Podcasts about Hopkin

The John A. Widtsoe Foundation recently introduced the Understanding Our Neighbors series to “foster respect and interfaith dialogue.” In this episode Professor Shon Hopkin, Department Chair of BYU Ancient Scripture, discusses the second book in this series Understanding Our Jewish Neighbors co-written with Rabbi Mark S. Diamond. The book presents guide to understanding the similarities and differences between The Church of Jesus Christ of Latter-day Saints and leading Jewish traditions. Professor Hopkin explains how listeners can take away a succinct understanding, reverence, and appreciation for both faiths, their traditions, and their members.      Publications:  Understanding Our Jewish Neighbors by Rabbi Mark S. Diamond & Professor Shon D. Hopkin, Cedar Fort, 2024 John A. Widtsoe Foundation website  “Teaching That Leads to Enduring Conversion,” Religious Educator, 25.3, 2024  “The Covenant among Covenants: The Abrahamic Covenant and Biblical Covenant Making,” Religious Educator, 23.2, 2022  “Supersessionism and Latter-day Saint Thought: An Appraisal,” Jared W. Ludlow, Andrew C. Reed, and Shon D. Hopkin, in Understanding Covenants and Communities: Jews and Latter-day Saints in Dialogue, Mark S. Diamond and Andrew C. Reed, ed., Religious Studies Center, 2020  Opening Isaiah: A Harmony, with Ann N. Madsen, Religious Studies Center, 2018  Abinadi: He Came Among Them in Disguise, Religious Studies Center, 2018    Click here to learn more about Shon Hopkin 

TOP 3: Nonprofit Working to Save Johns Hopkin's Childhood Home, Wendy's Introduces 3 New Breakfast Deals for Daylight Savings, and Rebecca Black Joins Katy Perry on Tour! full 235 Tue, 11 Mar 2025 13:54:21 +0000 PrW8C2FUkMCXzzKD1rkiobkR76BNz6bI music,society & culture,news Kramer & Jess On Demand Podcast music,society & culture,news TOP 3: Nonprofit Working to Save Johns Hopkin's Childhood Home, Wendy's Introduces 3 New Breakfast Deals for Daylight Savings, and Rebecca Black Joins Katy Perry on Tour! Highlights from the Kramer & Jess Show. 2024 © 2021 Audacy, Inc. Music Society & Culture

How to Hear God: Whispers - Sonia Hopkin - 09.03.25

Olympic gold medalist (and masters world record holder), Anna Hopkin, reflects on her career and, having recently retired, discusses what comes next. She talks about the intense focus she had training in the US that helped her become one of the best sprinters in the world. Helen Gorman hosts.

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Win the new Robyn Hitchcock memoir 1967-How I Got There and Why I Never Left  simply by signing up for the free monthly email BLAST!! The BLAST!! keeps you on top of the world of rock n roll books and documentaries and serves as an extra layer of coverage to the podcast. Shoot me an email at info@rocktalkstudio.com to enter!Nicky Hopkins: Session Man finally exposes who was behind some of the most iconic rock 'n' roll piano lines in Rolling Stones, The Kinks, The Beatles and The Who songs. Find out why Keith Richards needed Hopkin's help to complete classic Stones songs, and why a handful of other A list talent call him a genius. This Month's SHOUT OUT goes to - Long Live The ABB Newsletter!https://www.longlivetheabb.com/Allman Brothers fans you will not find better content about the ABB anywhere. The Long Live The ABB newsletter is jammed packed with the most comprehensive writing about the band. Support the showemail Big Rick at:info@rocktalkstudio.com

Mathias Svalina is the author of seven books. His most recent, America at Play (published by Trident Press), is a collection of absurdist instructions for children's games. His poetry collection Thank You Terror was published earlier this year, and his first short story collection, Comedy, is forthcoming soon. Svalina was a founding editor of Octopus Books. He's led writing workshops in universities, libraries, community spaces, and in prison. Since 2014, he has run a dream delivery service, traveling around the country to write and deliver dreams to subscribers. Through the Dream Delivery Service, Svalina has worked with the Denver Museum of Contemporary Art, the Poetry Foundation, the University of Arizona Poetry Center, and the Museum of Contemporary Art, Tucson. Gerard Manley Hopkins was born in the London suburb of Stratford Essex in 1844. He studied classics at Balliol College in Oxford and theology at St. Beuno's College in North Wales. He was ordained in 1877 as a Jesuit priest, and he served in London, Oxford, Liverpool, Glasgow, and Stonyhurst. He also taught classics at Stonyhurst College and Greek literature at University College, Dublin. During his lifetime, most of Hopkins' poems were read by only a few friends. In 1889, Hopkins died of typhoid fever, and he was buried in Dublin, Ireland. Hopkin's first collection, Poems of Gerard Manley Hopkins, was published in 1918. Links: Read "Terrible Baby" by Mathias Svalina at The TinyRead "That Nature is a Heraclitean Fire and of the comfort of the Resurrection" by Gerard Manley Hopkins at Poets.orgMathias SvalinaMathias Svalina's websiteBio and poem at Poets.org"Mathias Svalina-Dream Delivery Service" video at by JustBuffaloLit Mathias Svalina reads from "Thank You Terror" at the Silo City Reading SeriesGerard Manley HopkinsBio and poems at Poets.orgInternational Hopkins Society's website (poems, bio, study guides, video, etc).Photo Credit: Dean Davis

Mathias Svalina is the author of seven books. His most recent, America at Play (published by Trident Press), is a collection of absurdist instructions for children's games. His poetry collection Thank You Terror was published earlier this year, and his first short story collection, Comedy, is forthcoming soon. Svalina was a founding editor of Octopus Books. He's led writing workshops in universities, libraries, community spaces, and in prison. Since 2014, he has run a dream delivery service, traveling around the country to write and deliver dreams to subscribers. Through the Dream Delivery Service, Svalina has worked with the Denver Museum of Contemporary Art, the Poetry Foundation, the University of Arizona Poetry Center, and the Museum of Contemporary Art, Tucson. Gerard Manley Hopkins was born in the London suburb of Stratford Essex in 1844. He studied classics at Balliol College in Oxford and theology at St. Beuno's College in North Wales. He was ordained in 1877 as a Jesuit priest, and he served in London, Oxford, Liverpool, Glasgow, and Stonyhurst. He also taught classics at Stonyhurst College and Greek literature at University College, Dublin. During his lifetime, most of Hopkins' poems were read by only a few friends. In 1889, Hopkins died of typhoid fever, and he was buried in Dublin, Ireland. Hopkin's first collection, Poems of Gerard Manley Hopkins, was published in 1918. Links: Read "Terrible Baby" by Mathias Svalina at The TinyRead "That Nature is a Heraclitean Fire and of the comfort of the Resurrection" by Gerard Manley Hopkins at Poets.orgMathias SvalinaMathias Svalina's websiteBio and poem at Poets.org"Mathias Svalina-Dream Delivery Service" video by JustBuffalolLitMathias Svalina reads from "Thank You Terror" at the Silo City Reading SeriesGerard Manley HopkinsBio and poems at Poets.orgInternational Hopkins Society's website (poems, bio, study guides, video, etc).Photo Credit: Dean Davis

Welcome back to another episode of the Book of Mormon Studies Podcast. For this episode, Rosalynde Welch, Associate Director of the Maxwell Institute and Host of the podcast talks with Shon Hopkin, Department Chair of Religious Education at BYU.In this episode, they discuss the text of the book of Mormon, giving it context for readers of the Come, Follow Me curriculum for 2024.

In this episode of Stronger Marriage Connection, Dr. Liz Hale and Dr. Dave Schramm talk with licensed clinical social worker Amelia Hopkin about the emotional and physical struggles associated with infertility. Amelia shares how fertility issues impact relationships, the role offamily support, and the healing power of EMDR (Eye Movement Desensitization and Reprocessing) and ART (Accelerated Resolution Therapy) for couples dealing with reproductive health trauma. She also provides guidance on navigating infertility treatments and offers valuable resources for those on this difficult journey. About Amelia Hopkin: Amelia Hopkin has spent the last 23 years providing help and building relationships with medical providers, community organizations, researchers, educators and most importantly, families who experience one of the hardest kinds of experiences... Infant or pregnancy loss, infertility, unexpected birth experiences, various degrees and types of postpartum depression, NICU stays as well as sexual or health related trauma. She has been a speaker and trainer at both national and international conferences (ask her about speaking to the UN and her month at the HRC!), a published researcher, is certified in EMDR and trained in ART (the therapy kind, she's a horrible artist and needs to label her stick figures). As one of the only trained EMDR intensive providers in the state of Utah, she helps those who have limited time and significant trauma find deep and meaningful healing. Click on the EMDR tab for more info on that. When not in the office, Amelia may be getting in over her head on a DIY project, reading books, dreaming up a new travel adventure, finding nature, looking for ways to avoid doing laundry or trying out a new restaurant or recipe. Insights: Amelia: "...if you're experiencing fertility struggles, you are not alone, that number is one in six. There are some really fantastic resources." Liz: "the thought of getting comfortable with being uncomfortable, right with whatever it is that is troubling us..." Dave" "I think my takeaway the day really is the no shame, no blaming of yourself through this journey, I'm sure, so easily to turn inward and then to have those suffocating feelings that can feel overwhelming, that affect your marriage and your outlook, your life, your eating, sleeping every this will affect your lifein so many ways. I hope people won't go there or stay there too long. Did you realize this is nothing you did you know anything so not that. Avoid that blame and shame game. Keep those eyes up and looking for resources and help." Links: https://www.growing-the-good.com/   Visit our site for FREE relationship resources and regular giveaways:  Strongermarriage.org  Podcast.stongermarriage.org  Facebook: https://www.facebook.com/strongermarriage/  Facebook Marriage Group: https://www.facebook.com/groups/770019130329579  Instagram: https://www.instagram.com/strongermarriagelife/    Dr. Dave Schramm:  http://drdaveschramm.com  http://drdavespeaks.com    Dr. Liz Hale:  http://www.drlizhale.com  

One could argue full-scale experiments on fire phenomena are the most enriching for our knowledge as the fire community. The costs associated with them and logistical nightmares of organizing them make them an uncommon sight. However, in an instance where we reach the boundaries of our knowledge, they are necessary to progress further. That was the case of the research programme carried out by the OFR, in the umbrella of Structural Timber Association Special Interest Group (SIG) - CLT compartment fire behaviour, including the industrial partners: Binderholtz, KLH and Stora Enso, Henkel and Fermacell. Two large experimental packages of that collaboration ended up in my laboratory, and we got to test our hypothesis and progress our approach to designing mass timber through experiments.In this podcast episode, Dr Danny Hopkin makes a comeback to the show to give us insight into the observations and conclusions of those very large research programmes. We focus on how findings relate to the current design paradigm, and in which areas the approach has shifted. Following the evolution of the experiment itself, we discuss the changes in the fire behaviour as less and less surfaces were encapsulated, and some problems with partial protection that emerged as a consequence. Finally, we cover topics such as delamination, self-extinction and external flame from mass timber buildings – all important considerations for a designer.If you would like to learn more about the experiments we have done, please go to the research papers:Hopkin D., et al. Full-Scale Fire Experiments on Cross-Laminated Timber Residential Enclosures Featuring Different Lining Protection ConfigurationsHopkin D., et al. Large-Scale Enclosure Fire Experiments Adopting CLT Slabs with Different Types of Polyurethane Adhesives: Genesis and Preliminary FindingsHopkin D., et al. Implications Of A Down-stand Beam On The Ceiling Flame Extension Characteristics In A Large-scale Clt Enclosure Fire ExperimentOr the STA document library.----The Fire Science Show is produced by the Fire Science Media in collaboration with OFR Consultants. Thank you to the podcast sponsor for their continuous support towards our mission.

**The Dubai Real Estate Podcast | Special Guest: Dr. Neil Hopkin - Director of Education, Fortes Education** In this episode, we dive into the education sector in Dubai with Dr. Neil Hopkin, Director of Education at Fortes Education. Discover how schools in Dubai are evolving, the role they play in the city's growth, and why top-tier education is vital for families and investors alike. **Key Highlights:** - Growth of international schools in Dubai - How Dubai schools are preparing students for the future - The relationship between education and real estate demand - What sets Dubai's education system apart from the rest Whether you're a parent, investor, or just curious about life in Dubai, this conversation provides valuable insights into one of the city's most important sectors.

Business owners and entrepreneurs often find themselves isolated and sometimes feeling stuck. Mike Hopkin joins Dr. Paul Jenkins for this episode of Live On Purpose Radio to share decades of experience in business and product...

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Summer's already smelling like hot asphalt but I got a report on the Paris Olympic protests to soften up the pipes and inspire some movements in you and a full on interview with the legendary broadcaster and Chicago's own: Jill Hopkins Also Bill Larkin‬ and I try our best to get through a drunky sing along for the nation! No spoilers.GET YOUR MERCH HERE! Recorded LIVE from the Paper Machete 06/22/24 at Chicago's Historic Green Mill Lounge and then live from Hopkin's Manor courtesy of Jeppson's Malört: The Official Drink of the Apocalypse Come find me in all your favorite places including my Discord Featuring "La Merde" by Josh Zagoren and Bill Larkin a parody of "La Mer" by Charles Trenet Columbia (France) 1946 and “Promises” by the Barrerracudas and a snippy of “The Wasteland” courtesy of Ross Bugden Twitter: Instagram For commissions/scores: bugdenross@gmail.comSee omnystudio.com/listener for privacy information.

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Becky Hopkin and Jonny Hyams have both been on the show before – and this time we get them both! Our favourite Google Ads experts from advertising agency Digital Gearbox. In this episode, we discuss: What's new in Google Ads What's currently working And what's still working well Dive in: [04:56] Google can use AI to track user data. [09:36] Google AI chat box creates ad content. [10:49] Search ads now have single shorter headlines. [14:29] AI, smart bidding crucial for best results. [17:42] Tip for using Performance Max. [22:30] Insider Tips from Becky and Jonny! Find the notes here: https://keepopt.com/208 Request your Performance Data Audit from Leaf now >>> https://keepopt.com/leaf ****Get all the links and resources we mention & join our email list at https://keepopt.comLove the show? Chloe would love your feedback - leave a review here: https://keepopt.com/review or reply to the episode Q&A on Spotify.Interested in being a Sponsor? go here: https://keepopt.com/sponsor

We all have our cravings from time to time, but what about when the craving sticks around for months at a time? Today we're discussing our food fixations—the meals and treats we simply can't get over! Does this happen to you or is this a Hopkin girl thing?     Music: Realizer by Kevin MacLeod Link: //incompetech.filmmusic.io/song/5047-realizer License: //creativecommons.org/licenses/by/4.0/

Pharrell Williams Musical Casts Janelle Monáe and Missy Elliot, Anthony Hopkin's Next Role, Amazon's Cross Series Gets S2, Emily the Criminal Gets Series Adaptation. Hosted on Acast. See acast.com/privacy for more information.

The youngest Hopkin sister is turning 25, so this episode is all about her! We started out with a game of “not” connections, and we shared some of our favorite Tess stories and quotes. Listen to this episode to get to know and love the baby of our family!   Music: Realizer by Kevin MacLeod Link: //incompetech.filmmusic.io/song/5047-realizer License: //creativecommons.org/licenses/by/4.0/

Just when we thought we were out, they pull us back in. That's right, this week we're taking a look at Solace, a cat and mouse thriller about a psychic cop (Anthony Hopkins) pursuing a psychic serial killer (Colin Farrell), which had sat on the shelf for several years before getting a quick festival run and alleged theatrical release to cash in on Colin's newly reclaimed stardom. We talk about the film's protracted production (including a decade where they were, swear to God, trying to retool it as a sequel to Se7en), attempt to sort through its incoherent narrative, toast Hopkin's career, get into the weeds of Italian copyright law, and mostly just lose our minds as we take one last look back at the dredges of Colin's flop era. Hosted on Acast. See acast.com/privacy for more information.

Get a tie for an Easter gift at bomboraties.com. Use the code TSAR20 for a 20% discount.And also get The Easter Connection as an Easter gift, at https://www.seagullbook.com/search.html?Search=muhlesteinAlso, you can learn about our Missouri Workshop by emailing thescripturesarereal@gmail.comIn this episode Shon Hopkin and Kerry discuss the powerful and beautiful teachings in Nephi's teachings about the Doctrine of Christ. Shon emphasizes the temple connections in the teachings. Kerry helps us see that there is more to the Doctrine of Christ than we often see, and how important the Holy Ghost is in that doctrine.We are grateful for our sponsor, Lisa Spice, and for our producer, BJ Muhlestein, and for Rich Nicholls, who composed and plays the music for the podcast.

Reading is all the rage both on social media and among the Hopkin sisters! We did an episode about books early on, but we figured it's time to revisit the topic now that we've all caught the bug. We discussed how social media has influenced books in recent years and we shared some of our favorite books we read last year. Press play if you're a book girly!   Music: Realizer by Kevin MacLeod Link: //incompetech.filmmusic.io/song/5047-realizer License: //creativecommons.org/licenses/by/4.0/

Dr. Shon Hopkin explores how Nephi and Isaiah teach Saints who God is and how it encourages them to come to Christ.YouTube: https://youtu.be/8m-kbU9gSg0Instagram: https://www.instagram.com/followhimpodcastFree PDF download of quotes from our New Testament episodes:https://followhim.co/product/finding-jesus-christ-in-the-newtestament-book/Free PDF download of quotes from our Old Testament episodes:https://followhim.co/product/finding-jesus-christ-in-the-old-testament/00:00 Part II–Dr. Shon Hopkin00:07 2 Nephi 13:27 or 2 Nephi 14:101:43 Prophetic authority02:51 2 Nephi 14:1 Eusebius, Jerome, and Aquinas04:11 Scripture and private interpretation06:42 2 Nephi 15:7 A song10:28 The story of a man with a vineyard11:38 Dr. Hopkin shares a story about a bad grape12:55 2 Nephi 15:8 The wealthy in the vineyard15:08 2 Nephi 15:10 Why crops fail17:42 2 Nephi 18-20 The heavy load of vanity20:00 2 Nephi 15:20 and Alma 25 Bad guys23:22 Prophetic likening25:25 2 Nephi 15:25 Justice or mercy28:38 2 Nephi 19:12 Hand stretched out30:28 2 Nephi 16 Isaiah's calling33:02 Theophanies34:48 Isaiah is given a message37:12 2 Nephi 16:4 Smoke and symbolism40:24 2 Nephi 16:7-12 a literary unit42:15 2 Nephi: Ahaz, Pika, and firebrands45:14 2 Nephi 17:7 Judah will survive46:08 2 Nephi 17:14 A virgin as a sign, Jesus and Hezekiah49:01 Isaiah honors his wife52:00 Elder Holland on Isaiah's wife and Mary53:09 Isaiah and baby names54:15 2 Nephi 17: 13 Immanuel–God is with us55:05 2 Nephi 19 God's eyes are on Israel56:54 2 Nephi 19:2 Jesus and a Davidic king59:14 2 Nephi 18:6 A flood1:00:24 Dr. Shon Hopkin shares his testimony of Jesus Christ and the Book of Mormon1:04:28 End of Part II– Dr. Shon HopkinThanks to the followHIM team:Steve & Shannon Sorensen: Cofounder, Executive Producer, SponsorDavid & Verla Sorensen: SponsorsDr. Hank Smith: Co-hostJohn Bytheway: Co-hostDavid Perry: ProducerKyle Nelson: Marketing, SponsorLisa Spice: Client Relations, Editor, Show NotesJamie Neilson: Social Media, Graphic DesignAnnabelle Sorensen: Creative Project ManagerWill Stoughton: Video EditorKrystal Roberts: Translation Team, English & French Transcripts, WebsiteAriel Cuadra: Spanish Transcripts"Let Zion in Her Beauty Rise" by Marshall McDonaldhttps://www.marshallmcdonaldmusic.com

Why does Nephi spend significant time and effort teaching Isaiah? Dr. Shon Hopkin shares insights into the power of God's covenants, the mission of Jesus Christ, and the meaning of the Abrahamic Covenant through the lens of the love of Jesus Christ.00:00 Part 1–Dr. Shon Hopkin00:17 Last Week00:30 What to expect in 2 Nephi/Isaiah05:00 Bio of Dr. Shon Hopkin06:28 First simplicity08:11 Second simplicity and a nursery rhyme11:01 Understanding Isaiah in history13:58 Genesis 12-22 Abrahamic Covenant14:22 Joseph of Egypt17:28 40 years in the desert to a Divided Kingdom20:55 Assyria and Isaiah22:39 Place names24:07 Isaiah and preaching in Israel and Judah25:31 Nephi and Isaiah and important dates29:05 Isaiah 37: Assyria and Hezekiah33:20 Why Nephi loves Isaiah35:44 Land and identity37:32 Isaiah's children38:59 2 Nephi 1739:59 2 Nephi 11-14 44:02 2 Nephi 14:5-6 Gather places46:40 2 Nephi 12 River flowing against gravity49:49 Descending off of the mountain52:08 2 Nephi 12:4 Why temples?54:46 Isaiah for Airheads by John Bytheway57:45 2 Nephi 13 Babylon is coming1:00:31 2 Nephi 26:20-231:04:00 2 Nephi 131:07:35 2 Nephi 13:12-13 Pride and downfall1:10:42 End of Part 1–Dr. Shon HopkinThanks to the followHIM team:Steve & Shannon Sorensen: Cofounder, Executive Producer, SponsorDavid & Verla Sorensen: SponsorsDr. Hank Smith: Co-hostJohn Bytheway: Co-hostDavid Perry: ProducerKyle Nelson: Marketing, SponsorLisa Spice: Client Relations, Editor, Show NotesJamie Neilson: Social Media, Graphic DesignAnnabelle Sorensen: Creative Project ManagerWill Stoughton: Video EditorKrystal Roberts: Translation Team, English & French Transcripts, WebsiteAriel Cuadra: Spanish Transcripts"Let Zion in Her Beauty Rise" by Marshall McDonaldhttps://www.marshallmcdonaldmusic.com

When you hear the phrase 'Men in Black,' one of the first things that may come to mind for many of you is the famous science fiction movie series starring Will Smith and Tommy Lee Jones. But did you know that the comic the movies were based on, Lowell Cunningham's The Men in Black, was itself based on a popular UFO conspiracy? Men in Black, as the name would suggest, are beings that appear, usually in black suits, often after UFO sightings. Many people who believe they have seen Men in Black saw something unusual in the sky moments before. Another widely reported theme involving these beings is the deep feeling of distress the witnesses feel after the sighting. One such man who feels he had an encounter with one of these 'Men in Black' was Dr. Herbert Hopkins. In early September 1976, as the first hints of fall were coming to Maine, Dr. Hopkins found himself consumed by a case he had consulted on the year prior. For whatever reason, Dr. Hopkins couldn't shake the story from his mind... until one strange visitor forced him to.Social Media:Instagram: https://www.instagram.com/thescarecast/?hl=enTikTok: https://www.tiktok.com/@thescarecast?lang=enGo Subscribe to my YouTube channel: https://www.youtube.com/@scarecastBuy Merch: https://thescarecast.com/store/Contact me through email: mike@thescarecast.com for any story requests or inquiries, concerns, or advertising inquiries.Our Sponsors:* Check out Factor 75 and use my code scarecast50 for a great deal: https://www.factor75.com/Support this podcast at — https://redcircle.com/the-scarecast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

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

Recent reports concerning the future of the Society of Professional Journalists (SPJ) have stated, with one September post from NiemanLab saying that both membership and revenues are so low that the organization is set to "end the year $391,000 in the red," according to an audit prepared by an external accountant and dated August 2023. The same article by Sarah Scire featured the sub-head, "If we don't change our thinking, the next incoming president will be the last president.” That new president was sworn in at the October 1, 2023, annual convention in Las Vegas. She is an Emmy Award-winning journalist, journalism professor and associate dean for the Center for Media Design at the Santa Monica College, Ashanti Blaize-Hopkins. Hopkins also made history on that date as the first black woman ever to be elected to that post. Hopkins feels confident that the financial issues reported are not insurmountable, stating during this interview with E&P Publisher Mike Blinder, "I can firmly and unequivocally say that I will not be the last president of the SPJ. All of the journalism organizations across the country are facing financial situations. We have the benefit of having a foundation that was created to be in support of the society. That foundation has $12 million in the bank." She continued, "We are on our way to 'righting the ship,' and I can firmly say that will happen before the end of my term." Diversity within the SPJ and the journalism industry is another goal of Hopkin's. As quoted in the press release announcing her presidency, "I hesitated to join SPJ for several years because I just didn't see anyone who looked like me in leadership positions. It made me feel like I didn't belong in the organization. But I decided to be the change that I wanted to see in SPJ," she said. "Representation matters, and I hope to show through my leadership and diverse board of directors that there is a place for everyone at SPJ." In this episode of "E&P Reports," we go one-on-one with newly sworn-in Society of Professional Journalists President Ashanti Blaize-Hopkins to discuss how she plans to keep the organization prospering during a time of lagging membership and conference attendance, as well as her plans for SPJ's success. We also hear her views on the news media ecosystem as a whole and how we can define what is journalism in a world of disinformation and "fake news."      

On this episode, Mark Glicini sits down with Jay Dyer, the Head Strength and Conditioning Coach for Team USA's Men's and Women's National Teams. For over two decades, Jay has worked with the John's Hopkin's Men's Lacrosse Team and has been the Director of Sports Performance at MedStar Health. Along with being a certified strength and conditioning specialist, he is a devoted husband and father of two kids. Owner and operator of JDyer Strength and Conditioning, Jay brings a degree in Exercise Science and over 20 years of experience with United States' best lacrosse players in the world to help athletes become immensely agile, durable and powerful. Listeners will hear about the importance of "constantly proving yourself," "being able to attribute strength to the field," and "having an appreciation for your craft."

Patrick Mahomes can have an EPIC season in '23! He'll be able to adjust his game to handle the curve ball if a new WR is added like DeAndre Hopkins. Rashee Rice and Skyy Moore have the most intriguing opportunities in the offense but could be hurt by Hopkin's addition.Support Us By Supporting Our Sponsors!FanDuelMake Every Moment More. Don't miss the chance to get your No Sweat First Bet up to ONE THOUSAND DOLLARS in Bonus Bets when you go FanDuel.com/LOCKEDON.FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Learn more about your ad choices. Visit podcastchoices.com/adchoices

Patrick Mahomes can have an EPIC season in '23! He'll be able to adjust his game to handle the curve ball if a new WR is added like DeAndre Hopkins. Rashee Rice and Skyy Moore have the most intriguing opportunities in the offense but could be hurt by Hopkin's addition. Support Us By Supporting Our Sponsors! FanDuel Make Every Moment More. Don't miss the chance to get your No Sweat First Bet up to ONE THOUSAND DOLLARS in Bonus Bets when you go FanDuel.com/LOCKEDON. FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Learn more about your ad choices. Visit podcastchoices.com/adchoices

Seriah is joined by Super_inframan and author, researcher, and experiencer Jeremy Vaeni. Jeremy brings his unique, sarcastic sense of humor. Topics include an experience with the late Jeff Ritzmann, strange light phenomenon, the Paratopia podcast, Project Archivist, UFO disclosure, George Hansen, David Jacobs, Bud Hopkins, Emma Woods, hypnotic regression, alien abduction phenomenon, UFO Magazine, Nancy Burns, Peter Robbins, Carol Rainey, Brooklyn Bridge Abduction, Hopkin's misconduct, Paul Kimball, abduction as a spiritual experience, lack of progress in paranormal fields, a bizarre ghost hunting experience in Gettysburg, electronics in paranormal research, an experience with a Theremin, an encounter with a dark formless entity, a lost tape, Jeff Ritzmann's strange experience with a female apparition, the trickster element in high strangeness, a very weird light incident, Whitley Streiber's novel “2012: The War for Souls”, Mac Tonnies, kundalini energy, a weird encounter in a field, a strange orb/ball of light experience, multiple explanations for paranormal phenomenon, cognitive dissonance, nonsensical actions of entities, aliens with outdated technology, Bigfoot showing up in suburban areas, anomalous ghost hunting EVPs, southern Lizardman sightings, Seriah's bizarre EVP recording, fox sounds, ghost hunters fooled by coyotes, cougar encounters, Saxon's experience with a weird massive snake, an encounter with a bizarre, possibly folkloric entity in Japan, the limits of perception and the human brain, linguistics, Noam Chomsky, the importance of language to forming an understanding, the Lakota language, the Australian Indigenous language, Tiokasin Ghosthorse, the exclusiveness of the discussion about space, “The Infinite Now” podcast, Jeremy's book “Aliens: The First and Final Disclosure”, humor and high strangeness, absurdity in the paranormal, Native Hawaiian worldview, cultural appropriation, George Hansen and Trickster theory, an alleged dancing figurine of the Virgin Mary, ego in the paranormal world, Steven Greer, Kim Carlsberg, Zachariah Sitchin, human/alien hybrid theory, channeling, spiritual grifting, Scott Lilienfeld and hypnosis, and much more! This is a one of a kind, wide-ranging and delightful conversation!

This week V's out and we have a rotation of people on the V Report. The newest addition to our team Dez, owner of Pretty Girls Love Sports, sits in with Ric to discuss the Impact of Hopkin's decision. She then talks to Miles about the Heats chances vs the Nuggets and shares her NHL knowledge giving us the skinny on the Stanley Cup Finals.

Seriah is joined by Super_inframan and author, researcher, and experiencer Jeremy Vaeni. Jeremy brings his unique, sarcastic sense of humor. Topics include an experience with the late Jeff Ritzmann, strange light phenomenon, the Paratopia podcast, Project Archivist, UFO disclosure, George Hansen, David Jacobs, Bud Hopkins, Emma Woods, hypnotic regression, alien abduction phenomenon, UFO Magazine, Nancy Burns, Peter Robbins, Carol Rainey, Brooklyn Bridge Abduction, Hopkin's misconduct, Paul Kimball, abduction as a spiritual experience, lack of progress in paranormal fields, a bizarre ghost hunting experience in Gettysburg, electronics in paranormal research, an experience with a Theremin, an encounter with a dark formless entity, a lost tape, Jeff Ritzmann's strange experience with a female apparition, the trickster element in high strangeness, a very weird light incident, Whitley Streiber's novel “2012: The War for Souls”, Mac Tonnies, kundalini energy, a weird encounter in a field, a strange orb/ball of light experience, multiple explanations for paranormal phenomenon, cognitive dissonance, nonsensical actions of entities, aliens with outdated technology, Bigfoot showing up in suburban areas, anomalous ghost hunting EVPs, southern Lizardman sightings, Seriah's bizarre EVP recording, fox sounds, ghost hunters fooled by coyotes, cougar encounters, Saxon's experience with a weird massive snake, an encounter with a bizarre, possibly folkloric entity in Japan, the limits of perception and the human brain, linguistics, Noam Chomsky, the importance of language to forming an understanding, the Lakota language, the Australian Indigenous language, Tiokasin Ghosthorse, the exclusiveness of the discussion about space, “The Infinite Now” podcast, Jeremy's book “Aliens: The First and Final Disclosure”, humor and high strangeness, absurdity in the paranormal, Native Hawaiian worldview, cultural appropriation, George Hansen and Trickster theory, an alleged dancing figurine of the Virgin Mary, ego in the paranormal world, Steven Greer, Kim Carlsberg, Zachariah Sitchin, human/alien hybrid theory, channeling, spiritual grifting, Scott Lilienfeld and hypnosis, and much more! This is a one of a kind, wide-ranging and delightful conversation! - Recap by Vincent Treewell of The Weird Part Podcast Outro Music by The Jon Stickley Trio with "Darth Radar". Download

In this episode, Shon and Kerry explore different ways of looking at the parables of the lost. They especially focus on the Prodigal Son and how we can relate to and learn from both sons and the father. They discuss Joseph Smith's ideas that the ninety-and-nine are damned anyhow.We are grateful for our sponsor, Lisa Spice, and our editor, Alexia Muhlestein, and to Rich Nicholls, who composed and plays the music for the podcast.

In this episode, Shon and Kerry explore different ways of looking at the parables of the lost. They especially focus on the Prodigal Son and how we can relate to and learn from both sons and the father. They discuss Joseph Smith's ideas that the ninety-and-nine are damned anyhow.We are grateful for our sponsor, Lisa Spice, and our editor, Alexia Muhlestein, and to Rich Nicholls, who composed and plays the music for the podcast.

In this episode Kerry and Shon explore symbolism behind the setting of the Savior asking whom His disciples say that He was, and behind Peter's declaration. They help each other see meanings behind that episode that neither had seen before.We are grateful for our sponsor, Lisa Spice, and also for Alexia Muhlestein, who edited the episode, and for Rich Nicholls, who composed and plays the music for the podcast.

Cain needs no introduction for most of us as Latter-day Saints. He hearkened to the voice of Satan and murdered his brother, Abel. However, is there more to the experience than just that great sin? Professor Shon D. Hopkin of the department of ancient scripture takes us back to one of the earliest episodes in the scriptures to help us understand why God requires us to have not only clean hands but also pure hearts and motives in order to come unto Him.

This week, Courtney is joined by Autumn Hopkin Spencer, Owner of Seasons Salon and Day Spa. Autumn opened Seasons Salon when she was just 21 back in 2005. The successful salon had 45 employees and was well-loved by the community for years. In November 2022, the salon caught fire and it was a total loss. Since the devestating loss, Autumn has been working on rebuilding her business and today we will hear about how she has fought through this challenge.   Instagram:  @shadesof.autumn @seasonssalonanddayspa @courtneyspatrouve @spatrouve @theglowbosspodcast   TikTok: @spatrouve   Website:  spatrouve.com   ** Interested in business mentoring with Courtney? DM her on instagram or email courtney@spatrouve.com for more info. 

Holmberg's Morning Sickness - Opening Break - Monday January 30, 2023

Dr. Shon Hopkin continues to explore the blessings of baptism and being part of the family of Jesus Christ.Please rate and review the podcast!Show Notes (English, French, Spanish, Portuguese): https://followhim.co/old-testament/Apple Podcasts: https://podcasts.apple.com/us/podcast/follow-him-a-come-follow-me-podcast/id1545433056Facebook: https://www.facebook.com/followhimpodcastInstagram: https://www.instagram.com/followhimpodcastSpotify: https://open.spotify.com/show/15G9TTz8yLp0dQyEcBQ8BYThanks to the follow HIM team:Shannon Sorensen: Executive Producer, SponsorDavid & Verla Sorensen: SponsorsDr. Hank Smith: Co-hostJohn Bytheway: Co-hostDavid Perry: ProducerKyle Nelson: Marketing, SponsorLisa Spice: Client Relations, Editor, Show NotesJamie Neilson: Social Media, Graphic DesignWill Stoughton: Video EditorKrystal Roberts: Translation Team, English & French Transcripts, WebsiteAriel Cuadra: Spanish TranscriptsIgor Willians: Portuguese Transcripts"Let Zion in Her Beauty Rise" by Marshall McDonaldhttps://www.marshallmcdonaldmusic.com

How do we prepare to meet the Lord? Dr. Shon D. Hopkin examines the baptism of Jesus Christ, his relationship with John the Baptist, as well as the nature of repentance.Please rate and review the podcast!Show Notes (English, French, Spanish, Portuguese): https://followhim.co/old-testament/Apple Podcasts: https://podcasts.apple.com/us/podcast/follow-him-a-come-follow-me-podcast/id1545433056Facebook: https://www.facebook.com/followhimpodcastInstagram: https://www.instagram.com/followhimpodcastSpotify: https://open.spotify.com/show/15G9TTz8yLp0dQyEcBQ8BYThanks to the follow HIM team:Shannon Sorensen: Executive Producer, SponsorDavid & Verla Sorensen: SponsorsDr. Hank Smith: Co-hostJohn Bytheway: Co-hostDavid Perry: ProducerKyle Nelson: Marketing, SponsorLisa Spice: Client Relations, Editor, Show NotesJamie Neilson: Social Media, Graphic DesignWill Stoughton: Video EditorKrystal Roberts: Translation Team, English & French Transcripts, WebsiteAriel Cuadra: Spanish TranscriptsIgor Willians: Portuguese Transcripts"Let Zion in Her Beauty Rise" by Marshall McDonaldhttps://www.marshallmcdonaldmusic.com

Dr. Shon Hopkin returns and discusses the influence and importance of Psalm 22 in understanding the life, suffering, and triumph of Messiah, Jesus Christ.Please rate and review the podcast!Show Notes (English, French, Spanish, Portuguese): https://followhim.co/old-testament/Facebook: https://www.facebook.com/followhimpodcastInstagram: https://www.instagram.com/followhimpodcastYouTube: https://www.youtube.com/c/FollowHimOfficialChannelThanks to the follow HIM team:Steve & Shannon Sorensen: Executive Producers, SponsorsDavid & Verla Sorensen: SponsorsDr. Hank Smith: Co-hostJohn Bytheway: Co-hostDavid Perry: ProducerKyle Nelson: Marketing, SponsorLisa Spice: Client Relations, Editor, Show NotesJamie Neilson: Social Media, Graphic DesignWill Stoughton: Video EditorKrystal Roberts: Translation Team, English & French Transcripts, WebsiteAriel Cuadra: Spanish TranscriptsIgor Willians: Portuguese Transcripts"Let Zion in Her Beauty Rise" by Marshall McDonaldhttps://www.marshallmcdonaldmusic.com/products/let-zion-in-her-beauty-rise-piano

Have you ever felt forsaken by God? Dr. Shon Hopkin explores the structure and purpose of the Psalms, the effect of music in worship, and how the Psalms prepared the Lord and the disciples for difficult times.Please rate and review the podcast!Show Notes (English, French, Spanish, Portuguese): https://followhim.co/old-testament/Facebook: https://www.facebook.com/followhimpodcastInstagram: https://www.instagram.com/followhimpodcastYouTube: https://www.youtube.com/c/FollowHimOfficialChannelThanks to the follow HIM team:Steve & Shannon Sorensen: Executive Producers, SponsorsDavid & Verla Sorensen: SponsorsDr. Hank Smith: Co-hostJohn Bytheway: Co-hostDavid Perry: ProducerKyle Nelson: Marketing, SponsorLisa Spice: Client Relations, Editor, Show NotesJamie Neilson: Social Media, Graphic DesignWill Stoughton: Video EditorKrystal Roberts: Translation Team, English & French Transcripts, WebsiteAriel Cuadra: Spanish TranscriptsIgor Willians: Portuguese Transcripts"Let Zion in Her Beauty Rise" by Marshall McDonaldhttps://www.marshallmcdonaldmusic.com/products/let-zion-in-her-beauty-rise-piano