Podcasts about in black

IM Willy Hendriks is an award-winning chess author, historian and chess trainer. He has just released his fourth book, The Philosopher and the Housewife:Tarrasch, Nimzowitsch and the Evolution of Chess. This book is the completion of a trilogy which casts a new light on chess history and looks at the evolution of chess ideas. Willy's newest book focuses on the early 20th century, with a particular emphasis on Aron Nimzowitsch and Siegbert Tarrasch. We tackle questions such as: Was Aron Nimzowitsch the most pretentious chess player of them all?  What does Willy think of My System?  Have the stylistic differences between Tarrasch and Nimzowitsch been exaggerated? What can we learn about engines and modern chess through reading about these players?  Our conversation is filled with fun stories and reflections about these players, along with the contributions of the third “main character,” Semion Alapin.   We also discuss Willy's own competitive career and his potential next projects. It is always a pleasure to read Willy's work and to speak with him.   Timestamps of topics discussed are below.  Perpetual Chess Improvement Audiobook information- The links for where to order the Perpetual Chess Improvement audiobook are on this page. It is now available on all platform except for Audible/Amazon (hopefully coming soon): https://www.perpetualchesspod.com/book 0:02- Where did the title The Philosopher and the Housewife come from? 0:06- Willy tells a few stories to illustrate why he considers Aron Nimzowitsch to be “the most self-aggrandizing chess player of all-time.” 10:00- What were the chess stylistic differences of Nimzowitsch and Tarrasch? Mentioned: Modern Ideas in Chess by Richard Reti  18:00- Patreon mailbag question: “What does Willy think of the book My System?”  Mentioned:  Book Recap #18- My System with IM Christof Sielecki  Book Recap #37- My System (fast track edition) with GM Alex Fishbein  Aron Nimzowitch: A Reappraisal by GM Raymond Keene https://www.amazon.com/Aron-Nimzowitsch-Reappraisal-Raymond-Keene/dp/0713484381 23:00- Where does the third character in the book, Semyon Alapin fit in? 31:00- How are engines connected to the themes of Willy's writing? 34:00- What is the “Trainer's fallacy?”  42:00- Patreon mailbag question: “What ideas does Willy have for upcoming books?”  Mentioned: Kasparov's My Great Predecessors, Mihail Marin's Learn from the Legends 1 and 2 45:00- Does Willy follow modern chess and chess drama? Does he like freestyle chess? 48:00- What has Willy been reading? Mentioned: Daniel Dennett Tarrasch's 300 Chess Games, the Works of Edward Lasker and Milan Vidmar, The Essential Sosonko, In Black and White  52:00- Has Willy been competing OTB lately?  54:00- Thanks as always to Willy for visiting the pod and for advancing our knowledge of chess history!  You can get his books here: https://www.newinchess.com/catalogsearch/result/?q=Willy+Hendriks You can also get a physical copy in the US from Chess4Less: https://chess4less.com/products/the-philosopher-and-the-housewife-willy-hendriks Learn more about your ad choices. Visit podcastchoices.com/adchoices

In Black in Blues: How a Color Tells the Story of My People Imani Perry studies the color blue in all its history and hues in this remarkable analysis. From West Africa to the American South, Black in Blues examines the color's relation to Blackness and culture. Perry joins us to talk about the symbolic history of the color blue, her research process, the role of storytelling in identity and more with Miwa Messer, host of Poured Over.  This episode of Poured Over was hosted by Miwa Messer and mixed by Harry Liang.                     New episodes land Tuesdays and Thursdays (with occasional Saturdays) here and on your favorite podcast app. Featured Books (Episode): Black in Blues by Imani Perry South to America by Imani Perry Invisible Man by Ralph Ellison A Little Devil in America by Hanif Abdurraqib Cannibal by Safiya Sinclair The Bluest Eye by Toni Morrison Native Son by Richard Wright Black Boy by Richard Wright Looking For Lorraine by Imani Perry

In this episode of "In Black & White," Pastor James D. Gailliard sits down with Maurice "Mo" Green, North Carolina candidate for Superintendent of Public Instruction. They dive into Mo's vision for education in North Carolina, discussing crucial issues like educational equity, teacher support, and resources for students across the state. Mo shares his perspective on overcoming current challenges in public education and his commitment to shaping a school system where every child can succeed.Whether you're a parent, educator, or concerned community member, this episode offers an insightful look at the future of NC public schools and the values driving Mo's campaign.Don't miss this conversation on faith, leadership, and the power of education in transforming lives.*This interview was recorded January 2024*#Election2024 #Interview #VoteSupport the showThank you for listening to this podcast! Follow Pastor James D. Gailliard on all social media @jdgailliard and get connected with Word Tabernacle Church by going to https://wordtab.net/ #EveryoneThriving

In this episode of In Black & White, Pastor James D. Gailliard sits down with Jaime Harrison, the Chair of the North Carolina Democratic Party, for a powerful discussion on political leadership, the future of democracy, and the role of faith in public life. Tune in as they dive into Harrison's journey, his commitment to justice, and how he believes communities of faith can engage with the pressing social and political issues of today. Whether you're passionate about public service, curious about the intersection of faith and politics, or just want to hear two leaders in conversation, this episode is packed with insights that will inspire and inform.Don't forget to subscribe for more impactful interviews, critical conversations, and transformative teachings.*This interview was recorded May 2024*#Election2024 #Interview #VoteSupport the showThank you for listening to this podcast! Follow Pastor James D. Gailliard on all social media @jdgailliard and get connected with Word Tabernacle Church by going to https://wordtab.net/ #EveryoneThriving

In this episode of "In Black & White," Pastor James D. Gailliard speaks with Allison Riggs, North Carolina candidate for Supreme Court Associate Justice. Allison shares her vision for justice in North Carolina, focusing on issues such as protecting individual rights, ensuring fair representation, and upholding the rule of law. They explore her journey in the legal field, her commitment to an impartial judiciary, and the significance of an independent court system.Join this impactful conversation on the role of the judiciary in our lives, the responsibilities of a Supreme Court Justice, and the values that drive Allison's candidacy. Whether you're interested in legal issues, state politics, or justice reform, this episode offers valuable insights into North Carolina's highest court and what's at stake.*This interview was recorded September 2024*#Election2024 #Interview #VoteSupport the showThank you for listening to this podcast! Follow Pastor James D. Gailliard on all social media @jdgailliard and get connected with Word Tabernacle Church by going to https://wordtab.net/ #EveryoneThriving

In this episode of "In Black & White," Pastor James D. Gailliard welcomes North Carolina candidate for State Treasurer, Wesley Harris. They delve into Wesley's vision for the financial health of North Carolina, discussing critical issues like state investments, managing public pensions, and transparency in budgeting. Wesley shares his approach to ensuring that taxpayer dollars are used effectively to benefit all North Carolinians, emphasizing the importance of fiscal responsibility and long-term economic planning.Whether you're curious about the state's financial future or interested in how the Treasurer's office impacts communities, this episode provides an insightful look into the role and why Wesley Harris believes he's the right person for the job.*This interview was recorded September 2024*#Election2024 #Interview #VoteSupport the showThank you for listening to this podcast! Follow Pastor James D. Gailliard on all social media @jdgailliard and get connected with Word Tabernacle Church by going to https://wordtab.net/ #EveryoneThriving

In this episode of "In Black & White," Pastor James D. Gailliard engages in a powerful conversation with U.S. Senator Laphonza Butler. Senator Butler shares her journey, vision, and priorities as a leader, delving into key issues like economic equity, healthcare access, and empowering communities. With a deep commitment to advocating for marginalized voices, she discusses her approach to policy-making and the importance of representing the needs of all Americans in the Senate.Tune in for a meaningful discussion on public service, the power of leadership, and Senator Butler's insights into the critical work happening in Washington to create a fairer and more inclusive society. This episode is essential for anyone passionate about the future of our country and the impact of bold, compassionate leadership.*This interview was recorded September 2024*#Election2024 #Interview #VoteSupport the showThank you for listening to this podcast! Follow Pastor James D. Gailliard on all social media @jdgailliard and get connected with Word Tabernacle Church by going to https://wordtab.net/ #EveryoneThriving

In this episode of "In Black & White," Pastor James D. Gailliard sits down with Civil Rights Activist Martin Luther King III and his wife, Arndrea Waters King, for a heartfelt conversation on justice, legacy, and activism. Together, they discuss the ongoing fight for equality, voting rights, and social justice, sharing personal stories and insights on continuing the work of Dr. Martin Luther King Jr. The Kings delve into their experiences as leaders in today's civil rights movement, the importance of preserving history, and how they inspire others to take meaningful action in their communities.Join this inspiring episode to hear their perspectives on bridging past and present efforts in the fight for a fairer, more just world. Whether you're passionate about civil rights, community activism, or honoring legacies of change, this conversation is both moving and motivating.*This interview was recorded September 2024*#Election2024 #Interview #VoteSupport the showThank you for listening to this podcast! Follow Pastor James D. Gailliard on all social media @jdgailliard and get connected with Word Tabernacle Church by going to https://wordtab.net/ #EveryoneThriving

In this episode of "In Black & White," Pastor James D. Gailliard sits down with North Carolina gubernatorial candidate Josh Stein. As they discuss Stein's vision for the state, they cover pressing topics including economic development, healthcare access, public safety, and education reform. Stein shares insights from his experience as NC Attorney General, highlighting his commitment to community-focused policies and what he believes it will take to create a more equitable and prosperous North Carolina.This in-depth conversation sheds light on the values guiding Stein's campaign and his approach to addressing the challenges facing North Carolinians. Whether you're a resident of NC or simply interested in impactful state leadership, this episode is a must-watch for anyone passionate about the future of our communities.*This interview was recorded September 2024*#Election2024 #Interview #VoteSupport the showThank you for listening to this podcast! Follow Pastor James D. Gailliard on all social media @jdgailliard and get connected with Word Tabernacle Church by going to https://wordtab.net/ #EveryoneThriving

It's time for a new episode of Fans On The Run! Joining me today is a true one-of-a-kind musical talent, sometimes he's under the alias of "Chissum Worthington", but today's he's just Mike Schnee!    In a wide ranging chat, we talk The Lemon Twigs, One Hand Clapping, Mike's system of identifying Beatle albums before he could read, The White Album at Christmas '68, the genesis of Chissum Worthington, the similarities to some Beatle album-track-bookends, "The Beatles: An Illustrated Record", seeing the Magical Mystery Tour film at a "revival theatre", the strange reality of The Beatles playing Baby's In Black live, and a new jingle for the show!   With all that AND more? You won't wanna miss it!   This episode is available to stream wherever good podcasts can be heard!   Keep up with Mike: https://wormstew.bandcamp.com/ https://www.youtube.com/@chissumworthington   Follow us elsewhere: https://linktr.ee/fansontherun   Contact: fansontherunpodcast@gmail.com

In the very last of our great history stories, we turn to Harry Houdini, one of the great magicians in history, and his time in Australia. His tale is told by Andrew McConville, from State Library Victoria. There are almost 280 stories in the In Black and White show, and they're all available for free in this podcast feed. As we say goodbye after five ears unearthing colourful stories from our past, we would like to sincerely thank our listeners for tuning in and sharing your ratings and reviews. Tune in to the final episode for some final thank you and a farewell message from the host, Jen Kelly. Like the show? Read more at heraldsun.com.au/ibawSee omnystudio.com/listener for privacy information.

In the very last of our great history stories, we turn to Harry Houdini, one of the great magicians in history, and his time in Australia. His tale is told by Andrew McConville, from State Library Victoria. There are almost 280 stories in the In Black and White show, and they're all available for free in this podcast feed. As we say goodbye after five ears unearthing colourful stories from our past, we would like to sincerely thank our listeners for tuning in and sharing your ratings and reviews. Tune in to the final episode for some final thank yous and a farewell message from the host, Jen Kelly. Like the show? Read more at heraldsun.com.au/ibawSee omnystudio.com/listener for privacy information.

Though the Lennon & McCartney songwriting team found it harder and harder to truly write songs together from scratch as they got busier and busier, with "Baby's In Black," they were able to get "nose-to-nose" and write something truly different from what was expected at the time. A 3/4 time waltz with a melancholy lyric (possibly inspired by Astrid Kirchherr's mourning for Stu Sutcliffe), the first song they recorded for the Beatles For Sale album was a far cry from the uptempo Beatlemania rave ups of A Hard Day's Night or the Cavern-era screamers on their first two LPs. The song shows tremendous growth and bravery for daring to do the unexpected, and gives a brilliant example of John and Paul's best Everly Brothers-esque harmonies. It's a song they were very proud of, as evidenced by the fact that that once it was out, it stayed in their live show until the end of their touring days. Even in the jaded-slugging-it-out-un-enthusiastically shows of 1966, John and Paul seem to genuinely delight in being so close on one mic and singing in harmony for the entire song. It's a real gem that likely doesn't get it's due since it's a waltz in the 3rd song slot on what some consider their "worst" album. This week, we close the circle on the RTB X 2Legs meet up by welcoming Andy Nicholes to the show! After having his co-host Tom Hunyady on the last episode, it only seemed appropriate to have Andy on as well. We love 2 Legs, and Andy was great on the panels we saw him on at the Fest for Beatles Fans, so we're big fans. He joins us to talk about bootlegs, solo fandom, growing up as fans in the 90s, and so much more! Be sure to check out 2Legs anywhere you get podcasts and follow them on Facebook! For you Julia stans, she's not with us this week unfortunately. She'll be back we promise. To make it up to you, be sure to listen through to the end of the episode for a little bonus treat. What do you think about "Baby's In Black" at #86? Too high? Too low? Or just right? Let us know in the comments on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Be sure to check out ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! --- Support this podcast: https://podcasters.spotify.com/pod/show/rankingthebeatles/support

Jen Kelly, host of the In Black and White podcast joins Andrew Rule to discuss the tragic case of Jean Lee, who was executed for murder in 1951. To listen to part 2 of The Last Woman To Hang, search for In Black and White wherever you get your podcasts. Subscribe to Crime X+ to hear episodes early and ad free, unlock bonus content and access our slate of award-winning true crime podcasts Have a question for one of our Q+A shows? ask it at: lifeandcrimes@news.com.au Like the show? Get more at https://heraldsun.com.au/andrewruleAdvertising enquiries: newspodcastssold@news.com.au  Crimestoppers: https://crimestoppers.com.au/ If you or anyone you know needs help Lifeline: 13 11 14Beyond Blue: 1300 22 4636Kids Helpline: 1800 55 1800See omnystudio.com/listener for privacy information.

Singles Going Around- Sunshine & ThunderEverly Brothers- "Gone, Gone, Gone"Link Wray- "Juke Box Mama"Nirvana- "Love Buzz"Shocking Blue- "Long and Lonesome Road"Flying Burrito Brothers- "High Fashion Queen"Jack White- "Fly Farm Blues"The Byrds- "Captain Soul"Magic Sam- "All Of Your Love"Nancy Sinatra & Lee Hazelwood-"Elusive Dreams"The Beatles- "Baby's In Black"Simon & Garfunkel- "Richard Cory"Neil Young- "Lost In Space"Aretha Franklin- "Save Me"The Doors- "L.A. Woman"The Beach Boys- "The Warmth Of The Sun"Johnny Cash- "Folsom Prison Blues"Led Zeppelin- "Rock and Roll" (Live)

www.LeRoyBell.com is an American singer and songwriter. He and friend Casey James formed the duo Bell and James, composing songs that were hits for other artists most notably two charting hit singles for Elton John. Later Bell with bassist Terry Morgan formed the group, LeRoy Bell & his Only Friends. In 2011, Bell auditioned for the American The X Factor and was chosen for the Final 16 and went on to the live shows being mentored by Nicole Scherzinger. He was eliminated after the fifth live show finishing 8th overall in the inaugural season of the American The X Factor. BELL AND JAMES Bell and James was a duo soul group formed by LeRoy Bell (on drums and guitar) and Casey James (on guitar, bass and keyboards). They both had played in other bands together before they decided to team up as Bell & James. The duo released three albums: Bell & James (1978), Only Make Believe (1979) and In Black and White (1980), and had a number of singles, the most successful and well-known being “Livin' It Up (Friday Night)” released on A&M Records. It reached #15 on the U.S. Hot 100. SONGWRITING LeRoy Bell also co-wrote many songs for others in partnership with Casey James. They were encouraged by LeRoy's uncle Thom Bell who owned Mighty Three Music, a music publishing and production company along with Kenny Gamble and Leon Huff. The latter were a famous composing duo collaboration Gamble and Huff to whom Bell and James provided some of their compositions. Their songs were recorded by a number of groups including: The Spinners The O'Jays (notably in “This Time Baby”) The Temptations Rita Marley Gladys Knight & the Pips Freda Payne The Three Degrees WITH ELTON JOHN Most notably, two of the LeRoy Bell songs were recorded by Elton John. One was “Mama Can't Buy You Love” and the other “Are You Ready for Love”. The songs, a LeRoy Bell-Casey James co-composition appeared in the The Thom Bell Sessions in 1977. Elton John's song version of “Mama Can't Buy You Love” went to the Top 10 in the general charts and #1 the Adult/Contemporary chart and in the fall of 1979, earning Elton a Grammy Nomination for “Best Male R&B Vocal Performance”. His song “Are You Ready for Love” was even a bigger hit. Tracklist of Elton John singles: Side 1: “Are You Ready for Love” (LeRoy Bell, Thom Bell, Casey James) (8:31) Side 2.1: “Three Way Love Affair” (LeRoy Bell, Casey James) (5:31) Side 2.2: “Mama Can't Buy You Love” (LeRoy Bell, Casey James) (4:03) In February 1989, The Complete Thom Bell Sessions was released by MCA Records, although it had been recorded in 1977. In addition to “Mama Can't Buy You Love” and “Are You Ready for Love”, it featured three additional songs, including “Country Love Song” also co-written by LeRoy Bell. 1. “Nice and Slow” (Elton John, Bernie Taupin, Thom Bell) 2. “Country Love Song” (LeRoy Bell, Casey James) 3. “Shine on Through” (Elton John, G. Osborne) 4. “Mama Can't Buy You Love” (LeRoy Bell, Casey James) 5. “Are You Ready for Love” (LeRoy Bell, Casey James) 6. “Three Way Love Affair” (LeRoy Bell, Casey James) In 2003, Fat Boy Slim mixed Elton John's single version making it to the British Singles Chart. The song also charted in many European charts. WITH TEDDY PENDERGRASS LeRoy Bell had a long-running cooperation with Teddy Pendergrass for whom he wrote 5 songs in three different albums: 1979: “I'll Never See Heaven Again” on the album Teddy 1979: “Set Me Free”, also on album Teddy 1982: “Loving You Was Good” on album This One's for You 1983: “Heaven Only Knows” from the album Heaven Only Knows (lead song) Pendergrass album 1990: “Glad to Be Alive” from the album Truly Blessed OTHERS 1979: Lou Rawls: “Bark, Bite (Fight All Night)” on the album Let Me Be Good to You 1980: Lou Rawls: “Heartache (Just When You Think You're Loved)” and “You Are” on album Sit Down and Talk to Me 1988: Kimiko Kasai: “Love Talk” from album Love Talk (lead song) 2001: Me and You: “You Never Know What You Got (Til It's Gone)” 2002: Jennifer Lopez: “Still” cowritten with James and Jennifer Lopez herself in the latter's album This Is Me… Then 2005: The Freemasons: “Love on My Mind” that appears on albums Shakedown, Unmixed and Shakedown 2 He has also written for Phyllis Hyman SOLO CAREER Starting in the 2000s, he worked solo and toured extensively. In the process, he released various albums including his debut solo EP Spending Time (on his own  

Lucy Worsley travels back in time to revisit the unthinkable crimes of 19th century murderesses from the UK, Australia and North America.In this episode, Lucy is joined by Alexandra Wilson, a barrister specialising in criminal and family law and author of ‘In Black and White', to explore the case of Mary Ann Brough in 1854. Mary Ann lives in the picturesque county of Surrey, close to London. She's married to George, who lives and works at the stately home nearby, while Mary Ann stays at home looking after six of their children. It sounds like an idyllic family life. But there are cracks beneath the surface. George suspects Mary Ann of having an affair and even hires a private detective to follow her to see if his suspicions are correct. After the detective reports back, George confronts Mary Ann and declares he will be starting legal proceedings to take full custody of their children. After he leaves, Mary Ann puts the children to bed, but later that evening she commits a drastic act. She slits the throats of each of her children before trying to kill herself. She is discovered the next day still alive, fully admitting to what she did. But why did she do it? Was it a cloud of insanity that took over her in a flash? Or was it to stop her husband gaining custody of the children and taking them away? Lucy Worsley is also joined by Professor Rosalind Crone from the Open University. Together, they visit the village Mary Ann lived in and the stately estate nearby. In the studio with Alexandra Wilson they discuss the circumstances surrounding Mary Ann's crime and how the custody laws at the time may have impacted her actions. Lucy asks, has the way society treats custody disputes changed since Mary Ann's time and does it view each parent equally? Produced in partnership with the Open University.Producer: Hannah Fisher Readers: Clare Corbett, Jonathan Keeble Singer: Olivia Bloore Sound design: Chris Maclean Series Producer: Julia HayballA StoryHunter production for BBC Radio 4New episodes will be released on Wednesday wherever you get your podcasts. But if you're in the UK, listen to the latest full series of Lady Killers first on BBC Sounds. BBC Sounds - Lady Killers with Lucy Worsley - Available Episodes: http://bbc.in/3M2pT0K

This week we get to catch up with one of the original and most popular Perpetual Chess guests, GM Jan Gustafsson. Jan, of course, is a renowned opening theoretician, commentator and trainer, who has worked on GM Magnus Carlson's World Championship team, and is currently the coach of the German National Team. Jan has recently released a highly anticipated Chessable course, Gustafsson's  Aggressive 1. E4 (co-authored with CM Vjekoslav Nemec).   In our conversation, we discuss the lines Jan selected for this course which often belie his reputation as a "chicken", but also catch up on a wide variety of topics including life after Team Magnus, life after Chess24, life after the Chicken Chess Club podcast, chess cheating, the Bundesliga and the FIDE Candidates. It is always amusing and informative to chat with Jan, and this time is no exception! Timestamps of topics discussed can be found below.  0:00- Thanks to our sponsor, Chessable.com. Chessable has tons of new offerings in addition to GM Jan Gustafsson brand new course on 1. E4!  If you use the link below to sign up for Perpetual Chess, it helps to support the pod!  https://www.chessable.com/pro/?utm_source=affiliate&utm_medium=benjohnson&utm_campaign=pro 0:01- Welcome back Jan! Patreon mailbag question: what chess generation does Jan identify with?  0:05- Jan recently competed in the renowned German Chess League, the Bundesliga. How were the games, and what was his schedule like?  Mentioned: GM Viswanathan Anand, Nakamura, GM Vincent Keymer  9:30- How did Jan enjoy the Chess.com Team Challenge match, where he and Peter Svidler lost to a team with GM Robert Hess and GM Daniel Naroditsky  You can watch the match replay here: https://www.youtube.com/watch?v=4Pl3TNUTtqQ 11;00- Will Jan be playing his aggressive 1. E4 repertoire in the Bundesliga? Was it challenging to work on this course as a lifelong 1. D4 player.  14:30- Why did Jan decide to focus on the Dubov Italian within his course?  20:00- Why did Jan pick the classical against the Pirc?  24:00- Patreon mailbag question: Why did Jan make an aggressive repertoire rather than a “chicken” repertoire?  27:00- Did Jan have a secret blitz account to try these lines?  28:15- Patreon mailbag question: Why does Jan stream in German rather than English?  30:00- What does Jan miss most from Chess24?  32:00- Will Jan do a banter blitz for Chess.com ?  33:00- Patreon mailbag question: Whither the Chicken Chess Club Podcast?  36:00- What are Jan's thoughts about the upcoming FIDE Candidates? 41:00- Is Jan still working with GM Anish Giri?  42:00- Patreon mailbag question: What emotions did Jan feel when Magnus announced his stepping down from the World Championship cycle?  46:00- What does Jan think of Chess960/Freestyle chess?  50:00- Jan's 2024 calendar including coaching the German Olimpiad team  57:00- Jan asks me for chess book recommendations Mentioned; Think Like a Super GM, In Black and White  59:00- Has any seen any good movies or TV shows lately?  Mentioned: Mr and Mrs. Smith, Shogun, Blue Eyed Samarui, The Bear,   1:02:00- How are Magnus' Carlsen's Fantasy Basketball skills?  1:04:00- Has Jan seen GM Hans Niemann's vlog?  Mentioned: GM Hans Niemann's YouTube  1:06:00- What does Jan think of all of the recent cheating accusations?  Mentioned: Episode 368 with Erik Allebest  1:10- Thanks to Jan for rejoining! Check out his course here: https://www.chessable.com/gustafsson-s-aggressive-1-e4-part-1/course/207313/ If you would like to help support Perpetual Chess, you can do so here: https://www.patreon.com/perpetualchess Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week's guest is two- time Dutch Champion, eleven-time Olympian, author and former candidate for the World Championship Title, GM Paul Van der Sterren. Paul had an unusual career trajectory, in that after 15+years as a chess professional, his “breakout” year occurred at the age of 37. What happened that year(1993)? That is one of the many questions tackled in his fantastic, newly-translated game collection/memoir In Black and White: The Chess Autobiography of a World Championship Candidate. In New in Chess Magazine, GM Matthew Sadler calls this book “simply the finest chess book I've ever read.” After retiring from professional chess, Paul became a meditation teacher. His new book, Mindful Chess, traces the development of his mindfulness practice and offers reflections and tips for chess players interested in the topic. In addition to reflecting on the lessons from these books, Paul shares wonderful stories about his clashes with the Polgar sisters, Korchnoi, Tal and many others. I cannot recommend Paul's books highly enough, and I think that this interview will give you a good sense of the lessons they contain. Timestamps of topics discussed are below.   0:00- Thanks to our presenting chess education sponsor, Chessable.com. Be sure to check out new courses like FM Dalton Perrine's The French Simplified.  If you use the link below to sign up for Perpetual Chess, it helps to support the pod!  https://www.chessable.com/pro/?utm_source=affiliate&utm_medium=benjohnson&utm_campaign=pro 0:01- Free previews of Paul's books are available from New in Chess here:  In Black and White Mindful Chess  0:03- GM Van der Sterren achieved a legendary chess breakthrough in 1993 at age 37 . What changed?  10:30- In his one career Candidates' match, Paul lost to a young GM Gata Kamsky. How does he reflect on that match now?  16:00- For Chess in Black and White, how did Paul remember so many details from throughout his chess career?  24:00- Aging comes across as a major theme of the book, Chess in Black and White.   Was this by design?  Mentioned: GM Matthew Sadler, Sasha Chapin's All the Moves That Matter, GM Ben Finegold  32:00- Patreon mailbag question: “What is Paul's opinion as to why adults struggle to improve at chess?” Mentioned: The Facebook Chess Book Collector's Group  41:00- We discuss Mindful Chess. When did Paul become interested in meditation and Western philosophy?  Mentioned; The Bhagavad Gita, Praggnanandhaa, Gukesh, Vidit 50:00-  Patreon mailbag question: “Does GM Van der Sterren have any recommendations for connecting psychology and chess?”  Mentioned; Mental Toughness in Chess, The Rider by Tim Krabbe, The Essential Sosonko  55:00- Story time! What was it like to play the young Polgar sisters, Jan Timman, Korchnoi and Jan Timman?  1:22:00- One more Korchnoi story! 1:24:00- Paul discusses his work at the historic Max Euwe Chess Center.  Mentioned: You can help support the Max Euwe via this link: https://steunactie.nl/actie/het-max-euwe-centrum-gaat-verhuizen-the-max-euwe-centre-is-moving/-29071 1:30:00- Will there be an update to Paul's excellent opening encyclopedia, Fundamental Chess Openings?  Thanks so much to GM Van der Sterren for joining me!  If you would like to help support Perpetual Chess via Patreon, you can do so here: https://www.patreon.com/perpetualchess Learn more about your ad choices. Visit podcastchoices.com/adchoices

Since we're nearing the end of the year we're starting up the tanks and troop carriers and rolling into battle! What could these three buffoons have to fight about? Why, the best album of the year, of course. The (and we use this term lightly) brain trust are each taking turns with their top 10 albums of the year with David J taking the lead. He snatched up his grandma's purple readers, put on his battle armor and laid the smack down with his top ten records. Take a peek and see if his list is even remotely accurate! Also, be sure to subscribe to the channel for more tomfoolery and general idiocy and you might even hear the fellas talk a little bit about new albums. (But mostly it's simply David-centric abuse...)Click your way over to https://www.shittalkreviews.com to see all the podcasts, album reviews, record write ups and a slew of other junk. You could win a signed URNE album, a Patriarch's In Black swag pack or just a few humble little STR stickers for your lunchbox. You can even leave a voicemail for the guys and let them know what you REALLY think about them. (They like to act like they're all big tough guys who can take a joke, so go ahead and put 'em to the test!#podcast #albumreviews #top10 #metal #rock #nsync #countrytimelemonade 

Oh dear, what can we do, it's time to talk "Baby's In Black" at you. Ahem. Yes, it's waltz-time here at Stuffology! Can the song carry the change of pace for the album successfully? Why is the baby in black? Why is Han Solo mentioned?     Rankings: Track-by-track Ranking eMail: beatlesstuffology@gmail.com Twitter / X / Seventh Circle Of Hell: @beatles_ology Instagram: beatlesstuffology JG's Blog: Judgementally Reviews… Andrew's Blog: Stuffology   Produced By: JG McQuarrie

WARNING: DISTURBING CONTENT. In the depths of the 1930s depression, a grusome find shocked the nation. And it would take a true detective and some brand new technology to crack the case. Host of the In Black and White podcast, Jen Kelly, joins the show with more. Get the In Black and White podcast:Apple: https://podcasts.apple.com/au/podcast/in-black-and-white/id1466009446Spotify: https://open.spotify.com/show/2hTeZWwNn4tog31decnE4z Website: https://heraldsun.com.au/ibaw Like the show? Get more at https://heraldsun.com.au/andrewruleAdvertising enquiries: newspodcastssold@news.com.au Crimestoppers: https://crimestoppers.com.au/ If you or anyone you know needs help Lifeline: 13 11 14Beyond Blue: 1300 22 4636Kids Helpline: 1800 55 1800See omnystudio.com/listener for privacy information.

The jury hands down its verdict in the William Burns murder trial, newspapers discover the existence of his sparrow, a poet is stirred to write verses about what follows... and two more Douglas crew members meet horrible deaths.Apple - http://apple.co/forgottenaustraliaPatreon - https://www.patreon.com/ForgottenAustraliaCheck out my new book The Murder Squad: https://affirmpress.com.au/browse/book/Michael-Adams-Murder-Squad-9781922863836/If you want to hear my interview with Jen Kelly of In Black & White:https://podcasts.apple.com/au/podcast/in-black-and-white/id1466009446?i=1000622413263If you want to hear my interview with Meshel Laurie of Australian True Crime:https://podcasts.apple.com/au/podcast/a-real-life-monster-from-australias-great-depression/id1217681421?i=1000622030689 Hosted on Acast. See acast.com/privacy for more information.

At his December 1882 murder trial William Burns pleads self-defence, even as fellow shipmates testify he'd committed cold-blooded murder. But what can his past reveal about his actions?Support Forgotten Australia:Apple - http://apple.co/forgottenaustraliaPatreon - https://www.patreon.com/ForgottenAustraliaCheck out my new book The Murder Squad: https://affirmpress.com.au/browse/book/Michael-Adams-Murder-Squad-9781922863836/If you want to hear my interview with Jen Kelly of In Black & White:https://podcasts.apple.com/au/podcast/in-black-and-white/id1466009446?i=1000622413263If you want to hear my interview with Meshel Laurie of Australian True Crime:https://podcasts.apple.com/au/podcast/a-real-life-monster-from-australias-great-depression/id1217681421?i=1000622030689 Hosted on Acast. See acast.com/privacy for more information.

In September 1882, on a British ship on the high seas bound for Australia, English sailor William Burns stabs and kills a superior officer. For this capital crime, he'll face justice in Adelaide – and await his fate in the company of a baby sparrow.Support Forgotten Australia to get early and ad-free episodes and bonus shows:Apple - http://apple.co/forgottenaustraliaPatreon - https://www.patreon.com/ForgottenAustraliaCheck out my new book The Murder Squad: https://affirmpress.com.au/browse/book/Michael-Adams-Murder-Squad-9781922863836/If you want to hear my interview with Jen Kelly of In Black & White:https://podcasts.apple.com/au/podcast/in-black-and-white/id1466009446?i=1000622413263If you want to hear my interview with Meshel Laurie of Australian True Crime:https://podcasts.apple.com/au/podcast/a-real-life-monster-from-australias-great-depression/id1217681421?i=1000622030689 Hosted on Acast. See acast.com/privacy for more information.

Exclusive to Forgotten Australia listeners, this episode comprises the first 20 pages of The Murder Squad, my new book about homicide investigation in Sydney and NSW during the worst years of the Great Depression. We start with Detective-Sergeant Tom McRae in Albury in September 1934 as he investigates the Pyjama Girl, before flashing back to the triple tragedies he endured in his early life and as he started his rise through the ranks.Check out The Murder Squad's awesome cover:https://www.booktopia.com.au/the-murder-squad-michael-adams/book/9781922863836.htmlHere's what some very nice folks have been saying about The Murder Squad:‘The Murder Squad is a cracking decade-long history of crazed killers and cunning cops – a triumph of true crime storytelling backed by exhaustive research.' – Stephen Gibbs, Daily Mail‘Michael Adams has that rare ability to drop the reader right in the heart of the action. He gives such precise and evocative detail that the reader can almost see, hear and smell each crime scene. Murder Squad is a riveting read, bringing Australia's Great Depression era to life through a series of cracking true crime stories starring the ingenious Sydney detective Tom McRae.' – Jen Kelly, Herald Sun, In Black & White column and podcast‘Michael Adams takes you on a tense journey into Sydney's historical badlands. Compelling, rich and meticulous: this is Australian true crime at its very best.' – Candice Fox, author of Fire With Fire, The Chase and Crimson Lake‘Michael Adams is a master true crime storyteller. His mastery is firstly, in digging out intriguing historical crimes – many of which have long been forgotten – and secondly, in recounting them in the most compelling way. The Human Glove Mystery, The Pyjama Girl and The Park Demon all get the Michael Adams treatment, but so too the stories that didn't attract the sensational headlines, but are no less intriguing. And all of it against a backdrop of historic Australia and the men of the Murder Squad who hunted out the killers and tried to bring them to justice. So thoroughly researched, this is the ultimate reference for true crime in Australia during the depression years.' – Mercedes Maguire, The Daily Telegraph Hosted on Acast. See acast.com/privacy for more information.

Singles Going Around- Back To Mono Volume OneI've been wanting to do this episode for a while. Mono records, recorded and transferred in mono. Play this one LOUD.Dave Clark Five- "Any Way You Want It"The Crystlals- "Da Doo Ron Run"The Beach Boys- "I Get Around"The Beatles- "Money"Chuck Berry- "Maybellene"Wilson Pickett- "Land of 1000 Dances"The Rolling Stones- "Satisfaction"The Everly Brothers- "Claudette"The Yardbirds- "I'm A Man"Booker T & The MG's- "Hip Hug-Her"Mitch Ryder & The Detroit Wheels- "Shakin With Linda"Sam The Sham & The Pharoahs- "Little Red Riding Hood"The Doors- "Love Me Two Times"The Vettes- "Devil Driver's Theme"The Beatles- "Baby's In Black"Johnny Cash- "Orange Blossom Special"The Beach Boys- "Good Vibrations"The Rolling Stones- "Let's Spend The Night Together"The Kinks- "This Is Where I Belong"The Yardbirds- "Jeff's Boogie"The Byrds- "Mr. Tamborine Man"The Readymen- "Surfer Blues"The Beach Boys- "Little Pad"*All selections from mono Lp's and 45's.

Artist Nel Law became the first Australian woman to set foot on Antarctica in 1961 after she was smuggled on board the supply ship Magga Dan. The story is told in today's new episode of the free In Black and White podcast on Australia's forgotten characters, with author Rachael Mead.More about Rachel at: https://affirmpress.com.au/publishing/the-art-of-breaking-ice/ Like the show? Get features, backgrounders and more at heraldsun.com.au/ibawSee omnystudio.com/listener for privacy information.

In the previous episode of In Black and White, writer Roy Maloy told how Melbourne was gripped by fears that a copycat was trying to imitate Victorian England's most notorious criminal. In this episode, Maloy joins the show again to outline more claims that Jack the Ripper came to our shores. Learn more about Roy at Roy Maloy - Author | Facebook Like the show? go to https://heraldsun.com.au/ibaw for more    See omnystudio.com/listener for privacy information.

In this special episode of the In Black and White podcast, we say goodbye and honor, co-host Dr. Terrance Dean. Dr. Dean passed away suddenly in 2022. Co-host, Scot Kirk, invites Dr. Dean's friends and colleagues including; Dr. Karen Powell-Sears, Amelia Robinson, Dr. Fareeda Griffith and Christopher Travers to talk about their memories of Dr. Dean and the impact he had on the community.  

In the first of In Black and White's summer series, we open the vault to retell three stories of amazing animals who went to war. Like the show? Go to heraldsun.com.au/ibaw for more.See omnystudio.com/listener for privacy information.

Yet another day graces us with a question from one of our listeners. Today: how can we use our agency to help others practice their agency for good? So many of us get caught up in taking care of ourselves that we forget to let other people help when we might need it most. Sometimes... The post Agents of Persuasion (S5 Ep.14) #98 appeared first on In Black & White Show.

The secret to a happier life may just be gratitude. In today's episode, the fellas dig into gratitude and the question of Hour can we develop lifestyles of gratitude, especially when it's hard to see the good around us amidst our trials. Good is good and he always provides for us in some way!—Please subscribe... The post Gratitude for the Ungrateful (S5 Ep.13) #97 appeared first on In Black & White Show.

Howdy friends! Hope you are all well and good and hearty, especially after Thanksgiving last week! This week's episode tackles a discussion about primary, secondary, and tertiary sources of testimony, in essence. Really looking into the different places and ways we feed our testimony and how some provide much more substantial foundations than others. This... The post Primary, Secondary, and Tertiary Sources of Testimony (S5 Ep.12) #96 appeared first on In Black & White Show.

Yo friends! Hope you are well this grateful season. Today's episode digs into activism within the church. We discuss a recent talk given by General Authority Brother Corbitt where he shares how the doctrine of Christ should be our focus when wanting to enact change in our lives and the lives around us. Hear us... The post Activism Within the Church (S5 Ep.11) #95 appeared first on In Black & White Show.

Hey everybody! We're a little late to the release here, but we just had General Conference and boy was it full of goodness and wisdom! We felt the spirit and hope you did too. In this episode we discuss some of our favorite highlights and discussion points from conference while answering the question “Why should... The post Gen Con 2022 – Why Should We Listen to Prophets? (S5 Ep.10) #94 appeared first on In Black & White Show.

Good friends! We hope you are all doing well and having a swell introduction to winter time. Today's episode discusses a topic of concern we received from one of you: “I struggle with the fact that certain sins need to be brought up to a bishop when they can be very intimate and you don't... The post Why Do We Need to Confess Sins to a Bishop? (S5 Ep.9) #93 appeared first on In Black & White Show.

In ‘Black and Irish, Navigating Racism In Ireland', Producer Caroline Mudingo Dipanda examines institutional racism in Ireland within the Irish industrial care system and the education system. We talk to Bukky Adebowale, born in Ireland, President of the student life at Maynooth University, Sandrine Ndahiro, PhD student in African Literature originally from Kenya and Cameroon-born artist Alicia Raye who spent her teenage years in Direct Provision centers. They share personal stories to explain how racism and discrimination is prevalent in their daily interactions in colleges and universities. We meet Black Irish teacher Alex Mbowua, activist Myriam Poizat (YARI), Adult learner advocate and Africa-Ireland Network's founder Joy-Tendai Kangere and Patricia Munatsi, the Policy Officer for the Irish Network Against Racism: overview of the education system and the national policies. 'Black and Irish, Navigating Racism In Ireland' was supported by a grant from the Broadcasting Authority of Ireland, as part of the Sound And Vision Scheme.

Greetings fellow humans. We decided to get back into it with a Random Word Generator episode. We love the practice of doing these so much that we'll find —Show links / scripture references:There is Sunshine in My Soul Today (Church Hymnbook song)—Please subscribe and leave a review!!Twitter & Facebook: @iBWpodcastEmail Us: inblackandwhitepodcast@gmail.comWebsite: www.iBWpodcast.com The post RWG: Here Comes the Sun (S5 Ep.8) #92 appeared first on In Black & White Show.

Hi friends one and all! Hope you are doing swell. Have you ever asked “Did things have to happen this way?” when trials come your way, especially regarding life altering trials? In today's episode we tackle this question in the context of divorce and the struggle that comes with that difficult experience and the pain... The post Did It Have to Happen This Way? – Divorce (S5 Ep.7) #91 appeared first on In Black & White Show.

Links1. “The Navy, In Black and White,” by CAPT John Cordle and LCDR Reuben Keith Green, USNI Proceedings, February 2022.2. “Revisiting the Navy's Beard Policy, With an Eye Toward Inclusion,” by CAPT John Cordle, USNI Blog, July 22, 2021.3. “The Case for Renaming the USS John C. Stennis,” by LCDR Reuben Keith Green, USNI Proceedings, June 2020.4. “Shut Up and Listen: Leadership Means Listening,” by CAPT John Cordle, USNI Blog, August 10, 2017.5. “Study Finds Beard Waivers Slow Promotion, Mostly Affecting Black Airmen,” by Oriana Pawlyk, July 15, 2021.

SUMMARY:Yooooo! Welcome to today's episode. We are super grateful to all you who listen and for your questions and involvement – we really feel this season is different and more powerful because of YOU! Today, Cody and Lenny dig into the question of “What do you do when even the desire to do basic gospel... The post Lack Of Desire (S5 Ep.6) #90 appeared first on In Black & White Show.

“Be still and know that I am God.” This is one of the most powerful scriptures we have that's packed into 8 words or less. What does it mean exactly to “be still”? And how can we be still when the world seems crazier than ever with pandemics and wars and prices going up etc?... The post Stillness Amid Chaos (S5 Ep.5) #89 appeared first on In Black & White Show.

Hey hey hey you bunch of rapscallions, welcome to Springtime! Today's episode asks a question we've all probably thought about to some degree or from some angle, at the very least: are friends / family / people who live the gospel on the “edge” of the line receiving the same blessings as those who are... The post The Edge of the Line (S5 Ep.4) #88 appeared first on In Black & White Show.

This may be considered the title episode of Season 5 as we discuss what you do when there is no black and white gospel answer to your questions. While we don't have all of the answers, we do have the FULNESS of the gospel, or we know everything we need to accomplish the Lord's work... The post It's Not All Black & White (S5 Ep.3) #87 appeared first on In Black & White Show.

Yo! We're back at it with the second episode of season 5. Today's prompt / concern is “How do you reconcile the commandment to be perfect when knowing you're not going to be perfect on earth?” This opens up a long conversation about standards and how we frame them constructively or destructively in our lives.... The post Perfection for the Imperfect (S5 Ep.2) #86 appeared first on In Black & White Show.

Homies, we are back! We've had a bit of a hiatus since our last episode as life has happened, but we are so happy to be back at putting these episodes together. We hope these conversations bless your lives in some way as we've been blessed preparing for them. In this new season, we will... The post Knowledge vs. Belief (S5 Ep.1) #85 appeared first on In Black & White Show.

Episode one hundred and forty of A History of Rock Music in Five Hundred Songs looks at “Trouble Every Day" by the Mothers of Invention, and the early career of Frank Zappa. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Christmas Time is Here Again" by the Beatles. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources I'm away from home as I upload this and haven't been able to do a Mixcloud, but will hopefully edit a link in in a week or so if I remember. The main biography I consulted for this was Electric Don Quixote by Neil Slaven. Zappa's autobiography, The Real Frank Zappa Book, is essential reading if you're a fan of his work. Information about Jimmy Carl Black's early life came from Black's autobiography, For Mother's Sake. Zappa's letter to Varese is from this blog, which also contains a lot of other useful information on Zappa. For information on the Watts uprising, I recommend Johnny Otis' Listen to the Lambs. And the original mix of Freak Out is currently available not on the CD issue of Freak Out itself, which is an eighties remix, but on this "documentary" set. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before I begin -- there are a couple of passing references in this episode to rape and child abuse. I don't believe there's anything that should upset anyone, but if you're worried, you might want to read the transcript on the podcast website before or instead of listening. But also, this episode contains explicit, detailed, descriptions of racial violence carried out by the police against Black people, including against children. Some of it is so distressing that even reading the transcript might be a bit much for some people. Sometimes, in this podcast, we have to go back to another story we've already told. In most cases, that story is recent enough that I can just say, "remember last episode, when I said...", but to tell the story of the Mothers of Invention, I have to start with a story that I told sixty-nine episodes ago, in episode seventy-one, which came out nearly two years ago. In that episode, on "Willie and the Hand Jive", I briefly told the story of Little Julian Herrera at the start. I'm going to tell a slightly longer version of the story now. Some of the information at the start of this episode will be familiar from that and other episodes, but I'm not going to expect people to remember something from that long ago, given all that's happened since. The DJ Art Laboe is one of the few figures from the dawn of rock and roll who is still working. At ninety-six years old, he still promotes concerts, and hosts a syndicated radio show on which he plays "Oldies but Goodies", a phrase which could describe him as well as the music. It's a phrase he coined -- and trademarked -- back in the 1950s, when people in his audience would ask him to play records made a whole three or four years earlier, records they had listened to in their youth. Laboe pretty much single-handedly invented the rock and roll nostalgia market -- as well as being a DJ, he owned a record label, Original Sound, which put out a series of compilation albums, Oldies But Goodies, starting in 1959, which started to cement the first draft of the doo-wop canon. These were the first albums to compile together a set of older rock and roll hits and market them for nostalgia, and they were very much based on the tastes of his West Coast teenage listenership, featuring songs like "Earth Angel" by the Penguins: [Excerpt: The Penguins, "Earth Angel"] But also records that had a more limited geographic appeal, like "Heaven and Paradise" by Don Julian and the Meadowlarks: [Excerpt: Don Julian and the Meadowlarks, "Heaven and Paradise"] As well as being a DJ and record company owner, Laboe was the promoter and MC for regular teenage dances at El Monte Legion Stadium, at which Kip and the Flips, the band that featured Sandy Nelson and Bruce Johnston, would back local performers like the Penguins, Don and Dewey, or Ritchie Valens, as well as visiting headliners like Jerry Lee Lewis. El Monte stadium was originally chosen because it was outside the LA city limits -- at the time there were anti-rock-and-roll ordinances that meant that any teenage dance had to be approved by the LA Board of Education, but those didn't apply to that stadium -- but it also led to Laboe's audience becoming more racially diverse. The stadium was in East LA, which had a large Mexican-American population, and while Laboe's listenership had initially been very white, soon there were substantial numbers of Mexican-American and Black audience members. And it was at one of the El Monte shows that Johnny Otis discovered the person who everyone thought was going to become the first Chicano rock star, before even Ritchie Valens, in 1957, performing as one of the filler acts on Laboe's bill. He signed Little Julian Herrera, a performer who was considered a sensation in East LA at the time, though nobody really knew where he lived, or knew much about him other than that he was handsome, Chicano, and would often have a pint of whisky in his back pocket, even though he was under the legal drinking age. Otis signed Herrera to his label, Dig Records, and produced several records for him, including the record by which he's now best remembered, "Those Lonely Lonely Nights": [Excerpt: Little Julian Herrera, "Those Lonely, Lonely, Nights"] After those didn't take off the way they were expected to, Herrera and his vocal group the Tigers moved to another label, one owned by Laboe, where they recorded "I Remember Linda": [Excerpt: Little Julian Herrera and the Tigers, "I Remember Linda"]  And then one day Johnny Otis got a knock on his door from the police. They were looking for Ron Gregory. Otis had never heard of Ron Gregory, and told them so. The police then showed him a picture. It turned out that Julian Herrera wasn't Mexican-American, and wasn't from East LA, but was from Massachusetts. He had run away from home a few years back, hitch-hiked across the country, and been taken in by a Mexican-American family, whose name he had adopted. And now he was wanted for rape. Herrera went to prison, and when he got out, he tried to make a comeback, but ended up sleeping rough in the basement of the stadium where he had once been discovered. He had to skip town because of some other legal problems, and headed to Tijuana, where he was last seen playing R&B gigs in 1963. Nobody knows what happened to him after that -- some say he was murdered, others that he's still alive, working in a petrol station under yet another name, but nobody has had a confirmed sighting of him since then. When he went to prison, the Tigers tried to continue for a while, but without their lead singer, they soon broke up. Ray Collins, who we heard singing the falsetto part in "I Remember Linda", went on to join many other doo-wop and R&B groups over the next few years, with little success. Then in summer 1963, he walked into a bar in Ponoma, and saw a bar band who were playing the old Hank Ballard and the Midnighters song "Work With Me Annie". As Collins later put it, “I figured that any band that played ‘Work With Me Annie' was all right,” and he asked if he could join them for a few songs. They agreed, and afterwards, Collins struck up a conversation with the guitarist, and told him about an idea he'd had for a song based on one of Steve Allen's catchphrases. The guitarist happened to be spending a lot of his time recording at an independent recording studio, and suggested that the two of them record the song together: [Excerpt: Baby Ray and the Ferns, "How's Your Bird?"] The guitarist in question was named Frank Zappa. Zappa was originally from Maryland, but had moved to California as a child with his conservative Italian-American family when his father, a defence contractor, had got a job in Monterey. The family had moved around California with his father's work, mostly living in various small towns in the Mojave desert seventy miles or so north of Los Angeles. Young Frank had an interest in science, especially chemistry, and especially things that exploded, but while he managed to figure out the ingredients for gunpowder, his family couldn't afford to buy him a chemistry set in his formative years -- they were so poor that his father regularly took part in medical experiments to get a bit of extra money to feed his kids -- and so the young man's interest was diverted away from science towards music. His first musical interest, and one that would show up in his music throughout his life, was the comedy music of Spike Jones, whose band combined virtuosic instrumental performances with sound effects: [Excerpt: Spike Jones and his City Slickers, "Cocktails for Two"] and parodies of popular classical music [Excerpt: Spike Jones and his City Slickers, "William Tell Overture"] Jones was a huge inspiration for almost every eccentric or bohemian of the 1940s and 50s -- Spike Milligan, for example, took the name Spike in tribute to him. And young Zappa wrote his first ever fan letter to Jones when he was five or six. As a child Zappa was also fascinated by the visual aesthetics of music -- he liked to draw musical notes on staves and see what they looked like. But his musical interests developed in two other ways once he entered his teens. The first was fairly typical for the musicians of his generation from LA we've looked at and will continue to look at, which is that he heard "Gee" by the Crows on the radio: [Excerpt: The Crows, "Gee"] He became an R&B obsessive at that moment, and would spend every moment he could listening to the Black radio stations, despite his parents' disapproval. He particularly enjoyed Huggy Boy's radio show broadcast from Dolphins of Hollywood, and also would religiously listen to Johnny Otis, and soon became a connoisseur of the kind of R&B and blues that Otis championed as a musician and DJ: [Excerpt: Zappa on the Late Show, “I hadn't been raised in an environment where there was a lot of music in the house. This couple that owned the chilli place, Opal and Chester, agreed to ask the man who serviced the jukebox to put in some of the song titles that I liked, because I promised that I would dutifully keep pumping quarters into this thing so that I could listen to them, and so I had the ability to eat good chilli and listen to 'Three Hours Past Midnight' by Johnny 'Guitar' Watson for most of my junior and senior year"] Johnny “Guitar” Watson, along with Guitar Slim, would become a formative influence on Zappa's guitar playing, and his playing on "Three Hours Past Midnight" is so similar to Zappa's later style that you could easily believe it *was* him: [Excerpt: Johnny "Guitar" Watson, "Three Hours Past Midnight"] But Zappa wasn't only listening to R&B. The way Zappa would always tell the story, he discovered the music that would set him apart from his contemporaries originally by reading an article in Look magazine. Now, because Zappa has obsessive fans who check every detail, people have done the research and found that there was no such article in that magazine, but he was telling the story close enough to the time period in which it happened that its broad strokes, at least, must be correct even if the details are wrong. What Zappa said was that the article was on Sam Goody, the record salesman, and talked about how Goody was so good at his job that he had even been able to sell a record of Ionisation by Edgard Varese, which just consisted of the worst and most horrible noises anyone had ever heard, just loud drumming noises and screeching sounds. He determined then that he needed to hear that album, but he had no idea how he would get hold of a copy. I'll now read an excerpt from Zappa's autobiography, because Zappa's phrasing makes the story much better: "Some time later, I was staying overnight with Dave Franken, a friend who lived in La Mesa, and we wound up going to the hi-fi place -- they were having a sale on R&B singles. After shuffling through the rack and finding a couple of Joe Huston records, I made my way toward the cash register and happened to glance at the LP bin. I noticed a strange-looking black-and-white album cover with a guy on it who had frizzy gray hair and looked like a mad scientist. I thought it was great that a mad scientist had finally made a record, so I picked it up -- and there it was, the record with "Ionisation" on it. The author of the Look article had gotten it slightly wrong -- the correct title was The Complete Works of Edgard Varèse, Volume I, including "Ionisation," among other pieces, on an obscure label called EMS (Elaine Music Store). The record number was 401.I returned the Joe Huston records and checked my pockets to see how much money I had -- I think it came to about $3.75. I'd never bought an album before, but I knew they must be expensive because mostly old people bought them. I asked the man at the cash register how much EMS 401 cost. "That gray one in the box?" he said. "$5.95." I'd been searching for that record for over a year and I wasn't about to give up. I told him I had $3.75. He thought about it for a minute, and said, "We've been using that record to demonstrate hi-fi's with -- but nobody ever buys one when we use it. I guess if you want it that bad you can have it for $3.75."" Zappa took the record home, and put it on on his mother's record player in the living room, the only one that could play LPs: [Excerpt: Edgard Varese, "Ionisation"] His mother told him he could never play that record in the living room again, so he took the record player into his bedroom, and it became his record player from that point on. Varese was a French composer who had, in his early career, been very influenced by Debussy. Debussy is now, of course, part of the classical canon, but in the early twentieth century he was regarded as radical, almost revolutionary, for his complete rewriting of the rules of conventional classical music tonality into a new conception based on chordal melodies, pedal points, and use of non-diatonic scales. Almost all of Varese's early work was destroyed in a fire, so we don't have evidence of the transition from Debussy's romantic-influenced impressionism to Varese's later style, but after he had moved to the US in 1915 he had become wildly more experimental. "Ionisation" is often claimed to be the first piece of Western classical music written only for percussion instruments. Varese was part of a wider movement of modernist composers -- for example he was the best man at Nicolas Slonimsky's wedding -- and had also set up the International Composers' Guild, whose manifesto influenced Zappa, though his libertarian politics led him to adapt it to a more individualistic rather than collective framing. The original manifesto read in part "Dying is the privilege of the weary. The present day composers refuse to die. They have realized the necessity of banding together and fighting for the right of each individual to secure a fair and free presentation of his work" In the twenties and thirties, Varese had written a large number of highly experimental pieces, including Ecuatorial, which was written for bass vocal, percussion, woodwind, and two Theremin cellos. These are not the same as the more familiar Theremin, created by the same inventor, and were, as their name suggests, Theremins that were played like a cello, with a fingerboard and bow. Only ten of these were ever made, specifically for performances of Varese's work, and he later rewrote the work to use ondes martenot instead of Theremin cellos, which is how the work is normally heard now: [Excerpt: Edgard Varese, "Ecuatorial"] But Varese had spent much of the thirties, forties, and early fifties working on two pieces that were never finished, based on science fiction ideas -- L'Astronome, which was meant to be about communication with people from the star Sirius, and Espace, which was originally intended to be performed simultaneously by choirs in Beijing, Moscow, Paris, and New York. Neither of these ideas came to fruition, and so Varese had not released any new work, other than one small piece, Étude pour espace, an excerpt from the  larger work, in Zappa's lifetime. Zappa followed up his interest in Varese's music with his music teacher, one of the few people in the young man's life who encouraged him in his unusual interests. That teacher, Mr Kavelman, introduced Zappa to the work of other composers, like Webern, but would also let him know why he liked particular R&B records. For example, Zappa played Mr. Kavelman "Angel in My Life" by the Jewels, and asked what it was that made him particularly like it: [Excerpt: The Jewels, "Angel in My Life"] The teacher's answer was that it was the parallel fourths that made the record particularly appealing. Young Frank was such a big fan of Varese that for his fifteenth birthday, he actually asked if he could make a long-distance phone call to speak to Varese. He didn't know where Varese lived, but figured that it must be in Greenwich Village because that was where composers lived, and he turned out to be right. He didn't get through on his birthday -- he got Varese's wife, who told him the composer was in Europe -- but he did eventually get to speak to him, and was incredibly excited when Varese told him that not only had he just written a new piece for the first time in years, but that it was called Deserts, and was about deserts -- just like the Mojave Desert where Zappa lived: [Excerpt: Edgard Varese, "Deserts"] As he later wrote, “When you're 15 and living in the Mojave Desert, and you find out that the World's Greatest Composer (who also looks like a mad scientist) is working in a secret Greenwich Village laboratory on a song about your hometown (so to speak), you can get pretty excited.” A year later, Zappa actually wrote to Varese, a long letter which included him telling the story about how he'd found his work in the first place, hoping to meet up with him when Zappa travelled to the East Coast to see family. I'll read out a few extracts, but the whole thing is fascinating for what it says about Zappa the precocious adolescent, and I'll link to a blog post with it in the show notes. "Dear Sir: Perhaps you might remember me from my stupid phone call last January, if not, my name again is Frank Zappa Jr. I am 16 years old… that might explain partly my disturbing you last winter. After I had struggled through Mr. Finklestein's notes on the back cover (I really did struggle too, for at the time I had had no training in music other than practice at drum rudiments) I became more and more interested in you and your music. I began to go to the library and take out books on modern composers and modern music, to learn all I could about Edgard Varese. It got to be my best subject (your life) and I began writing my reports and term papers on you at school. At one time when my history teacher asked us to write on an American that has really done something for the U.S.A. I wrote on you and the Pan American Composers League and the New Symphony. I failed. The teacher had never heard of you and said I made the whole thing up. Silly but true. That was my Sophomore year in high school. Throughout my life all the talents and abilities that God has left me with have been self developed, and when the time came for Frank to learn how to read and write music, Frank taught himself that too. I picked it all up from the library. I have been composing for two years now, utilizing a strict twelve-tone technique, producing effects that are reminiscent of Anton Webern. During those two years I have written two short woodwind quartets and a short symphony for winds, brass and percussion. I plan to go on and be a composer after college and I could really use the counsel of a veteran such as you. If you would allow me to visit with you for even a few hours it would be greatly appreciated. It may sound strange but I think I have something to offer you in the way of new ideas. One is an elaboration on the principle of Ruth Seeger's contrapuntal dynamics and the other is an extension of the twelve-tone technique which I call the inversion square. It enables one to compose harmonically constructed pantonal music in logical patterns and progressions while still abandoning tonality. Varese sent a brief reply, saying that he was going to be away for a few months, but would like to meet Zappa on his return. The two never met, but Zappa kept the letter from Varese framed on his wall for the rest of his life. Zappa soon bought a couple more albums, a version of "The Rite of Spring" by Stravinsky: [Excerpt: Igor Stravinsky, "The Rite of Spring"] And a record of pieces by Webern, including his Symphony opus 21: [Excerpt: Anton Webern, "Symphony op. 21"] (Incidentally, with the classical music here, I'm not seeking out the precise performances Zappa was listening to, just using whichever recordings I happen to have copies of). Zappa was also reading Slonimsky's works of musicology, like the Thesaurus of Scales and Melodic Patterns. As well as this "serious music" though, Zappa was also developing as an R&B musician.  He later said of the Webern album, "I loved that record, but it was about as different from Stravinsky and Varèse as you could get. I didn't know anything about twelve-tone music then, but I liked the way it sounded. Since I didn't have any kind of formal training, it didn't make any difference to me if I was listening to Lightnin' Slim, or a vocal group called the Jewels (who had a song out then called "Angel in My Life"), or Webern, or Varèse, or Stravinsky. To me it was all good music." He had started as a drummer with a group called the Blackouts, an integrated group with white, Latino, and Black members, who played R&B tracks like "Directly From My Heart to You", the song Johnny Otis had produced for Little Richard: [Excerpt: Little Richard, "Directly From My Heart to You"] But after eighteen months or so, he quit the group and stopped playing drums. Instead, he switched to guitar, with a style influenced by Johnny "Guitar" Watson and Guitar Slim. His first guitar had action so bad that he didn't learn to play chords, and moved straight on to playing lead lines with his younger brother Bobby playing rhythm. He also started hanging around with two other teenage bohemians -- Euclid Sherwood, who was nicknamed Motorhead, and Don Vliet, who called himself Don Van Vliet. Vliet was a truly strange character, even more so than Zappa, but they shared a love for the blues, and Vliet was becoming a fairly good blues singer, though he hadn't yet perfected the Howlin' Wolf imitation that would become his stock-in-trade in later years. But the surviving recording of Vliet singing with the Zappa brothers on guitar, singing a silly parody blues about being flushed down the toilet of the kind that many teenage boys would write, shows the promise that the two men had: [Excerpt: Frank Zappa and Captain Beefheart, "Lost in a Whirlpool"] Zappa was also getting the chance to hear his more serious music performed. He'd had the high school band play a couple of his pieces, but he also got the chance to write film music -- his English teacher, Don Cerveris, had decided to go off and seek his fortune as a film scriptwriter, and got Zappa hired to write the music for a cheap Western he'd written, Run Home Slow. The film was beset with problems -- it started filming in 1959 but didn't get finished and released until 1965 -- but the music Zappa wrote for it did eventually get recorded and used on the soundtrack: [Excerpt: Frank Zappa, "Run Home Slow Theme"] In 1962, he got to write the music for another film, The World's Greatest Sinner, and he also wrote a theme song for that, which got released as the B-side of "How's Your Bird?", the record he made with Ray Collins: [Excerpt: Baby Ray and the Ferns, "The World's Greatest Sinner"] Zappa was able to make these records because by the early sixties, as well as playing guitar in bar bands, he was working as an assistant for a man named Paul Buff. Paul Buff had worked as an engineer for a guided missile manufacturer, but had decided that he didn't want to do that any more, and instead had opened up the first independent multi-track recording studio on the West Coast, PAL Studios, using equipment he'd designed and built himself, including a five-track tape recorder. Buff engineered a huge number of surf instrumentals there, including "Wipe Out" by the Surfaris: [Excerpt: The Surfaris, "Wipe Out"] Zappa had first got to know Buff when he had come to Buff's studio with some session musicians in 1961, to record some jazz pieces he'd written, including this piece which at the time was in the style of Dave Brubeck but would later become a staple of Zappa's repertoire reorchestrated in a  rock style. [Excerpt: The PAL Studio Band, "Never on Sunday"] Buff really just wanted to make records entirely by himself, so he'd taught himself to play the rudiments of guitar, bass, drums, piano, and alto saxophone, so he could create records alone. He would listen to every big hit record, figure out what the hooks were on the record, and write his own knock-off of those. An example is "Tijuana Surf" by the Hollywood Persuaders, which is actually Buff on all instruments, and which according to Zappa went to number one in Mexico (though I've not found an independent source to confirm that chart placing, so perhaps take it with a pinch of salt): [Excerpt: The Hollywood Persuaders, "Tijuana Surf"] The B-side to that, "Grunion Run", was written by Zappa, who also plays guitar on that side: [Excerpt: The Hollywood Persuaders, "Grunion Run"] Zappa, Buff, Ray Collins, and a couple of associates would record all sorts of material at PAL -- comedy material like "Hey Nelda", under the name "Ned and Nelda" -- a parody of "Hey Paula" by Paul and Paula: [Excerpt: Ned and Nelda, "Hey Nelda"] Doo-wop parodies like "Masked Grandma": [Excerpt: The PAL Studio Band, "Masked Grandma"] R&B: [Excerpt: The PAL Studio Band, "Why Don't You Do Me Right?"] and more. Then Buff or Zappa would visit one of the local independent label owners and try to sell them the master -- Art Laboe at Original Sound released several of the singles, as did Bob Keane at Donna Records and Del-Fi. The "How's Your Bird" single also got Zappa his first national media exposure, as he went on the Steve Allen show, where he demonstrated to Allen how to make music using a bicycle and a prerecorded electronic tape, in an appearance that Zappa would parody five years later on the Monkees' TV show: [Excerpt: Steve Allen and Frank Zappa, "Cyclophony"] But possibly the record that made the most impact at the time was "Memories of El Monte", a song that Zappa and Collins wrote together about Art Laboe's dances at El Monte Stadium, incorporating excerpts of several of the songs that would be played there, and named after a compilation Laboe had put out, which had included “I Remember Linda” by Little Julian and the Tigers. They got Cleve Duncan of the Penguins to sing lead, and the record came out as by the Penguins, on Original Sound: [Excerpt: The Penguins, "Memories of El Monte"] By this point, though, Pal studios was losing money, and Buff took up the offer of a job working for Laboe full time, as an engineer at Original Sound. He would later become best known for inventing the kepex, an early noise gate which engineer Alan Parsons used on a bass drum to create the "heartbeat" that opens Pink Floyd's Dark Side of the Moon: [Excerpt: Pink Floyd, "Speak to Me"] That invention would possibly be Buff's most lasting contribution to music, as by the early eighties, the drum sound on every single pop record was recorded using a noise gate. Buff sold the studio to Zappa, who renamed it Studio Z and moved in -- he was going through a divorce and had nowhere else to live. The studio had no shower, and Zappa had to just use a sink to wash, and he was surviving mostly off food scrounged by his resourceful friend Motorhead Sherwood. By this point, Zappa had also joined a band called the Soots, consisting of Don Van Vliet, Alex St. Clair and Vic Mortenson, and they recorded several tracks at Studio Z, which they tried to get released on Dot Records, including a cover version of Little Richard's “Slippin' and Slidin'”, and a song called “Tiger Roach” whose lyrics were mostly random phrases culled from a Green Lantern comic: [Excerpt: The Soots, "Tiger Roach"] Zappa also started writing what was intended as the first ever rock opera, "I Was a Teenage Maltshop", and attempts were made to record parts of it with Vliet, Mortenson, and Motorhead Sherwood: [Excerpt: Frank Zappa, "I Was a Teenage Maltshop"] Zappa was also planning to turn Studio Z into a film studio. He obtained some used film equipment, and started planning a science fiction film to feature Vliet, titled "Captain Beefheart Meets the Grunt People". The title was inspired by an uncle of Vliet's, who lived with Vliet and his girlfriend, and used to urinate with the door open so he could expose himself to Vliet's girlfriend, saying as he did so "Look at that! Looks just like a big beef heart!" Unfortunately, the film would not get very far. Zappa was approached by a used-car salesman who said that he and his friends were having a stag party. As Zappa owned a film studio, could he make them a pornographic film to show at the party? Zappa told him that a film wouldn't be possible, but as he needed the money, would an audio tape be acceptable? The used-car salesman said that it would, and gave him a list of sex acts he and his friends would like to hear. Zappa and a friend, Lorraine Belcher, went into the studio and made a few grunting noises and sound effects. The used-car salesman turned out actually to be an undercover policeman, who was better known in the area for his entrapment of gay men, but had decided to branch out. Zappa and Belcher were arrested -- Zappa's father bailed him out, and Zappa got an advance from Art Laboe to pay Belcher's bail. Luckily "Grunion Run" and "Memories of El Monte" were doing well enough that Laboe could give Zappa a $1500 advance. When the case finally came to trial, the judge laughed at the tape and wanted to throw the whole case out, but the prosecutor insisted on fighting, and Zappa got ten days in prison, and most of his tapes were impounded, never to be returned. He fell behind with his rent, and Studio Z was demolished. And then Ray Collins called him, asking if he wanted to join a bar band: [Excerpt: The Mothers, "Hitch-Hike"] The Soul Giants were formed by a bass player named Roy Estrada. Now, Estrada is unfortunately someone who will come up in the story a fair bit over the next year or so, as he played on several of the most important records to come out of LA in the sixties and early seventies. He is also someone about whom there's fairly little biographical information -- he's not been interviewed much, compared to pretty much everyone else, and it's easy to understand why when you realise that he's currently half-way through a twenty-five year sentence for child molestation -- his third such conviction. He won't get out of prison until he's ninety-three. He's one of the most despicable people who will turn up in this podcast, and frankly I'm quite glad I don't know more about him as a person. He was, though, a good bass player and falsetto singer, and he had released a single on King Records, an instrumental titled "Jungle Dreams": [Excerpt, Roy Estrada and the Rocketeers, "Jungle Dreams"] The other member of the rhythm section, Jimmy Carl Black, was an American Indian (that's the term he always used about himself until his death, and so that's the term I'll use about him too) from Texas. Black had grown up in El Paso as a fan of Western Swing music, especially Bob Wills, but had become an R&B fan after discovering Wolfman Jack's radio show and hearing the music of Howlin' Wolf and Sonny Boy Williamson. Like every young man from El Paso, he would travel to Juarez as a teenager to get drunk, see sex shows, and raise hell. It was also there that he saw his first live blues music, watching Long John Hunter, the same man who inspired the Bobby Fuller Four, and he would always claim Hunter as the man whose shows taught him how to play the blues. Black had decided he wanted to become a musician when he'd seen Elvis perform live. In Black's memory, this was a gig where Elvis was an unknown support act for Faron Young and Wanda Jackson, but he was almost certainly slightly misremembering -- it's most likely that what he saw was Elvis' show in El Paso on the eleventh of April 1956, where Young and Jackson were also on the bill, but supporting Elvis who was headlining. Either way, Black had decided that he wanted to make girls react to him the same way they reacted to Elvis, and he started playing in various country and R&B bands. His first record was with a group called the Keys, and unfortunately I haven't been able to track down a copy (it was reissued on a CD in the nineties, but the CD itself is now out of print and sells for sixty pounds) but he did rerecord the song with a later group he led, the Mannish Boys: [Excerpt: Jimmy Carl Black and the Mannish Boys, "Stretch Pants"] He spent a couple of years in the Air Force, but continued playing music during that time, including in a band called The Exceptions which featured Peter Cetera later of the band Chicago, on bass. After a brief time working as lineman in Wichita, he moved his family to California, where he got a job teaching drums at a music shop in Anaheim, where the bass teacher was Jim Fielder, who would later play bass in Blood, Sweat, and Tears. One of Fielder's friends, Tim Buckley, used to hang around in the shop as well, and Black was at first irritated by him coming in and playing the guitars and not buying anything, but eventually became impressed by his music. Black would later introduce Buckley to Herb Cohen, who would become Buckley's manager, starting his professional career. When Roy Estrada came into the shop, he and Black struck up a friendship, and Estrada asked Black to join his band The Soul Giants, whose lineup became Estrada, Black, a sax player named Davey Coronado, a guitarist called Larry and a singer called Dave. The group got a residency at the Broadside club in Ponoma, playing "Woolly Bully" and "Louie Louie" and other garage-band staples. But then Larry and Dave got drafted, and the group got in two men called Ray -- Ray Collins on vocals, and Ray Hunt on guitar. This worked for a little while, but Ray Hunt was, by all accounts, not a great guitar player -- he would play wrong chords, and also he was fundamentally a surf player while the Soul Giants were an R&B group. Eventually, Collins and Hunt got into a fistfight, and Collins suggested that they get in his friend Frank instead. For a while, the Soul Giants continued playing "Midnight Hour" and "Louie Louie", but then Zappa suggested that they start playing some of his original material as well. Davy Coronado refused to play original material, because he thought, correctly, that it would lose the band gigs, but the rest of the band sided with the man who had quickly become their new leader. Coronado moved back to Texas, and on Mother's Day 1965 the Soul Giants changed their name to the Mothers. They got in Henry Vestine on second guitar, and started playing Zappa's originals, as well as changing the lyrics to some of the hits they were playing: [Excerpt: The Mothers, "Plastic People"] Zappa had started associating with the freak crowd in Hollywood centred around Vito and Franzoni, after being introduced by Don Cerveris, his old teacher turned screenwriter, to an artist called Mark Cheka, who Zappa invited to manage the group. Cheka in turn brought in his friend Herb Cohen, who managed several folk acts including the Modern Folk Quartet and Judy Henske, and who like Zappa had once been arrested on obscenity charges, in Cohen's case for promoting gigs by the comedian Lenny Bruce. Cohen first saw the Mothers when they were recording their appearance in an exploitation film called Mondo Hollywood. They were playing in a party scene, using equipment borrowed from Jim Guercio, a session musician who would briefly join the Mothers, but who is now best known for having been Chicago's manager and producing hit records for them and Blood, Sweat, and Tears. In the crowd were Vito and Franzoni, Bryan Maclean, Ram Dass, the Harvard psychologist who had collaborated with Timothy Leary in controversial LSD experiments that had led to both losing their jobs, and other stalwarts of the Sunset Strip scene. Cohen got the group bookings at the Whisky A-Go-Go and The Trip, two of the premier LA nightclubs, and Zappa would also sit in with other bands playing at those venues, like the Grass Roots, a band featuring Bryan Maclean and Arthur Lee which would soon change its name to Love. At this time Zappa and Henry Vestine lived together, next door to a singer named Victoria Winston, who at the time was in a duo called Summer's Children with Curt Boettcher: [Excerpt: Summer's Children, "Milk and Honey"] Winston, like Zappa, was a fan of Edgard Varese, and actually asked Zappa to write songs for Summer's Children, but one of the partners involved in their production company disliked Zappa's material and the collaboration went no further. Zappa at this point was trying to incorporate more ideas from modal jazz into his music. He was particularly impressed by Eric Dolphy's 1964 album "Out to Lunch": [Excerpt: Eric Dolphy, "Hat and Beard"] But he was also writing more about social issues, and in particular he had written a song called "The Watts Riots Song", which would later be renamed "Trouble Every Day": [Excerpt: The Mothers of Invention, "Trouble Every Day"] Now, the Watts Uprising was one of the most important events in Black American history, and it feels quite wrong that I'm covering it in an episode about a band made up of white, Latino, and American Indian people rather than a record made by Black people, but I couldn't find any way to fit it in anywhere else. As you will remember me saying in the episode on "I Fought the Law", the LA police under Chief William Parker were essentially a criminal gang by any other name -- they were incompetent, violent, and institutionally racist, and terrorised Black people. The Black people of LA were also feeling particularly aggrieved in the summer of 1965, as a law banning segregation in housing had been overturned by a ballot proposition in November 1964, sponsored by the real estate industry and passed by an overwhelming majority of white voters in what Martin Luther King called "one of the most shameful developments in our nation's history", and which Edmund Brown, the Democratic governor said was like "another hate binge which began more than 30 years ago in a Munich beer hall". Then on Wednesday, August 11, 1965, the police pulled over a Black man, Marquette Frye, for drunk driving. He had been driving his mother's car, and she lived nearby, and she came out to shout at him about drinking and driving. The mother, Rena Price, was hit by one of the policemen; Frye then physically attacked one of the police for hitting his mother, one of the police pulled out a gun, a crowd gathered, the police became violent against the crowd, a rumour spread that they had kicked a pregnant woman, and the resulting protests were exacerbated by the police carrying out what Chief Parker described as a "paramiltary" response. The National Guard were called in, huge swathes of south central LA were cordoned off by the police with signs saying things like "turn left or get shot". Black residents started setting fire to and looting local white-owned businesses that had been exploiting Black workers and customers, though this looting was very much confined to individuals who were known to have made the situation worse. Eventually it took six days for the uprising to be put down, at a cost of thirty-four deaths, 1032 injuries, and 3438 arrests. Of the deaths, twenty-three were Black civilians murdered by the police, and zero were police murdered by Black civilians (two police were killed by other police, in accidental shootings). The civil rights activist Bayard Rustin said of the uprising, "The whole point of the outbreak in Watts was that it marked the first major rebellion of Negroes against their own masochism and was carried on with the express purpose of asserting that they would no longer quietly submit to the deprivation of slum life." Frank Zappa's musical hero Johnny Otis would later publish the book Listen to the Lambs about the Watts rebellion, and in it he devotes more than thirty pages to eyewitness accounts from Black people. It's an absolutely invaluable resource. One of the people Otis interviews is Lily Ford, who is described by my copy of the book as being the "lead singer of the famous Roulettes". This is presumably an error made by the publishers, rather than Otis, because Ford was actually a singer with the Raelettes, as in Ray Charles' vocal group. She also recorded with Otis under the name "Lily of the Valley": [Excerpt: Lily of the Valley, "I Had a Sweet Dream"] Now, Ford's account deserves a large excerpt, but be warned, this is very, very difficult to hear. I gave a content warning at the beginning, but I'm going to give another one here. "A lot of our people were in the street, seeing if they could get free food and clothes and furniture, and some of them taking liquor too. But the white man was out for blood. Then three boys came down the street, laughing and talking. They were teenagers, about fifteen or sixteen years old. As they got right at the store they seemed to debate whether they would go inside. One boy started a couple of times to go. Finally he did. Now a cop car finally stops to investigate. Police got out of the car. Meanwhile, the other two boys had seen them coming and they ran. My brother-in-law and I were screaming and yelling for the boy to get out. He didn't hear us, or was too scared to move. He never had a chance. This young cop walked up to the broken window and looked in as the other one went round the back and fired some shots and I just knew he'd killed the other two boys, but I guess he missed. He came around front again. By now other police cars had come. The cop at the window aimed his gun. He stopped and looked back at a policeman sitting in a car. He aimed again. No shot. I tried to scream, but I was so horrified that nothing would come out of my throat. The third time he aimed he yelled, "Halt", and fired before the word was out of his mouth. Then he turned around and made a bull's-eye sign with his fingers to his partner. Just as though he had shot a tin can off a fence, not a human being. The cops stood around for ten or fifteen minutes without going inside to see if the kid was alive or dead. When the ambulance came, then they went in. They dragged him out like he was a sack of potatoes. Cops were everywhere now. So many cops for just one murder." [Excerpt: The Mothers of Invention, "Trouble Every Day"] There's a lot more of this sort of account in Otis' book, and it's all worth reading -- indeed, I would argue that it is *necessary* reading. And Otis keeps making a point which I quoted back in the episode on "Willie and the Hand Jive" but which I will quote again here -- “A newborn Negro baby has less chance of survival than a white. A Negro baby will have its life ended seven years sooner. This is not some biological phenomenon linked to skin colour, like sickle-cell anaemia; this is a national crime, linked to a white-supremacist way of life and compounded by indifference”. (Just a reminder, the word “Negro” which Otis uses there was, in the mid-sixties, the term of choice used by Black people.) And it's this which inspired "The Watts Riot Song", which the Mothers were playing when Tom Wilson was brought into The Trip by Herb Cohen: [Excerpt: The Mothers of Invention, "Trouble Every Day"] Wilson had just moved from Columbia, where he'd been producing Dylan and Simon and Garfunkel, to Verve, a subsidiary of MGM which was known for jazz records but was moving into rock and roll. Wilson was looking for a white blues band, and thought he'd found one. He signed the group without hearing any other songs. Henry Vestine quit the group between the signing and the first recording, to go and join an *actual* white blues band, Canned Heat, and over the next year the group's lineup would fluctuate quite a bit around the core of Zappa, Collins, Estrada, and Black, with members like Steve Mann, Jim Guercio, Jim Fielder, and Van Dyke Parks coming and going, often without any recordings being made of their performances. The lineup on what became the group's first album, Freak Out! was Zappa, Collins, Estrada, Black, and Elliot Ingber, the former guitarist with the Gamblers, who had joined the group shortly before the session and would leave within a few months. The first track the group recorded, "Any Way the Wind Blows", was straightforward enough: [Excerpt: The Mothers of Invention, "Any Way the Wind Blows"] The second song, a "Satisfaction" knock-off called "Hungry Freaks Daddy", was also fine. But it was when the group performed their third song of the session, "Who Are The Brain Police?", that Tom Wilson realised that he didn't have a standard band on his hands: [Excerpt: The Mothers of Invention, "Who Are the Brain Police?"] Luckily for everyone concerned, Tom Wilson was probably the single best producer in America to have discovered the Mothers. While he was at the time primarily known for his folk-rock productions, he had built his early career on Cecil Taylor and Sun Ra records, some of the freakiest jazz of the fifties and early sixties. He knew what needed to be done -- he needed a bigger budget. Far from being annoyed that he didn't have the white blues band he wanted, Wilson actively encouraged the group to go much, much further. He brought in Wrecking Crew members to augment the band (though one of them. Mac Rebennack, found the music so irritating he pretended he needed to go to the toilet, walked out, and never came back). He got orchestral musicians to play Zappa's scores, and allowed the group to rent hundreds of dollars of percussion instruments for the side-long track "Return of the Son of Monster Magnet", which features many Hollywood scenesters of the time, including Van Dyke Parks, Kim Fowley, future Manson family member Bobby Beausoleil, record executive David Anderle, songwriter P.F. Sloan, and cartoonist Terry Gilliam, all recording percussion parts and vocal noises: [Excerpt: The Mothers of Invention, "Return of the Son of Monster Magnet"] Such was Wilson's belief in the group that Freak Out! became only the second rock double album ever released -- exactly a week after the first, Blonde on Blonde, by Wilson's former associate Bob Dylan. The inner sleeve included a huge list of people who had influenced the record in one way or another, including people Zappa knew like Don Cerveris, Don Vliet, Paul Buff, Bob Keane, Nik Venet, and Art Laboe,  musicians who had influenced the group like Don & Dewey, Johnny Otis, Otis' sax players Preston Love and Big Jay McNeely, Eric Dolphy, Edgard Varese, Richard Berry, Johnny Guitar Watson, and Ravi Shankar, eccentric performers like Tiny Tim, DJs like Hunter Hancock and Huggy Boy, science fiction writers like Cordwainer Smith and Robert Sheckley, and scenesters like David Crosby, Vito, and Franzoni. The list of 179 people would provide a sort of guide for many listeners, who would seek out those names and find their ways into the realms of non-mainstream music, writing, and art over the next few decades. Zappa would always remain grateful to Wilson for taking his side in the record's production, saying "Wilson was sticking his neck out. He laid his job on the line by producing the album. MGM felt that they had spent too much money on the album". The one thing Wilson couldn't do, though, was persuade the label that the group's name could stay as it was. "The Mothers" was a euphemism, for a word I can't say if I want this podcast to keep its clean rating, a word that is often replaced in TV clean edits of films with "melon farmers", and MGM were convinced that the radio would never play any music by a band with that name -- not realising that that wouldn't be the reason this music wouldn't get played on the radio. The group needed to change their name. And so, out of necessity, they became the Mothers of Invention.

This week's episode looks at "Ticket to Ride", the making of the Beatles' second film, and the influence of Bob Dylan on the Beatles' work and lives. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "The Game of Love" by Wayne Fontana and the Mindbenders. 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/ Resources No Mixcloud this week, as there are too many songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them, but the ones I specifically referred to while writing this episode were: 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 material on the making of the film, I referred to Getting Away With It by Steven Soderbergh, a book which is in part a lengthy set of conversations between Soderbergh and Richard Lester. Sadly the only way to legally get the original mix of "Ticket to Ride" is this ludicrously-expensive out-of-print box set, but the 1987 remix is widely available on the CD issue of the Help! soundtrack. The film is available on DVD. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we last looked at the Beatles, they had just achieved their American success, and had appeared in their first film, A Hard Day's Night. Today, we're going to look at the massive artistic growth that happened to them between late 1964 and mid 1965, the making of their second film, Help!, the influence, both artistic and personal, of Bob Dylan on the group, and their introduction both to studio experimentation and to cannabis. We're going to look at "Ticket to Ride": [Excerpt: The Beatles, "Ticket to Ride"] 1964 was a tremendously busy year for the Beatles. After they'd finished making A Hard Day's Night, but even before it was released, they had gone on yet another tour, playing Denmark, the Netherlands, Hong Kong, Australia, and New Zealand, though without Ringo for much of the tour -- Ringo had to have his tonsils removed, and so for the first eight shows of the tour he was replaced by session drummer Jimmy Nicol, the former drummer with Colin Hicks and his Cabin Boys, who had played on several cheap soundalike records of Beatles songs. Nicol was a competent drummer, though very different in style from Ringo, and he found his temporary moment of celebrity hugely upsetting -- he later described it as the worst thing to ever happen to him, and ended up declaring bankruptcy only nine months after touring with the group. Nicol is now a recluse, and hasn't spoken to anyone about his time with the Beatles in more than thirty years. After Ringo returned to the group and the film came out they went back into the studio, only two months after the release of their third album, to start work on their fourth. They recorded four songs in two sessions before departing on their first full US tour. Those songs included two cover versions -- a version of "Mr. Moonlight" by Doctor Feelgood and the Interns that appeared on the album, and a version of Little Willie John's "Leave My Kitten Alone" that didn't see release until 1995 -- and two originals written mostly or entirely by John Lennon, "Baby's In Black", and "I'm a Loser": [Excerpt: The Beatles, "I'm a Loser"] "I'm a Loser" was an early sign of an influence that had particularly changed Lennon's attitude to songwriting -- that of Bob Dylan. Dylan had been on the group's radar for some time -- Paul McCartney in the Anthology book seems to have a confused memory of seeing Madhouse on Castle Street, the TV play Dylan had appeared in in January 1963 -- but early 1964 had seen him rise in prominence to the point that he was a major star, not just an obscure folk singer. And Lennon had paid particular attention to what he was doing with his lyrics. We've already seen that Lennon had been writing surreal poetry for years, but at this point in his life he still thought of his songwriting and his poetry as separate. As he would later put it "I had a sort of professional songwriter's attitude to writing pop songs; we would turn out a certain style of song for a single, and we would do a certain style of thing for this and the other thing. I'd have a separate songwriting John Lennon who wrote songs for the meat market, and I didn't consider them (the lyrics or anything) to have any depth at all." This shouldn't be taken as Lennon saying that the early Beatles songs were lacking in quality, or that he didn't take the work seriously, but that it wasn't about self-expression. He was trying to do the best work he could as a craftsman. Listening to Dylan had showed him that it was possible instead to treat pop songwriting as art, in the sense Lennon understood the term -- as a means of personal expression that could also allow for experimentation and playing games. "I'm a Loser" is a first tentative step towards that, with Lennon for one of the first times consciously writing about his own emotions -- though careful to wrap those feelings both in a conventional love song structure and in a thick layer of distancing irony, to avoid making himself vulnerable -- and the stylistic influence of Dylan is very noticeable, as much in the instrumentation as in the lyrics. While several early Beatles singles had featured Lennon playing harmonica, he had been playing a chromatic harmonica, a type of harmonica that's mostly used for playing single-note melodies, because it allows the player to access every single note, but which is not very good for bending notes or playing chords. If you've heard someone playing the harmonica as a single-note melody instrument with few or no chords, whether Stevie Wonder, Larry Adler, or Max Geldray, the chances are they were playing a chromatic harmonica. On "I'm a Loser", though, Lennon plays a diatonic harmonica -- an instrument that he would refer to as a "harp" rather than a harmonica, because he associated it with the blues, where it's often referred to as a harp. Diatonic harmonicas are the instrument of choice for blues players because they allow more note-bending, and it's easier to play a full chord on them -- the downside, that you have a smaller selection of notes available, is less important in the blues, which tends towards harmonic minimalism. Diatonic harmonicas are the ones you're likely to hear on country, blues, and folk recordings -- they're the instrument played by people like Little Walter, Sonny Boy Williamson, Charlie McCoy, and Bob Dylan. Lennon had played a diatonic before, on "I Should Have Known Better", another song which shows Dylan's influence in the performance, though not in the lyrics. In both cases he is imitating Dylan's style, which tends to be full of chordal phrases rather than single-note melody. What's interesting about “I'm a Loser” though is contrasting John's harmonica solo with George's guitar solo which follows immediately after: [Excerpt: The Beatles, "I'm a Loser"] That's a pure Carl Perkins solo, and the group would, in their choices of cover versions for the next few months, move away somewhat from the soul and girl-group influences that dominated the covers on their first two albums, and towards country and rockabilly -- they would still cover Larry Williams, Little Richard, and Chuck Berry, but there were no more covers of contemporary Black artists, and instead there were cover versions of Buddy Holly, Carl Perkins, and Buck Owens, and Harrison switched from the Rickenbacker that had been his main instrument on A Hard Day's Night to playing a Gretsch -- the brand of guitar that Chet Atkins and Eddie Cochrane played.  The consensus among commentators -- with which, for once, I agree -- seems to be that this was also because of the influence of Dylan. The argument is that the Beatles heard Dylan's music as a form of country music, and it inspired them to go back to their other country-oriented influences. And this makes a lot of sense -- it was only fifteen years earlier, at the same time as they replaced "race" with "rhythm and blues", that Billboard magazine chose to rename their folk chart to the country and western chart -- as Tyler Mahan Coe puts it, "after years of trying to figure out what to call their “poor Black people music” and “poor white people music” charts". And Dylan had been as influenced by Hank Williams as by Woody Guthrie. In short what the Beatles, especially Lennon, heard in Dylan seems to have been three things -- a reminder of the rockabilly and skiffle influences that had been their first love before they'd discovered R&B and soul, permission to write honestly about one's own experiences, and an acknowledgement that such writing could include surrealistic wordplay. Fundamentally, Dylan, as much as being a direct influence, seems to have given the group a kind of permission -- to have shown them that there was room in the commercial sphere in which they were now operating for them to venture into musical and lyrical areas that had always appealed to them. But of course, that was not the only influence that Dylan had on the group, as anyone who has ever read anything at all about their first full US tour knows. That tour saw them playing huge venues like the Hollywood Bowl -- a show which later made up a big part of their only official live album, which was finally released in 1977: [Excerpt: The Beatles, "Things We Said Today (live at the Hollywood Bowl 1964)"] It was nine days into the tour, on the twenty-eighth of August 1964, that they met Bob Dylan for the first time. The meeting with Dylan is usually called the first time the Beatles ever smoked cannabis -- and that's true, at least if you're talking about them as a group. Lennon had tried it around 1960, and both Lennon and Harrison had tried it at a show at the Southport Floral Hall in early 1962, but neither had properly understood what they were smoking, and had both already been drunk before smoking it. According to a later interview with Harrison, that had led to the two of them madly dancing the Twist in their dressing room, shouting "This stuff isn't doing anything!" But it was at this meeting that Paul and Ringo first smoked it, and it also seems to have been taken by Lennon and Harrison as their "real" first time, possibly partly because being introduced to cannabis by Bob Dylan in a New York hotel sounds a lot cooler than being introduced to it by your support band's drummer in Southport, possibly because it was the first time that they had all smoked it together as a group, but mostly because this was the time when it became a regular part of the group's life. Oddly, it happened because of a misheard lyric. Dylan had loved "I Want to Hold Your Hand", and had misheard "I can't hide" as "I get high", and thus just assumed that the British band were already familiar with cannabis. The drug had a profound effect on them -- McCartney later recalled being convinced he had discovered the meaning of life, writing it down on a bit of paper, and getting their roadie Mal Evans to hold the paper for safekeeping. The next morning, when he looked at the paper, he found it merely said "there are seven levels". Lennon, on the other hand, mostly remembered Dylan playing them his latest demos and telling them to listen to the words, but Lennon characteristically being unable to concentrate on the lyrics because in his stoned state he was overwhelmed by the rhythm and general sound of the music. From this point on, the use of cannabis became a major part of the group's life, and it would soon have a profound effect on their lifestyles, their songwriting, the production on their records, and every other aspect of their career. The Beatle on whom it seems to have had the strongest and most immediate effect was Lennon, possibly because he was the one who was coping least well with success and most needed something to take his mind off things. Lennon had always been susceptible to extremes of mood -- it's likely that he would these days be diagnosed as bipolar, and we've already seen how as soon as he'd started writing personally, he'd written "I'm a Loser". He was feeling trapped in suburbia, unsuited for his role as a husband and father, unhappy about his weight, and just generally miserable. Cannabis seemed, at least at first, to offer a temporary escape from that. All the group spent much of the next couple of years stoned, but Lennon probably more than any of them, and he was the one whose writing it seemed to affect most profoundly. On the group's return from the US, they carried on working on the next album, and on a non-album single designed to be released simultaneously with it. "I Feel Fine" is a major milestone in the group's career in a number of ways. The most obvious is the opening -- a brief bit of feedback which Lennon would always later claim to be the first deliberate use of the technique on a record: [Excerpt: The Beatles, "I Feel Fine"] Feedback had, up until this point, been something that musicians generally tried to avoid -- an unwanted sound that could wreck a performance. But among guitarists in London, especially, it was becoming the fashionable sound to incorporate, in a carefully controlled manner, in order to make sounds that nobody had heard before. Jeff Beck, Dave Davies, and Pete Townshend would all argue about which of them was the first to use the technique, but all were using it on stage by the time the Beatles recorded "I Feel Fine". But the Beatles were, if not the first to deliberately use feedback on a record (as I've said in the past, there is no such thing as a first anything, and there are debatable examples where feedback may be deliberate going back to the 1930s and some records by Bob Wills), certainly the most prominent artists to do so up to that point, and also the first to make it a major, prominent feature of a hit record in this manner. If they hadn't done it, someone else undoubtedly would, but they were the first to capture the sound that was becoming so popular in the London clubs, and as so often in their career they were able to capture something that was at the cutting edge of the underground culture and turn it into something that would be accepted by millions. "I Feel Fine" was important to the Beatles in another way, though, in that it was the first Beatles original to be based entirely around a guitar riff, and this was if anything a more important departure from their earlier records than the feedback was. Up to this point, while the Beatles had used riffs in covers like "Twist and Shout", their originals had avoided them -- the rhythm guitar had tended to go for strummed chords, while the lead guitar was usually reserved for solos and interjections. Rather than sustaining a riff through the whole record, George Harrison would tend to play answer phrases to the vocal melody, somewhat in the same manner as a backing vocalist. This time, though, Lennon wrote an entire song around a riff -- one he had based on an R&B record from a few years earlier that he particularly loved, "Watch Your Step" by Bobby Parker: [Excerpt: Bobby Parker, "Watch Your Step"] Parker's record had, in turn, been inspired by two others -- the influence of Ray Charles' "What'd I Say" is very obvious, but Parker had based the riff on one that Dizzy Gillespie had used in "Manteca", a classic early Afro-Cuban jazz record from 1947: [Excerpt: Dizzy Gillespie, "Manteca"] Parker had played that riff on his guitar, varied it, and come up with what may be the most influential guitar riff of all time, one lifted not only by the Beatles (on both "I Feel Fine" and, in a modified form, "Day Tripper") but Led Zeppelin, Deep Purple, the Allman Brothers Band, and many, many others: [Excerpt: Bobby Parker, "Watch Your Step"] Lennon took that riff and based a new song around it -- and it's important to note here that "I Feel Fine" *is* a new song. Both songs share the same riff and twelve-bar blues structure, but Lennon's lyric and melody are totally different, and the record has a different feel. There's a blurry line between plagiarism and homage, and to my mind "I Feel Fine" stays on the right side of that line, although it's a difficult issue because the Beatles were so much more successful than the unknown Parker. Part of the reason "I Feel Fine" could be the Beatles' first single based around a riff was it was recorded on a four-track machine, EMI having finally upgraded their equipment, which meant that the Beatles could record the instrumental and vocal tracks separately. This allowed Lennon and Harrison to hold down the tricky riff in unison, something Lennon couldn't do while also singing the melody -- it's noticeable that when they performed this song live, Lennon usually strummed the chords on a semi-acoustic guitar rather than doubling the riff as he does on the record. It's also worth listening to what Ringo's doing on the drums on the track. One of the more annoying myths about the Beatles is the claim made by a lot of people that Starr was in some way not a good drummer. While there has been some pushback on this, even to the extent that there is now a contrarian counterconsensus that says he was the best drummer in the world at the time, the general public still thinks of him as having been not particularly good. One listen to the part Starr played on "I Feel Fine" -- or indeed a close listen to any of his drum parts -- should get rid of that idea. While George and John are basically duplicating Parker's riff, Ringo picks up on the Parker record's similarity to "What'd I Say" and plays essentially the same part that Ray Charles' drummer had: [Excerpt: The Beatles, "I Feel Fine (isolated drum part)"] There are copies of that posted on YouTube, and almost all of them have comments from people claiming that the drumming in question must be a session drummer, because Starr couldn't play that well.  Several of the Beatles' singles for the next two years would feature a heavy guitar riff as their main instrumental hook. Indeed, it seems like late 1964 is a point where things start to change a little for the Beatles in how they conceptualise singles and albums. Up to this point, they seem to have just written every song as a potential single, then chosen the ones they thought of as the most commercial as singles and stuck the rest out as album tracks. But from autumn 1964 through early 1966 there seems, at least on Lennon's part, to be a divide in how he looked at songs. The songs he brought in that became singles were almost uniformly guitar-driven heavy rockers with a strong riff. Meanwhile, the songs recorded for albums were almost all based on strummed acoustic guitars, usually ballads or at most mid-tempo, and often with meditative lyrics. He clearly seems to have been thinking in terms of commercial singles and less commercial album tracks, even if he didn't quite articulate it that way.  I specify Lennon here, because there doesn't seem to be a comparable split in McCartney's writing -- partly because McCartney didn't really start writing riff-based songs until Lennon dropped the idea in late 1966. McCartney instead seems to start expanding his palette of genres -- while Lennon seems to be in two modes for about an eighteen-month period, and not really to venture out of either the bluesy riff-rocker or the country-flavoured folk rock mode, McCartney starts becoming the stylistic magpie he would become in the later period of the group's career. The B-side to the single, "She's a Woman" is, like the A-side, blues-based, but here it's McCartney in Little Richard mode. The most interesting aspect to it, though, is the rhythm guitar part -- off-beat stabs which sound very much like the group continuing to try to incorporate ska into their work: [Excerpt: The Beatles, "She's a Woman"] The single went to number one, of course, as all the group's singles in this period did. Beatles For Sale, the album that came out of these sessions, is generally regarded as one of the group's weaker efforts, possibly because of the relatively large number of cover versions, but also because of its air of bleakness. From the autumnal cover photo to the laid-back acoustic feel of much of the album, to the depressing nature of Lennon's contributions to the songwriting -- "No Reply", "I'm a Loser", "Baby's in Black", and "I Don't Want to Spoil the Party" all being a far cry from "I Feel Fine" – it's not a fun album by any means. I've always had a soft spot for the album myself, but it's clearly the work of people who were very tired, depressed, and overworked. And they were working hard -- in the four months after the end of their American tour on the twentieth of September, they recorded most of Beatles For Sale and the accompanying single, played forty-eight gigs, made TV appearances on Shindig, Scene at 6:30, Thank Your Lucky Stars, Ready Steady Go, and Top of the Pops, radio appearances on Top Gear and Saturday Club, and sundry interviews. On top of that John also made an appearance on Peter Cook and Dudley Moore's show "Not Only... But Also", performing versions of some of his poetry with Moore and Norman Rossington, who had co-starred in A Hard Day's Night: [Excerpt: John Lennon, Dudley Moore and Norman Rossington, "All Abord Speeching"] They did get a month off from mid-January 1965 through mid-February, but then it was back to work on a new film and accompanying soundtrack album. The group's second film, Help!, is generally regarded with rather less fondness than A Hard Day's Night, and it's certainly the case that some aspects of the film have not dated at all well -- in particular the way that several characters are played by white actors in brownface doing very unconvincing Indian accents, and the less than respectful attitude to Hindu religious beliefs, are things which will make any modern viewer with the slightest sensitivity to such issues cringe terribly.  But those aren't the aspects of the film which most of its critics pick up on -- rather they tend to focus only on the things that the Beatles themselves criticise about the film, mostly that the group spent most of the filming stoned out of their minds, and the performances are thus a lot less focused than those in A Hard Day's Night, and also that the script -- written this time by Richard Lester's regular collaborator Charles Wood, from a story by Marc Behm, rather than by Alun Owen -- is also a little unfocused. All these are fair criticisms as far as they go, but it's also the case that Help! is not a film that is best done justice by being viewed on a small screen on one's own, as most of its critics have viewed it most of the time. Help! is part of a whole subgenre of films which were popular in the 1960s but largely aren't made today -- the loose, chaotic, adventure comedy in which a nominal plot is just an excuse for a series of comedy sketches strung together with spectacular visuals. The genre encompasses everything from It's a Mad Mad Mad Mad World to Casino Royale to The Pink Panther, and all of these films are meant to be seen on a big screen which allows the audience to appreciate their visual inventiveness, and in a communal audience which is laughing along with them. And when seen in that light, Help! is actually a remarkably entertaining example of the type. Yes, it doesn't hold together as well as A Hard Day's Night, and it doesn't resolve so much as just stop, but structurally it's remarkably close to the films of the Marx Brothers, especially their Paramount films, and it's odd that the Marx comparisons get made about A Hard Day's Night, a slice-of-life film inspired by the French New Wave, and not about the screwball comedy that ends in a confused chase sequence. There is one thing that is worth noting about Help! that is often obscured -- part of the reason for its globetrotting nature was because of the levels of taxation in Britain at the time. For top earners, like the Beatles were, the marginal rate of income tax was as high as ninety-five percent in the mid-sixties. Many of us would think this was a reasonable rate for people who were earning many, many times in a year what most people would earn in a lifetime, but it's also worth noting that the Beatles'  success had so far lasted only two years, and that a pop act who was successful for five years was remarkably long-lived -- in the British pop industry only Cliff Richard and the Shadows had had a successful career as chart artists for longer than that, and even they were doing much less well in 1965 than they had been in 1963. In retrospect, of course, we know that the Beatles would continue to sell millions of records a year for more than sixty years, but that was not something any of them could possibly have imagined at the time, and we're still in a period where Paul McCartney could talk about going into writing musicals once the Beatles fad passed, and Ringo could still imagine himself as the owner of a hairdresser's. So it's not completely unreasonable of them to want to keep as much of their money as they could, while they could, and so while McCartney will always talk in interviews about how many of the scenes in the film were inspired by a wishlist from the group -- "We've never been skiing", "We've never been to the Bahamas" -- and there might even be some truth to that, it's also the case that the Bahamas were as known for their lax tax regime as for their undoubted charm as a tourist destination, and these journeys were not solely about giving the group a chance to have fun. But of course, before making the film itself, the group had to record songs for its soundtrack, and so on February the sixteenth they went into the studio to record four songs, including the next single, "Ticket to Ride": [Excerpt: The Beatles, "Ticket to Ride"] While "Ticket to Ride" is mostly -- or possibly solely -- John's song, the record is very much Paul's record. For most of 1964, McCartney hadn't really been pulling his weight in the songwriting department when compared to John -- the handful of songs he had written had included some exceptional ones, but for the most part he hadn't written much, and John had been the more productive member of their partnership, writing almost all of the A Hard Day's Night album, most of the better tracks on Beatles For Sale, and the non-album single "I Feel Fine".  But now, John was sinking into one of his periodic bouts of depression -- he was still writing strong material, and would produce some of the best songs of his career in 1965, but he was unfocused and unhappy, and it was showing in his slowed productivity -- while McCartney was energised by living in London, the cultural capital of the world at that point in time, and having a famous girlfriend who was exposing him to vast areas of culture he had never been aware of before.  I say that "Ticket to Ride" is written by John, but there is some slight dispute about who contributed what to the writing. John's statement was that the song was all him, and that Paul's main contribution was the drum pattern that Ringo plays. Paul, on the other hand, claims that the song is about a sixty-forty split, with John being the sixty. McCartney's evidence for that is the strong vocal harmony he sings -- usually, if there's a two-part harmony like that on a Beatles song, it came about because Lennon and McCartney were in the same room together while writing it, and singing the part together as they were writing. He also talks about how when writing it they were discussing Ryde in the Isle of Wight, where McCartney's cousin ran a pub. I can certainly see it being the case that McCartney co-wrote the song, but I can also easily see the musicianly McCartney feeling the need to harmonise what would otherwise have been a monotonous melody, and adding the harmonies during the recording stage.  Either way, though, the song is primarily John's in the writing, but the arrangement is primarily McCartney's work -- and while Lennon would later claim that McCartney would always pay less attention to Lennon's songs than to McCartney's own, in this middle period of the group's career most of their truly astounding work comes when  Lennon brings in the song but McCartney experiments with the arrangement and production. Over and over again we see McCartney taking control of a Lennon song in the studio and bringing out aspects of it that its composer either had not considered or had not had the musical vocabulary or patience to realise on his own. Indeed one can see this as part of the dynamic that eventually led to the group breaking up. Lennon would bring in a half-formed idea and have the whole group work on it, especially McCartney, and turn it into the best version of itself it could be, but this would then seem like McCartney trying to take over. McCartney, meanwhile, with his greater musical facility, would increasingly not bother asking for the input of the group's other members, even when that input would have turned a mediocre song into a good one or a good one into a great one.  But at this point in their careers, at least, the collaboration brought out the best in both Lennon and McCartney -- though one must wonder what Harrison and Starr felt about having their parts dictated to them or simply replaced. In the case of "Ticket to Ride", one can trace the evolution of McCartney's drum pattern idea over a period of a few months. He was clearly fascinated by Hal Blaine's drum intro to "Be My Baby": [Excerpt: The Ronettes, "Be My Baby"] and came up with a variation of it for his own song "What You're Doing", possibly the most interesting song on Beatles For Sale on a pure production level, the guitar part for which, owing a lot to the Searchers, is also clearly a pointer to the sound on “Ticket to Ride”: [Excerpt: The Beatles, "What You're Doing"] "Ticket to Ride"s drum part is a more complex variation on that slightly broken pattern, as you can hear if you listen to the isolated drum part: [Excerpt: The Beatles, "Ticket to Ride (isolated drums)"] Interestingly, Ringo doesn't keep that precise pattern up all the way through in the studio recording of the song, though he does in subsequent live versions. Instead, from the third verse onwards he shifts to a more straightforward backbeat of the kind he would more normally play: [Excerpt: The Beatles, "Ticket to Ride (isolated drums)"] The mono mix of "Ticket to Ride", which is how most listeners of the time encountered it, shows much more than the stereo mix just what the group, and particularly Paul, were trying to do.  It's a bass-heavy track, sluggish and thundering. It's also a song that sounds *obsessed*. For the first six bars of the verse, and the whole intro, the song stays on a single chord, A, only changing on the word "away", right before the chorus: [Excerpt: The Beatles, "Ticket to Ride"] This obsession with one chord was possibly inspired by soul music, and in particular by "Dancing in the Street", which similarly stays on one chord for a long time: [Excerpt: Martha and the Vandellas, "Dancing in the Street"] We'll be looking more at how soul music was increasingly doing away with chord progressions in favour of keeping to an extended groove on a single chord when we next look at James Brown in a few weeks' time. But in its single-chord focus and its broken drum beat, "Ticket to Ride" is very much a precursor of what the group would do a little over a year later, when they recorded "Tomorrow Never Knows". Of course, it was also around this time that the group discovered Indian music for the first time. There are scenes in the film Help! which feature musicians playing Indian instruments, and George Harrison became fascinated by the sound of the sitar and bought one, and we'll be seeing the repercussions of that for much of the next year. But it's interesting to note that a lot of the elements that make Indian classical music so distinctive to ears used to Western popular music -- the lack of harmonic movement, the modal melodies, the use of percussion not to keep a steady beat but in melodic interplay with the string instruments -- were all already present in songs like "Ticket to Ride", albeit far less obviously and in a way that still fit very much into pop song conventions. The Beatles grew immensely as musicians from their exposure to Indian music, but it's also the case that Indian music appealed to them precisely because it was an extension of the tastes they already had. Unlike when recording Beatles For Sale, the group clearly had enough original material to fill out an album, even if they ended up not doing so and including two mediocre cover versions on the album -- the last time that would happen during the group's time together. The B-sides of the two singles, John's "Yes It Is" and Paul's "I'm Down", both remained only available on the singles, even though the previous film soundtrack had included the B-sides of both its singles. Not only that, but they recorded two Lennon/McCartney songs that would remain unreleased until more than thirty years later. "If You've Got Troubles" was left unreleased for good reason -- a song written for Ringo to sing, it's probably the single worst Lennon/McCartney song ever attempted by the group, with little or nothing to redeem it. McCartney's "That Means a Lot" is more interesting. It's clearly an attempt by McCartney to write a "Ticket to Ride" part two, with a similar riff and feel: [Excerpt: The Beatles, "That Means a Lot"] It even has a sped-up repurposing of the hook line at the end, just as "Ticket to Ride" does, with "Can't you see?" taking the place of "My baby don't care": [Excerpt: The Beatles, "That Means a Lot"] The group spent a couple of sessions on that track, but seem to have given up on it. While it's far from the best thing they did, it's not worthless or unreleasable, and one suspects that they ended up thinking that the track couldn't go on the same album as "Ticket to Ride" because the two songs were just too close. Instead, they ended up giving the song to P.J. Proby, the American singer who had been brought over by Jack Good for the About The Beatles show, and who had built something of a career for himself in the UK with a string of minor hits. Lennon said "we found we just couldn't sing it. In fact, we made a hash of it, so we thought we'd better give it to someone who could do it well". And Proby *could* have done it well -- but whether he did or not is something you can judge for yourself: [Excerpt: P.J. Proby, "That Means a Lot"] Somehow, Proby's version of the song made the top thirty. When the group started filming "Help!", the film was still going under the working title "Eight Arms to Hold You", which absolutely nobody involved liked -- the title was even included on the label of some copies of "Ticket to Ride", but Lennon and McCartney particularly disliked the idea of writing a song to that title. Some have suggested that the plan was to use McCartney's "Eight Days a Week", an album track from Beatles For Sale that had been released as an American single, as a title track, but it seems unlikely that anyone would have considered that -- United Artists wanted something they could put out on a soundtrack album, and the song had already been out for many months. Instead, at almost the last minute, it was decided to name the film "Help!". This was actually close to the very first working title for the film, which had been "Help, Help". According to Lester, "the lawyer said it had already been registered and you mustn't use it so we had Beatles Two and then Eight Arms to Hold You". The only film I've been able to discover with the title "Help, Help", though, is a silent film from 1912, which I don't imagine would have caused much problem in this case.  However, after the group insisted that they couldn't possibly write a song called "Eight Arms to Hold You", Lester realised that if he put an exclamation mark after the word "help", that turned it into a different title. After getting legal approval he announced that the title of the new film was going to be "Help!", and that same day John came up with a song to that title: [Excerpt: The Beatles, "Help!"] Lennon later said that the song had started out as a slow, intense, ballad, and he had been persuaded to speed it up in the studio somewhat against his will. The song being performed as an upbeat pop song possibly made it harder for the public to see what was obvious to Lennon himself, that the song itself was a cry for help from someone going through a mental health crisis. Despite the title not being his, the sentiments certainly were, and for the first time there was barely even the fig-leaf of romantic love to disguise this. The song's lyrics certainly could be interpreted as being the singer wanting help from a romantic partner, but they don't actually specify this, which is not something that could be said about any of the group's other originals up to this point. The soundtrack album for Help! is also notable in other ways. George Harrison writes two songs on the album, when he'd only written one in total for the first four albums. From this point on he would be a major songwriting presence in the group. It also contains the most obvious Dylan homage yet, with Lennon impersonating Dylan's vocal style on "You've Got to Hide Your Love Away", recorded three days after "Ticket to Ride": [Excerpt: The Beatles, "You've Got to Hide Your Love Away"]  "You've Got to Hide Your Love Away" was notable in another way as well -- it was the first time that a musician other than the Beatles or George Martin was called in to work on a Beatles record (other than Andy White on the "Love Me Do" session, which was not something the Beatles chose or approved of). The flute player Johnny Scott overdubbed two tracks of flute at the end of the recording: [Excerpt: The Beatles, "You've Got to Hide Your Love Away"] That was a sign of things to come, because in June, once filming had completed, the group went into the studio to continue recording for the non-soundtrack side of the soundtrack album. This was the height of the group's success and embrace by the establishment -- two days earlier it had been announced that they were all to be awarded MBEs -- and it's also the point at which McCartney's new creative growth as a songwriter really became apparent. They recorded three songs on the same day -- his Little Richard soundalike "I'm Down", which ended up being used as the B-side for "Help!", an acoustic country song called "I've Just Seen a Face", and finally a song whose melody had come to him in a dream many months earlier. McCartney had been so impressed by the melody he'd dreamed that he'd been unable to believe it was original to him, and had spent a long time playing it to other people to see if they recognised it. When they didn't, he eventually changed the lyrics from his original jokey "Scrambled eggs/Oh my baby how I love your legs" to something more appropriate, and titled it "Yesterday": [Excerpt: The Beatles, "Yesterday (Anthology 2 early take)"] "Yesterday" was released as a Beatles track, on a Beatles album, but it had absolutely no involvement from John, George, and Ringo -- nobody could figure out how to adapt the song to a guitars/bass/drums format. Instead George Martin scored it for a string quartet, with some assistance from McCartney who, worried that strings would end up meaning something Mantovani-like, insisted that the score be kept as simple as possible, and played with almost no vibrato. The result was a Beatles track that featured five people, but only one Beatle: [Excerpt: The Beatles, "Yesterday"] The group's next album would see all the band members appearing on every track, and no musicians brought in from outside the group and their organisation, but the genie was now out of the bottle -- the label "The Beatles" on a record no longer meant that it featured John, Paul, George, and Ringo, but just that at least one of them was on the track and the others had agreed it could go out under their name. This would lead to immense changes in the way the group worked, and we'll be seeing how that played out throughout the rest of the 1960s.

In the early 1920s a hapless bar owner found himself victim of one of Australia's worst misuses of forensic detective work. Andrew Rule discusses the case with journalist and author Liz Porter. Like the show? Become a Herald Sun subscriber at: https://heraldsun.com.au/andrewrule Listen to the Herald Sun's history podcast In Black and White: https://www.heraldsun.com.au/podcasts/in-black-and-white   See omnystudio.com/listener for privacy information.