  Author of the "Martin and Twyla Boundary Series."  #FriendsofHistoryDebatingSociety 1945 Lancaster

Dustin Portillo is an exceptional talent who followed his dreams to astonishing heights as a performer, an executive, and as the face of an icon. Now, he brings the center ring to center stage, with unique experiences putting purpose in the spotlight. Using the power of performance, Dustin delivers a roadmap to success that does more than entertain. It turns the everyday into something spectacular, inspiring audiences to soar.Website: https://dustinmportillo.com/ Book Joel as your Keynote Speaker: www.joelgoldbergmedia.com Connect with Joel: https://linktr.ee/joelgoldbergkcCheck out our YouTube Channel: https://youtu.be/y9NnR_vHCc8

Zum 50. Geburtstag des VW GOLF beschenkt VOLKSWAGEN sich selbst mit einem hochemotionalen Spot. Wer wurde alles zur Party geladen? Feiern nur die Babyboomer und die GenX mit? Oder auch die GenY und die GenZ? Über die Rolle des Entertainments in der Werbung wird hitzig diskutiert. Welche Witze sind überhaupt noch erlaubt? Leben die World Champions des Sadvertising im deutschsprachigen Raum? Muss sich Werbung heutzutage als Teil der Unterhaltungsindustrie verstehen? APPLE goes AI. Unter der Subbrand Apple Intelligence steigt APPLE ins Geschäft mit der Künstlichen Intelligenz ein. Kommen sie spät? Oder ist das der Move, auf den Hunderte Millionen APPLE-User gewartet haben?

Christine Neubauer ist eine vielseitige und beliebte deutsche Schauspielerin, die am 24. Juni 1962 in München geboren wurde. Trotz einer anfänglichen Ablehnung von der Otto-Falckenberg-Schauspielschule und einem kurzen Ausflug in das Studium der Psychologie, verfolgte sie hartnäckig ihren Traum, Schauspielerin zu werden. Ihre Karriere begann auf der Theaterbühne und führte sie bald ins Fernsehen, wo sie mit der Ganghofer-Verfilmung "Der Unfried" und insbesondere mit ihrer Rolle als Traudl Grandauer in der Serie "Die Löwengrube" große Erfolge feierte. Für letztere Rolle erhielt sie 1992 den Adolf-Grimme-Preis in Gold. Christine Neubauer hat zahlreiche Auszeichnungen erhalten, darunter den Bayerischen Fernsehpreis, den Bayerischen Verdienstorden, den Bambi und wurde zweimal mit dem Grimme-Preis geehrt. Sie bleibt eine inspirierende Persönlichkeit des deutschen Entertainments.

#176 Echo der Vielfalt mit Moderator Steven GätjenDer Startcast mit Max und Steven Gätjen erweist sich als eine tiefgründige Expedition in die vielfältigen Landschaften der menschlichen Existenz und der Welt der Unterhaltung. Mit einem reichen Teppich aus Geschichten, Einsichten und Reflexionen führt diese Episode die Zuhörer durch ein breites Spektrum an Themen - von der dringenden Notwendigkeit, Authentizität in die sozialen Medien zu bringen, über die Faszination und Herausforderungen der Unterhaltungsindustrie, bis hin zur tiefen menschlichen Sehnsucht nach Anerkennung und Zusammenhalt. Jedes Kapitel dieser Episode ist ein Mosaikstein in einem größeren Bild, das dazu einlädt, über unsere Rollen, unsere Werte und die Kraft der Unterhaltung in unserer Gesellschaft nachzudenken.Einleitung: Die Macht der Vielfalt und AuthentizitätEin Mosaik der Menschlichkeit: In den einleitenden Worten entfalten Max und Steven ein lebhaftes Bild der menschlichen Diversität. Sie argumentieren kraftvoll für die Anerkennung jedes Individuums, unabhängig von dessen Hintergrund oder Beruf. Diese Eröffnung setzt den Ton für ein Gespräch, das tiefe Einblicke in die Bedeutung von Vielfalt und Authentizität in unserer Gesellschaft und insbesondere in der Welt der sozialen Medien bietet.Sehnsucht nach Authentizität: Steven drückt sein Unbehagen über die oft gefilterte und inszenierte Natur der Inhalte in sozialen Netzwerken aus. Er fordert eine Rückkehr zu mehr Echtheit und Wahrhaftigkeit, wo das wahre Leben – mit all seinen Unvollkommenheiten – gefeiert wird.Die Welt der Unterhaltung: Hinter den KulissenHinter den Kulissen: Ein spannender Einblick in die Arbeit hinter den Kulissen bei "Joko und Klaas gegen ProSieben" zeigt, wie viel Kreativität, Teamarbeit und Leidenschaft erforderlich sind, um solche Fernsehereignisse zu schaffen. Steven teilt Anekdoten und Herausforderungen, die diese Erfahrungen mit sich bringen, und beleuchtet die unsichtbare Arbeit, die nötig ist, um die Zuschauer zu begeistern.Facettenreichtum der Unterhaltung: Das Gespräch wendet sich der Vielseitigkeit und den vielfältigen Fähigkeiten zu, die erfolgreiche Entertainer und Moderatoren auszeichnen. Steven reflektiert über die Bedeutung von Flexibilität, Humor und der Fähigkeit, authentisch zu sein, um im Entertainment-Bereich zu glänzen.Reflexionen über das Moderieren und die persönliche EntwicklungDie Kunst des Entertainments und die Rolle des Moderators: Steven teilt tiefgehende Gedanken über seine Rolle als Moderator und die kontinuierliche Reise der Selbstverbesserung. Er betont die Wichtigkeit, sich selbst treu zu bleiben, während man sich dennoch weiterentwickelt und an neue Herausforderungen anpasst.Umgang mit Kritik: Ehrlich spricht Steven über die schwierigen Momente seiner Karriere, einschließlich des Umgangs mit negativem Feedback und persönlichen Angriffen. Diese Momente der Verletzlichkeit zeigen, wie öffentliche Figuren mit den Schattenseiten des Ruhms umgehen müssen.Der Einfluss der Unterhaltung auf die GesellschaftFilme als Spiegel und Wecker der Gesellschaft: Die Diskussion vertieft sich in die Rolle von Filmen und der Unterhaltungsindustrie als Medium, das sowohl gesellschaftliche Zustände reflektiert als auch Debatten und Veränderungen anstößt. Kontroverse Themen, wie die Reaktionen auf den Barbie-Film, werden als Beispiele für die kraftvolle Wirkung von Unterhaltung auf die öffentliche Meinung angeführt.Preisverleihungen und die Würdigung von Kreativität: Die Gesprächspartner tauchen in die komplexe Welt der Filmpreise ein, diskutieren die Subjektivität von Auszeichnungen und betonen die Bedeutung von Anerkennung und Wertschätzung für kreative Leistungen. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Welcome to episode 154 of the Marketing Freaks Podcast. In this episode, we're joined by Zack Wragg, Head of Global Optimisation and Development at Merlin Entertainments. Jon and Zack get into the detail around multiple challenges, from understanding and fulfilling customer needs, to managing the delicate balance between individual attraction brands and the overarching group brand, and the strategies employed to maintain global consistency while allowing for local adaptation.

Collab merch drop: https://vielspass.gmbh/collections/alle Deutscher Podcastpreis hier abstimmen: https://www.deutscher-podcastpreis.de/podcasts/hazel-thomas-hoererlebnis/ Was haben Hazel und Jürgen Klopp gemein? Wie gewaltsam ist der Streit zwischen Kendrick Lamar, J Cole und Drake? Was muss passieren, damit das Raab-Comeback gelingt? Und wer sind die „Big 3“ des deutschen Entertainments? Hazel und Thomas nehmen kein Blatt vor den Mund - außer, um davon Fragen vorzulesen. Inhalt: 0:00 Studio Neubau & Umzug 9:20 Thomas im Dad-Mode 12:03 Erinnerungen an die Kölner Wohnung 16:05 Neues Beyoncé Album 20:32 Kendrick vs. Drake 30:32 Raabs Comeback 40:41 Beneidenswerte Eigenschaften 50:12 Einfluss vom Partner auf die Karriere 53:40 Thomas als Autor 55:35 Problem: Kleine Brüste Die Zeitangaben können variieren. Jürgen Klopp baut Haus in Wiesbaden https://www.fr.de/rhein-main/wiesbaden/familie-umzug-juergen-klopp-liverpool-hausbau-wiesbaden-sonnenberg-zr-92801717.html Neuer Spin zur Dolly-Parton-Elvis-Story https://www.rollingstone.de/dolly-parton-warum-elvis-presley-i-will-always-love-you-nicht-covern-durfte-2638393/ Drake und Michael Jackson https://www.complex.com/music/a/backwoodsaltar/drake-and-j-cole-first-person-shooter-hits-number-one Kendrick Lamar Diss Zusammenfassung https://hiphopdx.com/news/kendrick-lamar-drake-j-cole-diss-big-3 Goosebumps von Travis Scott und Kendrick Lamar https://youtu.be/Dst9gZkq1a8?si=OmjnGEeYogJ9uoHs Kendrick Lamar bekommt Pulitzer Preis https://www.spiegel.de/kultur/musik/kendrick-lamar-bekommt-als-erster-rapper-pulitzerpreis-a-1203259.html Song Like That https://open.spotify.com/track/2tudvzsrR56uom6smgOcSf?si=mZNSYAeBTrKebXcZnkbwPg&context=spotify%3Asearch%3Alike%2Bthat Dissecting Kendrick Lamars Verse https://youtu.be/Z3ObHiG-Vas?si=Ghlt2IKIeOkNEStf Sicko Mode https://youtu.be/6ONRf7h3Mdk?si=ub3pf26MbNH9eOkd Ankündigungsvideo Stefan Raab https://www.instagram.com/reel/C5NZvPCMPBJ/?igsh=emtlMWE1cXRyYWc0 Die neue „Daily Show“ mit Jon Stewart https://youtu.be/oM2h3KnWAWY?si=qX_oWyP49mEvXHY5 Raab mahnt Trymacs ab https://www.ingame.de/news/streaming/trymacs-maximilian-stemmler-stefan-raab-fussball-twitch-hamburg-streamer-kick-auf-eis-streit-91939369.html *die Folge wurde am 7. April aufgenommen, also vor dem "Elton-ProSieben-Beben" https://www.morgenpost.de/kultur/tv/article242071216/elton-prosieben-wuetend-sender-chef-reaktion-kritik.html Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/hoererlebnis

Die Drei YFB ??? haben einen neuen Fall. Ein mysteriöser Brand am ehemaligen Gymnasium der Rätselfüchse lockt Verschworungstheorien hinterm Ofen hervor. Doch auch jemand anderes hat sich auf eine andere Bühne des Entertainments gefragt. Warum allerdings nicht alles stimmig ist, wird schnell klar. Und dann legen Ole und Jonas gegen den einst besten 10er des Monats Dazn los. Was die sich in der Champions League erlauben, sei eine bodenlose Frechheit. In diesem Sinne Prost! --- Send in a voice message: https://podcasters.spotify.com/pod/show/your-feierabendbier/message

Episode 65: Alles wird ausgepackt in dieser Folge! Juicy Details aus der Welt des Entertainments, angefangen bei yours truly: MUMFORD & KAISER. Darum: ran an den Speck - den speckigen Umschlag von Janes Libretto zumindest, das passend zum Titel „Reptil“ einigermassen ledrig daherkommt und schon nach der ersten Benutzung fast so abgewetzt sein wird wie die Comeback-Idee von deutschen TV-Impresarios. Betonung auf „fast“, denn abgenudelter als das geht es kaum, obacht: Stefan Raab ist zurück! Und zwar .... .... .... mit einem ERNEUTEN Boxkampf gegen Regina Halmich!!! Die 2000er haben offenbar angerufen und wollen ihre furchtbaren Fernsehshows zurück. Nachdem die YouTube-Knalltüte Jake Paul seit Jahren mit stumpfsinnigen Showkämpfen Millionen verdient und im Juli gegen den fast 60-jährigen Mike Tyson antritt, denkt sich Stefan Raab: „Das ist noch nicht kacke genug!“, fragt: „Wollt Ihr das totale TV Total!?“ wuchtet sich in jeglicher Hinsicht unerwartet aus dem Pensioniertensessel, rein in die Boxerhose, um den Event, der schon zweimal furchtbar war, noch ein drittes Mal zu wiederholen und manifestiert damit das endgültige FOMO-Endlevel des alten, weissen Mannes. Glückwunsch. Doch was soll man erwarten von einer Fernsehlandschaft, die sich mit Wetten-Dass- und Benissimo-Revivals morbid-nostalgisch in sich selbst auflöst, und zum 20-Jahre-Jubiläum so tut, als wäre MusicStar eine feine Sache gewesen. Und gerade wenn man sich ganz locker flockig den schönen Dingen des Lebens widmen will, wie dem neuen Stücktitel von Jane oder den Öffnungszeiten von Saunaräumen oder - ganz hochkulturell - der Sternstunde Philosophie, sitzt da ein Interviewgast gegen den ein Vergewaltigungsvorwurf im Raum steht. Im hellsten Scheinwerferlicht, oder wie es der Moderator nennen würde: Transparent.

Bonusmaterialien und Übungen findest du wie immer auf deutschaudio.com.In dieser Folge des Deutsch-Audio-Podcasts sprechen Abri und Robert über das Thema Unterhaltung. Das Wort Unterhaltung hat zwei Bedeutungen: 1. ein Gespräch, 2. Entertainment. Hier geht es um die Unterhaltung im Sinne des Entertainments wie zum Beispiel Filme und Fernsehen, Shows und Poetry oder Sience Slams, Bücher und Literatur, Radio und Podcasts, Social Media und natürlich die wichtigste Form der Unterhaltung: Musik! In dieser Folge dieses Deutsch-Podcasts wird auch das Grammatikthema “Passiv” behandelt.Viel Spaß und Erfolg beim Deutschlernen.Support the show

Ajahn Dhammasiha is asked about the rules prohibiting shows, entertainments and music for monks and nuns; and how that would relate to lay life. What to do if we come back after a hard days work, and are feeling very tired - is it fine to indulge in just watching Youtube or TV, or doing online games simply to relax? Our Podcast is also available on our own Dhammagiri Website, no need for any special app, just listen in any browser: https://www.dhammagiri.net/podcast More about Dhammagiri Forest Hermitage: https://www.dhammagiri.net/news Our Youtube Channel: https://www.youtube.com/@dhammatalksatdhammagiri8724 Our email Newsletter: https://www.dhammagiri.net/newsletter Our Podcasts on Spotify: https://open.spotify.com/show/0SHWfWEGkO8OAtSWNJlqyD Our Podcasts on Apple/itunes: https://podcasts.apple.com/us/podcast/dhammagiri-buddhist-podcasts/id1534539834 .

In his debut essay collection, My Life of Crime (Sagging Meniscus Press, 2022), Tyler C. Gore brings readers on an awkward visit to a nude beach. A bike-pedaling angel careening through rush-hour traffic. The mystery of a sandwich found in a bathroom stall. A lyric, rainy-day ramble through the East Village. With the personal essays (and three other entertainments) Gore reveals the artistic secrets of his life of crime: a charming wit, compassionate observation, perfection of style, and, over all, a winsomely colorful light tinged with just enough despair. Whether stewing over a subway encounter with a deranged businessman, confessing his sordid past as a prankster, or recounting his family's history of hoarding, Gore is by turns melancholy, profound and hilarious. The collection culminates with the novella-length essay “Appendix,” a twisted, sprawling account of routine surgery that grapples with evolution, mortality, strangely attractive doctors, simulated universes, and an anorexic cat. My Life of Crime conjures up from the flotsam of an individual life something uncannily majestic: an insomniac contemplation of life in our eternal, twenty-four-hour New York City, infused throughout with its grit, humanity, unexpected romance, and the poignant intimacy of all the lives joined together within it. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In his debut essay collection, My Life of Crime (Sagging Meniscus Press, 2022), Tyler C. Gore brings readers on an awkward visit to a nude beach. A bike-pedaling angel careening through rush-hour traffic. The mystery of a sandwich found in a bathroom stall. A lyric, rainy-day ramble through the East Village. With the personal essays (and three other entertainments) Gore reveals the artistic secrets of his life of crime: a charming wit, compassionate observation, perfection of style, and, over all, a winsomely colorful light tinged with just enough despair. Whether stewing over a subway encounter with a deranged businessman, confessing his sordid past as a prankster, or recounting his family's history of hoarding, Gore is by turns melancholy, profound and hilarious. The collection culminates with the novella-length essay “Appendix,” a twisted, sprawling account of routine surgery that grapples with evolution, mortality, strangely attractive doctors, simulated universes, and an anorexic cat. My Life of Crime conjures up from the flotsam of an individual life something uncannily majestic: an insomniac contemplation of life in our eternal, twenty-four-hour New York City, infused throughout with its grit, humanity, unexpected romance, and the poignant intimacy of all the lives joined together within it. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

In his debut essay collection, My Life of Crime (Sagging Meniscus Press, 2022), Tyler C. Gore brings readers on an awkward visit to a nude beach. A bike-pedaling angel careening through rush-hour traffic. The mystery of a sandwich found in a bathroom stall. A lyric, rainy-day ramble through the East Village. With the personal essays (and three other entertainments) Gore reveals the artistic secrets of his life of crime: a charming wit, compassionate observation, perfection of style, and, over all, a winsomely colorful light tinged with just enough despair. Whether stewing over a subway encounter with a deranged businessman, confessing his sordid past as a prankster, or recounting his family's history of hoarding, Gore is by turns melancholy, profound and hilarious. The collection culminates with the novella-length essay “Appendix,” a twisted, sprawling account of routine surgery that grapples with evolution, mortality, strangely attractive doctors, simulated universes, and an anorexic cat. My Life of Crime conjures up from the flotsam of an individual life something uncannily majestic: an insomniac contemplation of life in our eternal, twenty-four-hour New York City, infused throughout with its grit, humanity, unexpected romance, and the poignant intimacy of all the lives joined together within it. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

In this episode, Professor Tiffany Stern discusses her books and tells us about rehearsal practices, ballads, and popular entertainments in Shakespeare's day. She also tells us about being a general editor and editing The Tempest. For a complete episode transcript, click http://www.womenandshakespeare.comInterviewer: Varsha PanjwaniGuest: Tiffany Stern Researchers:  Sonia Kukula & Annika Suderburg  Producers:   Isabella DeJoy & Emma Munson Transcript: Benjamin PooreArtwork: Wenqi WanSuggested Citation:  Stern, Tiffany in conversation with Panjwani, Varsha (2024). Tiffany Stern on Rehearsal Practices, Ballads, Popular Entertainments [Podcast], Series 4, Ep. 6. http://womenandshakespeare.com/Twitter: @earlymoderndoc Insta: earlymoderndocEmail: earlymoderndoc@gmail.com

Island Nights Entertainments by Robert Louis Stevenson audiobook. A marvelous depiction of two sides of South Sea Islands' life through three separate tales. One, the experience of the incoming British keen to live free and exploit the innocent; the other the supernatural as perceived by Stevenson working in the lives of the natives. One tale carries the germ of the story of Madame Butterfly, since become a part of Western culture. Another is an extraordinary retelling of a German horror story transposed to a South Sea Island setting. The last is an effort of the pure Stevensonian imagination and there can be nothing better. Learn more about your ad choices. Visit megaphone.fm/adchoices

EP. 462 — Check out our Anik & Florian Merch on jonanik.com  Anik & Florian return this week for some UFC News & Notes, including Kayla Harrison signing with the promotion, and more UFC 297 reactions featuring Eric Nicksick and Danny Rubenstein, both on opposite sides of last weekend's Main-Event between Sean Strickland & Dricus Du Plessis. PLUS, surging UFC Welterweight Belal Muhammad joins the show to talk UFC 300 and the upcoming matchup with Leon Edwards for the 170lbs title, alongside “Remember The Show” co-host and APFC commentary partner Jason Anik. ON TODAY'S SHOW (00:00:00) - OPENING - #AnikFlorianPodcast (00:00:43) - HEADLINES with @Jon_Anik, @KennyFlorian and @BostonAnik alongside Belal “Remember The Name” Muhammad @Bullyb170  (00:17:33) - More UFC 297 Reactions, Jones & Aspinall Beef, UFC 300 Talk and More! (00:39:37) - DANNY RUBENSTEIN aka @DannyRube joins to talk Ruby Sports & Entertainments second champion Dricus Du Plessis and what's next for the Team Ruby stable (00:53:20) - Leader of Men COACH ERIC NICKSICK (@eric_xcmma) joins the show to talk Sean Strickland, Francis Ngannou and his crazy schedule this spring as well as the UFC 297 aftermath. (01:07:49) - OUTRO (Closing Thoughts) — Jon Goes OFF on Negative MMA Fans & Social Media  OFFICIAL APPAREL WEBSITE: JONANIK.COM FULL A&F EPISODES

Weekly Shoutout: 2024 Jaime Updates! What did you think of the episode? Send Jaime a message! Hi there, Today I am excited to be arts calling author Tyler C. Gore! https://tylergore.com About our Guest: Tyler C. Gore is the author of My Life of Crime: Essays and Other Entertainments, shortlisted for the Eric Hoffer Book Award Grand Prize. My Life of Crime was also a First Horizon Award Finalist, and appeared in the Independent Book Review's list of “Impressive Indie Books of 2022.” Tyler has been cited five times as a Notable Essayist by The Best American Essays annual anthology and is the recipient of a Fulbright Scholarship for Creative Writing. For many years, he served as art director of Literal Latte, and currently serves on the editorial boards of Exacting Clam and StatORec. His essays, stories, and reviews have appeared in many of the fine, high-quality journals preferred by discerning readers like you. He lives, as he dreams, in Brooklyn. Twitter: @TylerCGore | Insta: @tylermustwashhands MY LIFE OF CRIME: ESSAYS AND OTHER ENTERTAINMENTS, now available from Sagging Meniscus Press! https://www.saggingmeniscus.com/catalog/my_life_of_crime/ About MY LIFE OF CRIME: An awkward visit to a nude beach. A bike-pedaling angel careening through rush-hour traffic. The mystery of a sandwich found in a bathroom stall. A lyric, rainy-day ramble through the East Village. With the personal essays (and three other entertainments) in this debut collection, Tyler C. Gore reveals the artistic secrets of his life of crime: a charming wit, compassionate observation, perfection of style, and, over all, a winsomely colorful light tinged with just enough despair. Whether stewing over a subway encounter with a deranged businessman, confessing his sordid past as a prankster, or recounting his family's history of hoarding, Gore is by turns melancholy, profound and hilarious. The collection culminates with the novella-length essay “Appendix,” a twisted, sprawling account of routine surgery that grapples with evolution, mortality, strangely attractive doctors, simulated universes, and an anorexic cat. My Life of Crime conjures up from the flotsam of an individual life something uncannily majestic: an insomniac contemplation of life in our eternal, twenty-four-hour New York City, infused throughout with its grit, humanity, unexpected romance, and the poignant intimacy of all the lives joined together within it. Thanks for this wonderful conversation, Tyler! All the best! -- Arts Calling is produced by Jaime Alejandro (cruzfolio.com). If you like the show: leave a review, or share it with someone who's starting their creative journey! Your support truly makes a difference! Go make a dent. Much love, j https://artscalling.com

The main characters of Midnight Pals, plus a few regular visitors to the campfire, introduce themselves with a series of short skits based on their most popular works. A medley of midnight-snack size tales from Stephen King, Mary Shelley, HP Lovecraft, Clive Barker, Dean Koontz, Edgar Allan Poe and more.This is a consolidation of the first eleven short ‘teaser' mini-episodes that were released prior to season 1. We've done this to clean up our feed and make it easier for new listeners to navigate to the full episodes, which will continue to be released weekly on Tuesdays throughout the season. Content notes: swearing, sexual references, raised voices, threats of violence, animal death, gory noises, discussion of racismCAST Stephen King — JASON ROBINSON Mary Shelley — REBECCA D'SOUZA HP Lovecraft/Arthur Conan Doyle — ROBIN JOHNSON Dean Koontz — WREN MONTGOMERRY Clive Barker — SISTER INDICA Edgar Allan Poe — RODRIGO BORGES with Anne Rice — JESSICA BERSON Roger Corman — BITTER KARELLA Robert Louis Stevenson — DEXTER HOWARD Shirley Jackson — RAYNA MONTGOMERY The script was written by Robin Johnson, based on tweets by Bitter Karella. Production and music by Robin Johnson. Daisy McNamara was an audio consultant. Liselle Nic Giollabháin was a production assistant. TIME STAMPS 00:00 — Stephen King (The Tale of the Small Town with a Spooky Secret) 00:55 — Mary Shelley (The Tale of the Hot Monster) Inspired by Frankenstein, available at https://www.gutenberg.org/ebooks/41445; also see our full episode The Tale of the Frankenstein 01:45 — HP Lovecraft (The Tale of the Indescribable Eldritch Abomination) Lovecraft's works are available at https://www.hplovecraft.com/writings/texts/ 02:30 — Dean Koontz 03:10 — Clive Barker (The Tale of the Horny Ghost) 03:55 — Edgar Allan Poe (The Tale of the Black Cat) Poe's The Black Cat is included in his collected works at https://www.gutenberg.org/ebooks/2148 05:00 — Anne Rice (The Tale of the Sad Vampire and the Devil) Inspired by Rice's The Vampire Chronicles series 06:15 — Roger Corman Read about Roger Corman's “Edgar Allan Poe's The Haunted Palace” (1961) at https://en.wikipedia.org/wiki/The_Haunted_Palace 08:05 — Robert Louis Stevenson (The Tale of the Bottle Imp) The Bottle Imp is included in Stevenson's collection Island Nights' Entertainments, available at https://www.gutenberg.org/ebooks/329 09:35 — Arthur Conan Doyle (The Tale of Sherlock Holmes) Doyle's works, including many stories of Sherlock Holmes stories as well as those of Professor Challenger, are available at https://www.gutenberg.org/ebooks/author/69 11:00 — Shirley Jackson (The Tale of the Haunted House) Inspired by Jackson's The House on Haunted Hill (1959) Submitted for the Approval of the Midnight Pals is created by Bitter Karella © All characters are fictitious, especially the real ones. Subscribe to Submitted for the Approval of the Midnight Pals on Apple Podcasts, Spotify, Pocket Cast or wherever you find podcasts. If you are enjoying the show, please leave us a rating or a review. Find us at midnightpals.com  

Erlauben Sie mir, dem Verfasser dieser Zeilen, gleich zu Beginn den Finger in die Wunde zu legen: Wissen Sie, verehrte Hörerinnen und Hörer, wo Sie ihre sogenannten „wichtigen Unterlagen“ abgeheftet haben? Welche Briefe vom Finanzamt liegen noch ungeöffnet auf der Kommode im Flur? Wann haben Sie eigentlich vor, die gelben Briefe auf dem Küchentisch mal zu öffnen? Können Sie im Falle eines Wohnungsbrandes mit Gewissheit sagen, wo Sie WICHTIGE DOKUMENTE wie den Rentenbescheid vor den Flammen retten können? Wenn Sie keine dieser Fragen aus dem Stehgreif beantworten können, dann herzlichen Glückwunsch: Sie sind auf dem Weg zum Lundt. Der Zettel-Ewald von Baywatch Berlin schafft es, wirklich jedes wichtige Dokument innerhalb weniger Sekunden aus dem Gedächtnis und der Payroll zu löschen und fängt sich mit diesem Mindset einen gelben Mahnbrief nach dem anderen ein. In St.Tropez Austern fressen und Zuhause die Rechnungen verdödeln: Da bimmelts bei der Schufa wie im „Golden Nuggets“ von Las Vegas. Doof nur, wenn irgendwann die Kreditkarte nicht mehr bimmelt und der Kellner vom Grill Royal erahnt, dass man wohl auf „zu großem Fuß“ gelebt hat. Naja, jetzt gibts zwar erstmal kein Steak mehr, aber wenigstens eine schöne Podcaststory voller Scham und Peinlichkeit. Unbezahlbar. Apropos Peinlichkeit: Gerade das an Peinlichkeiten nicht arme Leben von Klaas Heufer-Umlauf wirft eine „Frage an den Prominenten“ auf, die laut Lundt „sehr gut, Schmitti!“ ist: Wessen tadelnden Blick spürt Klaas in seinem Nacken, wenn er sich mal wieder vor einem Millionenpublikum die Torten ins Gesicht pfeffern muss? Wessen mahnenden Zeigefinger sieht Klaas vor seinem inneren Auge, wenn die Würde längst aus dem Fernsehstudio gerannt ist? Auch das wird geklärt - in der neuen Folge von Baywatch Berlin. Achja….one more thing: Auf welchen Showmoment in der langen Geschichte des weltweiten Entertainments blicken Klaas, Schmitt und Lundt mit Neid, Bewunderung und auch ein wenig Wehmut darüber, nicht Teil davon gewesen zu sein? Von Elton John bis Steve Jobs kramt Baywatch Berlin in der Schatztruhe der Unterhaltung. Ein Gespräch über den Spaß an der großen Inszenierung, eine Ode an die Freude einer gelungenen Dramaturgie. Hach, sie werden ja so schnell erwachsen, unsere Drei von Baywatch Berlin. Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/BaywatchBerlin

„Melody of Crime“ behandelt die spannendsten Straftaten aus der glamourösen Welt der Kulturbranche und des Entertainments und macht die Hintergründe vermeintlich unbegreiflicher Verbrechen erfassbar.

Throughout October, we'll be releasing weekly teaser mini-episodes of Submitted for the Approval of the Midnight Pals in the run-up to the launch of our first full episode on Tuesday October 31st. In this teaser, San Francisco hipster Robert Louis Stevenson tells the Pals his short economics-horror story "The Tale of the Bottle Imp".  CAST: Robert Louis Stevenson – DEXTER HOWARDEdgar Allan Poe – RODRIGO BORGESHP Lovecraft – ROBIN JOHNSONDean Koontz – WREN MONTGOMERYMary Shelley – REBECCA D'SOUZAClive Barker – SISTER INDICAScript and production by Robin Johnson. The Midnight Pals is created by Bitter Karella. All characters are fictitious, especially the real ones. Robert Louis Stevenson's "The Bottle Imp" appears in his short story collection Island Nights' Entertainments, which is available on Project Gutenberg at https://www.gutenberg.org/ebooks/329. Find the Midnight Pals at midnightpals.com, on twitter at @midnight_pals, or on bluesky at @midnightpals.bsky.social. Subscribe to Submitted for the Approval of the Midnight Pals now at https://midnight-pals.simplecast.com or via Apple Podcasts, Spotify, or your podcast site/app of choice. A transcript of this teaser is available at https://midnight-pals.simplecast.com/episodes/teaser-09-robert-louis-stevenson/transcript

Scott O'Neil is one of the most innovative executives in the entertainment and sports industries.  As CEO of Harris Blitzer Sports & Entertainment, Scott oversaw the company's portfolio including the Philadelphia 76ers and the New Jersey Devils.  Scott has also served as President of Madison Square Garden and was Alternate Governor for the NBA and NHL for over a decade.Last year Scott made a significant career change, moving to London to become the CEO of Merlin Entertainments, the world's second-largest visitor attraction operator, overseeing attractions such as Madame Tussauds, The London Eye, and LEGOLAND.In this episode, Scott shares some of the principles he lives by both at home and at the office and how he and his wife are instilling those values in the next generation.Learn more about Scott's story in his book Be Where Your Feet Are.We'll also find out: (2:08) – How did Scott's upbringing shape the person he is today?(8:44) – How did culture and innovation fuel the success of Harris Blitzer Sports & Entertainment?(9:55) – How did the 76ers turn struggle into success during Scott's tenure?(13:40) – How do Scott and his wife instil values in their three daughters?(15:30) – Why does Scott view failure as a good thing?(19:34) – Why is it important to “assume positive intent” in business and in life? (21:12) – What is Scott's “WMI”?(22:34) – Why does Scott believe it is important to “ruthlessly prioritize”?(24:17) – What impact did Scott's mentor, the late NBA Commissioner David Stern, have on his life?

Host Ricky Sacks is joined by returning guests in Entertainments' Host & Compere Richard Cracknell along with British Actors Ricky J Norwood and Darren Hartman as we review Harry Kane scoring four goals as Tottenham Hotspur beat Shakhtar Donetsk 5-1 in their penultimate pre-season friendly before the start of the Premier League. The match was new boss Postecoglou's first game in charge in front of his own supporters at Tottenham Hotspur Stadium, with Spurs' two previous friendlies having taken place during a tour of Asia and it will have left the Australian keener than ever to retain the services of Kane, who produced a virtuoso performance in what Spurs fans will hope was not a farewell with a flourish. The striker has featured in all three Spurs friendlies this summer and played more than 80 minutes on Sunday, coming off just after his fourth goal and prompting loud 'we want you to stay' chants from supporters. He opened the scoring from the penalty spot after a foul on James Maddison who - after Shakhtar levelled - set up Kane's second with a pinpoint cross that the England skipper headed in from close range. The link-up between the international team-mates promises much, should Kane stay, but his hat-trick strike came from a more familiar source as he tucked away Dejan Kulusevski's defence-splitting ball. He tapped home his fourth after Dmytro Riznyk parried Manor Solomon's shot. Kane's replacement Dane Scarlett added a fifth with an emphatic strike in stoppage time of the charity match to raise funds for Ukraine amid the ongoing Russian invasion. Tottenham open their Premier League campaign at Brentford on 13 August. Grab an EXCLUSIVE Huge Discount off your NordVPN Plan + a Bonus Gift by going to ➼ https://nordvpn.com/lwos An independent Tottenham Hotspur Fan Channel providing instant post-match analysis and previews to every single Spurs match along with a range of former players, managers & special guests. Please can we ask you to take this opportunity to *SUBSCRIBE* to the Last Word On Spurs and THANKS FOR WATCHING. Whilst watching our content we would greatly appreciate if you can LIKE the video and SUBSCRIBE to the channel, along with leaving a COMMENT below.  - DIRECT CHANNEL INFORMATION: - Media/General Enquiries: lastwordonspurs@outlook.com - SOCIALS: * Twitter: https://www.twitter.com/LastWordOnSpurs * Instagram: https://www.instagram.com/LastWordOnSpurs * Facebook: https://www.facebook.com/LastWordOnSpurs * Clubhouse: https://www.clubhouse.com/@LastWordOnSpurs * YouTube: https://www.youtube.com/c/LastWordOnSpurs WEBSITE: www.lastwordonspurs.co.uk #THFC #TOTTENHAM #COYS Learn more about your ad choices. Visit megaphone.fm/adchoices

wir haben die Folge neu hochgeladen, jetzt sollte das Audio gut zu hören sein, da hatte sich der technische Fehlerteufel eingeschlichen, danke für die Hinweise und liebe Grüße ♥️ mit Julia Nestlen und Aeneas Rooch. Ihre Themen: • Ein Immobilienportal hat ausgerechnet, welche Stadt bei einer Zombieapokalypse am sichersten ist. Aeneas ist skeptisch. (01:38) • In der Slowakei haben Schwäne ein Schlafmohnfeld leergefressen - mit fatalen Folgen. (07:29) • Die Neandertaler haben in einem komplexen chemischen Prozess Klebstoff hergestellt. (15:10) • Geschichten eines mittelalterlichen Comedian berichten von einem Killerkaninchen. Wem kommt's bekannt vor? (19:40) Weitere Infos und Studien gibt's hier: • Production method of the Königsaue birch tar documents cumulative culture in Neanderthals • https://link.springer.com/article/10.1007/s12520-023-01789-2 • TikTok-Kanal Solid Science - Die Schwäne • https://www.tiktok.com/@solidscience/video/7241965551893908763 • Entertainments from a Medieval Minstrel's Repertoire Book • https://academic.oup.com/res/advance-article/doi/10.1093/res/hgad053/7187022?login=false Habt ihr auch Nerd-Facts und schlechte Witze für uns? Schreibt uns bei WhatsApp oder schickt eine Sprachnachricht: 0174/4321508 Oder per E-Mail: faktab@swr2.de Oder direkt auf http://swr.li/faktab Instagram: @julianistin @sinologin @aeneasrooch Redaktion: Charlotte Grieser und Chris Eckardt Idee: Christoph König

In hour 1, Ryan discusses the resignation of Kim Gardner and the new Fast and the Furious movie, Fast X (Fast Ten) and Old Roy joins to talk about the potential bank collapse.

New guest John Holman weighs in on the many big screen and small-screen accomplishments by filmmaker Steven Spielberg.  What were some of the best mini-series epics and shows they made for NBC, TNT and HBO combined? Which ones didn't make good use of their talent or could've improved had they been on the air longer? Which of their movies were greenlit by Steven despite him having little to do with supervising their conception? And more trips thru impressive large-scale accomplishments!       MAIN LINKS:  LinkTree: https://linktr.ee/JURSPodcast Facebook Page: https://www.facebook.com/JackedUpReviewShow/ Facebook Group: https://www.facebook.com/groups/2452329545040913 Twitter: https://twitter.com/JackedUpReview  Instagram: https://www.instagram.com/jacked_up_podcast/          SHOW LINKS: YouTube: https://m.youtube.com/channel/UCIyMawFPgvOpOUhKcQo4eQQ   iHeartRadio: https://www.iheart.com/podcast/269-the-jacked-up-review-show-59422651/   Podbean: https://jackedupreviewshow.podbean.com   Spotify: https://open.spotify.com/show/7Eg8w0DNympD6SQXSj1X3M   Apple Podcasts: https://podcasts.apple.com/us/podcast/the-jacked-up-review-show-podcast/id1494236218   RadioPublic: https://radiopublic.com/the-jacked-up-review-show-We4VjE   Overcast: https://overcast.fm/itunes1494236218/the-jacked-up-review-show-podcast   Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9hNDYyOTdjL3BvZGNhc3QvcnNz   Anchor:  https://anchor.fm/s/a46297c/podcast/rss   PocketCasts: https://pca.st/0ncd5qp4   CastBox:  https://castbox.fm/channel/The-Jacked-Up-Review-Show-Podcast-id2591222        

The future is, indeed, so bright that it is probably not good for you.

This new essay collection contains humor and pathos and medical digressions. Also, pranks with pizzas.

This Episode Is Sponsored By @thedizzlebrand & @ Heaven's Pantry On This Episode Of Talking Junk We Sit Down With Creative, Business-savvy, Entertainment Multi-Hyphenate, Top dawg at Pink Poodle Productions & Head of IP Strategy and Acquisitions for Rainshine Entertainment @sharp6250 Marlene Sharp So Come Join Us As We Take A Deep Dive Into The Life Of Marlene Sharp, If You Miss This Live Veiwing You Can Catch It In The Archives... #kidschoiceawards #nickelodeon #henrydanger #jacenorman #thethundermans #rieledowns #kirakosarin #ellaanderson #thundermans #gameshakers #christallman #mayaleclark #rosablasi #kca #caseysimpson #sonicthehedgehog #nickelodeonuk #sonic #addiekat #jackgriffo #nostalgia #henryhart #addisonriecke #agirlnamedjo #cooperbarnes #dangerforce #disneychannel #chenry #henrydangeredit #jacenormanedits --- Send in a voice message: https://anchor.fm/talking-junk/message Support this podcast: https://anchor.fm/talking-junk/support

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

In this episode, I speak with the writer, editor, and critic, Christopher Beha, about the Danish bildungsroman by Henrik Pontoppidan, Lucky Per. We focus on Per's struggle to escape from those aspects of his life that are not chosen—family, religion, place—his quest to understand himself, to love other people, and to live a life that is truly happy and free.  Along the way, we discuss reviews of the novel by James Wood and Morten Hoi Jensen, and we give our own diagnosis of why Per fails to be either happy or free.  I hope you enjoy our conversation. Links: https://www.newyorker.com/magazine/2019/10/21/a-neglected-modern-masterpiece-and-its-perverse-hero https://www.nybooks.com/daily/2018/09/30/the-danish-tolstoy/   Christopher Beha is the author of a memoir, The Whole Five Feet, and the novels Arts & Entertainments and What Happened to Sophie Wilder. His latest novel, The Index of Self-Destructive Acts, was nominated for the 2020 National Book Award. He is the editor of Harper's Magazine. Jennifer Frey is an associate Professor of Philosophy and Peter and Bonnie McCausland Faculty Fellow at the University of South Carolina. She is also a fellow of the Institute for Human Ecology at the Catholic University of America and the Word on Fire Institute. Prior to joining the philosophy faculty at USC, she was a Collegiate Assistant Professor of Humanities at the University of Chicago, where she was a member of the Society of Fellows in the Liberal Arts and an affiliated faculty in the philosophy department.  She earned her Ph.D. in philosophy at the University of Pittsburgh, and her B.A. in Philosophy and Medieval Studies (with a Classics minor) at Indiana University, in Bloomington, Indiana. She has published widely on action, virtue, practical reason, and meta-ethics, and has recently co-edited an interdisciplinary volume, Self-Transcendence and Virtue: Perspectives from Philosophy, Theology, and Psychology. Her writing has also been featured in Breaking Ground, First Things, Fare Forward, Image, Law and Liberty, The Point, and USA Today. She lives in Columbia, SC, with her husband, six children, and chickens. You can follow her on Twitter @jennfrey. Sacred and Profane Love is a podcast in which philosophers, theologians, and literary critics discuss some of their favorite works of literature, and how these works have shaped their own ideas about love, happiness, and meaning in human life. Host Jennifer A. Frey is an associate professor of philosophy at the University of South Carolina. The podcast is generously supported by The Institute for Human Ecology at the Catholic University of America and produced by Catholics for Hire. Audio Edited & Music Produced by Tony Monson

In this episode, I speak with the writer, editor, and critic, Christopher Beha, about the Danish bildungsroman by Henrik Pontoppidan, Lucky Per. We focus on Per's struggle to escape from those aspects of his life that are not chosen—family, religion, place—his quest to understand himself, to love other people, and to live a life that is truly happy and free. Along the way, we discuss reviews of the novel by James Wood and Morten Hoi Jensen, and we give our own diagnosis of why Per fails to be either happy or free. I hope you enjoy our conversation. Links: James Wood https://www.newyorker.com/magazine/2019/10/21/a-neglected-modern-masterpiece-and-its-perverse-hero Morten Hoi Jensen https://www.nybooks.com/daily/2018/09/30/the-danish-tolstoy/ Christopher Beha is the author of a memoir, The Whole Five Feet, and the novels Arts & Entertainments and What Happened to Sophie Wilder. His latest novel, The Index of Self-Destructive Acts, was nominated for the 2020 National Book Award. He is the editor of Harper's Magazine. Jennifer Frey is an associate Professor of Philosophy and Peter and Bonnie McCausland Faculty Fellow at the University of South Carolina. She is also a fellow of the Institute for Human Ecology at the Catholic University of America and the Word on Fire Institute. Prior to joining the philosophy faculty at USC, she was a Collegiate Assistant Professor of Humanities at the University of Chicago, where she was a member of the Society of Fellows in the Liberal Arts and an affiliated faculty in the philosophy department. She earned her Ph.D. in philosophy at the University of Pittsburgh, and her B.A. in Philosophy and Medieval Studies (with a Classics minor) at Indiana University, in Bloomington, Indiana. She has published widely on action, virtue, practical reason, and meta-ethics, and has recently co-edited an interdisciplinary volume, Self-Transcendence and Virtue: Perspectives from Philosophy, Theology, and Psychology. Her writing has also been featured in Breaking Ground, First Things, Fare Forward, Image, Law and Liberty, The Point, and USA Today. She lives in Columbia, SC, with her husband, six children, and chickens. You can follow her on Twitter @jennfrey. Sacred and Profane Love is a podcast in which philosophers, theologians, and literary critics discuss some of their favorite works of literature, and how these works have shaped their own ideas about love, happiness, and meaning in human life. Host Jennifer A. Frey is an associate professor of philosophy at the University of South Carolina. The podcast is generously supported by The Institute for Human Ecology at the Catholic University of America and produced by Catholics for Hire. Audio Edited & Music Produced by Tony Monson

Entertainments, thrills and diversions at the end of the rock and roll seaside pier this week include … Things we want to see in a Bob Dylan museum. Why the upcoming Spinal Tap sequel fills us with excitement and dread in equal measure. The pub in Cornwall that Vogue magazine tried to sue.  Is ‘Exile' the best Stones album or just their most fashionable? And a new book about Nellcôte – “urchins living in wealth and splendour”.   The brief return of the Stackwaddy game - Springsteen or Taylor Swift lyric? YOU be the judge!  The fizzing cacophony of the Smash Hits office. Why do most TV series (apart from Breaking Bad) start well and fizzle out? A trailer for ‘The Curious Chronicles of Villa Nellcôte' by Geir Hornes here …http://www.nellcotechronicles.com--------- Grab your EXCLUSIVE NordVPN Deal by going to nordvpn.com/yourear to get up a Huge Discount off your NordVPN Plan + 1 additional month for free + a bonus gift! It's completely risk free with Nord's 30 day money-back guarantee!---------Tickets for Word In The Park in London on Saturday June 18th here: https://www.eventbrite.co.uk/e/were-throwing-a-party-for-paul-mccartneys-80th-and-youre-invited-tickets-259008229587Subscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world, ad-free and with full visuals!: https://www.patreon.com/wordinyourear Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

Entertainments, thrills and diversions at the end of the rock and roll seaside pier this week include … Things we want to see in a Bob Dylan museum. Why the upcoming Spinal Tap sequel fills us with excitement and dread in equal measure. The pub in Cornwall that Vogue magazine tried to sue.  Is ‘Exile' the best Stones album or just their most fashionable? And a new book about Nellcôte – “urchins living in wealth and splendour”.   The brief return of the Stackwaddy game - Springsteen or Taylor Swift lyric? YOU be the judge!  The fizzing cacophony of the Smash Hits office. Why do most TV series (apart from Breaking Bad) start well and fizzle out? A trailer for ‘The Curious Chronicles of Villa Nellcôte' by Geir Hornes here …http://www.nellcotechronicles.com--------- Grab your EXCLUSIVE NordVPN Deal by going to nordvpn.com/yourear to get up a Huge Discount off your NordVPN Plan + 1 additional month for free + a bonus gift! It's completely risk free with Nord's 30 day money-back guarantee!---------Tickets for Word In The Park in London on Saturday June 18th here: https://www.eventbrite.co.uk/e/were-throwing-a-party-for-paul-mccartneys-80th-and-youre-invited-tickets-259008229587Subscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world, ad-free and with full visuals!: https://www.patreon.com/wordinyourear Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

Do you like a little blood in your sports? In this episode of Creeptastic, things are going to get bloody. Also a bit sporty.  What exactly are “blood sports,” and what form have they taken over the centuries, even today? Why are we, as supposedly "humane" beings, so inherently drawn to the evident violence of such entertainments (and you really can't deny that we are)? Can blood sports be considered objectively "right" or "wrong," in a moral sense? I am diving down a bloody little rabbit hole to   answer these questions for you. I will go over the history of blood sports, or violence for the sake of entertainment, and talk about how we tend to keep bringing them back into our lives, sometimes in the fictional world, but also in reality. Let's find out what we humans find so attractive about blood sports this week on Creeptastic! See visuals for this episode on https://www.instagram.com/carolinesayang/ (Instagram)! Become a https://www.patreon.com/creeptastic (Patreon) of Creeptastic to access bonus weekly and monthly content! Contact me and find links to social media at https://creeptastic.com/ (Creeptastic.com)!

Welcome to The Arabian Nights Entertainments! This is the fifteenth part of Andrew Lang's The Arabian Nights Entertainments. In this series, you'll hear some familiar stories, some new stories, and even stories within stories. Today we begin The Story of Two Sisters Who Were Jealous of Their Younger Sister. Three sisters jokingly express the desire to marry the Sultan's baker, cook, and even the Sultan himself! When the Sultan grants their wishes, the older two grow jealous of the young Sultana. What awful revenge will they take on their own sister?

Welcome to The Arabian Nights Entertainments! This is the fourteenth of 16 parts that make up Andrew Lang's The Arabian Nights Entertainments. In this series, you'll hear some familiar stories, some new stories, and even stories within stories. Today's story is The Enchanted Horse. A king is determined to possess  a mechanical horse that can easily travel vast distances when his headstrong son leaps on without learning how to return home. After meeting (and falling in love with) a princess, the prince learns how to return home, and brings her home with him. After she is abducted and feigns mental illness, will the two young lovebirds ever find happiness?

Welcome to The Arabian Nights Entertainments! This is the thirteenth of 16 parts that make up Andrew Lang's The Arabian Nights Entertainments. In this series, you'll hear some familiar stories, some new stories, and even stories within stories.

Welcome to The Arabian Nights Entertainments! This is the twelfth of 16 parts that make up Andrew Lang's The Arabian Nights Entertainments. In this series, you'll hear some familiar stories, some new stories, and even stories within stories.