Podcasts about In My Life

Today I'm announcing a major multi-million dollar defamation lawsuit against @Meta, the owner of @Facebook & @Instagram.The case is WILD and has implications for ALL OF US. On top of falsely calling me a criminal, Meta suggested my kids be taken from me.Watch for the full story but here's a summary:This all started with Meta's AI falsely claiming that I was charged with a crime from January 6th but… I wasn't even in DC that day (I was in TN) and I've never been charged with a crime IN MY LIFE.We found this out in August of 2024 when I was exposing woke policies at Harley Davidson. One dealership was unhappy with me and they posted a screenshot from Meta's AI in an effort to attack me. This screenshot was filled with lies. I couldn't believe it was real so I checked myself. It was even worse when I checked.From that day I've faced a steady stream of false accusations that are deeply damaging to my character and the safety of my family.This sounds bad, right? It gets MUCH worse. Meta was notified LAST YEAR by my lawyers, yet the defamation continues today.Some lies Meta spread about me:• Meta's AI claims that I've appeared on Nick Fuentes show, that I've spoken at his rallies, and that I've supported him. I've never met him and this is all false.• Meta's AI claims I've engaged in Holocaust denial. I've NEVER denied the Holocaust.• Meta's AI tells advertisers NOT to advertise with me because of the lies it invented.• Meta tells employers NOT to hire me because of the lies it invented.• Meta suggested that MY KIDS BE TAKEN FROM ME because it would be better for them to be raised by someone more friendly to DEI and transgenderism.• Meta's ironically claimed that I've been sued for DEFAMATION and EMOTIONAL DISTRESS. I've never been sued for either.I've tried to fix this privately since last year. Instead of fixing this and instituting safeguards, Meta has given us the runaround.Meta later BLACKLISTED my name from being searched (insane) but it didn't end the defamation because Meta includes my name in news stories. You can then ask for more info about me. If you do that, Meta goes back to defaming me. In fact, the lies this week are the worst yet!Meta's AI admits that a false accusation over J6 is extremely harmful to whoever is accused. It even agrees that a court is LIKELY to rule that this was defamation with ACTUAL MALICE.With my lawsuit today, I intend to MAKE @finkd @Meta solve this problem.Why is this so important?While I'm the target today, a candidate you like could be the next target, and lies from Meta's AI could flip votes that decide the election. YOU could be the next target too.That's why I'm taking on this David vs. Goliath fight. For me, my honor, my family, for our elections, and FOR YOU!If you want to help me fight ALL the battles that I'm fighting, you can help support my team at www.RobbyStarbuck.com/fight Subscribe to be the first to know when new episodes drop!Watch video episodes on YouTube!Explore more at RobbyStarbuck.com

This week's message is titled "Joel, Acts, and the Holy Spirit." Thank you to Paul, Rhonda, Don, and everyone else who made this service possible. Songs from this service: In My Life, Lord, Be Glorified - https://youtu.be/9IpW8lLjMkY -- Lord I Need You - https://youtu.be/tp_w5b3eeh0 -- It Is Well with My Soul - https://youtu.be/5ovnm-gzLfs -- Oceans (Where Feet May Fail) - https://youtu.be/kMBt8mkW9as -- I Am a Sheep - https://youtu.be/Vm5hV4ews6g -- Great Is Thy Faithfulness - https://youtu.be/IiQzzc41z5Q -- Trust In You - https://youtu.be/qv-SXz_exKE Scriptures from this service: Communion - Matthew 27:46; Psalm 73:23-26 (GNT); 73:28 (GNT). Reading: Joel 1:1-13. Sermon - Joel 2:11; 2:28-31; 2:32; 2:12-13; 2:17; 3:2; 3:9-10; 3:20-21; Acts 2:17-20; 2:21; 2:22-24; 2:24; 2:25-28; Matthew 28:20; Acts 2:27-28; Hebrews 13:5; Matthew 28:20; Acts 2:36-39; 2:41; 5:42; 2:47; 6:7; 5:42; 9:31; 17:24-25; 17:28; 20:32; 28:31; Romans 14:7; 14:7-8; 16:25-27; Hebrews 13:5; Matthew 28:20. Closing - Ephesians 1:18-23. Photo by Brett Jordan on Unsplash [accordion] [accordion-item title="NIV Copyright" state=closed]Scripture quotations marked (NIV) taken from The Holy Bible, New International Version© NIV© Copyright © 1973 1978 1984 2011 by Biblica, Inc. TM Used by permission. All rights reserved worldwide.[/accordion-item] [accordion-item title="Good News Translation Copyright" state="closed"]Scripture quotations marked (GNT) are from the Good News Translation in Today's English Version- Second Edition Copyright © 1992 by American Bible Society. Used by Permission.[/accordion-item][/accordion]

Ian Leslie posted his ‘64 Reasons To Celebrate Paul McCartney' in 2020 and the viral reaction to its piercing and original points encouraged him to write ‘John & Paul: A Love Story In Songs'. Do we need another Beatles book? We do if it's this one! It's exceptionally good and highly recommended. The conventional wisdom for decades was that John was the tormented, anti-establishment genius and Paul the effortlessly tune-churning, bourgeois poser. Ian's book points up that their deep devotion to each other and telepathic, close relationship was the root of the supernatural partnership that made those songs possible. The two of them were, as he puts it, “the bubble within the bubble – and the deeper you get, the more mysterious the story becomes.” He talks to us here about …  … their powerplays and their underlying rivalries for the leadership of the group. … why the Beatles were in another league - “like Shakespeare versus Johnson or Marlowe”. … how a songwriting duo where both wrote words and music gave them an extraordinary advantage. … the writing of Yesterday and John's fear that Paul might no longer need the group and leave. … Paul's discovery of his “superpowers” between ‘64 and '66. … how current groups now have “intimacy councillors” and in any other band the unmanageable Lennon would have been ejected. … In My Life, Hey Jude and other songs they wrote about each other. … how there was “an element of their fathers about them, of stiff upper lip” and displays of physical affection were rare. … Paul as “the omnivorous culture-vore” in avant garde London while John was horizontal in suburbia. … why Paul's pace and creativity must have been psychologically punishing for the others. … and how the emotional landscape shifted with the arrival of Yoko and Linda. Order Ian's book here:https://www.amazon.co.uk/John-Paul-Story-Beatles-decades/dp/0571376118Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Ian Leslie posted his ‘64 Reasons To Celebrate Paul McCartney' in 2020 and the viral reaction to its piercing and original points encouraged him to write ‘John & Paul: A Love Story In Songs'. Do we need another Beatles book? We do if it's this one! It's exceptionally good and highly recommended. The conventional wisdom for decades was that John was the tormented, anti-establishment genius and Paul the effortlessly tune-churning, bourgeois poser. Ian's book points up that their deep devotion to each other and telepathic, close relationship was the root of the supernatural partnership that made those songs possible. The two of them were, as he puts it, “the bubble within the bubble – and the deeper you get, the more mysterious the story becomes.” He talks to us here about …  … their powerplays and their underlying rivalries for the leadership of the group. … why the Beatles were in another league - “like Shakespeare versus Johnson or Marlowe”. … how a songwriting duo where both wrote words and music gave them an extraordinary advantage. … the writing of Yesterday and John's fear that Paul might no longer need the group and leave. … Paul's discovery of his “superpowers” between ‘64 and '66. … how current groups now have “intimacy councillors” and in any other band the unmanageable Lennon would have been ejected. … In My Life, Hey Jude and other songs they wrote about each other. … how there was “an element of their fathers about them, of stiff upper lip” and displays of physical affection were rare. … Paul as “the omnivorous culture-vore” in avant garde London while John was horizontal in suburbia. … why Paul's pace and creativity must have been psychologically punishing for the others. … and how the emotional landscape shifted with the arrival of Yoko and Linda. Order Ian's book here:https://www.amazon.co.uk/John-Paul-Story-Beatles-decades/dp/0571376118Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Ian Leslie posted his ‘64 Reasons To Celebrate Paul McCartney' in 2020 and the viral reaction to its piercing and original points encouraged him to write ‘John & Paul: A Love Story In Songs'. Do we need another Beatles book? We do if it's this one! It's exceptionally good and highly recommended. The conventional wisdom for decades was that John was the tormented, anti-establishment genius and Paul the effortlessly tune-churning, bourgeois poser. Ian's book points up that their deep devotion to each other and telepathic, close relationship was the root of the supernatural partnership that made those songs possible. The two of them were, as he puts it, “the bubble within the bubble – and the deeper you get, the more mysterious the story becomes.” He talks to us here about …  … their powerplays and their underlying rivalries for the leadership of the group. … why the Beatles were in another league - “like Shakespeare versus Johnson or Marlowe”. … how a songwriting duo where both wrote words and music gave them an extraordinary advantage. … the writing of Yesterday and John's fear that Paul might no longer need the group and leave. … Paul's discovery of his “superpowers” between ‘64 and '66. … how current groups now have “intimacy councillors” and in any other band the unmanageable Lennon would have been ejected. … In My Life, Hey Jude and other songs they wrote about each other. … how there was “an element of their fathers about them, of stiff upper lip” and displays of physical affection were rare. … Paul as “the omnivorous culture-vore” in avant garde London while John was horizontal in suburbia. … why Paul's pace and creativity must have been psychologically punishing for the others. … and how the emotional landscape shifted with the arrival of Yoko and Linda. Order Ian's book here:https://www.amazon.co.uk/John-Paul-Story-Beatles-decades/dp/0571376118Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

What started as one day of work turned into 16 seasons as the pianist, arranger, vocal coach, and Associate Musical Director for American Idol. Not only has Michael Orland had a hand in the success of the leading names from Idol, he has also worked with a Rolodex of names that includes Kristen Bell, Sabrina Carpenter, Lynda Carter, Kristin Chenoweth, Ariana Grande, Marilu Henner, Jennifer Holliday, Roslyn Kind, Barry Manilow, Maureen McGovern, Idina Menzel, Patti LuPone, Bernadette Peters, Ann Miller, and the legendary Kaye Ballard, just to name a few. Even though he has been front and center on stage and on television, he remains humble, always in awe of the power of music. This month, he released his debut piano solo album, In My Life, a celebration of piano covers of songs that have played a key role in his life.In this episode, we talk about his early love for music, dropping out of school and heading to New York City, his early breaks in the business, getting onto American Idol, getting starstruck and working with the best, his open mic nights, his debut album In My Life, and so much more…check it out.  Hosted by Alexander Rodriguez @AlexanderisOnAirYou can check out our in-depth chat with him at GEDMag.com 

Sebastian Emes ft. Rona Ray – “Diso Kitchen” [Peppermint Jam] Random Soul f. Laura Vane – “Sway Me” [Random Soul Records] Moon Boots – “In My Life” [Big Love] Change ft. Tanya Michelle Smith – “Sunrise Forever” (Michael Grey remix) [JE – Just Entetainment] Rony Breaker ft. Chinua Hawk – “Solid Ground” (Brian Tappert remix) […] The post Citrus Sound Show 21st Jan 2025 appeared first on SSRadio.

Conversation 323:  November 2024 #EmbracetheHellYeah and #AskMeAnything Conversation It's that special time of the month where I have a chat with you over the airwaves about what is on my heart and in my mind with my thought-provoking monthly #EmbraceTheHellYeah and #AskMeAnything conversation. This November, I am chatting about my 2024 concert review and experiencing THE BEST concert I have ever had IN MY LIFE.  Connect with me: www.anneelizabethrd.com Copyright © 2024 AEHC & OPI Song: One Of These Days Artist: The Gemini www.thegeminimusic.com Music used by permission. All rights received. © ASCAP OrtmanMusic

Random Soul ft. Laura Vane – “Sway Me” [Random Soul Recordings] Diva Avari – “Rhythm Is A Dancer” (Jamie Lewis remix) [Purple] Supermini ft. Frankie Romano – “Midas Touch” [Tinted] Moon Boots – “In My Life” [Big Love] Seb Skalski ft. Rona Ray – “Its Getting Started” [Nervous] Soulmagic – “Soulmagic” (Saison remix) [Soulfuric] Pat […] The post Citrus Sound Show 19th Nov 2024 appeared first on SSRadio.

Disco, NuRo, and not knowing where to look during "Afternoon Delight" -- it's all part of our third episode, when we're also talking about Starman's dinner party, the mayonnaise filter, the Michael McDonald industrial complex, and Mark's request to dump all the geography-named bands into one planetary supergroup. There's only one way to lift the Best New Artist curse, and that's to listen now. Intro and outro by Laura Barger and Jack Baldelli. For more information/to become a patron of the show, visit patreon.com/mastas. SHOW NOTES The list of Best New Artist recipients, and nominees The Best New Artist Breakdown season premiere Only Chicken Michael and Maeby sing "Afternoon Delight" Dig the styling on the Brothers Johnson "Hey Deanie" at The Lost Songs Project Record Of The Year Showdown, Episode 2: 1975-1990 In My Life's Wikipedia page Pop Goes The Actor 3: Comedians Episode 107: Bond-Movie Songs, Ranked

NEW FOR OCTOBER 1, 2024 Wax on. Wax off. Spit Shine Removal - The Best Radio You Have Never Heard Vol. 493 1. Cheap Day Return (live) - Ian Anderson 2. From The Sun To The World (Boogie #1) - Electric Light Orchestra 3. Mr. Blue Sky (live) - Jeff Lynne's ELO 4. Premonition - Ned's Atomic Dustbin 5. The Lebanon - The Human League 6. Heroes - Depeche Mode 7. Romeo and The Lonely Girl (unplugged) - Thin Lizzy 8. Cowboy Song (live) - Material Issue 9. The Rising (live) - Bruce Springsteen 10. Levon (live) - Elton John 11. Secret Mission - Steve Howe 12. Michael From Mountains (live) - Joni Mitchell 13. In My Life (live) - Crosby, Stills and Nash 14. Dancing With Tears In My Eyes (unplugged) - Ultravox 15. Got To Get Out Of This Heat SOS - Topper Headon 16. Sponji Reggae - Black Uhuru 17. Road Dogs - Tony Levin 18. Acid Queen (live) - The Who 19. And Your Bird Can Sing - The Jam 20. Melissa (live unplugged) - The Allman Brothers Band 21. Celluloid Heroes - The Kinks 22. Honky Tonk Woman (live) - The Pogues 23 Perpetual Change (live) - Yes The Best Radio You Have Never Heard. Music that shines like mirrors. Accept No Substitute Click to leave comments on the Facebook page.

Thank goodness the Americans won men's basketball over the French. It's our game, Americans invented it. To lose would be like English Sauvignon Blanc beating out French. Some English wines have beaten out French in blind tests but who says vision-impaired persons are experts on wine?My event is the old man's 90-minute stand-up storytelling with some poems tossed in and my routine had an intelligent dog, a girl challenging a boy to wrestle, Babe Ruth, a funeral, and the audience singing “America,” “In My Life,” and “My Girl.” It kept the crowd's attention pretty well. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit garrisonkeillor.substack.com/subscribe

JKriv ft. Angela Johnson – “Not That Serious” [Big Love] Moon Boots – “In My Life” [Big Love] Dr. Packer ft. Candi Staton – “You Got The Love” [Tinted] Birdee – “Best There Ever Was” [Tinted] Opolopo ft. Angela Johnson – “The Ones You Love” [Quantize] Nadyne Rush – “It Must Be Love” [FullTime Production] […] The post Citrus Sound Show 6th Aug 2024 appeared first on SSRadio.

Arkansas native, Paulette Pearson, is a colored pencil artist who captures whimsy and humor in her drawings. She creates work that she says ‘reflects a unique blend of artistic skill and storytelling,' and has an eye for detail that harmonizes with originality, authenticity and depth.  Paulette was born in Big Bear, California in 1982, the oldest of three children to Ben, an engineer and business/property owner, and her mother Paulette, an artist. She grew up on her family's ranch in Arkansas and as a child, her New Orleans grandmother encouraged her artistic interests as she quietly amused herself not knowing that one day she would become a professional artist. It was journalism and the law that would initially appeal as a career; Paulette earned her BA in English from Lyon College, her MA in Journalism and a JD—both from the University of Arkansas, before spending over a decade as a magazine editor—first in Arkansas and later in Texas, covering luxury interior design and architecture. Paulette met her husband Rich in law school, and after spending time in Washington, DC, the couple moved to Dallas, TX where Paulette most recently served as the Texas editor for Luxe Interiors + Design magazine. Once commissions started to come in and stores picked up her work, she knew she could become the full-time artist she dreamt of being so she decided to take the plunge and return to the art that she loved. Paulette recently held her first exhibition in Austin, TX. By combining realism with imaginative elements, she says: ‘ I invite the audience to embark on a journey of discovery, where the boundaries between reality and imagination blur, and where every pencil stroke tells a story.' https://paulettepearson.com/Instagram: @paulettepearsonstudio https://www.instagram.com/paulettepearsonstudio/'' Paulette's Playlist -The Beatles – My favorite band of all time. I especially love Yesterday, In My Life, Let it Be, Blackbird, Get Back… -Ella Fitzgerald – It's A Lovely Day Today, Dream A Little Dream, etc. -Louis Armstrong – La Vie En Rose, Cheek to Cheek, What a Wonderful World, etc. -Pomplamoose – Les Champs-Elysées, Sympathique -Something's Gotta Give movie soundtrack (Astrud Gilberto - Summer Samba (So Nice), Coralie Clement - Samba de mon Coeur qui bat) -Nat King Cole – Unforgettable, Smile -Billie Holiday – Blue Moon, I'll Be Seeing You Paulette's favorite female artistsJamie BeckBella McGoldrickInslee FerrisKatie RodgersCJ HendryProduced by Hollowell StudiosFollow @theaartpodcast on InstagramAART on FacebookEmail: hollowellstudios@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/wisp--4769409/support.

Arkansas native, Paulette Pearson, is a colored pencil artist who captures whimsy and humor in her drawings. She creates work that she says ‘reflects a unique blend of artistic skill and storytelling,' and has an eye for detail that harmonizes with originality, authenticity and depth.  Paulette was born in Big Bear, California in 1982, the oldest of three children to Ben, an engineer and business/property owner, and her mother Paulette, an artist. She grew up on her family's ranch in Arkansas and as a child, her New Orleans grandmother encouraged her artistic interests as she quietly amused herself not knowing that one day she would become a professional artist. It was journalism and the law that would initially appeal as a career; Paulette earned her BA in English from Lyon College, her MA in Journalism and a JD—both from the University of Arkansas, before spending over a decade as a magazine editor—first in Arkansas and later in Texas, covering luxury interior design and architecture. Paulette met her husband Rich in law school, and after spending time in Washington, DC, the couple moved to Dallas, TX where Paulette most recently served as the Texas editor for Luxe Interiors + Design magazine. Once commissions started to come in and stores picked up her work, she knew she could become the full-time artist she dreamt of being so she decided to take the plunge and return to the art that she loved. Paulette recently held her first exhibition in Austin, TX. By combining realism with imaginative elements, she says: ‘ I invite the audience to embark on a journey of discovery, where the boundaries between reality and imagination blur, and where every pencil stroke tells a story.' https://paulettepearson.com/Instagram: @paulettepearsonstudio https://www.instagram.com/paulettepearsonstudio/'Paulette's favorite female artistsJamie BeckBella McGoldrickInslee FerrisKatie RodgersCJ Hendry Paulette's Playlist -The Beatles – My favorite band of all time. I especially love Yesterday, In My Life, Let it Be, Blackbird, Get Back… -Ella Fitzgerald – It's A Lovely Day Today, Dream A Little Dream, etc. -Louis Armstrong – La Vie En Rose, Cheek to Cheek, What a Wonderful World, etc. -Pomplamoose – Les Champs-Elysées, Sympathique -Something's Gotta Give movie soundtrack (Astrud Gilberto - Summer Samba (So Nice), Coralie Clement - Samba de mon Coeur qui bat) -Nat King Cole – Unforgettable, Smile -Billie Holiday – Blue Moon, I'll Be Seeing You.Produced by Hollowell StudiosFollow @theaartpodcast on InstagramAART on FacebookEmail: hollowellstudios@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/aart--5814675/support.

Jeff Slate is a multi-talented singer, songwriter, musician, writer, and journalist. His writings have been featured in Rolling Stone magazine, WSJ, the New Yorker, and the Beatles' Sgt. Pepper's box set. He discusses how the Beatles influenced his life and career, and how his appreciation of the song In My Life has changed over the years.Website: https://jeffslatehq.com/homeX: https://x.com/jeffslateInstagram: https://www.instagram.com/jeffslate/Facebook: https://www.facebook.com/jeffslateFollow My Favourite Beatles SongX (Twitter): https://twitter.com/myfavebeatlesFacebook: https://www.facebook.com/MyFavouriteBeatlesSongInstagram: https://www.instagram.com/myfavouritebeatlessongOriginal music by Joe KaneLogo design by Mark Cunningham

今回紹介した音楽（著作権の関係でPodcastには含まれていません）In My Life ~R-NABYNot Alone ~R-NABYあなたのバースデー ~R-NABYBaby Don't Cry ~R-NABYGood-bye ~R-NABY 

Have you ever struggled to let go of the past? If so, then the bittersweet romance in 'Past Lives' might resonate with you. As we analyze this film, we'll share how everything from the Beatles song "In My Life" to the concept of Re-Authoring can help us live more fully in the moment.  Introduction (0:00) Why We Chose 'Past Lives' (1:26) 'Past Lives' Analysis (3:14) Our Stories of Letting Go (24:34) Conclusion (34:18) Stay up to date with our movie club, and see which films we'll cover in the future. All Things Narrative exists to guide you towards telling and living your story more meaningfully. Sign-up for your FREE Discovery Call and get a game plan for better understanding and telling your story: allthingsnarrative.com Follow us on Instagram @allthingsnarrative Like us on Facebook @allthingsnarrative Connect with Derrick on Letterboxd @thenarrativeguy Check out Joseph's stop-motion films on YouTube @JoeLee Stark25 Produced by All Things Narrative LLC

Turns out some songs stand on their own, however memorable-slash-horrifying their music video might have been.Written by: Chris CornellProduced by: Michael BeinhornAlbum: Superunknown (1994)Listen/Buy via SongwhipALSO DISCUSSED:"Spoonman" and "The Day I Tried to Live" by Chris Cornell and Soundgarden from Superunknown, 1994Kim Thayil interview at SongfactsNorah Jones' cover of "Black Hole Sun," Live in 2021"In My Life" by Lennon/McCartney from Rubber Soul, 1965The 2021 Strong Songs interview with session guitarist Andrew Synowiec"Tom Sawyer" by Rush from Moving Pictures, 1981----LINKS-----SUPPORT STRONG SONGS!Paypal | Patreon.com/StrongsongsMERCH STOREstore.strongsongspodcast.comSOCIAL MEDIAIG: @Kirk_Hamilton | Threads: @Kirk_HamiltonNEWSLETTERhttps://kirkhamilton.substack.com/subscribeJOIN THE DISCORDhttps://discord.gg/GCvKqAM8SmOUTRO SOLO PLAY-A-LONG:https://soundcloud.com/kirkhamilton/strong-songs-outro-music-no-soloSTRONG SONGS PLAYLISTSSpotify | Apple Music | YouTube MusicSHOW ART Tom Deja, Bossman Graphics--------------------FEBRUARY 2024 WHOLE-NOTE PATRONSRobyn MetcalfeBrian TempletCesarCorpus FriskyBen BarronCatherine WarnerDamon WhiteKaya WoodallDan AustinJay SwartzMiriam JoySEAN D WINNIERushDaniel Hannon-BarryChristopher MillerJamie WhiteChristopher McConnellDavid MascettiJoe LaskaKen HirshJezMelanie AndrichJenness GardnerDave SharpeSami SamhuriJeremy DawsonAccessViolationAndre BremerDave FloreyFEBRUARY 2024 HALF-NOTE PATRONSSuzanneRand LeShayMaxeric spMatthew JonesThomasAnthony MentzJames McMurryEthan LaserBrian Johan PeterChris RemoMatt SchoenthalAaron WilsonDent EarlCarlos LernerMisty HaisfieldAbraham BenrubiChristopher BrunoChris KotarbaCallum WebbLynda MacNeilDick MorganBen SteinSusan GreenSean MurphyThirteen71Alan BroughRandal VegterGo Birds!Whit SidenerRobert Granatdave malloyNick GallowayHeather Jjohn halpinPeter HardingDavidMeghan O'LearyJohn BaumanMartín SalíasStu BakerSteve MartinoDr Arthur A GrayCarolinaGary PierceMatt BaxterLuigi BocciaE Margaret WartonCharles McGeeCatherine ClauseEthan BaumanKenIsWearingAHatJordan BlockAaron WadeJeff UlmJamieDeebsPortland Eye CareCarrie SchneiderRichard SneddonDoreen CarlsonDavid McDarbyWendy GilchristElliot RosenLisa TurnerPaul WayperBruno GaetaKenneth JungAdam StofskyZak RemerRishi SahayJason ReitmanAilie FraserRob TsukNATALIE MISTILISJosh SingerAmy Lynn ThornsenAdam WKelli BrockingtonVictoria Yumino caposselaSteve PaquinDavid JoskeBernard KhooRobert HeuerMatthew GoldenDavid NoahGeraldine ButlerMadeleine MaderJason PrattAbbie BergDoug BelewDermot CrowleyAchint SrivastavaRyan RairighMichael BermanLinda DuffyBonnie PrinsenLiz SegerEoin de BurcaKevin PotterM Shane BordersDallas HockleyJason GerryNathan GouwensLauren ReayEric PrestemonCookies250Damian BradyAngela LivingstoneSarah SulanDiane HughesMichael CasnerLowell MeyerStephen TsoneffJoshua HillWenGeoff GoldenPascal RuegerRandy SouzaClare HolbertonDiane TurnerTom ColemanDhu WikMelEric HelmJonathan DanielsMichael FlahertyCaro Fieldmichael bochnerNaomi WatsonDavid CushmanAlexanderChris KGavin DoigSam FennTanner MortonAJ SchusterJennifer BushDavid StroudAmanda FurlottiAndrew BakerAndrew FairL.B. MorseBill ThorntonBrian AmoebasBrett DouvilleJeffrey OlsonMatt BetzelNate from KalamazooMelanie StiversRichard TollerAlexander PolsonEarl LozadaJustin McElroyArjun SharmaJames JohnsonKevin MorrellColin Hodo

Episode 737 - Bob Kilpatrick is a First Class Father, Singer, Songwriter and Author.  He is well known for his hit song, “In My Life, Lord Be Glorified” which became one of the most popular worship songs in the last half a century.  His musical style is a mixture of folk, gospel and progressive rock. Bob has performed Christrian songs in churches across the country and around the world.  Bob is also a world renowned speaker and has written several books including “The Art of Being You: How to Live as God's Masterpiece”.   In this Episode, Bob shares his Fatherhood Journey which includes Five children and 22 grandchildren.  He describes what it was like getting married at 19 years old and what has sustained his marriage for more than 50 years.  He discusses the importance of his faith and how it has guided him through his life and fatherhood journey.  He talks about his discipline style as a dad, his music career, becoming a grandfather, he offers some great advice for new or soon-to-be dads and more! Bob Kilpatrick - www.bobkilpatrick.com The Alec Lace Show - https://rumble.com/user/TheAlecLaceShow My Pillow - https://mystore.com/fatherhood Promo Code: Fatherhood  First Class Fatherhood: Advice and Wisdom from High-Profile Dads - https://bit.ly/36XpXNp Watch First Class Fatherhood on YouTube - https://www.youtube.com/channel/UCCD6cjYptutjJWYlM0Kk6cQ?sub_confirmation=1 More Ways To Listen - https://linktr.ee/alec_lace Follow me on instagram - https://instagram.com/alec_lace?igshid=ebfecg0yvbap For information about becoming a Sponsor of First Class Fatherhood please hit me with an email: AlecLace@FirstClassFatherhood.com

Y finalizamos con "Las mil y una músicas" para seguir escuchando más canciones de Los Beatles con Marta G. Navarro. En "Lo Bitel" suenan hoy temas del disco Rubber Soul: Drive My Car, Girl, Think For Yourself y In My Life.Escuchar audio

Subimos a "El trastero", junto a Carlos del Amor, para conversar con Gerardo Sánchez, director del programa de TVE Días de Cine, que el miércoles entregó sus premios anuales. En "¿Quién es quién?", junto a Aitor Caminero, recibimos a la dibujante alicantina Ana Oncina, que acaba de ganar, por la novela gráfica Just Friends (Ed. Planeta Cómic), el segundo premio de los Manga Awards, que otorga el Ministerio de Exteriores de Japón. Y finalizamos con "Las mil y una músicas" para seguir escuchando más canciones de Los Beatles con Marta G. Navarro. En "Lo Bitel" suenan hoy temas del disco Rubber Soul: Drive My Car, Girl, Think For Yourself y In My Life.Escuchar audio

We chat on this episode with legendary recording music engineer Shelly Yakus! Shelly is is an American music engineer and mixer. Shelly was nominated for induction into the Rock and Roll Hall of Fame in 1999. He is referenced at the end of one of Tom Petty's songs "What're You Doin' In My Life? and  has engineered recordings for many performers, including John Lennon, the Ramones, U2, Tom Petty and the Heartbreakers, Van Morrison, Alice Cooper, the Band, Blue Öyster Cult, Dire Straits, Amy Grant, Don Henley, Madonna, Stevie Nicks, The Pointer Sisters, Raspberries, Lou Reed, Bob Seger, Patti Smith, Suzanne Vega, Warren Zevon, Cutting Crew, Star Radio, Elliott Murphy and Joan Armatrading. He acted as assistant engineer (1967–1969) for recordings by Dionne Warwick, Peter, Paul & Mary, Frankie Valli & The Four Seasons, Count Basie & His Orchestra, and Frank Sinatra.

Legendary comedian Redd Foxx once said of 1973's 1962-1966 (a.k.a. The Red Album), “you big dummy, where is “If I Needed Someone”? Spoilers: Fred Sanford has been in the great junkyard in the sky for many years, but had he lived, he'd no doubt (#DontSpeak) be thrilled to know his dreams came true in the 2023 Expanded Remix of this seminal collection! Tony & T.J. delve into the powerful new remixes on Disc 2, wonder aloud if there's simply too much Revolver, and also ask:

Un 8 de Diciembre de 1980, útimo día en la vida de John Lennon. Cinco disparos acabaron con la del ex Beatle en Nueva York.Sólo el magnicidio de Kennedy lo superó en cobertura mediática.Los detalles del trastornado fan de todos conocidos.Volvia de mezclar“Walking on This Ice”, último acto de entrega a Yoko Ono, pero nada podria entenderse sin el camino que lo habia llevado hasta allí.Cynthia Lennon, compañera desde el Liverpool School of Arts, esposa, madre de su hijo Julian, testigo hasta su divorcio casi coincidente con el de los Beatles, estuvo allí.“In My Life”, su canción favorita, en su voz, reivindica la memoria de “lugares, amigos y amantes desaparecidos". Un dia en la vida "A Day in the Life" ¿Qué sucedió? ¿Cómo pudo suceder?. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

El amigo secreto y Rafael Panadero lanzan su reto de cada semana y empiezan con los primeros acordes de la mañana al ritmo de 'In My Life' de The Beatles. 

despite being known for being more equitable than the rest of us, they had ONE QUARTER OF THEIR POPULATION SHOW THE FUCK UP to protest inequality and I have not been this fired up IN MY LIFE. RESOURCES: https://www.theguardian.com/world/2023/oct/24/power-of-the-masses-the-day-icelands-women-went-on-strike-and-changed-history AND https://www.theguardian.com/world/2023/oct/23/icelands-first-full-day-womens-strike-in-48-years-aims-to-close-pay-gapGET AN OCCASIONAL PERSONAL EMAIL FROM ME: www.makeyourdamnbedpodcast.comTUNE IN ON INSTAGRAM FOR COOL CONTENT: www.instagram.com/mydbpodcastOR BE A REAL GEM + TUNE IN ON PATREON: www.patreon.com/MYDBpodcastOR WATCH ON YOUTUBE: www.youtube.com/juliemerica The opinions expressed by Julie Merica and Make Your Damn Bed Podcast are intended for entertainment purposes only. Make Your Damn Bed podcast is not intended or implied to be a substitute for professional medical advice, diagnosis or treatment. Get bonus content on PatreonSupport this show http://supporter.acast.com/make-your-damn-bed. Hosted on Acast. See acast.com/privacy for more information.

Barry, Abigail, and special guest Dave Zalatoris of the Beer in Front podcast discuss Smithereens 11 by The Smithereens and sample several Chicagoland beers of Dave's choosing! We both taste WayBird Hazy IPA from Half Acre Beer Company and Arcade-Hero from Revolution Brewing Company. Abigail also tastes Hala Kahiki from Lake Effect Brewing Company and Barry tastes Vanilla Deth from Revolution Brewing Company. Listen to our appearance on Beer in Front! The Smithereens were one of the first artists to perform on MTV Unplugged, in December of 1989. Abigail entered Blues Before and After into the Abigail Hummel School of Speaking Smartly About Music with a comparison to Had Me at Get Lost by Terry Anderson & The Olympic Ass-Kickin Team… …And then Barry entered Blue Period - Acoustic into the Abigail Hummel School of Speaking Smartly About Music with a comparison to In My Life by The Beatles. Abigail felt the same way about Cut Flowers as she did about She Talks to Angels by The Black Crowes. Meanwhile, Barry compared it to a modern Eleanor Rigby. Barry once again brought up A History of Rock Music in 500 Songs, specifically Episode 61: “That'll Be the Day” by The Crickets, which tells the first part of Buddy Holly's story, and Episode 74: “It Doesn't Matter Any More” by Buddy Holly, which references the story behind Maria Elena. Find Dave and Beer in Front on Twitter, Instagram, YouTube, TikTok, and on all podcasting platforms! Up next… Thriller by Michael Jackson, submitted to our Virtual Jukebox by Todd Sider. Jingles are by our friend Pete Coe. Visit Anosmia Awareness for more information on Barry's condition. Follow Barry or Abigail on Untappd to see what we're drinking when we're not on mic! Facebook | Instagram | Twitter | YouTube | Website | Email us | Virtual Jukebox --- Send in a voice message: https://podcasters.spotify.com/pod/show/pops-on-hops-podcast/message

´In My Life´ narrada por Sean Connery + ´Buildin My Life´ en un mashup de dj BC para el disco The Beastles.Entrevistas y documentos auditivos recientes y del pasado se juntan en un mismo formato, mezclando la modernidad con las imperfecciones del pasado y haciendo que algo nuevo suene con ruido, con ruido de cassette, de un cassette grabado.

Helen and Gavin chat about The Blackening, American Born Chinese, and Asteroid City, and it's Week 81 from the list of Rolling Stone's 500 Best Songs Ever, numbers 100 to 96; Blowin' in the Wind by Bob Dylan, Stayin' Alive by The Bee Gees, In My Life by The Beatles, Gloria by Patti Smith, and 99 Problems by Jay-Z.

The interview was on Friday June 9th, 2023. Night Traxx Proudly presents Legendary R&B Group Troop. Stops by to discuss their latest hit single " lady In My Life". The group has had three number-one singles and ten top-ten singles on the Billboard R&B Singles chart. They have also completed five albums, which include three certified gold and one certified platinum album. The group is most notable for a series of number-one R&B hits, including popular cover versions of the songs & All I Do Is Think of You& and & Sweet November & originally performed by musical acts The Jackson 5 and The Deele, respectively. They also had a number-one hit with the original song & Spread My Wings

Kanye West goes on the record about:His parents — and, interestingly, it's his father who he speaks mostly aboutJay-ZBarack ObamaMental healthHis contradictions.But mostly we're going to explore what goes on in that head of his.

Bob Dylan goes on the record about:Why he felt a phony in the 60s.His recording processWriting songs vs writing booksHis Born Again phase — both when he's in it and out of itGun controlAbortionHis peers, including John Lennon and Paul McCartney.

Sad bois of the world, unite! Alternative R&B crooner Ben Kelly burst onto the scene in January 2023 after years of dreaming about pursuing music but never putting pen to paper. Throughout the month, he dropped a flurry of singles - You & Me, With Me, and Change. In February, he added All You Wanted and Clingy to his catalog, followed by Senses and Back to You in March. In April, he dropped the electric throwback jam In My Life and followed it up in May with Malcolm X Park. He's also been active collaborating with other artists - in March he released Ring with producer Hihohohogamer, and May saw the release of his collaborative EP, Coast to Coast, with Jay Naundros. An east coast boy through and through, he hails from Connecticut but is currently based in Washington, DC. Ben's music reflects his eclectic tastes, but typically features a unique mix of contemporary alternative R&B and older soul sounds. What will 2023 hold for this new artist? Follow along to find out.

Jeff and Matt have finally defeated technical and scheduling gremlins to return with a new episode of The Record Player! We were so thrilled to welcome author Lauren Thoman to talk about her brand new book, I'll Stop the World, which was recently released by Mindy's Book Studio, the new imprint helmed by Mindy Kaling. It was an absolute blast hearing Lauren's story about her literary journey with this new book + it's been great to see all of the success she's having with it.Signed copies of I'll Stop the World are available here and chances are good that Lauren might be coming to your neck of the woods as she continues her book tour! Find the latest greatest details at her website.Lauren also shared her music nerd side with us to dig into one of her favorite albums, R.E.M.'s legendary Murmur. We hope you enjoy our discussion!If you dig these episodes, we invite you to join our Patreon. Become a member of our Record Club and access a ton of additional bonus content! We appreciate your support.In My Life. Artists On The Record.All the best bits from major interviews major artists have done - an audio autobiography!Listen on: Apple Podcasts Spotify

Looks like Suge Knight, the infamous leader of one of the biggest rap labels of the 90's is planning something BIG! Although he may be behind bars & will most likely spend the rest of his life there...it's not stopping him from moving forward with a project that whether you love him or hate him will prove to be very intriguing! We'll tell you all about it!The legendary Tupac Shakur is not done telling his story. We all know that there are several fascists to his artistry & much more! You may think you know everything about him, but this new 8 part docu-series that just dropped definitely has much more to show us all! Crazy thing about it is that the director behind the helm of this new project Allen Hughs famously had beef with the late rapper & it was never resolved. Many are asking if he will do the legendary artist justice in telling his story. Well we'll be sure to break down the docu-series  "Dear Mama" in this episode!Snowfall has wrapped up! The 6 season series created by the late John Singleton is a must watch! There are those who loved the ending & those who hated it! Joey has something to say about the ending that may sway your opinion one way or the other!"Renfield" review! The latest project starring famously eccentric actor Nicolas Cage was released & Aaliyah Marie has a lot to say about this one. Is it a "Streamer" or "Theatre" flick? We'll let you know if it's worth the popcorn! lolPlus much more! Time to sip some tea with Joey & Marie!In My Life. Artists On The Record.All the best bits from major interviews major artists have done - an audio autobiography!Listen on: Apple Podcasts SpotifySocial Media Handles:Tik Tok: @joeybravo208 @aaliyahmarie208Instagram: @joeybravo208 @aaliyahmarie208 @sippinteawithjoeyandmarieFacebook: @joeybravo208 @aaliyahmarie208 @sippinteawithjoeyandmarieYoutube: https://www.youtube.com/@sippinteawithjoeymarie5867@LatinoPods @LatinaPodcasters

Angelo "Scrote" Bundini is the creator and musical director for the Celebrating David Bowie tour.Fans can look forward to the inaugural Camp Stardust happening July 4-July 7  Featuring former Bowie Music Director Adrian Belew, Scrote, Spacehog's Royston Langdon, Jeffrey Gaines, guitarist Eric Schermerhorn, sax great Ron Dziubla, bassist Matt McJunkins, and drummer Jeff Friedl They'll be joined by  music industry maverick Miles Copeland and moderator & performer Robert Burke Warren, plus additional special guests to be announced.We discuss how the Camp Stardust idea took shape + a ton of additional topics, including a preview of what fans can expect from this fall's Celebrating David Bowie tour which will feature Peter Murphy joining the lineup. We also dig into Bowie's music, the genius of Adrian Belew and lots more.Check out the Record Player website for a full archive of all of our episodes and please rate and review our podcast wherever you're listening. We appreciate it so much!In My Life. Artists On The Record.All the best bits from major interviews major artists have done - an audio autobiography!Listen on: Apple Podcasts Spotify

Here's one for fellow rock doc lovers. Bobby Colomby of Blood, Sweat & Tears drops in to discuss the new film, What the Hell Happened to Blood, Sweat & Tears?The movie, which is in theaters now, reveals an incredible story which has been under wraps for more than 50 years. Blood, Sweat & Tears traveled overseas in June 1970 to become the first American band to perform behind the Iron Curtain. The tour, which was sponsored by the U.S. State Department, put the band into a situation they never could have imagined.Through documentary footage shot during the Iron Curtain tour (and thought to be lost) and present-day interviews with band members and historians, as well as the unsealing of government records,  What the Hell Happened to Blood, Sweat & Tears? unravels the details of this extraordinary year in the life of the band.In addition to the movie, we also discuss Bobby's additional adventures in the music industry, working in A&R and as a producer with the band Pages, plus projects with the Jacksons and the Tubes, just to name a few. We dig through a lot of topics.Bobby wants to hear your feedback and answer questions about the film. Get in touch via Twitter @RecordPlayerPod and we'll collect the questions for him to answer on a follow-up edition of this podcast.Find information about local screenings via the official film website and make sure to check out the soundtrack and score which will be released on April 21 by Omnivore Recordings.In My Life. Artists On The Record.All the best bits from major interviews major artists have done - an audio autobiography!Listen on: Apple Podcasts Spotify

Brian Poston grew up listening to country music but learning to play like Eddie Van Halen and Randy Rhoads. Despite those early forays into hard rock, shred, and metal, he found his way to the more traditional sounds of classic Country and Western Swing. A monster guitarist, Brian showcases his skills in his outstanding band, The Shootouts. We had a lot of fun talking about his guitars, his style, and how he found his calling in a traditional music. Hope you enjoy this episode as much as I did! Support the show at: https://www.patreon.com/40wattpodcast/​Find guitar lessons on TrueFire (remember to use code 40WATT): https://bit.ly/3t0v1ZdFind Brian and The Shootouts on:Instagram: https://www.instagram.com/shootoutsmusic/Spotify: https://spoti.fi/3zBqzmtInternet: https://www.shootoutsmusic.com/YouTube: https://www.youtube.com/@ShootoutsMusicFind all of the podcast links at:https://www.linktr.ee/40wattpodcasthttps://www.40wattpodcast.com/40 Watt Merchandise: https://40-watt-merch.creator-spring.com/Reverb Affiliate link: https://reverb.grsm.io/phillipcarter5480StringJoy Affiliate link: https://stringjoy.com/partner/fortywatt/Subscribe to the channel and give a like – also find us in audio format wherever you listen to podcasts and leave us a review and share us with your friends.In My Life. Artists On The Record.All the best bits from major interviews major artists have done - an audio autobiography!Listen on: Apple Podcasts SpotifySupport the show

Today we have a special guest, a true renaissance man, the multi-talented artist, Kaishon! We get into his several facets of artistry & some deep conversations about the road to success. Plus he blesses the show with an amazing spoken word poem!On our latest "Streamer Or Theatre" bit, we cover the latest installment of John Wick. 3 words for you, Action Packed Masterpiece! Although we did both watch it in different formats & it's something you must experience as well! We'll get into it!Doja Cat, is she petty, rude or just oblivious to what is happening around her? Oh we have something to say about her latest viral clip from her latest award show! LL Cool J just dropped some heavy bars! Definitely a prelude for what's to come from his upcoming Q-Tip produced album. We'll break it down for you! We  also get into A.I. and what we feel is something creatives can both win & lose from the latest technology! There are definitely some things to be worried about. But we have a way to overcome those worries!This & more! Time to sip some tea with Joey & Marie!In My Life. Artists On The Record.All the best bits from major interviews major artists have done - an audio autobiography!Listen on: Apple Podcasts SpotifySocial Media Handles:Tik Tok: @joeybravo208 @aaliyahmarie208Instagram: @joeybravo208 @aaliyahmarie208 @sippinteawithjoeyandmarieFacebook: @joeybravo208 @aaliyahmarie208 @sippinteawithjoeyandmarieYoutube: https://www.youtube.com/@sippinteawithjoeymarie5867@LatinoPods @LatinaPodcasters

Sarah Rudy is a guitarist/singer/songwriter with a talent for catchy, evocative melodies and beautiful guitar tones. She and her band, Hello June, have been praised by NPR, No Depression, Paste Magazine, World Cafe, and many others. They have have a new album coming out this year that will be their first full length album since 2018's self titled Hello June was released. I had fun talking gear, tones, and songwriting with Sarah and hope you'll enjoy as well!   Support the show at: https://www.patreon.com/40wattpodcast/​Find guitar lessons on TrueFire (remember to use code 40WATT): https://bit.ly/3t0v1ZdFind Sarah and Hello June on:Instagram: https://www.instagram.com/hellojuneband/Spotify: https://spoti.fi/3nvHEvcInternet: https://www.wearehellojune.com/YouTube: https://www.youtube.com/@HelloJuneMusicFind all of the podcast links at:https://www.linktr.ee/40wattpodcasthttps://www.40wattpodcast.com/40 Watt Merchandise: https://40-watt-merch.creator-spring.com/Reverb Affiliate link: https://reverb.grsm.io/phillipcarter5480StringJoy Affiliate link: https://stringjoy.com/partner/fortywatt/Subscribe to the channel and give a like – also find us in audio format wherever you listen to podcasts and leave us a review and share us with your friends.In My Life. Artists On The Record.All the best bits from major interviews major artists have done - an audio autobiography!Listen on: Apple Podcasts SpotifySupport the show

Show #987 Time Machine 01. Ry Cooder - How Can You Keep Moving (3:07) (Into The Purple Valley, Reprise Records, 1972) 02. Blacktop Deluxe - Moving Up A Gear (3:57) (Turn Up, Be Nice, Play Hard, self-release, 2014) 03. Shawn Pittman - Movin' (4:52) (Triple Troubles, Feelin' Good Records, 2010) 04. Big Al & the Heavyweights - Happy Mardi Gras To You (2:32) (Single, VizzTone Records, 2023) 05. Dani Wilde - Vagabond Child (4:18) (Single, VizzTone Records, 2023) 06. The Maple Blues Band - Zanzibar (4:15) (Let's Go, Cordova Bay Records, 2023) 07. Omar & The Howlers - Runnin' With The Wolf (3:19) (Runnin' With The Wolf, Provogue Records, 2013) 08. Tangled Eye - Drinking Again (3:54) (Dream Wall, Black & Tan Records, 2014) 09. King Pug - I Met the Devil (3:25) (Water Pressure, Orchard Records, 2013) 10. Hazmat Modine - I've Been Lonely for So Long (4:19) (Cicada, Barbès Records, 2011) 11. Barry Levenson Featuing Johnny Dyer - I Ain't Going Back (4:48) (Hard Times Won, Storyville Records, 2003) 12. Blues Arcadia - Feet Don't Fail Me Now (4:02) (Now Or Never, self-release, 2023) 13. Omar Gordon - Pressure On Me Baby (3:17) (Living With The Blues, self-release, 2022) 14. Layla Zoe - The World Could Change (6:29) (The World Could Change, Cable Car Records, 2022) 15. Victor Wainwright and the WildRoots - If It Ain't Got Soul - Part 1 (3:38) (Boom Town, Blind Pig Records, 2015) 16. Mike Henderson - Weepin' And Moanin' (5:39) (You Think It's Hot In Here, EllerSoul Records, 2015) 17. Tad Robinson - Lead Me On (3:26) (Day Into Night, Severn Records, 2015) 18. The Nighthawks - Rock This House (5:18) (Back Porch Party, EllerSoul Records, 2015) 19. Jeff Pitchell - Your Magic Eyes (4:04) (Playing With My Friends, Deguello Records, 2023) 20. Johnny Wheels & The Swamp Donkeys - Finding Your Way Back Home (5:19) (Keep On Pushin', Lightning In A Bottle Records, 2022) 21. Danny Liston - Didn't Find My Blues (4:24) (Everybody, Blue House Records, 2023) 22. Walter 'Wolfman' Washington - Good And Juicy [1981] (4:09) (Rainin' In My Life, Maison De Soul, 1987) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Artist Track Album Year Time Weather Report Birdland Heavy Weather 1977 5:54 Dixie Dregs Cruise Control Bring ‘Em Back Alive 1992 13:59 Liquid Tension Experiment Rhapsody in Blue Live in NYC 2008 13:43 Daisuke Kunita Hemenway St. In My Life 2014 8:02 Igzit-Nine The Alchemist Igzit-Nine 2003 4:52 Senri Kawaguchi Storm Warning Dynamogenic 2020 5:28 […]

Malvaviscos (o nubes o esponjitas o marshmallows, como prefieran) para iniciar el periplo navideño con músicas para la ocasión. This little light of mine Thelonius Monk, Donald Shirley  Silent Night Boyz II Men  Los Pastores Estrella Morente  In My Life Johnny Cash  The Christmas Song (Merry Christmas To You) Nat King Cole  White Christmas José James  What are you doing New Year's Eve? Diana Krall,Clayton-Hamilton Jazz Orchestra  Someday at Christmas Stevie Wonder  Have Yourself a Merry Little Christmas José James  This Winter Jamie Cullum, Lady Blackbird, Kansas Smitty's  It's a Marshmallow World Jo Stafford  Noël, c'est l'amour Elyane Dorsay  Christmas Blues Ramsey Lewis Trio  Tout Doucement BLOSSOM DEARIE  Christmas Prayer Paloma Faith, Gregory Porter  Aires De Navidad Héctor Lavoe, Willie Colón, Yomo Toro  Escuchar audio

EPISODE 91: COUNTDOWN WITH KEITH OLBERMANN A-Block (1:44) SPECIAL COMMENT: Ludicrous or imminent, Trump and his minions are planning some sort of violent revolution, something not unlike what has percolated in Germany these last few years. Yesterday, the Germans had the presence of mind to recognize insurrection and mass violence and terrorism and revolution when they saw it. WE damn well better do the same - and fast. The Germans sent 3,000 police and Special Forces troops to arrest 25 coup plotters who planned to attack their capitol, assassinate the chancellor, take over the government. (3:00) Lost in the Trump/QAnon bluster, nobody is saying the obvious: to "terminate" the constitution or just part of it, Trump will have to foment violence. Even in the Trumpian fantasy, Biden and the military don't just stand aside because somebody decides Trump is right (7:44) This is what Arizona Congressman Paul Gosar and failed governor candidate Kari Lake endorsed yesterday. ARREST THEM. (10:53) And Trump continues to meet with plotters. The latest? A QAnon/Pizzagate lunatic named Liz Crokin, at Mar-a-Lago, Tuesday night. B-Block (16:00) EVERY DOG HAS ITS DAY: Chestnut in New York (16:52) POSTSCRIPTS TO THE NEWS: More stolen classified docs in Trump's possession; SCOTUS may actually NOT legitimize 'Independent Legislature Theory'; Putin has a 'Noah's Ark'? (20:17) IN SPORTS: The NHL's most goals in a game record is threatened, and there are more baseball signings. (22:01) THE WORST PERSONS IN THE WORLD: Jesse Watters decides girls want alcohol, the Virginia restaurant that stood up to the Bible-thumping bigots, and Sean "D-Day in December" Spicer. C-Block (26:00) THINGS I PROMISED NOT TO TELL: It is 42 years since the night John Lennon was murdered in New York. Impossibly, one of only two times I was ever a rock disc jockey, it was at the exact hour Lennon was killed. The air check of the show still exists, and it re-tells the nightmare as it unfolds in real time.See omnystudio.com/listener for privacy information.

April of 1965 was a relatively uneventful month in western culture. If you research it, you'll see that nothing particularly critical happened during those thirty days. However, even though it never showed up on any of society's radar screens, one event did take place that was to change the entire world. John Lennon and George Harrison of the Beatles went to dinner at their dentist's home and unbeknownst to them, the dentist slipped LSD into their after-dinner coffee. They had no idea of what was going to happen, but according to George, although things were a little rocky at first, it turned out to be quite a night. As he put it, "I had such an overwhelming feeling of well-being, that there was a God, and I could see him in every blade of grass. It was like gaining hundreds of years of experience within twelve hours. It changed me, and there was no way back to what I was before." He also said that as he was coming back to normal consciousness, a thought occurred to him that had no connection to any part of his life and he had no idea where it had come from. This thought, that came to him completely out of nowhere, was simply this: “The yogis of the Himalayas.” Now LSD was relatively new and still legal at the time. An extremely powerful psychedelic drug, many famous celebrities had taken it and had profound experiences including Carey Grant, Groucho Marx and Jack Nicholson, along with renowned Harvard professors, Timothy Leary and Richard Alpert. And speaking of Harvard, there are still rumors that JFK took acid several times as well, with his longtime companion Mary Meyers. Timothy Leary hints that he played a key role in those events in his autobiography, “Flashbacks.” Again, it was still legal and there were no prohibitions to it. Anyway, a few months after the incident in their dentist's home, whether or not it had anything to do with his thought of the “yogis of the Himalayas,” George introduced Indian music to pop culture when he played the sitar on the Beatles song “Norwegian Wood.”  This was the early beginnings of a revolutionary change in popular culture as the band began to introduce a new genre that would eventually become known as psychedelic music. Not only did their sound change, but their songs took on a new depth of meaning, with primary examples being “Nowhere Man,” “The Word,” “In My Life,” “Elanor Rigby,” “I'm Only Sleeping,” “Tomorrow Never Knows,” ‘Lucy in the Sky with Diamonds” and “Within You, Without You.” They were all part of a remarkable string of three groundbreaking albums: “Rubber Soul,” “Revolver” and “Sgt. Peppers' Lonely Hearts Club Band.” Now, it's nearly sixty years later and all of these songs are looked at as just great classics. But back then, they were incredibly revolutionary and the Beatles themselves were even more so. Along with their radical appearance and their welcoming approach to marijuana, psychedelics and the expansion of consciousness, they were at the forefront of an astounding cultural shift that would radically alter not only England and America, but every other country throughout the entire civilized world. And it all went to the next level in February of 1968 when the Beatles travelled to India to study meditation with a guru named Maharishi Mahesh Yogi. And as usual, they weren't shy about telling the world what they were doing. The massive publicity surrounding their trip created a major sensation that rocked the whole world. Now as earthshattering as all this was, it wasn't the first time that Indian spirituality, with its reverence for the expansion of consciousness, had made a profound impact on western culture. Far from it. In one way or another it had been going on since the 1500s. Unfortunately, it came about as the result of a rather brutal societal development. Certain European nations established superior military might and mixed it with ever-increasing naval reach.  And with an appalling display of the greed-driven, incredibly destructive delusion that “might makes right,” they began to conquer and subjugate as much of the world as they could get their hands on. They would routinely invade a foreign country, enslave its people and plunder their resources. All in the name of civilization, of course. A prime example of this arrogance of power is what England did to India. Although the British had been in the land for centuries, they finally conquered it completely in 1876. Queen Victoria became the Empress of India and the exploitation of the country moved into full swing. But something unexpected happened as well and it became an example of something extremely positive resulting from something extremely negative. Along with all the horrors that came with the conquest, an inevitable interaction of Indian and English cultures got underway along with it.  And nowhere was the distinction between the two cultures more evident than in the realm of religion.   The difference was somewhat stark. Western religion was basically a societal matter, where people would gather at houses of worship, sing songs of praise to God and hear sermons from clerical leaders that promoted higher ethical, moral and religious standards. In India it was a little different. Their religion had been around for over five thousand years and was the oldest in the world. And although it did have many similarities to its Western counterpart, it had some significant differences as well. For instance, according to its teachings, not only is there a God, but rather than being far away and unapproachable, it is actually within you right now and is completely accessible to you at all times. If you wish, you can evolve your consciousness to the point where you can become enlightened and actually merge with it. So, you didn't have to die to go to heaven, you could do it while you were still alive. In fact, doing it was the actual point of being alive. And also, given the idea that it was possible to reach this higher level of consciousness, rather than having clerics who could only give speeches and sermons about the higher realms, they had beings who had supposedly attained the enlightened state and were talking about something they actually knew, rather than something they just believed. And not only that, they had the ability to show you how to get there as well. They called these teachers “Swamis,” “Yogi's” or “Gurus,” which was an interesting term word because “Gu” means darkness and “Ru” means light, and a true spiritual guru can take you from inner darkness to inner light. And this isn't supposed to be just a bunch of words and concepts, it's experiential. In other words, if you were thirsty, you weren't confined to just hearing stories about people who had gotten to drink water, you could actually drink it yourself.    Now a couple of these Gurus had made it to the United States over the years and their impact had been extremely significant. The first one was named Swami Vivekananda who travelled to Chicago in 1893 to address the First World's Parliament of Religion. The Swami created quite a stir and his talk was, in a word, a sensation. The attendees to the conference felt they had heard someone address them who was in a uniquely elevated state and seemed to be speaking about God consciousness from direct personal experience. And there was something extraordinary about being in his physical presence. It wasn't just uplifting and inspiring. It was actually elevating.  It was palpable. Indeed, one of the delegates, Professor John Henry Wright of Harvard University told him, "To ask you, Swami, for your credentials is like asking the sun about its right to shine." After his ground-breaking appearance in Chicago, Vivekananda's reputation grew rapidly and he travelled to New York and gave lectures to sold out auditoriums, where people waited for hours to buy tickets. One night, New York's most prominent actress Sarah Barnhart held a party for him and introduced him to her friends Nicola Tesla and Mark Twain. His vast influence spread from there and even though he passed away in 1902, at the age of just 39, he continues to be a renowned and deeply respected authority on inner growth. Then in 1920 another Guru from India arrived in America, this time in Boston, in the form of Parmahansa Yogananda. He was also a powerful presence whose impact quickly grew to the extent that he was able to reach millions of people, encouraging them to evolve and grow their inner consciousness. As his life work evolved, along with remaining a powerful force in India, he became a major phenomenon throughout the West and indeed the entire world.  Not only was Yogananda a magnetic speaker, he was also a brilliant and profoundly prolific writer. He went on to establish a major center for mediation in Los Angeles and many local residents of the area studied his work. The internationally esteemed author W. Summerset Maugham cited him as a primary inspiration for his 1944 masterpiece novel, “The Razor's Edge,” which is about one American man's search for enlightenment following his harrowing experiences in World War I. In 1946, it became a well-loved motion picture as well.  The next truly major interaction between India and Western culture happened when Mahatma Gandhi visited London at the end of 1931, and this was quite a phenomenon. Although Gandhi was the head statesman of his country, when he came to England, instead of wearing formal western clothing, he only wore his simple handwoven Indian cloth and sandals. He always looked like he was walking through the blistering heat of India, although he was in the freezing temperatures of England, with its shivering rains. Wherever he went, he was mobbed by massive crowds who were in awe of his presence. Not only were his words inspiring, he also had a piercing wit. As he was about to depart, a reporter asked him, “What do you think about Western Civilization. “I think it would be a good idea,” he shot back. A few years later in August of 1935 Gandhi met with Parmahansa Yogananda, who initiated him into the practice of Kriya Yoga, an advanced form of meditation. But to Gandhi, the ground breaking elevation of consciousness had applications that were societal as well as individual. And in response to the increasingly harsh British domination of India, Gandhi began to institute a process he called “Satagraha” which means “holding onto truth,” with its emphasis on non-violent civil disobedience. Although it was a slow and difficult process, it was extremely powerful and twelve years later, the British were driven out of India with relatively little violence. It was a truly incredible example of the application of evolved consciousness to resolve a cruel societal injustice.   But that wasn't the end of it. In the late forties, an African-American theology student at Morehouse College in Atlanta was introduced to these remarkable works of the Mahatma. Intrigued, the student began a serious study of Gandhi and the unique way he had been able to terminate British rule      Upon his graduation, that student was ordained to the Baptist ministry at the age of 19. And of course, that student was Martin Luther King, Jr. As his activities in the civil rights movement began to evolve and grow, he became more interested in the idea of applying Gandhi's methods to break the chains of racial oppression that were so overwhelmingly prevalent throughout the land.      It all culminated on February 3, 1959 when King and his wife Coretta, embarked on a three-month trip to India to get more familiar with Gandhi's approach. “To other countries I may go as a tourist,” he said upon his arrival. “But to India I come as a pilgrim.” During his stay, his study of Gandhi deepened considerably. As an ordained minister, he was taken with Gandhi's profound spiritual understandings and in his closing remarks he said, “In a real sense, Mahatma Gandhi embodied in his life certain universal principles that are inherent in the moral structure of the universe, and these principles are as inescapable as the law of gravitation.” Dr. King returned to the United States and anyone remotely familiar with American history knows the extraordinary story of what happened next.  So, that unlikely acid trip that ended with George Harrison's mysterious inner reflection about the Yogis of the Himalayas began yet another major chapter in the story of how the evolution of consciousness has changed the world. And changed it for the better. And even though a lot of the advances that happened came about as a result of some terrible cruelty, the truth is, the negativity had quite a silver lining.  And for me, it's always important to remember that the only reason there ever is a silver lining, is because of the powerful light that is right behind those dark clouds. Well, that's the end of this episode. As always, keep your eyes, mind and heart opened and let's get together in the next one.

Episode 40: Rubber Soul (The Beatles). McCartney In Goal is the podcast that debates and dissects the great albums of popular rock music, using a competitive knock-out format. Today we're discussing, Rubber Soul which is the sixth studio album by the the Beatles. It was released on 3 December 1965 in the United Kingdom, on Parlophone. It contains the Beatles classics: Drive My Car, Norwegian Wood, In My Life, Michelle and Nowhere Man, amongst others.Support the show

Phoebe and Thalia talk with Rolling Stone contributing editor and writer Rob Sheffield about “In My Life.” Topics include: the backstory, inspiration and notable elements of the song; band dynamics of the mid-60s Beatles; Paul McCartney's influence and impact on In My Life; George Harrison's 1974 concert tour; John Lennon's social media presence. PLAYLIST: In My Life BEATLES (1965) My Girl Has Gone SMOKEY ROBINSON AND THE MIRACLES (1965) Girl THE BEATLES (1965) HELP! (1965) And Your Bird Can Sing THE BEATLES (1966) In My Life (live) GEORGE HARRISON Long Beach, CA (Nov 10, 1974)    SOURCES: Dreaming the Beatles, Rob Sheffield 2017 'McCartney 3, 2, 1': The Beatle, the Producer and Oh, That Magic Feeling by Rob Sheffield July 13, 2021 24 Reasons We'll Keep Watching the Beatles' ‘Get Back' Forever by Rob Sheffield Nov 29, 2021 Morning Joe, MSNBC Nov 30, 2021 Lennon Remembers, by Jann Wenner for Rolling Stone (1970) Paul McCartney in His Own Words (1976) by Paul Gambaccini John Lennon to Playboy Magazine, (1980) reprinted in All We Are Saying by David Sheff, 2000 The Beatles Afterword (1985) by Hunter Davies (originally published 1968) “AI used to solve disputed songwriting credits of Beatles hits” by Alex Matthews-King INDEPENDENT July 6, 2019 George Harrison: Lumbering in the Material World by Ben Fong-Torres Dec 19, 1974 John Lennon Instagram, June 18 2022

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

#65-61Intro/Outro: You Keep Me Hangin' On by The Supremes65. Mr. Tambourine Man by The Byrds *64. You've Lost That Lovin' Feeling by The Righteous Brothers *63. In My Life by The Beatles *62. I'm Waiting For the Man by The Velvet Underground *61. Wouldn't It Be Nice by The Beach Boys *Vote on your favorite song from today's episodeVote on your favorite song from Week 1Vote on your favorite of "The Greatest Songs of the 50's" finalists* - Previously played on the podcast