Podcasts about Gimme Shelter

In episode 411 of Friends Talking Nerdy, Professor Aubrey and Tim the Nerd take listeners on a musical time machine back to one of the most transformative decades in music history — the 1960s. This week, they each reveal their five favorite rock and roll songs from the era, sharing personal memories, musical insights, and plenty of passionate commentary. From the iconic guitar riff of The Rolling Stones' Gimme Shelter to the haunting psychedelia of Jefferson Airplane's White Rabbit, this episode is a tribute to the tracks that helped shape a generation and influence countless artists to come.Songs discussed in this deep-dive include:Gimme Shelter – The Rolling StonesMy Generation – The WhoSpace Oddity – David BowieThe End – The DoorsGreen Onions – Booker T. & the MG'sWhite Rabbit – Jefferson AirplaneLike A Rolling Stone – Bob DylanRandy Scouse Git – The MonkeesGod Only Knows – The Beach BoysHonky Tonk Women – The Rolling StonesCheck out the playlist on YouTube.In true Friends Talking Nerdy fashion, the hosts don't stop at celebrating the music — they turn it into a friendly competition. Tim the Nerd challenges listeners to head over to friendstalkingnerdy.com and cast their votes in the Musicwed Game Playlists face-off: Whose playlist reigns supreme — Professor Aubrey's or Tim the Nerd's? Let your ears decide!Also in this episode, Tim addresses a bittersweet behind-the-scenes update. Due to copyright concerns and in order to remain in good standing with their podcast host, Spotify for Creators, a few past episodes containing copyrighted music had to be removed from the archive. While those episodes are currently offline, Tim shares a hopeful note that, with the show's continued growth and support from listeners, there's a possibility these archived gems could one day return.As always, we wish to thank Christopher Lazarek for his wonderful theme song. Head to his ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for information on how to purchase his EP, Here's To You, which is available on all digital platforms.Head to Friends Talking Nerdy's⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠for more information on where to find us online.

Altamont 1969. En gratiskonsert i Kalifornien, LSD i blodet, öl i luften, basebollträn i händerna på Hells Angels. Jagger försöker lugna publiken, men ingen lyssnar. Slag, skrik, knivar, en man faller och reser sig aldrig igen. Woodstock var en dröm, Altamont var baksmällan – blodig, skakig, och omöjlig att glömma. Rock'n'roll mötte verkligheten, och verkligheten vann.Musikpodden finns även på:Instagram: Musik_poddenSpotify: Musikpodden med Arvid BranderApple podcast: Musikpodden med Arvid BranderKontakt: podcastarvid@gmail.comKällor:BöckerThompson, H. S. (1971). Fear and Loathing in Las Vegas. New York: Random House.Selvin, J. (2016). Altamont: The Rolling Stones, the Hells Angels, and the Inside Story of Rock's Darkest Day. New York: HarperCollins. (Denna bok har varit ryggraden för detta avsnitt – stort tack till Joel Selvin för detta gedigna arbete!)Dowley, T. (1983). The Rolling Stones. London: Midas Books.Norman, P. (2012). Mick Jagger. London: HarperCollins.Artiklar och webbpubliceringarChiu, D. (2019). Altamont At 50: The Disastrous Concert That Brought The ‘60s To A Crashing Halt. Forbes. Hämtad från: www.forbes.comBlaustein, J. (2019). 50 Years After Altamont: The End of the 1960s. The New York Times. Hämtad från: www.nytimes.comGleiberman, O. (2014). Altamont at 45: The Most Dangerous Rock Concert. Hämtad från: www.ew.comFilmer och dokumentärerMaysles, A., Maysles, D., & Zwerin, C. (Regissörer). (1970). Gimme Shelter. USA: Cinema 5.YouTube-videorBBC Archive. (Datum okänt). Altamont Free Concert. Hämtad från: YouTube.Fascinating Horror. (2022). The Altamont Free Concert | A Short Documentary. Hämtad från: YouTube.O'Dell, T. (Regissör). (2023). DAYS OF RAGE: The Rolling Stones Road To Altamont | Violent 1960s-era of U.S | Feature Documentary. Uppladdad av Filmisnow Movies. Hämtad från: YouTube.Grace, K. (2019, 16 augusti). Jeannie Whitworth talks about the West Palm Beach Pop festival in 1969. Hämtad från: YouTube.Grace, K. (2008, 1 maj). Alex Grey about Albert Hofmann (LSD). Hämtad från: YouTube. Hosted on Acast. See acast.com/privacy for more information.

After mixing in the deeper, darker spaces – searching for a moodier, winter sound – @Freeda-Sol is ready to emerge and lift her face to the sun. While it's hard work to keep the mood light in times like these, Freeda accepted the challenge and brought a mix that grooves and delights from start to finish while bringing a balance into the equation that keeps it from being overly sanguine. This mix kicks off with Benny Bridges and Justin Jay's Fantasic Edit of “Gimme Shelter” by the Rolling Stones, finds its funky flavor with tracks like Mikey Lion's “Your Bad Self,” adds some acid icing toward the end with Darco's 2024 tack, “Vete” and brings it home with that “Real Love” remix cooked up by Drizabone and remixed by Jelsen. Hear more: @Freeda-Sol Shout out to her collectives: @Antonym_HQ (Liverpool, UK) @famaorlando (Orlando, Fl) @queens-of-noise (Orlando, FL) ⚡️Like the Show? Click the [Repost] ↻ button so more people can hear it!

Altamont 1969. En gratiskonsert i Kalifornien, LSD i blodet, öl i luften, basebollträn i händerna på Hells Angels. Jagger försöker lugna publiken, men ingen lyssnar. Slag, skrik, knivar, en man faller och reser sig aldrig igen. Woodstock var en dröm, Altamont var baksmällan – blodig, skakig, och omöjlig att glömma. Rock'n'roll mötte verkligheten, och verkligheten vann.Musikpodden finns även på:Instagram: Musik_poddenSpotify: Musikpodden med Arvid BranderApple podcast: Musikpodden med Arvid BranderKontakt: podcastarvid@gmail.comKällor:BöckerThompson, H. S. (1971). Fear and Loathing in Las Vegas. New York: Random House. Selvin, J. (2016). Altamont: The Rolling Stones, the Hells Angels, and the Inside Story of Rock's Darkest Day. New York: HarperCollins. (Denna bok har varit ryggraden för detta avsnitt – stort tack till Joel Selvin för detta gedigna arbete!)Dowley, T. (1983). The Rolling Stones. London: Midas Books.Artiklar och webbpubliceringarChiu, D. (2019). Altamont At 50: The Disastrous Concert That Brought The ‘60s To A Crashing Halt. Forbes. Hämtad från: www.forbes.comBlaustein, J. (2019). 50 Years After Altamont: The End of the 1960s. The New York Times. Hämtad från: www.nytimes.comGleiberman, O. (2014). Altamont at 45: The Most Dangerous Rock Concert. Hämtad från: www.ew.comFilmer och dokumentärerMaysles, A., Maysles, D., & Zwerin, C. (Regissörer). (1970). Gimme Shelter. USA: Cinema 5.YouTube-videorBBC Archive. (Datum okänt). Altamont Free Concert. Hämtad från: YouTubeFascinating Horror. (2022). The Altamont Free Concert | A Short Documentary. Hämtad från: YouTubeO'Dell, T. (Regissör). (2023). DAYS OF RAGE: The Rolling Stones Road To Altamont | Violent 1960s-era of U.S | Feature Documentary. Uppladdad av Filmisnow Movies. Hämtad från: YouTube Hosted on Acast. See acast.com/privacy for more information.

NEW FOR MARCH 1, 2025 Picking all manner of things twice a month . . . Picking A Winner- The Best Radio You Have Never Heard Vol. 503 1. Dam That River - Alice In Chains 2. Higher Ground - Red Hot Chili Peppers 3. Cause We've Ended As Lovers (live) - Jeff Beck 4. Vanish - Blueburst 5. Reptile (live) - The Church 6. Starman - David Bowie 7. Beds Are Burning (live unplugged) - Midnight Oil 8. Jealous Again (unplugged) - Black Crowes 9. See How We Are (live unplugged) - X 10. Baby Let's Swing / The Last Thing You Said / Don't Tie My Hands - Todd Rundgren 11. Harlem Nocturne - The Lounge Lizards 12. Blue Suit - Two Loons For Tea 13. I Know A Place - Petula Clark 14. Half Asleep At The Wheel (live) - Corky Siegel 15. Middle Class - The Uptown Rulers 16. All Along The Watch Tower (live) - The Allman Brothers Band 17. Shortyville - Trombone Shorty 18. Hope You're Feeling Better - Santana 19. Baby's On Fire (live) - 801 20. Is Once Enough (live) - Jean-Luc Ponty 21. White Room (live) - Cream 22. Gimme Shelter (alt) - The Rolling Stones 23. Renee Remains The Same - Material Issue 24. Left Of The Dial - The Replacements 25. Further Excerpts From: My Secret Garden - Depeche Mode The Best Radio You Have Never Heard. Beyond your widest musical dreams.. Accept No Substitute. Click to leave comments on the Facebook page.

This week, we are joined by actor, writer & comedian CLARE O'KANE (whose latest comedy album, Everything I Know How To Do, was released on Eugene Mirman's record label) about the classic 1968-directed film MONTEREY POP! We discuss Clare's Bay Area upbringing and being too uptight to be a hippie, our history with comedy records and what its like for Clare to make one, we share our weirdo pre-flight rituals, why the Grateful Dead didn't want to be in the finished film and other performances that were cut out of it, the shocking lack of beards in the film, the optimism in the audience compared to two years later with Gimme Shelter, watching the audience experience Jimi Hendrix, The Who and Janis Joplin for the first time, who was the only artist to get paid at this charity event, how the film came together and how Paul Simon saved the concert from going under, the time Clare opened for Jawbreaker, the weirdo factor of San Francisco bands, David Crosby's talking bout the Kennedy assisination, how can we Boogie and Choogle, how the song White Rabbit ruined the Jefferson Airplane for us and our acting turns that involved using this song, Godard's seeing Jefferson Airplane in this movie and then filming them rocking out on a rooftop for his film 1am One American Movie, crying at live shows, Otis Redding's incredible performance captured here, what would be the best band from this festival to have sex too, Chris spills the beans on an unreleased episode of RPM and much more!So let's laugh directly into the sun on this week's episode of Revolutions Per Movie!!!Clare O'Kane:https://www.clareokane.com/REVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods sent directly to you.Revolutions Per Movies releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.comARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

New York City isn't just a concrete jungle—it's a whiskey frontier. In this episode of Whiskey Rocks, Joel and Chris sit down with Colin Spoelman, co-founder of King's County Distillery, to talk about what it takes to make serious bourbon in the heart of Brooklyn.From humble beginnings as an apartment moonshiner to running NYC's first legal whiskey distillery since Prohibition, Colin shares how King's County carved out a place in the craft whiskey world. They discuss the pros and cons of distilling in a city that never sleeps, how their bold approach to bourbon defies industry norms, and why New York attitude belongs in a bottle.Along the way, Joel, Chris and Colin mix whiskey with music, debating what makes a great rock ‘n' roll bourbon, how New York's gritty past influences its spirits, and why craft distilling is just as rebellious as punk rock. Grab a glass, turn up the volume, and join the whiskey revolution—Brooklyn style.Featured Whiskey Pairing: King's County Straight Bourbon & The Rolling Stones' “Gimme Shelter.”

In the sixth episode, host Blake Howard talks about the incredible supporting cast in SNEAKERS especially the poet laureate of character actors - Stephen Tobolowsky:Author, screenwriter and podcaster - Lee ZachariahActor, writer, host and filmmaker - Rob BelushiActor, director, musician and radio host - Chris CandyStar of SNEAKERS - Stephen TobolowskyAnd co-writer/director of SNEAKERS - Phil Alden RobinsonJoin our Patreon for as little as $1 a month for an exclusive weekly podcast + access to the OHM discord here.ONE HEAT MINUTE PRODUCTIONSWEBSITE: ONEHEATMINUTE.COMPATREON: ONE HEAT MINUTE PRODUCTIONS PATREONTWITTER: @ONEBLAKEMINUTE & @OHMPODSSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Hosts Jim DeRogatis and Greg Kot pay tribute to the late president Jimmy Carter by revisiting a discussion on his character and love for music with the director of the documentary, Jimmy Carter: Rock & Roll President. Plus, they will bid farewell to music journalist Stanley Booth, the most profound chronicler of the Rolling Stones.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Bob Dylan, "It's Alright, Ma (I'm Only Bleeding)," Bringing It All Back Home, Columbia, 1965The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967The Allman Brothers Band, "Ramblin' Man," Brothers and Sisters, Capricorn, 1973Bob Dylan, "Maggie's Farm," Bringing It All Back Home, Columbia, 1965Bob Dylan, "Gotta Serve Somebody," Slow Train Coming, Columbia, 1979The Rolling Stones, "Gimme Shelter," Let It Bleed, Decca, 1969The Rolling Stones, "No Expectations," Beggars Banquet, Decca, 1968The Rolling Stones, "Street Fighting Man," Get Yer Ya-Ya's Out!, Decca, 1970The Rolling Stones, "Around And Around," 12 x 5, London, 1964The Rolling Stones, "Honky Tonk Women," Honky Tonk Women (Single), Decca, 1969The Rolling Stones, "You Gotta Move," Sticky Fingers, Polydor, 1971The Rolling Stones, "Sympathy For the Devil," Get Yer Ya-Ya's Out!, Decca, 1970The Rolling Stones, "Wild Horses," Sticky Fingers, Polydor, 1971Robyn Hitchcock, "The Man Who Loves the Rain," Shufflemania!, Tiny Ghost, 2022See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week, we're joined by musician & arranger Kyleen King. As a backing performer for such acts as Brandi Carlile, The Decemberists & Drive-By Truckers, Kyleen picked a film that strikes close to home, 20 Feet From Stardom. We discuss what it feels like to serve other musician's visions even if they can't articulate what they want, zoning out on stage, pre-show rituals and superstitions, the performative elements of being a backing musician, how the film helped Kyleen want to go into mental health and social work for musicians, Darleen Love, the devaluation of music, Lisa Fisher, hearing Gimme Shelter for the first time in Adventures In Babysitting, the dismissiveness of being a backing singer by Mick Jagger in the film, making bonehead mistakes on stage, how to sing harmony parts, The Blossoms, Ray Charles, the difficulties of forming words while being on tour and more.So take another bow at the edge of the stage on this week's episode of Revolutions Per Movie!!!KYLEEN KING:https://maestramusic.org/profile/kyleen-king/  REVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movies releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

New Year's Eve.      Gimme Shelter.   Fave albums of 2024.  New Neighbours.   Toys that could have Killed me.   English Teacher.   Daer God.   The Cure.   Go-Carts.   Fave 9 Albums of 2024(In no particular order)- Cindy Lee - Diamond Jubilee- MJ Lenderman - Manning Fireworks- Waxahatchee - Tigers Blood- Fontaines DC - Romance- Mannequin pussy - I Got Heaven- Hurray for the Riff Riff - The Past is Still Alive- Kim Deal - Nobody Loves you more- The Cure - Songs of a Lost World- English teacher - This could be TexasAnd …. I liked these too.- Amyl and the Sniffers - Cartoon Darkness- Aluminum - Fully Beat- Cassandra Jenkins - My Light, My Destroyer- Jessica Pratt - Here in the Pitch- The The - Ensoulment- Kim Gordon - The CollectiveAnd my fave words to say out loud:BamboozledGobbledygookFuddy-duddySlinkyF*ckhead

Musik im Film. Dokumentationen über legendäre Künstler:innen, Bands oder Studios.Es gibt so viel zu reden, deswegen machen es Henning und Till ja auch - und reden über ihre Lieblingsfilme und Soundtracks. Wie immer mit persönlichem Mehrwert und viel Leidenschaft. Die Filme:Searching For SugarmanThe Rocky Horror Picture ShowThe Music Never Stopped20 Feet From StardomBetter ManMade in France – DJ MehdiFreestyle – The Art Of RhymeEcht – Unsere Jugend Die Songs der Sendung: 1) Cause / Rodriguez2) Gimme Shelter / The Rolling Stones3) Time Warp / Richard O´Brien, Little Nell u.a.4) Touch Of Grey / The Grateful Dead5) Angels (Better Man Soundtrack) / Robbie Williams6) Wir habens getan / Echt7) Nés sous la même étoile / IAM8) Nissan Altima / Doechii Links zur Sendung:Merry Clayton naked voice on Gimme Shelter:https://www.youtube.com/watch?v=ChONufP0FEsAn evening with Richard O`Brien (Rocky Horror Picture Show):https://www.youtube.com/watch?v=omeUM1UoAk8 Hosted on Acast. See acast.com/privacy for more information.

Die Rolling Stones zählen unbestritten zu den größten Rockbands aller Zeiten. Mit ihrem Album "Let It Bleed" haben die Stones 1969 bereits ihr achtes Studioalbum veröffentlicht. Mehr als 20 Alben umfasst das Gesamtwerk der Rolling Stones inzwischen. Ihr erstes Album "The Rolling Stones" hat die Band 1964 veröffentlicht, vor 60 Jahren. Und direkt mit dem ersten Album gelang der Band auch der Durchbruch in Deutschland, den USA und ihrer Heimat Großbritannien. Und fast jedes Mal schaffte die Band es in diesen Ländern in die Top Ten der Albumcharts. Die Geschichte der Rolling Stones ist zweifelsohne eine Erfolgsgeschichte. Kein Wunder, dass wir in unserem Meilensteine Podcast schon öfter über die Stones gesprochen haben. Mit dabei waren unter anderem schon die Alben "Beggars Banquet", "Exile On Main Street" oder auch "Sticky Fingers". Heute sprechen wir über ihr achtes Studioalbum "Let It Bleed" aus dem Jahr 1969, auf dem auch der Song "Gimme Shelter" ist. Den Song spielt die Band auch heutzutage – nach 55 Jahren – immer noch live. Innerhalb der Band hat sich vor und während der Arbeit an "Let It Bleed" einiges verändert. Vor allem auch für Bandgründer Brian Jones. Er galt bis dahin immer als eine Art Führungsperson der Gruppe. Aber dadurch, dass Mick Jagger und Keith Richards immer intensiver zusammengearbeitet haben und mehr Songs schrieben, die erfolgreich geworden sind, haben die beiden auch immer mehr die Führungsrolle in der Band übernommen. "Er hat sich in der Zeit auch immer mehr von den Stones distanziert, auch räumlich. [...] Er hat sich ein Anwesen gekauft, das ist heute eineinhalb Autostunden entfernt von London. [...] Das war Land, da war nix", erzählt Katharina Heinius im Meilensteine Podcast. Darüber hinaus wurde die Drogen- und Alkoholsucht von Brian Jones immer problematischer und er selbst distanzierte sich immer weiter von der Band, sodass die ihn während der Produktion rausgeschmissen und durch Gitarrist Mick Taylor ersetzt hat. Nur einen Monat später ist Brian Jones dann auf seinem Anwesen gestorben. Für die Stones hat sich vor allem auch wegen der tragischen Geschichte um ihren Bandgründer Brian Jones und den neuen Mann im Bunde, Mick Taylor, einiges verändert. Mit "Led It Bleed" geht also ein Geschichtsabschnitt aus der langen und erfolgreichen Geschichte der Rolling Stones zu Ende, erzählt Thomas Nettelmann im Meilensteine Podcast. Wir sprechen in dieser Folge noch ausführlicher über die Band-Personalie Brian Jones und auch über die verworrenen und komplizierten Liebesbeziehungen von Keith und Mick, über das kultige Plattencover und es gibt natürlich noch viel mehr Hintergrundgeschichten zum Album "Led It Bleed". __________ Über diese Songs vom Album "Let It Bleed" sprechen wir im Podcast (12:27) – "Gimme Shelter"(28:53) – "Country Honk"(35:15) – "Live With Me"(39:55) – "Monkey Man"(46:02) – "Midnight Rambler"(53:04) – "You Can't Always Get What You Want"__________ Alle Shownotes und weiterführenden Links zur Folge "Let It Bleed" findet ihr hier: https://www.swr.de/swr1/rp/meilensteine/the-rolling-stones-let-it-bleed-100.html __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de

Send us a textIn this episode, we discuss the second instalment in the Rolling Stones' legendary four-album run from 1968-72, that being 'Let It Bleed,' released on this day in 1969. Few albums so accurately capture the mood of their time, and even fewer hit just as close to home 55 years later as they did on release day...Support the showSubscribe to Rock Talk with Dr. Cropper +Instagram & TikTok — @rocktalk.dr.cropperTwitter — @RockTalkDrCroppFacebook, LinkedIn & YouTube — Rock Talk with Dr. CropperEmail — rocktalk.dr.cropper@gmail.com

The story goes that the flower-power generation abruptly ended when the Rolling Stones held a free concert at the Altamont Speedway that went disastrously wrong. We revisited GIMME SHELTER (1970) to interrogate the myth. PATREON-EXCLUSIVE EPISODE - https://www.patreon.com/posts/117294338

One of Canada's largest hospital networks is launching a radical experiment in housing the homeless. The world's biggest coffee chain is trying to innovate its way around erratic weather. Celebrating something? Let us know here: https://thepeak.typeform.com/to/MNdYA3TO

durée : 00:21:05 - Le Feuilleton - Où l'on entame la tournée américaine sous l'emblème de Gimme Shelter : "Donne-moi asile, donne-moi refuge"

MUSICLinkin Park are set to make a big announcement today in front of a live audience, but beforehand those in attendance had to sign a waiver. The waiver states that there is an agreement to be transported to and from the venue. That would suggest that the location of the event is not one that the band is anxious to divulge, even to those attending. Thus, it would be harder for people to track down exactly where it is happening and perhaps discern something in advance from the location.Green Day were pulled from the stage for security reasons two verses into their fifth song, "Longview," last night at Comerica Park in Detroit. It turns out the concerns had to do with a drone someone flew into the stadium. Detroit Police Department (DPD) issued a statement that said the band "was taken off stage and shortly...went back on stage to perform." DPD noted that they had located the drone operator outside the park and "detained him...pending further investigation." Scorpions have canceled all of their concert dates for the rest of the month with guitarist Mathias Jabs (Matt-e-us YABS) revealing the extent of injuries he suffered after a nasty fall. Queen guitarist Brian May shared he recently suffered a minor stroke. But not to fear: He's doing okay and can still play! Brian says, quote, "All of a sudden, out of the blue, I didn't have control over [my left] arm, so it's a little scary, I have to say."The first ever Giddy Up Music Festival in Vegas has been canceled. It was supposed to be a three-day event from October 18th through the 20th. The headliners were Megan Moroney, Turnpike Troubadours, and Lynyrd Skynyrd. Chase Rice, Josh Turner, and Elle King were also set to performQUICKIES:Oasis have added two more shows at London's Wembley Stadium on September 27th and 28th, 2025. The group says, "Tickets will be sold by a staggered, invitation-only ballot process. Applications to join the ballot will be opened first to the many U.K. fans who were unsuccessful in the initial on-sale with Ticketmaster."Weezer will release a 30th anniversary version of "The Blue Album" with 36 unreleased tracks.MOVING ON INTO MOVIE NEWS:It looks like Johnny Depp got his teeth fixed. Johnny Depp flashed seemingly new pearly whites after his “rotting” teeth went viral last year.Alison Brie will play the villain Evil-Lyn in the He-Man movie, "Masters of the Universe".MISCThere's a strong rumor about a potential Nintendo Switch 2. Gaming industry reporter Chris Dring wrote on X about "industry whispers around ‘something' Switch 2-related happening this month."  AND FINALLYThe 50 Best Music Documentaries of All Time1.      Woodstock (1970)2.      The Decline of Western Civilization – Part II: The Metal Years (1988)3.      Stop Making Sense (1984)4.      Summer of Soul (2021)5.      Scratch (2001)6.      Amazing Grace (1972/2018)7.      Gimme Shelter (1970)8.      Don't Look Back (1967)9.      Freestyle: The Art of Rhyme (2000)10.  The Kids Are Alright (1979)AND THAT IS YOUR CRAP ON CELEBRITIES!Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams > Check out King Scott's band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows http://www.1057thepoint.com/Rizz Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

MUSIC Linkin Park are set to make a big announcement today in front of a live audience, but beforehand those in attendance had to sign a waiver. The waiver states that there is an agreement to be transported to and from the venue. That would suggest that the location of the event is not one that the band is anxious to divulge, even to those attending. Thus, it would be harder for people to track down exactly where it is happening and perhaps discern something in advance from the location. Green Day were pulled from the stage for security reasons two verses into their fifth song, "Longview," last night at Comerica Park in Detroit. It turns out the concerns had to do with a drone someone flew into the stadium. Detroit Police Department (DPD) issued a statement that said the band "was taken off stage and shortly...went back on stage to perform." DPD noted that they had located the drone operator outside the park and "detained him...pending further investigation." Scorpions have canceled all of their concert dates for the rest of the month with guitarist Mathias Jabs (Matt-e-us YABS) revealing the extent of injuries he suffered after a nasty fall. Queen guitarist Brian May shared he recently suffered a minor stroke. But not to fear: He's doing okay and can still play! Brian says, quote, "All of a sudden, out of the blue, I didn't have control over [my left] arm, so it's a little scary, I have to say." The first ever Giddy Up Music Festival in Vegas has been canceled. It was supposed to be a three-day event from October 18th through the 20th. The headliners were Megan Moroney, Turnpike Troubadours, and Lynyrd Skynyrd. Chase Rice, Josh Turner, and Elle King were also set to perform QUICKIES: Oasis have added two more shows at London's Wembley Stadium on September 27th and 28th, 2025. The group says, "Tickets will be sold by a staggered, invitation-only ballot process. Applications to join the ballot will be opened first to the many U.K. fans who were unsuccessful in the initial on-sale with Ticketmaster." Weezer will release a 30th anniversary version of "The Blue Album" with 36 unreleased tracks. MOVING ON INTO MOVIE NEWS: It looks like Johnny Depp got his teeth fixed. Johnny Depp flashed seemingly new pearly whites after his “rotting” teeth went viral last year. Alison Brie will play the villain Evil-Lyn in the He-Man movie, "Masters of the Universe". MISC There's a strong rumor about a potential Nintendo Switch 2. Gaming industry reporter Chris Dring wrote on X about "industry whispers around ‘something' Switch 2-related happening this month."   AND FINALLY The 50 Best Music Documentaries of All Time 1.      Woodstock (1970) 2.      The Decline of Western Civilization – Part II: The Metal Years (1988) 3.      Stop Making Sense (1984) 4.      Summer of Soul (2021) 5.      Scratch (2001) 6.      Amazing Grace (1972/2018) 7.      Gimme Shelter (1970) 8.      Don't Look Back (1967) 9.      Freestyle: The Art of Rhyme (2000) 10.  The Kids Are Alright (1979) AND THAT IS YOUR CRAP ON CELEBRITIES! Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams > Check out King Scott's band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows http://www.1057thepoint.com/Rizz Learn more about your ad choices. Visit megaphone.fm/adchoices

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

SUB TO THE PPM PATREON TO ACCESS THE EPIC, 4 HOUR LONG SECOND INSTALLMENT IN THE "MHCHAOS AGENTS & JOHNNY ACID-SEEDS" SERIES: patreon.com/ParaPowerMapping Reminder that the PPM Moment of Truth campaign is nearing its conclusion—we've got two & a half weeks remaining to hit that 120 new subs goal. Pls consider supporting the show so that we can keep the Independent Cork Board Researchers Union lights on. Embarking on the longest, strangest trip in PPM history yet- Inside, you'll find a mammoth primary & secondary source assemblage which begins our construction of a deep history of the Columbia Uprising in '68, Students for a Democratic Society, the anti-war movement, the NYC activist milieu, Up Against the Wall Motherfucker, the Watts Rebellion & black urban insurgents in LA, various Black Panther & Black Panther in Exile party members, and the eventual militant SDS splinter group known as the Weather Underground... Zeroing in on all of said groups' targeting by American intel, COINTELPRO FBI informants, Johnny Acid-seeds, & MHChaos Agents... Not to mention the Grateful Dead's sound warlock & psych alchemist Owsley, who was perhaps responsible for more lasting brain damage among the '60s counterculture than any other singular person. He's closely tailed in the record books by Sasha Shulgin, that is, the Father of MDMA & a fellow synthetic drugs proselytizer, whose relationship w/ Owsley we'll peel back in some detail. (Full notes & index on Patreon). This first, "MHCHAOS Agents..." heroic dose and the following are built upon a lattice of excerpts from: John Potash - Drugs As Weapons Against Us David McGowan - Weird Scenes Inside the Canyon Martin A. Lee & Bruce Shlain - Acid Dreams Mark Rudd - Underground: My Life with SDS & Weatherman Tom O'Neill - CHAOS: Charles Manson, the CIA, & the Secret History of the ‘60s Peter Richardson - No Simple Highway: A Cultural History of the Grateful Dead Ron Hahne, Ben Morea - Black Mask & Up Against the Wall Motherfucker and more, including a proverbial bibliotheca of pharmacological research papers, Rolling Stone profiles, STP Family forum postings, New Yorker articles, and a shit ton besides. (Full notes, index, & reading list on Patreon) Tracks & Clips: | The Monks - "Monks Chant" | | The Youngbloods - "Get Together" | | Audio from Merry Prankster Further Bus Tour | | Jerry Garcia Interview ('80s) | | Owsley talks about the Watts Acid Test & Synesthesia | | Malcolm X on the Harlem "Riots" & Police Brutality | | Watts Rebellion Newscast - Today in History | | Watts Rebellion, "Los Angeles After the Rioting" | | Columbia Revolt - Reel America | | Bernadine Dohrn on the Fred Hampton Assassination | | Richard Peel and the Lower East Side - "Up Against the Wall | | "Crisis in the Crowd" documentary program on the Haigh-Ashbury Free Clinic | | 1968 HAFMC news program including interview w/ Dr. David Smith | | Altamont Free Concert - Death of Meredith Hunter scenes from "Gimme Shelter" | | The Flying Burrito Bros. - "Six Days on the Road" (Live at Altamont) | | "Anti-war Demonstrators Storm Pentagon" Broadcast | | Los Barbudos - "The Bearded Men" (Cuban Communist Banger) |

In which we embark on the longest, strangest trip (episode) in PPM's nascent history thus far. Sub to the PPM Patreon to access all FIVE WHOPPING HOURS of this first installment in the companion miniseries to the Potash interview & the thorough index: patreon.com/ParaPowerMapping Inside, you'll find a mammoth primary & secondary source assemblage which begins our construction of a deep history of the Columbia Uprising in '68, Students for a Democratic Society, the anti-war movement, the NYC activist milieu, Up Against the Wall Motherfucker, the Watts Rebellion & black urban insurgents in LA, various Black Panther & Black Panther in Exile party members, and the eventual militant SDS splinter group known as the Weather Underground... Zeroing in on all of said groups' targeting by American intel, COINTELPRO FBI informants, Johnny Acid-seeds, & MHChaos Agents... Not to mention the Grateful Dead's sound warlock & psych alchemist Owsley, who was perhaps responsible for more lasting brain damage among the '60s counterculture than any other singular person. He's closely tailed in the record books by Sasha Shulgin, that is, the Father of MDMA & a fellow synthetic drugs proselytizer, whose relationship w/ Owsley we'll peel back in some detail. (Full notes & index on Patreon). This first, "MHCHAOS Agents..." heroic dose and the following are built upon a lattice of excerpts from: John Potash - Drugs As Weapons Against Us David McGowan - Weird Scenes Inside the Canyon Martin A. Lee & Bruce Shlain - Acid Dreams Mark Rudd - Underground: My Life with SDS & Weatherman Tom O'Neill - CHAOS: Charles Manson, the CIA, & the Secret History of the ‘60s Peter Richardson - No Simple Highway: A Cultural History of the Grateful Dead Ron Hahne, Ben Morea - Black Mask & Up Against the Wall Motherfucker and more, including a proverbial bibliotheca of pharmacological research papers, Rolling Stone profiles, STP Family forum postings, New Yorker articles, and a shit ton besides. Tracks & Clips: | The Monks - "Monks Chant" | | The Youngbloods - "Get Together" | | Audio from Merry Prankster Further Bus Tour | | Jerry Garcia Interview ('80s) | | Owsley talks about the Watts Acid Test & Synesthesia | | Malcolm X on the Harlem "Riots" & Police Brutality | | Watts Rebellion Newscast - Today in History | | Watts Rebellion, "Los Angeles After the Rioting" | | Columbia Revolt - Reel America | | Bernadine Dohrn on the Fred Hampton Assassination | | Richard Peel and the Lower East Side - "Up Against the Wall | | "Crisis in the Crowd" documentary program on the Haigh-Ashbury Free Clinic | | 1968 HAFMC news program including interview w/ Dr. David Smith | | Altamont Free Concert - Death of Meredith Hunter scenes from "Gimme Shelter" | | The Flying Burrito Bros. - "Six Days on the Road" (Live at Altamont) | | "Anti-war Demonstrators Storm Pentagon" Broadcast | | Los Barbudos - "The Bearded Men" (Cuban Communist Banger) |

The Wiz RECOMMENDS Gimme Shelter Often called one of the best concert films of all-time, The Maysles' and Catherine Zwerin's account of The Rolling Stones' infamous 1969 U.S. Tour is a bit more than just a concert film. The film is more about The Rolling Stones and the setup of the Altamont Speedway Free Concert which ultimately led to tragedy. The film highlights a few things that are interesting: - The daunting task that The Rolling Stones' handlers and attorneys had to deal with when getting clearance for the concert and what the Stones were doing at the time of all of this happening. - The Rolling Stones after the ill-fated concert and their reactions to the film we are watching. And that framing device of The Rolling Stones watching the film is important: it shows, without telling, the effect it had on the band members, especially Mick Jagger. It's easy to see why this film is considered important and one of the best documentaries: it's a concert film, true crime and a business story all rolled into one. But if you aren't a Rolling Stones fan...or generally hate their music...it might not be worth the watch for you.

Send us a Text Message.It's not unusual for bands to change their sound or style as they move through their career.  We take a look at bands that changed their sound, or started a completely new sound for a whole lot of reasons - from The Beatles, Bowie and Dylan and Black Sabbath through to Japan, The Cure and Split Enz.   Our album you must hear before you die is Let it Bleed by The Rolling Stones. From the cover art to the great music it contains, this album from The Stones' golden period leading into the 70's - Sticky Fingers & Exile on Main Street - is a corker! In Rock News, Jeff updates us on The Sex POistols, Ritchie Blackmore and Cyndiu Lauper, while our Ozzy Osbourne report has Sharon telling us that “If a bomb dropped there would be cockroaches, Keith Richards and Ozzy!”  Enjoy.  References: The Sex Pistols, Ritchie Blackmore, Deep Purple, Blackmore's Night, Candice Night, Cyndi Lauper, The Police, Spotify, Spotify CEO Daniel Ek, John Lennon's guitar, Ozzy Osbourne, Keith Richards, The Rolling Stones, Let it Bleed, Jimmy Miller, Brian Jones, Mick Taylor, “Gimme Shelter”, “Midnight Rambler”, “Love in Vain”, “You can't always get what you want”, “Honky Tonk Woman”, Beggars Banquet, The Beatles, The Quarrymen, Lonnie Donegan, Revolver, Sgt Peppers, Paul MacCartney, Lucy in the Sky with Diamonds, The Bee Gees, “New York Mining Disaster”, “Stayin' Alive”, David Bowie, “Love you ‘til Tuesday", “The Laughing Gnome”, art-rock, glam, Bob Dylan, T-Rex, Tyrannosaurus Rex, Japan, Jimi Hendrix, Chitlin' Circuit, Split Enz, Neil Finn, Tim Finn, The Cure, Billy Joel, Black Sabbath, “Black Sabbath”, The Animals, “The House of the Rising Sun”, Isaac Hayes, “Theme from Shaft”, Pixies, “Monkey Gone to Heaven”, Kurt Cobain, Nirvana, Soundgarden, BushPlaylist John Lennon on Dick Cavett Show Hendrix Live on TV   

Exodus 9:1-35Pastor Matt Moran 

 In this episode,  I am joined by Primal Moon guitarist and Rolling Stones aficionado Brian Alberts as we recap the recent Rolling Stones concerts at Soldier Field in Chicago.

Fabrizio Gavosto"Festival Mirabilia"www.festivalmirabilia.itAlba: 26-28 luglioPiozzo: 30-31luglioSavigliano: 3-4 agostoVernante: 8-11 agostoBusca: 22-25 agostoCuneo: 28 agosto - 1° settembre“Oh, una tempesta sta minacciandoproprio la mia vita oggiSe non trovo riparoOh yeah, scomparirò“GIMME SHELTER (ROLLING STONES, 1969)GIMME SHELTERXVIIIma edizione di Mirabilia International Circus & Performing Arts FestivalIdeato e organizzato dall'Associazione IdeAgorà con la direzione artistica di Fabrizio Gavosto. Un'edizione che titola come l'ottavo album inglese dei Rolling Stones, pubblicato il 29 novembre del 1969: Gimme shelter.Mirabilia inizia il 26 luglio le sue date “On the Road” con l'appuntamento di Alba, e poi Savigliano, Vernante e Busca per terminare nella città di Cuneo che accoglierà Mirabilia The Festival dal 28 agosto all'1 settembre con un cartellone di grande rilevo internazionale.Nel 2024 Mirabilia compie diciotto anni…e si sa: i 18 si festeggiano! Un cartellone di grandi Compagnie nazionali e internazionali, grandi spettacoli, e una programmazione di articolati percorsi di scoperta delle aree più innovative delle performing arts.La XVIIIma edizione del Festival invaderà dunque la meravigliosa città di Cuneo dal 28 agosto all' 1 settembre 2024 “occupando” come sempre molteplici spazi (non solo nel centro storico): cortili, vie, piazze, tendoni, site specific, giardini, sale,…) e sarà preceduta, come già nelle passate edizioni, da Mirabilia “On the road”: prima tappa nella “capitale delle Langhe”, Alba, dal 26 al 28 luglio nel suggestivo Cortile della Maddalena; si prosegue al “Baladin Open Garden” di Piozzo dal 30 luglio al 2 agosto; quindi a  Savigliano il 3 e 4 agosto negli affascinanti spazi del Museo Ferroviario Piemontese; a Vernante, con un'intensa programmazione che coinvolge per tre giorni, dal 9 all'11 agosto, lo splendido comune montano; infine Mirabilia On the Road arriva nell' incantevole centro storico di Busca, dal 22 al 25 agosto.Numerose le eccellenze artistiche programmate per la XVIIIma edizione del Festival, ecco alcune primissime anticipazioni: dalla Spagna la storica Compagnia Los Galindos con l'imperdibile pluripremiato spettacolo MDR_Muerto De Risa; dalla Svizzera, Mirabilia in partnership con il Festival OrienteOccidente di Rovereto, porta in prima nazionalei Panorama Kino, spettacolo innovativo, partecipativo e site specific. Torna la meravigliosa Compagnia italiana Teatro dei Venti presentando il suo nuovo grande spettacolo itinerante Don Chisciotte; in collaborazione con la Fondazione Piemonte dal Vivo al Festival 2024 il Teatro La Ribalta diretto da Antonio Viganò; i partecipanti-spettatori di La Scelta, dell'artista, autore e regista catalano Roger Bernat/FFF, saranno la direzione partecipata che sceglierà uno spettacolo per Mirabilia 2025! A oggi sono già otto i festival in Europa che hanno determinato un titolo di spettacolo per la loro futura edizione grazie alle scelte compiute dai propri spettatori durante questo spettacolo. Torna inoltre per 1 mese di tournée “On the Road” lo stra acclamato e pluripremiato dolcissimo e struggente Zloty di Pau Palaus Come sempre il Festival affiancherà proposte gratuite per il pubblico a spettacoli a biglietto.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

"Celebrating July 4th with Grateful Dead Memories and Rolling Stones Reverence"Larry Mishkin highlights a memorable Grateful Dead concert from July 1984 at Pine Knob Music Theater in Clarkston, Michigan, which holds special significance for Larry and his friends who attended the University of Michigan. He reflects on how attending this concert was a fitting farewell for his crew as they wrapped up their college years.The show begins with the Grateful Dead's lively rendition of "Iko Iko," a song with a rich history and a favorite of Larry's. He shares his experiences of following the Dead's tour in 1984, which included several memorable concerts. He discusses the band's performance of "Little Red Rooster," a blues classic by Willie Dixon, and how it sometimes felt like a letdown after high-energy openers but ultimately captivated the audience with its jam session.Larry then shifts to music news, discussing the origins of the song "Cover of the Rolling Stone" by Dr. Hook and the Medicine Show, written by Shel Silverstein. He highlights Silverstein's diverse contributions to music and literature, including his work with Johnny Cash and Dr. Hook.The episode transitions to Larry's recent experience at a Rolling Stones concert at Soldier Field in Chicago. He recounts the thrill of seeing the Stones live, especially with Mick Jagger's energetic performance and the band's enduring musical prowess. The setlist included classics like "Start Me Up," "Wild Horses," "Sympathy for the Devil," "Gimme Shelter," and "Jumpin' Jack Flash." Larry praises the band's longevity and urges listeners to seize any opportunity to see the Rolling Stones live.  In more music news, Larry introduces Daniel Donato, a rising star in the Cosmic Country genre, who recently performed at the Chop Shop in Chicago. He expresses his admiration for Donato's music, hinting at a promising future for the young artist. July 1, 1984Pine Knob Music TheaterClarkston, MI (Detroit)Grateful Dead Live at Pine Knob Music Theatre on 1984-07-01 : Free Download, Borrow, and Streaming : Internet Archive The last night in Ann Arbor, what better way to say goodbye after 4 amazing years than go to a “hometown” Dead show.  Our whole crew was there, Harold's birthday, great seats in the pavilion and a memorable show.  Always memorable when they start out like this:  INTRO:                                 Iko Iko                                                Track #1                                                0:10 – 1:36  SHOW No. 1:                    Little Red Rooster                                                Track #2                                                5:00 – 6:48 MUSIC NEWS: Stones reviewDaniel Donato reviewNeil Young cancels remainder of summer tour dates due to illnessWillie Nelson sitting out Outlaw Music Festivals – our rock idols are getting old (see Stones!) SHOW No. 2:                    Might As Well                                                Track # 8                                                1:07 – 2:45 SHOW No. 3:                    I Need A Miracle                                                Track # 16                                                1:47 – 3:17MJ NEWS: IRS Advises Marijuana Businesses That They Still Can't Take Federal Tax Deductions Due To 280E Until Rescheduling Is Finalized2.      Maryland Governor Launches Marijuana Workforce Development Program Focused On People Criminalized Over Cannabis3.    Marijuana Rescheduling Won't Affect Drug Testing For Truckers, Transportation Secretary Buttigieg Say4.    House committee votes to include intoxicating hemp ban in draft Farm Bill SHOW No. 4:                    Bertha                                                Track # 17                                                3:24 – 5:00OUTRO:                               It's All Over Now Baby Blue                                                Track #19                                                5:10 – 6:33 .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

The Idiots host Melinda, the Rescue Idiot, who schools the boys on shelter life, rescues, and dives into how these worlds collide. Hear stories from the inside, a dabble into the shady side of shelters, and learn that kill shelters aren't necessarily bad, nor are non-kill shelters inherently good. Editor's note, this episode sucked because Dr. Kent had a pen for the entire show and clicked it nearly 18,000 times in an hour and a half. He is no longer allowed to have a pen.

From Shakedown Street to Hackney Diamonds: Music Memories and NewsLarry Michigan reminisces about a Grateful Dead concert he attended on June 24, 1983, at the Dane County Coliseum in Madison, Wisconsin.  Larry describes the memorable experience of seeing the Grateful Dead open with "Shakedown Street" for the first time. He recounts his journey to the concert with friends, highlighting the traffic challenges and the camaraderie of the trip. The concert, his fifth Grateful Dead show, featured a mix of classic songs like "Candyman," "Brown Eyed Women," "Mama Tried," "Mexicali Blues," and a powerful rendition of "Deal."He discusses the significance of the venue and the special atmosphere of the show, emphasizing how it was a formative experience in his journey as a Deadhead. Larry also touches on the setlist, praising the band's performance and the vibrant energy of the concert.Transitioning to music news, Larry talks about the enduring legacy of the Rolling Stones. He mentions their recent album, "Hackney Diamonds," and shares highlights from their concert in Denver. The setlist included iconic songs such as "Start Me Up," "Gimme Shelter," and "Sympathy for the Devil." Larry admires the band's ability to continue performing at a high level and appreciates their collaboration with other music legends like Paul McCartney and Stevie Wonder.Larry also announces upcoming events, including Bob Weir's collaboration with String Cheese Incident at the Suwannee Hulaween festival and the new Jerry Garcia Band live album release, "Garcia Live Volume 21."  Grateful DeadJune 24, 1983Dane County ColiseumMadison, WIGrateful Dead Live at Dane County Coliseum on 1983-06-24 : Free Download, Borrow, and Streaming : Internet Archive My first time “on tour”.  Went with my good buddy H to this show, then on to St. Paul and then to Chicago for the final two shows of the tour at Poplar Creek Theater (RIP).  We were joined by a strong Ann Arbor based collection of friends and fellow Deadheads including Big Steve, not that Big Steve, our Big Steve from Ann Arbor by way of Hyde Park in Chicago and now a Boston guy, Andy Gaudin of blessed memory, Tommy Marks (younger brother of the Weasel) and many other “locals” we knew in each city. This show was a Friday night and many of us were driving to Madison from the Chicago area which meant battling heavy traffic getting out of Chicago, battling heavy traffic driving up  to Wisconsin with everyone else from Chicago headed to Wisconsin summer homes for the weekend, battling traffic driving through Milwaukee and making our way through Madison upon arrival without knowing exactly where we were going.  And by the way, no Waze to fall back on and no cell phone to call for directions.  Luckily, we were riding with Big Steve, perhaps one of the finest long distance drivers I have ever known.  When we hit Madison, we had to find our buddy Dr. Z (back then just known as Z because the doctorate thing happened latter ).  We arrive at his place to learn that he was in a bike accident, is all banged up, needed some quick med treatment and a bite to eat and then back to his place for whatever reason I do not remember.  The clock is ticking closer and closer to showtime and Z is assuring us we have nothing but time. This was to be my fifth show ever and I still was kind of just along for the ride with the more experienced veterans.  H was like me, new to the game but always looking for a chance to go on a party themed roadtrip.  But even I was starting to get nervous.  After what seemed line forever, we made our way to the show, dropped, there was no line to get in, showed our tickets and walked in to a half empty arena with the floor not even half filled.  And just as we walked in, the lights go out, the Dead the stage and this happened: INTRO:                                 Shakedown Street                                                Track #1                                                0:00 – 1:36  SHOW No. 1:                    Deal                                                Track #10                                                7:30 – 9:05  SHOW No. 2:                    Help On The Way                                                Track #12                                                0:00 – 1:41  SHOW No. 3:                    Lost Sailor  > St. of Circumstance                                                Track #15  7:15 – end  INTO                                                Track #16   0:00 – 0:57  SHOW No. 4:                    Truckin                                                Track #18                                                6:40 – 8:20  OUTRO:                               Morning Dew                                                Track #19                                                10:58 – 13:33 (I know, it's a very long clip, but it is an amazing Garcia solo supported by Brent.  Can't cut it!)  The Around and Around > Johnny B. Goode >Don't Ease Me In that followed was almost perfunctory.  The Dew and that jam was a true closer.  Stumbled out, bounced around town, wound up at a different buddy's house, played soccer out on the street until 3 or 4 a.m., tried to sleep (not happening), Z rousted us out of bed the next morning for breakfast at the legendary Cleveland Diner and then back in the car for the drive to the Twin Cities and a show that night (good friend Andy Greenberg's first show), followed by a day off to drive back to Chicago, pop up birthday Sunday night for H at his parents' house, and then have the two night run at Poplar Creek.  Four great shows in five nights.  Too much fun.  .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Podcast Music Intro and Vocals by: Gail NoblesPhoto: Angela GeorgeUsage: CC BY-SA 3.0Mary Clayton is a soul and Gospel singer she worked with many major recording artist for decades including a duet with Mick Jagger on the Rolling Stones song "Gimme Shelter". Clayton is prominently featured in 20 Feet from Stardom, the Oscar-winning documentary about background singers and their contributions to the music industry.Clayton was born in Gert Town, New Orleans, Louisiana. She was born on Christmas Day, and was given the name "Merry" because of the December 25th birthdate. Clayton's voice as a backing singer can be heard on songs by Pearl Bailey, Tom Jones, Linda Ronstadt, and Carole King just to name a few. Clayton is often credited as having recorded with Elvis Presley.Clayton began her recording career in 1962, at the age of 14.  She made studio albums in the 70s Give Me Shelter 1970, 1971 Mary Clayton, 1975 Keep Your Eye On The Sparrow, 1979 Emotion, 1994 Miracles, and in 2021 Beautiful Scars. Beautiful Scars is a beautiful album.On June 16, 2014, Clayton was critically injured and almost died after being involved in a car crash in Los Angeles, California. She had to loose both her legs at the knees. When I hear her singing on her album, I can understand her soulful voice and words to her songs. My favorite gospel single on the gospel album is Beautiful Scars is Touch the Hymn of his Garment. Like Sam Cooke, she can really sing that song. I'm sure she can relate to the woman in the Bible days because a miracle happened for Mary Clayton. God kept her and f God is good. His mercy is as wide as the sea and his love is deeper than the ocean. You're listening to a show about the gospel greats. I'm your host, Gail Nobles. Today's topic: Merry Clayton.

Biden's asylum order, intentional community, and the criminalization of clergy sexual misconduct This week on The Bulletin, producer and moderator Clarissa Moll welcomes Ashley Hales and Ekemeni Uwan for a conversation about President Biden's new asylum order, our fascination with intentional community, and the criminalization of clergy sexual misconduct. Special guests Bri Stensrud, John Shelton, and Boz Tchividjian join the discussion for an episode that will inform and encourage you toward kingdom thought and action. Today's Guests: With her husband, Ashley Hales is the co-founder of The Willowbrae Institute, a new think tank researching the intersection of Christianity and the common good in America. Ashley hosts the The Cartographers Podcast and is the author of Finding Holy in the Suburbs, A Spacious Life, and the forthcoming Bible study on the Sermon on the Mount, A Fruitful Life. She produces The Russell Moore Show for CT Media. Ekemini Uwan is a public theologian, international human rights activist, and co-author of Truth's Table: Black Women's Musings on Life, Love, and Liberation. She co-hosts the award-winning podcast Truth's Table and Get In The Word With Truth's Table. Uwan is a 2024 fellow at The Aspen Institute where she serves as the Special Advisor for The Aspen Institute's Racial Justice and Religion Collective. Her writings have been published in The Atlantic, The Washington Post, The Huffington Post Black Voices, and Hallmark Mahogany. As one who is passionate about theology, Ekemini has a fierce commitment to the gospel and its implications for issues pertaining to reparations, racial injustice, anti-black racism, and white supremacy. John Shelton is the policy director for Advancing American Freedom. He received degrees from Duke Divinity School and the University of Virginia. Bri Stensrud is an author, human dignity advocate, and the Director of Women of Welcome. Her passion is to equip the Church to engage more consistently and tangibly in holistic human dignity issues. Bri holds a Masters of Biblical & Theological Studies from Dallas Theological Seminary and has authored two books: Start with Welcome: The Journey toward a Confident and Compassionate Immigration Conversation, and a children's book: The Biggest Best Light: Shining God's Light into the World Around You. Boz Tchividjian, Esq. is an experienced litigator who has dedicated his career to empowering survivors of sexual abuse, sexual assault, and sexual harassment to step forward and seek justice against perpetrators and the institutions legally responsible for their trauma. Prior to becoming a civil litigator, Boz served as an Assistant State Attorney in the 7th Judicial Circuit of Florida, where he created the first Sex Crimes Division at the Office of the State Attorney and served as Division Chief. Boz is also the Founder and former Executive Director of GRACE (Godly Response to Abuse in the Christian Environment), an internationally recognized non-profit organization that equips faith-based organizations with the tools they need to correctly respond to allegations of sexual abuse and educates them on how to create safeguards to protect children and other vulnerable people within their communities. Boz is the co-author of The Child Safeguarding Policy Guide, a handbook for faith-based non-profit organizations looking to improve their child safeguarding policies.  “The Bulletin” is a production of Christianity Today Producer: Clarissa Moll Associate Producer: Leslie Thompson Editing and Mix: TJ Hester Music: Dan Phelps Executive Producers: Erik Petrik and Mike Cosper Senior Producer: Matt Stevens Learn more about your ad choices. Visit podcastchoices.com/adchoices

To hear the rest of this episode, and the whole new series, sign up at:www.patreon.com/brianandrogerWritten and performed by Dan Skinner and Harry Peacock.Produced by Joel Morris. Part of the Cheese and Pickle family of podcasts. Hosted on Acast. See acast.com/privacy for more information.

I vårt dyraste avsnitt hittills (Fredrik har inte sparat på STIM-pengarna den här gången) går vi igenom Vietnamkrigets kulturella minne. Eller ja, vi hade så mycket att säga om amerikanerna att vi helt glömde bort vietnameserna; vilket visade sig extremt passande.Mattis inleder med att piska upp sig själv till vansinne genom att beskriva krigets politisk-sociala arv med en riktigt bred pensel. Via ren rage avfärdar han löpande den moderna högern, den moderna vänstern, Ronald Reagan, amerikansk minneskultur och typ det moderna USA. Per håller sig något lugnare och går igenom Vietnamkriget på vita duken; vilket bl.a. leder till konstaterandet att lyckliga slut är ett måste och att Apocalypse Now egentligen är en fantasyfilm.Dessutom: extrema orättvisor, Fortunate Son, krigets egentliga offer, Gimme Shelter, halsbrytande generaliseringar, War, nedgörande av Elvis Presley, Paint it Black, edgy filmer som inte är så edgy, White Rabbit och mycket mer! Stötta oss på Patreon!Support till showen http://supporter.acast.com/krigshistoriepodden. Hosted on Acast. See acast.com/privacy for more information.

Alternate and/or historical settings for Changeling is always something that piques our interest. So we were keen to read the Gimme Shelter Player's Guide supplement (released April 2) that presents the fae of Swinging Sixties London. We're joined this week by the book's author, Bram Clark, who talks with us about his take on this slice of pre-Resurgence life. Clocking in at over 300 pages, the Guide is one of the longest homebrews on the entire Storytellers' Vault. Our conversation goes through the development, art, design... Bram's associated Player's Kit presaged something intriguing, but this was beyond what we expected. Hopefully this episode will give you some ideas about how to use it at your table! Many a link below! The book itself: https://www.storytellersvault.com/product/476344?affiliate_id=3063731 The pay-what-you-want Player's Kit to give you a taste: https://www.storytellersvault.com/product/408608?affiliate_id=3063731 Bram's website, Esoteric Orders: https://www.esotericorders.com/ Bram's Instagram, showcasing some of the art and inspiration in the book: https://www.instagram.com/bramclark/ We make reference to the generous character sheet work of Chris "MrGone" Leland, whom you can support by buying through the STV: https://www.storytellersvault.com/browse.php?author=Chris%20%22MrGone%22%20Leland And the links for our own stuff: Discord: https://discord.me/ctp Email: podcast@changelingthepodcast.com Facebook: https://www.facebook.com/profile.php?id=100082973960699 Mastodon: https://dice.camp/@ChangelingPod Patreon: https://www.patreon.com/changelingthepodcast YouTube: https://www.youtube.com/@ChangelingThePodcast your hosts Josh Hillerup (any pronoun) asks that you not bend, spike, fold or mutilate. Pooka G (any pronoun/they) zhooshes their riah before a bona cackle with the omi-palones, and nanti scharda. If someone thinks that love and peace is a cliché that must have been left behind in the Sixties, that's his problem. Love and peace are eternal. —John Lennon

Exodus 9:13-35; Charles Johnson, Senior Pastor at RMC; the 13th sermon in the series on Exodus, "Divine Rescue."

In the series conclusion, John, Alex, and Allen reveal how God alone is our refuge. We're meant to live within the safety of God, drawing our nourishment from our union with him. Not only believing in God, but living within him. Yet the world constantly pulls us out of this habitat while conditioning us to stay lost. So how do we find our way home? The life of the ordinary mystic will help us get back.Show Notes: In this podcast, John references the books Every Moment Holy (Douglas Kaine McKelvey) and Waiting on God (Andrew Murray) as well as author Evelyn Underhill._______________________________________________Got a podcast question? Let us know at Questions@WildatHeart.orgThere is more.Support the mission or find more on our website: WildAtHeart.org  or on our app.Apple: Wild At Heart AppAndroid: Wild At Heart AppEpisode Number 770Watch on YouTubeMore pauses available in the One Minute Pause app for Apple iOS and Android.Apple: One Minute Pause AppAndroid: One Minute Pause App

For the inaugural episode of Windy City Ballyhoo, pop culture writers Rachel McPadden and Heather Drain come on the podcast to talk about the rockin' Roling Stones double of Gimme Shelter (1970) and Sympathy For the Devil (1968), which played at the Wilmette Theatre on September 15, 1972.This episode includes copious amounts of Charlie Watts love, roaming hippie hoards, Marty Balin's risque “Hearts” video, minor Jean-Luc Godard bashing, Rock 'n' Roll McDonald's, respect for Stacy Keach, and more Chicago history than you'll know what to do with.

Mark sits down with artist and mortgage professional TJ Curran, who shares about his creative pursuits, navigating the politics of the real estate industry, and the importance of 'picking your village' on your rise to success! Check out TJ's radio show, Gimme Shelter! Get in touch with TJ at 401-773-9943 or tjcurran@homeloanbank.com Affiliate Links: Unleashing the Power of Respect: The I-M Approach by Joseph Shrand, MD This episode is brought to you in part by SecuriTitle, a fractional paralegal service assisting with all things real estate in Massachusetts and New Hampshire.

The awards season is almost over - we've got a few days until the Academy Awards, and another day or so after until the nominations for the real awards, the Deucies   Until then, it's time to talk about the films that have been viewed, seen, watched, absorbed and enjoyed in the last month or so... and on the heels of the biggest movies the year -- Dune 2 -- its time to talk about it!  First up, a few birthday movies - what did come out in March in 2019, 2014, 1994, 1979 and so on... including the first mention of "Wing Commander" in what is likely a very long time. Then, we dive right in, showcasing classic movies like "Safety Last" and "Gimme Shelter" and Oscar bait, like "Maestro" and "Strays" and fresh on the screen, like "Spaceman" and yes, the full review of the crapfests known as "Argylle" and "Madame Web". Plus, Rachel McAdams in a period piece... Dr Earl enjoying the Barb... why Michael hates "May December" so much... and could Carey Mulligan make every single thing she's in just that much better? And finally, the long lost return of Assigned Films, introducing the "Time Bandits" rule. Movies assigned: Dave: Minari and Legal Eagles Mikey: Mr. Jealousy and Name of the Rose Earl: While We're Young and Pineapple Express Movies discussed and where to find them at time of recording     Leo (Netflix) May December (Netflix) American Fiction (in theaters) Argylle (in theaters) Society of the Snow (Netflix) Are You There God Its Me Margaret (Starz) Madame Web (in theaters) The Zone of Interest (for purchase) You Hurt My Feelings (Showtime; Paramount+ ) Lover Stalker Killer (Netflix) The Marvels (Disney+) Shortcomings (Netflix) The Machine (Netflix) Chowchilla (MAX) Barbie (MAX) Freelance (Hulu) Strays (Amazon Prime) Timebomb Y2K (MAX) They Called Him Mostly Harmless (MAX) Bottoms (Amazon Prime; MGM+) Safety Last (MAX) The Greatest Night in Pop (Netflix) Dune 2 (in theater) Cat Person (Hulu) Gimme Shelter (MAX) Spaceman (Netflix) Maestro (Netflix)

We're back! And more regularly scheduled than ever! But we've gotta get out of here in 15 minutes to go eat a bunch of cheese so let's MOVE THIS ALONG. This episode features... Brando Break (or Barbra Break?) - Another excerpt from My Name is Barbra featuring our favorite Method actor What We're Watching - Sundance 2024 selections, for the most part. Also bonus discussion of All of Us Strangers and Gimme Shelter. Hosted by your own personal cinematic Taylor Swift & Donald Trump! Heard of 'em? Music by Splash '96 Recorded & Edited by Boutwell Studios

Al and Val make their triumphant return and are joined by special guest Phylicia McLeod to break down High School Musical 2! This one's going to be good! You can Bet On It!High School Musical 2 (August 17, 2007)IMDB WikipediaDirected by Kenny Ortega (started as a music video director, Newsies, Hocus Pocus, Cheetah Girls 2, HSM 2&3, Descendants 1-3)Written by Peter Barsocchini (HSM 1-3, HSMTMTS)Starring: Zac Efron as Troy Bolton (HSM 1-3, 17 Again, New Years Eve, The Lucky One, Neighbors, Baywatch, The Greatest Showman, Down to Earth with Zac Efron)Vanessa Hudgens as Gabriella Montez (HSM 1-3, music videos, Sucker Punch, Spring Breakers, Gimme Shelter, Powerless, The Princess Switch 1-3, The Knight Before Christmas, Tick Tick Boom)Ashley Tisdale as Sharpay Evans (HSM 1-3, Suite Life, music videos, Phineas & Ferb, Skylanders Academy, Carol's Second Act)Lucas Grabeel as Ryan Evans (Halloweentown High, Return to Halloweentown, HSM 1-3, music videos, Milk, Switched at Birth, voice acting ie Family Guy, HSMTMTS)Corbin Bleu as Chad Danforth (HSM 1-3, Jump In, music videos, Flight 29 Down, One Life to Live, HSMTMTS)Monique Coleman as Taylor McKessie (HSM 1-3, horror stuff, HSMTMTS)Bart Johnson as Jack Bolton (HSM 1-3, Hyperion Bay, character actor, HSMTMTS)Olesya Rulin as Kelsi Nielsen (Hounded, Poof Point, Halloweentown High, HSM 1-3, Greek, NCIS LA) Alyson Reed as Ms. Darbus (A Chorus Line, Ghostwriter, character actor, HSM 1-3, Ad Astra, HSMTMTS)Chris Warren Jr. as Zeke Baylor (Love & Basketball, Men of Honor, The Bold & The Beautiful, HSM 1-3, Sistas)Mark L. Taylor as Thomas Fulton (The Other Me, character/voice actor, Honey I Shrunk the Kids, Homeward Bound, The Mask cartoon, Melrose Place, Saving Grace)Jessica Tuck as Darby Evans (HSM 3, Judging Amy, Days of Our Lives, One Life to Live, True Blood, General Hospital, For All Mankind)Robert Curtis Brown as Vance Evans (Zenon: The Zequel, HSM 3, Search for Tomorrow, Trading Places, Handmaids Tale, CSI: Vegas, Station 19) Ryne Sanborn as Jason Cross (HSM 1-3)Kaycee Stroh as Martha Cox (HSM 1-3)Synopsis: It's summer break and the kids of East High are out for some fun in the sun. Unfortunately, they are all broke and must get jobs in order to be able to afford to enjoy themselves. Troy thinks his problem is solved when he gets a job at Sharpay's family resort, but doesn't realise she has an ulterior motive for hiring him. Luckily, some of his fellow Wildcats have jobs there too.Fun Facts: Miley Cyrus makes a cameoThe premiere drew 17.6 million viewers, making it not only the most-watched Disney Channel Original Movie in history, but the most-watched in cable history, even more than NFL Monday Night FootballFilmed again while classes were in sessionThis was the first Disney Channel Original Movie to be released on Blu-ray.Next Movie: Twitches 2 ★ Support this podcast on Patreon ★

This week, we talked to actor, director, writer, and musician John Cameron Mitchell (Hedwig & The Angry Inch, Shortbus, Anthem: Homunculus) about the classic Mayles Brothers film Gimme Shelter, documenting the Stones U.S. tour and the Altamont tragedy. We also discuss John's new upcoming series, ‘Cancelation Island,' the Stones being canceled themselves, the punk rock influence of Little Richard on the band, the backstory behind why the free concert really happened, Jagger & Bowie as the aristocrats of rock, the musical beauty and ramshackle imperfections within the Stones, the power of Tina Turner, rock n' roll skepticism, which rock stars were the pure avatars of id, the documentary influence & legacy of the Mayles Brothers (and how they got the trust of their subjects), The Stones impressive lineage with legendary film directors, several newer Altamont films that we dug up, John's live Cassette Roulette shows and the sonic influences throughout his life on his art, getting past our Mick Jagger hang-ups, dealing with stage crashers and a look at the end of the hippie era.So come on and bust a button on your trousers with this week's episode of Revolutions Per Movie!JOHN CAMERON MITCHELL:Instagram: @johncameronmitchellLOT 63, GRAVE C: short film about Meredith Hunterhttps://www.youtube.com/watch?v=ZxnVY37b0ME&ab_channel=rxtTHE ROLLING STONES, HELLS ANGELS AND ALTAMONT A NEW VIEW:https://blogs.loc.gov/loc/2022/01/the-rolling-stones-hells-angels-and-altamont-a-new-view/Revolutions Per Movie:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.New episodes of Revolutions Per Movies are released every Thursday, and if you like the show, please subscribe, rate, and review it on your favorite podcast app.The show is also a completely independent affair, so the best way to support the show is through our Patreon at patreon.com/revolutionspermovie, where you can get weekly bonus episodes and exclusive goods sent to you just for joining.patreon.com/revolutionspermovie@revolutionspermvoieX, BlueSky: @revpermovieTheme by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.comArtwork by Jeff T. Owenshttps://linktr.ee/mymetalhand Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

In this breathtaking cultural history filled with exclusive, never-before-revealed details, celebrated rock journalist Joel Selvin tells the definitive story of the Rolling Stones' infamous Altamont concert, the disastrous historic event that marked the end of the idealistic 1960s.In the annals of rock history, the Altamont Speedway Free Festival on December 6, 1969, has long been seen as the distorted twin of Woodstock—the day that shattered the Sixties' promise of peace and love when a concertgoer was killed by a member of the Hells Angels, the notorious biker club acting as security. While most people know of the events from the film Gimme Shelter, the whole story has remained buried in varied accounts, rumor, and myth—until now.Altamont explores rock's darkest day, a fiasco that began well before the climactic death of Meredith Hunter and continued beyond that infamous December night. Joel Selvin probes every aspect of the show—from the Stones' hastily planned tour preceding the concert to the bad acid that swept through the audience to other deaths that also occurred that evening—to capture the full scope of the tragedy and its aftermath. He also provides an in-depth look at the Grateful Dead's role in the events leading to Altamont, examining the band's behind-the-scenes presence in both arranging the show and hiring the Hells Angels as security.The product of twenty years of exhaustive research and dozens of interviews with many key players, including medical staff, Hells Angels members, the stage crew, and the musicians who were there, and featuring sixteen pages of color photos, Altamont is the ultimate account of the final event in rock's formative and most turbulent decade.

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

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

In 1995 they made a movie based on the novelty song Monster Mash starring Candace Cameron, Mink Stole, Jimmie Walker, Double Threat regular John Kassir (the voice of the Crypt Keeper), and Monster Mash songwriter Bobby "Boris" Pickett. It also included several original songs, loosely choreographed dance numbers, and topical jokes about Soon-Yi, Madonna, Dr. Kevorkian, and Hillary Clinton. Tom and Julie watch clips from Monster Mash: The Movie until they can't stand it anymore. Plus Body Count, Senator Al D'Amato, Telemarketers, Stop Making Sense, Gimme Shelter, David Byrne flipping pancakes, breakfast at Kelsey Grammer's house, where is Melmac, Julie's Carol Channing impression, and more! WATCH MONSTER MASH: THE MOVIE https://www.youtube.com/watch?v=-vY_qZdAqIM WHAT IS JOHN KASSIR'S FAVORITE KIND OF PIZZA: THE DOCUMENTARY Available on Patreon later this week https://www.patreon.com/DoubleThreatPod Available on YouTube next week https://www.youtube.com/@doublethreatpod SUPPORT DOUBLE THREAT ON PATREON Weekly Bonus Episodes, Monthly Livestreams, Video Episodes, and More! https://www.patreon.com/DoubleThreatPod WATCH VIDEO CLIPS OF DOUBLE THREAT https://www.youtube.com/@doublethreatpod JOIN THE DOUBLE THREAT FAN GROUPS *Discord https://discord.com/invite/PrcwsbuaJx *Reddit https://www.reddit.com/r/doublethreatfriends *Facebook https://www.facebook.com/groups/doublethreatfriends DOUBLE THREAT MERCH https://www.teepublic.com/stores/double-threat TOTALLY EFFED UP T-SHIRTS https://www.teepublic.com/user/dttfu SEND SUBMISSIONS TO DoubleThreatPod@gmail.com FOLLOW DOUBLE THREAT https://twitter.com/doublethreatpod https://www.instagram.com/doublethreatpod DOUBLE THREAT IS A FOREVER DOG PODCAST https://foreverdogpodcasts.com/podcasts/double-threat Theme song by Mike Krol Artwork by Michael Kupperman Learn more about your ad choices. Visit megaphone.fm/adchoices

The guys kick off the third hour with some of their favorite rock and roll songs. John shares a story about Gimme Shelter by the Rolling Stones. What is the worst thing the guys have ever eaten? Can any caller find John's lie of the day? Game of Games, Plus Supercross talk with the guys live at Yaamava! Learn more about your ad choices. Visit megaphone.fm/adchoices