Podcast appearances and mentions of Jane Asher

I'm Looking Through You — Part 1This week on Revolution, Justin, Austin, and Tyler dig into Paul McCartney's “I'm Looking Through You,” one of the great overlooked tracks from Rubber Soul.We explore the song's connection to Paul's increasingly strained relationship with Jane Asher, the surprisingly mature and direct lyrics, and how a catchy, upbeat recording disguises a song about realizing that someone you love has changed.We'll also look at where the song fits into the remarkable creative leap The Beatles were making in 1965, Paul's changing approach to songwriting, and the first version of “I'm Looking Through You” that The Beatles recorded — and ultimately abandoned.We're not Beatles experts — just three fans digging into the music, history, and stories, seeing where they take us. And with Tyler experiencing much of the Beatles story with relatively fresh ears, there's always a different perspective at the table.This is Part 1 of our deep dive into “I'm Looking Through You.”

Guest: JB Anderton of the Doctor Who Gives a F#! podcast joins John and Jim, as he does for every multi-Doctor story, to make sense of the un-make-sense-able. Note: This is a hiatus episode from our Wilderness Years coverage, released early on the Patreon feed and arriving on the main feed August 9th to celebrate Doctor Who Podcast Day. A warm welcome to everyone joining us for the occasion! Love the podcast? Consider joining us on Patreon for early access, exclusive episodes, and the option to commission your own Doctor Who story. Show Notes: For the show's 30th anniversary in 1993, the BBC gave Doctor Who fans a two-part, 3D, charity crossover with EastEnders in which the Rani traps the Doctor's incarnations in a time loop and scrambles Doctors and companions together at random. It is, by common agreement among the hosts, the Doctor Who equivalent of the Star Wars Holiday Special—not to be taken remotely seriously, but a genuine curiosity worth seeing at least once, if only because it's one more chance to watch these beloved actors play these beloved characters. How We Even Got Here: The Ghost of The Dark Dimension Before there was Dimensions in Time, there was The Dark Dimension—an ambitious, Tom Baker-centered 30th-anniversary feature that collapsed months before it would have aired. The hosts (with JB drawing on John Pertwee's own memoir) untangle the competing accounts of what happened: budget mismanagement, pressure from the American rights holders, and a script that the other surviving Doctors felt reduced them to walk-on cameos. What emerged instead was a bargain-basement Children in Need special built on a standing EastEnders set, produced by John Nathan-Turner as if it were a real episode (production code and all), and shot around the soap's schedule for no fee. A Cast List That Astonishes—and the Gaps That Intrigue The hosts marvel at the sheer roll call of returning Doctors and companions, puzzle over who's conspicuously absent, and confront the parade of EastEnders faces that leaves them defaulting to "if I don't recognize them, they must be from the soap." There's the interactive phone-in twist that raised a small fortune for charity, the Noel Edmonds framing device, the rave-version theme, and Kate O'Mara gamely chewing the scenery as the third choice for the villain. Everybody's In Character (With Two Very Notable Exceptions) A running thread: nearly everyone slips back into their roles with real commitment—even in three seconds of screen time—which makes the two who don't stand out all the more. The hosts have plenty to say about a phoned-in performance from a certain fan-favorite Doctor reading off cue cards in a sound booth, and a beloved companion stranded in a costume and a barrage of technobabble that left one host cold (with a fair hearing of the very human, very practical reasons behind the wardrobe choice). Along the way: Susan's grandfather problem, the disembodied busts of two late Doctors, a monorail glimpsed in the background, and the eternal question of why the Seventh Doctor hauls all his equipment outside the TARDIS. A Menagerie Missing Its Most Famous Monster Why are there no Daleks among the Rani's captured specimens? The hosts dig into the rights tangle behind their absence—and what it might mean for the show's future as Doctor Who itself heads to tender in 2026. The Canonical Silver Linings Amid the chaos, the hosts find the moments worth preserving: the only on-screen meeting of the Sixth Doctor and the Brigadier, and Nicholas Courtney's Brigadier arriving by helicopter—giving the actor, if you squint, a claim to having worked with all seven classic Doctors. Production Details: Broadcast: November 26–27, 1993 (across Children in Need and the Noel Edmonds show) Production Code: 7R Format: Two parts, presented in 3D, with an interactive phone-in ending Villain: The Rani (Kate O'Mara, the third choice after two others) Setting/Crossover: EastEnders' Albert Square Predecessor Project: The Dark Dimension (cancelled 30th-anniversary feature) Charity: Raised over £100,000 for Children in Need on the phone-in alone 13.8M (part one), 13.6M (part two) — inflated by the EastEnders crossover Coming Up Next: Monday (Patreon Exclusive 183): A disco version of the theme, the Memory TARDIS, a look back at the first six Doctors, and the comics "The Grief" and "Ravens." Friday (Patreon): Whatever Happened to Susan Foreman?—A BBC Radio produced mockumentary, starring Jane Asher. Saturday (Main Feed): Wartime—the fan-produced, BBC-sanctioned Benton video, from the Patreon vault. End Music: This episode closes with a reworking of the Dimensions in Time theme by Darth Jedi: https://www.youtube.com/watch?v=bv2t41k2244 Hashtags: #DoctorWho #DimensionsInTime #ChildrenInNeed #ClassicWho #TheRani #EastEnders #WildernessYears #DoctorWhoPodcastDay #MultiDoctor #DoctorWhoPodcast

Leslie Cavendish left school at the age of 15 years, without any artistic qualifications, and decided to become a hairdresser. Within three years, his clients included Terence Stamp, Keith Moon, the Bee Gees, Jane Asher – and the Beatles. He began by cutting Paul McCartney's hair - and soon became part of the band's inner circle. He attended Beatles recording sessions and joined them on their Magical Mystery Tour. They even invited him to open a salon at their Apple Tailoring boutique on the Kings Road in Chelsea. Leslie's music includes Tchaikovsky, Mendelssohn and Beethoven.

Casting director Ben Armstrong co-hosts The West End Frame Show! Ben joins Andrew Tomlins (West End Frame's Editor) to discuss Billy Nevers' album The First 25: Live At Konk Studios and Hercules starring Felipe Bejarano as well as the latest news about Evita's Broadway transfer, High School Musical's London transfer, Rent's West End revival, new Hamilton casting, and lots more.Ben is an Anglo-Sri Lankan Casting Director, specialising in stage and musical theatre. He has solo and assistant casting credits for acclaimed productions in the West End, regional theatres, UK tours and international projects. Most recently, Ben cast the West End concert production of Once On This Island featuring Tony Award winner Alex Newell and is currently casting Rumi: The Musical, written by Nadim Naaman and Dana Al Fardan for the Dubai Opera Festival 2026. One of his highlights as Casting Director includes Happy & Glorious, a short film starring Jane Asher and Nancy Carroll. Alongside his independent projects, Ben works for Ginny Schiller CDG. Recent productions include Sir Trevor Nunn's Easy Virtue for Cambridge Arts Theatre starring Greta Scacchi and Alice Orr-Ewing, Ralph Fiennes' As You Like It for Theatre Royal Bath starring Dame Harriet Walter, and John Doyle's Alfred Hitchcock Presents for Theatre Royal Bath starring Scarlett Strallen, Sally Ann Triplett and Alistair Brammer, as well as The Secret Garden for York Theatre Royal.He is the founder of RepresentAsian, an initiative dedicated to championing Asian performers within the industry and advancing meaningful representation both on and off stage. Through this platform, he also provides scholarships to support young Asian individuals pursuing careers in the arts.The next RepresentAsian concert takes place at the Lyric Theatre on Monday 9th November 2026. Visit www.nimaxtheatres.com for info and tickets. Follow Ben on Instagram: @ben_armstrong_4 This podcast is hosted by Andrew Tomlins. @AndrewTomlins32 Thanks for listening!Email: andrew@westendframe.co.ukVisit westendframe.co.uk for more info about our podcasts. Hosted on Acast. See acast.com/privacy for more information.

Warning: SPOILERS! The first Miss Marple novel was published 96 years ago, so we're looking at the great Joan Hickson in “Murder at the Vicarage.” How cozy and comforting is this version and how close does it play to the novel? Bill and Teresa will hash it out for you.“Agatha Christie, They Watch” reviews the adaptations of Agatha Christie's novels in chronological order.Teresa Peschel, author of "Agatha Christie, She Watched" and the "International Agatha Christie, She Watched," hosts our livestream. Joining Teresa is her husband, technical adviser, and straight man, Bill Peschel. Together, they are Peschel Press, publisher of intriguing, intelligent, and idiosyncratic books (www.peschelpress.com).HOW TO SEE THIS MOVIE: Available on DVD and Amazon Prime through a second Britbox subscription.WHERE TO FIND USPeschel Press: www.peschelpress.comInstagram: https://www.instagram.com/peschel_press/NEXT WEEK:“Murder at the Vicarage,” the 2004 version starring Geraldine McEwan as Miss Marple, Mark Gatiss as Ronald Hawes, Derek Jacobi as Colonel Protheroe, and Jane Asher as Mrs. Sylvia Lester. LOOK UP OUR BOOKS“Agatha Christie, She Watched” is our coffee-table sized book and not coffee-table sized ebook collection of Teresa's reviews of Christie's movie and TV adaptations. Agatha Christie, She Watched: https://peschelpress.com/agatha-christie-she-watched/International Agatha Christie, She Watched: https://peschelpress.com/international-agatha-christie-she-watched/DISCLAIMER: FAIR USE. Title 17, US Code (Sections 107-118 of the copyright law) All media in this video is used for the purpose of review and commentary under the terms of fair use. All footage, music and images used belong to their respective owners.Theme music: "Deadly Roulette" by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 http://creativecommons.org/licenses/by/4.0/

We sit down with 2025 British Masters Decathlon champions Michelle Ware and Mike Hodgson to unpack one of swimming's most intriguing competitions.They break down what the Decathlon actually is, how it works, and how any masters swimmer can get involved - whether you're chasing points or just looking for a new challenge. We also dive into how it can keep you motivated across the season and push you beyond your usual comfort zone.Along the way, we tackle the mysterious age-adjustment formula (yes, we try to make sense of it…) and explore why Jane Asher continues to set the standard as one of the toughest competitors to beat.The best part? You're probably already in it. Every British masters swimmer is automatically included - so this might just be the nudge you need to broaden your events and give it a go.

Jane Asher comenzó a competir profesionalmente cuando cumplió 50 años y tras la muerte de su esposo; desde entonces no ha parado.

This episode celebrates Jane Asher - an extraordinary swimmer who, at age 95, is still breaking records in Masters swimming competitions. Jane, who swam as a young person, only returned to competitive swimming in her 50's and now holds over 100 world records. She particularly dominates in frontcrawl, backcrawl and the individual medley - which is all four strokes! This year, as she reaches the age of 95, she moves into a new age group, so is starting on her mission to break or set records in the 95-99 age group. She has also completed a number of open water swims including the Hellespont from Europe to Asia. Described by a fellow swimmer and competition host as “The true definition of an ELITE swimmer” * she has inspired many swimmers. She has heaps of awards and has been a member of the International Swimming Hall of Fame since 2006 as well as being awarded a British Empire Medal in 2018. Last year she entered the Swim England Hall of Fame too. As well as swimming and breaking world records she also coached and taught swimming. Although not strictly an open water swimmer, she is a truly inspiring person with many great swimming stories to share. *From Ian Woollard, Barnet Copthall SCFind out more: ⁠@swimoutpodcast ⁠or ⁠⁠swimout.net⁠

RHLSTP Book Club #171 - John & Paul - A Love Story in Songs - Rich chats to author Ian Leslie about his hit book about Lennon and McCartney. Amongst other things they discuss why no other Beatles book has effectively asked why as well as what and when, whether Lee and Herring were more successful than the Beatles, how this book sends you back to the songs to remind you how truly inspirational and inventive they are, how death seemed to stalk John Lennon and whether Paul died in 1966 and Jane Asher just went along with the replacement (and the more likely hypothesis that there were always loads of Pauls, why Paul said “It's a drag” when Lennon died, how Lennon and McCartney are similar to Peter Cook and Dudley Moore and much more.Buy the book here - https://uk.bookshop.org/p/books/john-and-paul-a-love-story-in-songs-ian-leslie/7751121SUPPORT THE SHOW!See details of the RHLSTP LIVE DATES Watch our TWITCH CHANNELBecome a badger and see extra content at our WEBSITE Buy DVDs and books from GO FASTER STRIPE Hosted on Acast. See acast.com/privacy for more information.

Au printemps 1967, les Beatles dominent le monde. Leur nouvel album Sgt. Pepper qui va une nouvelle fois le révolutionner est dans les tuyaux, la machine de génies tourne à plein régime. Mais sentimentalement, Paul McCartney est ailleurs, coincé dans un entre-deux inconfortable. Officiellement il est fiancé à l'actrice Jane Asher, la petite fiancée des Britanniques. Officieusement, leur histoire est figée, encombrée de silences et de va-et-vient, et Paul repousse depuis des semaines une conversation qu'il sait inévitable.Il vit depuis quelque temps une liaison secrète avec une jeune femme célibataire, Francie Schwartz, dont personne n'entendra jamais parler : une relation faite de rendez-vous discrets dans la peur permanente des médias. Francie tient à sa liberté, refuse toute idée de mariage, et Paul, pour la première fois, sent qu'il commence à vouloir une vie plus simple, plus stable, au milieu de ce tourbillon de succès.Ce soir-là, il sort seul, dans un club du centre de Londres. Il observe plus qu'il ne participe. Il connaît les lieux, les regards, les façons de s'approcher de lui. Et puis il remarque une jeune femme qui circule librement, un appareil photo en bandoulière. Elle s'appelle Linda Eastman. Américaine. Photographe. Du moins, c'est ce qu'elle dit. Quand elle lui parle, elle ne fait pas semblant de ne pas savoir qui il est, mais elle ne s'en sert pas non plus. Paul hésite une fraction de seconde avant de répondre. Avec elle, il ne sait pas très bien quel rôle jouer. Alors il n'en joue aucun, il est juste Paul.Soudain, le DJ lance un disque que personne ne connaît encore vraiment : A Whiter Shade of Pale. La salle ralentit. Paul tend la main. Ils vont sur la piste. Un slow. Paul sait qu'il est en train de faire quelque chose qu'il ne pourra pas expliquer facilement s'il rentre chez lui très tard. Ils dansent sans parler. Linda ne se colle pas, ne recule pas non plus. Paul sent le regard des autres, sait qu'on peut le reconnaître, qu'un détail peut circuler, qu'une photo peut exister. Mais il reste quand même. À la fin du morceau, il traverse la piste pour demander au DJ ce qu'il vient de passer. Il veut le nom. Lui seul saint pourquoi.Quand il revient, ils parlent encore. Pas des Beatles, ni de sa vie publique. Ils parlent des villes, des avions, de la fatigue, de ce que ça fait de vivre toujours ailleurs. Linda écoute sans relancer, sans orienter. Paul parle plus qu'il ne l'aurait  soupçonné. La soirée se termine. Paul regarde l'heure. Il sait qu'en rentrant, il devra répondre à des questions. Il sait aussi qu'il ne pourra pas raconter cette soirée comme une simple sortie. Il accompagne Linda jusqu'à la porte. Ils échangent peu de mots. Pas de promesse. Pas de rendez-vous fixé. Juste un regard un peu plus long que les autres.Quand Paul se retrouve seul dans la rue, il comprend une chose très précise : s'il n'a encore rien commis d'irréparable, il sait déjà qu'il vient de se compliquer la vie. Mais il ne regrette rien.

The Masque of the Red Death (1964)  AIP Production # 6405  Jeff and Cheryl dress in the forbidden shades of crimson and scarlet after receiving an invitation to The Masque of the Red Death. Screenplay by Charles Beaumont and R. Wright Campbell from a story by Edar Allan Poe  Produced by Roger Corman  Directed by Roger Corman   Starring:  Vincent Price as Prince Prospero Hazel Court as Juliana, his mistress Jane Asher as Francesca, a peasant girl David Weston as Gino, Francesca's lover Nigel Green as Ludovico, Francesca's father Patrick Magee as Alfredo Paul Whitsun-Jones as Scarlatti Robert Brown as Guard David Davies as Lead villager Sarah Brackett as Grandmother Skip Martin as Hop-Toad, a dwarf jester Verina Greenlaw as Esmeralda, the Tiny Dancer  John Westbrook as The Red Death (unmasked/voice; uncredited)  An Alta Vista Production  An American International Picture  View The Masque of the Red Death trailer here. Stream The Masque of the Red Death on Tubi, Pluto, Prime Video, or MGM+, or rent it on Fandango at Home or Apple TV+. Visit our website - https://aippod.com/ and follow the American International Podcast on Letterboxd, Instagram and Threads @aip_pod and on Facebook at facebook.com/AmericanInternationalPodcast   Get your American International Podcast merchandise at our store. Our open and close includes clips from the following films/trailers: How to Make a Monster (1958), The Brain That Wouldn't Die (1962), I Was a Teenage Werewolf (1957), High School Hellcats (1958), Beach Blanket Bingo (1965), The Wild Angels (1966), It Conquered the World (1956), The Abominable Dr. Phibes (1971), and Female Jungle (1955) Visit our website - https://aippod.com/ and follow the American International Podcast on Letterboxd, Instagram and Threads @aip_pod and on Facebook at facebook.com/AmericanInternationalPodcast  Get your American International Podcast merchandise at our store. Our open and close includes clips from the following films/trailers: How to Make a Monster (1958), The Brain That Wouldn't Die (1962), I Was a Teenage Werewolf (1957), High School Hellcats (1958), Beach Blanket Bingo (1965), The Wild Angels (1966), It Conquered the World (1956), The Abominable Dr. Phibes (1971), and Female Jungle (1955) 

Hear from Jane Asher following her induction into the Swim England Hall of Fame. Jane has broken over 100 master's swimming world records and won numerous world titles. Now she's preparing for the next age group with a laser focus on the record books! Even in her 90s, her swims are a master class in technique and pacing and her approach to training is a lesson in longevity (assuming no one gets in her way!) Hear stories from Jane's childhood, including moving from Zambia to South Africa to get treatment for malaria, a life-threatening condition at the time, and how that move enabled a celebrated swimming career to begin. Follow https://www.instagram.com/freestyle_media_swimming/ to access video footage and some bonus interview snippets. Visit https://www.allensswimwear.co.uk and use the code ‘MastersPod' to access discount on non-sale items.

Looks Unfamiliar is a podcast in which writer and occasional broadcaster Tim Worthington talks to a guest about some of the things that they remember that nobody else ever seems to.This time, in a special Halloween slash Bonfire Night edition, Tim, Bob Fischer and Georgy Jamieson are all crowding into a local radio studio with rubber spiders hanging from the walls and a box of indoor fireworks with DO NOT USE written on it, ready to take your calls about some of the politely spooky crepe paper stylings and milk bottle-launched rockets that you just don't seem to get any more. So that's plastic fangs that never fitted anybody, Paul Daniels' notorious 'live' Halloween hoax, Blue Peter's Halloween 'makes', sparkler-themed Public Information Films, the gunpowder-fuelled rivalry between Standard and Brocks, horror-themed sweets and snacks like Trebor Mummies and Count Dracula's Deadly Secret, fireworks with unnecessarily detailed illustrations on them that nobody would see, Words And Pictures exploring the supernatural for primary school audiences and much more besides. In a firework that doesn't go off but we don't dare return to of a chat we'll be lending an ear to Erasure's Bagpuss-esque EP, recalling Timmy Mallett's Inspiral Carpets phase and Jane Asher's Occult Cakes, debating the theoretical existence of Schrödinger's Firework Money, receiving firework safety advice from the cast of Hot Metal, purchasing a Brian May Firework Assortment from the local supermarket's John Johnson Counter, adhering to the image rights restrictions of Fawkes Inc., questioning whether an antique firework can legitimately be described as in 'Near Mint' condition, examining whether 31st October really is the night when seventies ventriloquist puppets be walkin' and issuing a stern warning never to go back to an edition of Crackerjack! that you don't properly remember. Call in and tell us if you ever went bobbing for Wotsits now!You can find more editions of Looks Unfamiliar at http://timworthington.org/. Bob and Georgy joined me for similarly seasonal chats about some of their favourite forgotten Christmas trimmings here and the rain-lashed joys of the Great British Summertime here. You can also find Bob on Looks Unfamiliar chatting about The Tom O'Connor Roadshow, Giant Hogweed, Can't Get A Ticket (For The World Cup) by Peter Dean, Glee Bars, J. Edward Oliver's ‘Abolish Tuesdays' and How To Be A Wally here, Eighties ‘Tabloid Celebrities', Accidentally Kelly Street by Frente!, The Two Ronnies' ‘Mileaway', Rude Food, Suggs On Saturday and School Folk Songs here and Tucker's Luck, Pookiesnackenburger, We Wanna Be Famous by Buster Gobsmack And Eats Filth', game show contestants' occupations being booed by the studio audience and the lost ancient art of the paper plate and shaving foam Custard Pie here, and Georgy on Indoor League, Re-Joyce!, the The Animals In The Box sketch, the Paul Squire Fan Club, Pippa Dolls, Pig In The Middle and Good Winter Telly here and Wait Till Your Father Gets Home, Go For Broke!, Last Chance Lottery, Fry's Five Centres and Vesta Ready Meals here. You can also find Georgy on The Golden Age Of Children's TV talking about Bod here and Bob on The Owl Service here.If you enjoy Looks Unfamiliar, you can help to support the show by buying us a coffee here. If you're caught with it just say your name is 'Maxwell House'.

www.sheepfarm.co.ukhttps://www.youtube.com/@sheepfarmstudios2921/videoshttps://www.podomatic.com/podcasts/sheepfarmstudioshttps://rumble.com/user/SheepFarmStudiohttps://odysee.com/@sheepfarmstudios:fDom's Health Bunker Supplements www.shop.healthbunker.co.ukUse discount Codes HB-SF10OFF for HB Liposomal ProductsHB-SF25OFF for all HB other Products.ALL discount codes can be used at checkout on multiple itemsDiscount Codes only available on Health Bunker ProductsHealth Bunker Clinic www.healthbunker.co.ukChris's Gaping Gobs – Etsy UK

Equally beloved at office boardrooms and toddler birthday parties, Colin the Caterpillar - a £7 swiss roll cake with white and milk chocolate and buttercream - was launched at an unsuspecting public by Marks and Spencer on 26th August, 1990. At the product development stage, he was going to be a fish - even though fishcake is a TOTALLY different foodstuff. Luckily, the Colin we know and love made it to M&S shelves, where he has since sold more than 15 million units, and spawned dozens of high street imitators. (And an infringement claim against Aldi.) In this episode, Olly, Rebecca and Arion explain how Colin's popularity coincided with the trend for ‘illusion cakes'; dig up the horrifying sweet/savoury pile-up that is Jane Asher's ‘Mary Mary' cake; and consider Colin's enduring place in British popular culture... Further Reading: • ‘Colin the Caterpillar: A brief history' (New Statesman, 2018): https://www.newstatesman.com/culture/food-drink/2018/12/colin-caterpillar-brief-history • ‘This is the original M&S Colin the Caterpillar cake back in 1990' (Good Housekeeping, 2020): https://www.goodhousekeeping.com/uk/food/a33631942/original-colin-the-caterpillar-cake-1990/ • ‘Colin v Cuthbert The Caterpillar: Can M&S Sue Aldi For Copyright Over A Cake?' (Good Morning Britain, 2020): https://www.youtube.com/watch?v=6ZrjPL8p874 This episode first aired in 2021 Love the show? Support us!  Join 

 Dom and Chris from the Sheep Farm Studios podcast take an in-depth look into the family tree of Jane Asher, the girlfriend of Paul McCartney, and her descendants. * Sheep Farm Studios YouTube channel: https://www.youtube.com/@sheepfarmstudios1322 * Sheep Farm Studios website: https://info@sheepfarm.co.uk/ Please support Sage of Quay™ Radio: * Sage of Quay Hub Website: http://www.sageofquay.com/ * Sage of Quay blog (Blogspot): https://sageofquaydispatch.blogspot.com/ * Sage of Quay blog (Substack): https://sageofquay.substack.com/ * Mike's music: http://laboroflovemusic.com/ LEGAL STUFF Sage of Quay® is a TRADEMARK. All Sage of Quay® Radio Hour shows and interviews are COPYRIGHTED. No portion of this presentation or any Sage of Quay Radio Hour show may be used, reproduced, altered or uploaded in part or whole without the expressed written consent of Mike Williams. The views and opinions expressed by any guest featured on The Sage of Quay Radio Hour are those of the guest and do not necessarily reflect the opinions or views of the host, Mike Williams or of The Sage of Quay Radio Hour as a whole. All content provided on The Sage of Quay Radio Hour is for informational purposes only. We make no representations as to the accuracy or completeness of any information discussed or presented during the show or found by following any link mentioned in the broadcast, the show notes or description box. Any and all images used in this video or any other Sage of Quay Radio Hour presentation are considered to be in the public domain, free to use, royalty-free material we have licensed or in compliance with the Fair Use Clause contained within the Copyright Act (17 US Code § 107). If by chance this is not the case and you are the rightful owner, please contact us at sageofquay@aol.com. 

We turn to relationships and their success or lack thereof as Paul gives us "You Won't See Me" this week. How does the song stand up to the other Jane Asher songs? How must it feel to have your relationship very publically catalogued in this way? And is the song a little under-rated?   Rankings: Track-by-track Ranking eMail: beatlesstuffology@gmail.com Twitter: @beatles_ology Instagram: beatlesstuffology JG's Blog: Judgementally Reviews… Andrew's Blog: Stuffology   Produced By: JG McQuarrie

In this chapter we examine the movie often hailed as the greatest Roger Corman ever made - Masque of the Red Death (1964) - starring Vincent Price, Hazel Court, and Jane Asher, plus cinematography from future legendary director Nicolas Roeg.

Join me for this conversation about friendship, creativity, and love. Barbara Urbonas and Jane Asher have put together an amazing project called Deep Dive 365 Words- Gaining Clarity and Expanding Consciousness by Sharing Words. This project was designed after a cancer diagnosis to expand their consciousness and make it a journey of healing. It's a combination of creative writing prompts, automatic writing, and soul searching. Best friends for years, Barbara Urbonas is retired from a former career in Speech/Language Pathology and Jane Asher is an author and host of The Next Room podcast. Find on Amazon- Deep Dive 365- Gaining Clarity and Expanding Consciousness by Sharing Words Facebook Deep Dive 365 Learn more about your ad choices. Visit megaphone.fm/adchoices

A Portland recycle bin mystery, the joy of long German compound words, Paul McCartney's old girlfriend Jane Asher, an unfortunate minor league baseball logo mishap, and the most expensive celebrity wedding in the world are among the minutiae topics discussed this week by Rick and Dave. [Ep386]

In conversation with Jane Asher, author of the Next Room andpodcast host of the show with the same name. Jane shares her journey of her incredible bond with her mother that strengthened after her mom transitioned tothe other side and helped co-author her book answering many of life's questions and insights from the afterlife. Jane has enjoyed a successful career in media and the music industry, most notably at major radio stations in San Diego and Santa Barbara, and Virgin Records based out ofChicago. To connect with Jane: The Next Room book on Amazon: https://amzn.to/3RCHQ6H Listen to The Next Room Podcast: https://janeasherreaney.com/podcast Email:TheNextRoomWithJane@gmail.com Website: https://janeasherreaney.com/ To connect withPooja: Website: www.poojachilukuri.com To learn more about Pooja's journey ofreligious deconstruction/Pooja's memoir https://bit.ly/PoojaChilukuriAuthor Facebook:@PoojaChilukuri Instagram: @chilukuripooja Email: pooja.chilukuri@gmail.com#afterlife #afterlifestories #neardeathexperiences#neardeathexperiencestories #mediumship #psychic

Everyone knows that couple...everytime you go on holiday, they seem to get into a fight about SOMETHING. Then everyone's walking on eggshells, trying not to be awkward, not picking sides, just wanting to enjoy their nice vacation, but instead having to deal with someone else's drama. That seems to be a continuing theme with Paul McCartney and Jane Asher on vacation, only when those fights happen, Paul tends to wander off and pen classic songs, like "For No One." It's a strikingly mature and bold song, featuring only Paul and Ringo, buoyed by a brilliant melody and progression, and a top notch McCartney vocal. It's like the sad ending to the story that began with "She Loves You," addressing YOU, the listener...where it used to be that she loves you, now, she no longer needs you. Brutal, but beautiful. Returning to the show to discuss this tune is our friend Dr. Duncan Driver! You may have heard him on our "Eight Days A Week" episode a while back, or maybe you've heard him as a contributor to One Sweet Dream. He joins us from the future, or Canberra (listen to how badly Jonathan butchers that in the intro!), to discuss Paul's headspace in 66 when he writes this song, his ascension as an artist, and this classic Macca tune. If you'd like to hear more of Duncan's thoughts on "For No One," check out the writings he did on it, "Three Perspectives on 'For No One'" here, here and here. What do you think about "For No One" at #80? Too high? Too low? Let us know in the comments on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠find us now on Bluesky!⁠⁠⁠ Be sure to check out ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, some of our new Revolver-themed merch, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! --- Support this podcast: https://podcasters.spotify.com/pod/show/rankingthebeatles/support

She was surrounded by the music, but is seldom heard from. Her relationship was splashed across every tabloid, but she's largely shunned the press. For being the muse of hits like “And I Love Her” and “We Can Work It Out,” very little is known about her. But this week, host Emma dug up enough about this Doll to put together an episode full of swinging 60s tunes and laughter! Emma shines the spotlight on the quiet Beatle girl: actress, cookbook author, lifestyle queen, and iconic redhead Jane Asher!Follow @thedollspod on Instagram to see photos and clips mentioned in this episode!(Episode starts at 6:22)Songs in this episode:Jane Asher as Alice in “Alice in Wonderland” (Argo Records, 1959)Peter and Gordon - A World Without Love (1964)The Beatles - I Want To Hold Your Hand (1963)The Beatles - Yesterday (1965)The Beatles - Tomorrow Never Knows (1966)The Beatles - We Can Work It Out (1965)Special thanks to friend of the show Michael Tegio for our podcast theme song!

INTERVIEW WITH LESLIE CAVENISH (hair cutter to the Beatles and other notable celebrities) ******* Leslie was the Beatles Hairdresser from 1967 to 1975 Leslie Cavendish left school at 15 years old, without any artistic qualifications to become a hairdresser. He worked for the iconic “'60s” hair stylist Vidal Sassoon. Leslie counted many of the stars of the day among his clients — including Keith Moon, Bee Gees, Dave Clark Five, James Hunt, Terry Stamp, Jane Asher, James Taylor and so many more — but the jewel in his career's crown was styling perhaps the four most famous heads of hair in history: The Beatles. ******* Matt and I sit down with Leslie and talk about his wonderful career with Vidal Sassoon.  This career led to his involvement with the Beatles and Apple. Leslie has a wonderful book called "THE CUTTING EDGE - The Story of the Beatles' Hairdresser Who Defined an Era We start the interview talking about Tiffany (the 80s singer) and food. Then we get into his book: - His beginnings about his Uncle who played with Ella Fitzgerald - Collecting 45s (his cousin would send him music from the US) - The differance between a Hair Stylist and a Hair Cutter - Meeting Paul McCartney for the first time at his home on Cavendish Ave. - The day he convinced Paul to cut off all his hair - Almost getting fired for joining Paul and the boys to film the Magical Mystery Tour. - Meeting Jimi Hendrix - Leslie's top 3 Beatles songs (it's hard to pick just 3) Leslie has some great stories from his book but we don't give too much away. Another great interview! ********* Be sure to visit these websites: www.beatleshairdresser.com www.beatlesbookstore.com Leslie can be found also on Facebook & Instagram ********* KNOW GOOD MUSIC can be found on Podbean (host site), Spotify , Apple Podcasts, Iheart Radio, Pandora and YOUTUBE! Links to more sources at Link Tree - www.linktr.ee/knowgoodmusic  Help support our Podcast by purchasing some cool merch: https://www.teepublic.com/user/knowgoodmusic Visit our YouTube Channel where you can see video segments from all of our interviews.  Just search "know good music".  All AUDIO versions are also available on YOUTUBE!  

Of all the people in the Beatles' inner circle, Jane Asher is perhaps the most mysterious. Not because she's reclusive--far from it, in fact. Jane Asher has spent lots of time on stage and on screens large and small from the time she was a  child. But other than newspaper and magazine articles, and maybe a few video clips which survive from the 1960s, there isn't a lot of first-hand knowledge about her relationship with Paul McCartney. For about five years she was his girlfriend, and she had a front-row view of the beginnings of Beatlemania, the madness of touring, the changes in the band's sound, the death of Brian Epstein, the psychedelic period, even the visit to India. But she finds it insulting when people ask her about those days. And even though she's written several books, both fiction and non-fiction, none of them are about The Beatles. She may be the only person who's had prolonged contact with the band who hasn't written a book about it. But Paul McCartney, tunesmith that he is, wrote several songs about Jane Asher. In later years, he'd mostly concede only that they were songs of a personal nature rather than saying something like "It's about Jane," possibly as a means of respecting both her and his late wife Linda, but a pretty straight line can be drawn between some of the events in their respective lives and the subject matter of his songs. Click here for a transcript of this episode.  Click here to become a Patron of the show. Paid-level Patrons get a newsletter about 48 times per year (I do take the occasional week off); Free-level Patrons get it two weeks later. So why not join? What's to lose?

No fue solo Linda Eastman la media naranja de Macca, hubo varias otras en la historia del que fuera el soltero más codiciado del mundo. En este Expediente Sonar desclasificamos todos los altibajos en su historia, desde el idílico romance con Jane Asher hasta el desastre de Heather Mills.

Episode 387 is the first in a three-part series honoring the late, great Roger Corman. Your kind hosts are talking about “The Masque of the Red Death” (1964). This brilliantly colorful telling (or reimagining?) of the Edgar Allan Poe tale stars Vincent Price, Hazel Court and Jane Asher. CTS can be found on Soundcloud, Apple Music and anywhere fine podcasts can be found. Please rate, review, subscribe- it really does help new listeners find us! #horror #horrormovies #horrornerd #horroraddict #horrorjunkie #monsterkid #bmovie #scarymovies #monstermovie #podcast #chewingthescenery #zombies #zombie #VHS #moviemonsters #edgarallanpoe #vincentprice #hazelcourt #janeasher #rogercorman

This week, Stauney and Sadie explore the second half of the women behind The Beatles. In part two of this episode, we delve into the focus on the women who supported The Beatles, often at great personal cost, and great criticism.We discuss Paul McCartney's first significant girlfriend, Jane Asher, an accomplished actress, and their broken engagement, and his first wife Linda Eastman, a photographer and musician, who is also often blamed for the break-up of The Beatles. Next, we look at Ringo Starr's marriage with hairdresser Maureen Cox and their messy affairs and divorce, followed by his marriage to actress and model Barbara Bach, who aided greatly in his substance abuse recovery.These incredibly talented and accomplished women deserve their time in the spotlight, showcasing their significant contributions to the success of the famous London band. Check out last week for the women behind John and George! Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week, Stauney and Sadie explore the second half of the women behind The Beatles. In part two of this episode, we delve into the focus on the women who supported The Beatles, often at great personal cost, and great criticism. We discuss Paul McCartney's first significant girlfriend, Jane Asher, an accomplished actress, and their broken engagement, and his first wife Linda Eastman, a photographer and musician, who is also often blamed for the break-up of The Beatles. Next, we look at Ringo Starr's marriage with hairdresser Maureen Cox and their messy affairs and divorce, followed by his marriage to actress and model Barbara Bach, who aided greatly in his substance abuse recovery. These incredibly talented and accomplished women deserve their time in the spotlight, showcasing their significant contributions to the success of the famous London band. Check out last week for the women behind John and George! Learn more about your ad choices. Visit megaphone.fm/adchoices

Famous Numerologist Glynis McCants is known as Hollywood's "Go-To-Girl" when it comes to Numerology. Her website was created so that everyone can benefit from Glynis' insights into the remarkable world of Numbers. Glynis McCants has been studying Numerology for over 21 years. Her unique method is based on the Pythagoras Number system, which is more than 2,500 years old. After evaluating approximately 15,000 Numerology Charts, she wrote her first book Glynis Has Your Number, which quickly became the best selling Numerology book in the country, and has been translated in fifteen other languages as well. After successfully picking her husband through Numerology, Glynis was inspired to write her second book Love by the Numbers, which has also become a Best-Seller. Glynis has created many Numerology tools such as The Numerology Kit, the Healing by the Numbers CD, and the How To Manifest Financial Prosperity CD. She then went on to develop two CD sets called Affirmations to Heal Your Body , and Affirmations to Attract Healthy Love. These tools have been invaluable in helping people achieve their personal goals. She joins me on The Next Room to talk about connection through numbers, positive affirmations, manifesting abundance, finding alignment with good people and you can even hear her dog sing halfway through the show!. It's a show you don't want to miss. Glynis has my number, and yours on The Next Room! Find Glynis McCants books and products here Connect with Jane Asher, host of The Next Room https://janeasherreaney.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

 Venture "Beyond the Reiki Gateway" with Andrea Kennedy, and enjoy her enlightening conversation with Jane Asher. Jane shares her personal journey of grief and spiritual growth following the loss of her mother. Engaging with a psychic medium, Jane unravels the transformative power of mediumship, chronicling her experiences and penning a book that explores the profound messages of love, acceptance, and the importance of living in the present moment, conveyed by her mother, who has passed on. Jane's extraordinary story serves as an inspiring testament to the healing potential of connecting with departed loved ones while encouraging you to embark on your own spiritual journey! ✨ Learn more about Jane Asher https://janeasherreaney.com/home Support the show

Pamala Oslie is an author, consultant, radio show host, professional psychic intuitive, and aura expert. She joins her friend Jane Asher this week to discuss what she has been up to since retiring from doing psychic medium readings. The two discuss higher consciousness, the role of A.I. on the planet, shifting perceptions and a complete personal and physical challenge that she had to examine closely to understand how to shift yet again. It's always a spirited conversation when these two old friends get together on The Next Room! Connect with host Jane Asher Learn more about your ad choices. Visit megaphone.fm/adchoices

On the afternoon of December 23, 2011, Judi Merriam's eighteen-year-old son, Jenson, took his own life-an act that blindsided everyone who knew him-changing her life and those of her family forever. This is the story of Jenson's life and death-and of Judi's path to surviving without the physical presence of the kind, intelligent, and endlessly creative young man she never imagined she would outlive. The suicide of a loved one can be devastating for those left behind and bring deep despair and seemingly endless grief. Judi was forced to confront profound feelings of loss and guilt and a future so very different from what she thought it would be. In this honest and soul-searching memoir, Judi reflects with grace and courage on the fragile and amazing, terrifying and broken, and glorious and painful experience of living life after an unfathomable loss. https://judimerriam.com/ https://sprc.org/ Suicide Prevention Resource Center Connect with Jane Asher, host of The Next Room https://janeasherreaney.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

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

Sandra Champlain from Shades of the Afterlife and We Don't Die Radio joins Jane to speak with about her fascination and journey in becoming a premier expert on Afterlife and what is waiting for us in The Next Room. Plagued by a lifelong fear of death and dying, Sandra Champlain began a passionate search for answers to some of life's most perplexing questions. She attended a workshop with international best-selling author and angelic communicator, Doreen Virtue, PhD. and discovered that she had a gift to communicate with beings who had passed on. After this breakthrough, Sandra realized deeply in her heart that she no longer needed to fear death. Sandra Champlain www.wedontdie.com We Don't Die: A Skeptic's Discovery of Life After Death Meet Jane Asher host of The Next Room Find books by Jane Asher and other MindBodySpirit.fm podcast hosts in the online store Learn more about your ad choices. Visit megaphone.fm/adchoices

What kind of relationship did you develop with the loved ones who transitioned?In today's episode, the wonderful Jane Asher joins us to share her unique, inspiring, positive approach and understanding of grief. Jane is the Host of The Next Room podcast and the author of a beautiful book with the same name. After a long and successful career in media and the music industry, Jane decided to follow her true passion. She created her podcast, where she chats with professionals and practitioners about death, dying, grief, beliefs, the afterlife, and cultural traditions surrounding the journey we'll all embark on sooner or later. We had a fantastic conversation about Jane's transformation from rock and roll Deejay to podcaster and author, the writing process of her book, The Next Room, and her unique perspective on loss, grief, and interactions with her diseased parents and older sister. You'll also hear Jane's thoughts on intuition, finding a way to cultivate peace and positivity while grieving, finding purpose and spreading joy after loss, and much more. Tune in and listen to episode 184 of Grief and Happiness, allow yourself to approach grief from a different perspective, and keep nurturing your relationship with the ones you lost. In This Episode, You Will Learn:Jane talks about the extraordinary process of writing "The Next Room" (6:00)The importance of having conversations with the loved ones we lost (12:30)Jane's talks about the importance of being open to seeing the signs (19:20)Jane shares a beautiful paragraph of her book (25:50)Enjoying the current chapter of our existence (34:00)Each one's grief journey is unique; let's avoid judging other people's grieving (39:10)Resources:Book: Jane Asher - The Next RoomThe Next Room podcastConnect with Jane:WebsiteInstagramTwitterLinkedInFacebookLet's Connect:WebsiteLinkedInFacebookInstagramTwitterPinterestThe Grief and Happiness AllianceBook: Emily Thiroux Threatt - Loving and Living Your Way Through Grief Hosted on Acast. See acast.com/privacy for more information.

Jane welcomes Emily Thiroux Threatt on The Next Room to discuss The Grief and Happiness Handbook. Can happiness be part of your grief journey? Emily believes so, and actually has actions steps for you to reclaim your life while grieving. Her handbook covers many topics from journaling to music, to laughter, to dancing to being in service to others. Her gentle guide will actually hold your hand and walk you through the process using happiness habits at the end of each chapter. This is a helpful show for those who find themselves in deep grief right now. Website: https://www.griefandhappiness.com/ Get The Grief and Happiness Handbook by Emily Thiroux Threatt Find The Next Room by Jane Asher and other books from MindBodySpirit.fm podcast hosts in the online store Find Jane Asher here https://janeasherreaney.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Sandra Champlain is authentic, sincere, and transparent about her self-discovery journey of how a sceptic ended up being one of the most trusted voices on the topic of afterlife. Sandra returns as a guest to speak about her favorite ways that she has found to connect with loved ones in The Next Room. She also offers a free copy of her International Best Seller, "We Don't Die-A Skeptics Discovery of Life After Death." If you are curious and don't know where to start. This show will open you up in a gentle way to start your own connection with the afterlife. Meet Jane Asher, host of The Next Room Find books by Jane Asher and other MindBodySpirit.fm podcast hosts in the online store Learn more about your ad choices. Visit megaphone.fm/adchoices

I invite my new friend Jim McCarty back on The Next Room. Jim just released a beautiful song called "Breath of Wind" written for his wife Lizzie who transitioned three years ago. His book "She Walks in Beauty" is also available through Amazon. Born James Stanley McCarty is an English musician, best known as the drummer for The Yardbirds and Renaissance. Following Chris Dreja's departure from the Yardbirds in 2013, McCarty became the only member of the band to feature in every lineup. McCarty has performed and recorded with the Yardbirds, Together, Renaissance, Shoot, Illusion, the Yardbirds reunion band Box of Frogs, Stairway, the British Invasion All-Stars, and Pilgrim, as well as under his own name and as the Jim McCarty Band. Since 1992 he has been playing with the reformed Yardbirds. Mr. McCarty was inducted into the Rock and Roll Hall of Fame as a founding member of The Yardbirds. Get the book She Walks in Beauty by Jim McCarty Get the song Breath of Wind by Jim McCarty Find out more about Jane Asher and The Next Room Find Jane's book and books from other MindBodySpirit.fm podcast hosts in the online store Learn more about your ad choices. Visit megaphone.fm/adchoices

After a successful career in media and the music industry, Jane Asher stepped away from terrestrial radio and launched her podcast The Next Room. To Jane, death is a dinner conversation. She interviews professionals and practitioners about death, dying, grief, beliefs, afterlife and cultural traditions surrounding the journey we all must ultimately make.Her book, The Next Room, is a story transcending space and time, of a relationship between mother and daughter that grew stronger through death. Written together, by initially enlisting interpretation through a psychic medium, the book takes us on a daughter's journey through learning eternal life lessons on forgiveness, grief, grace, gratitude, and the limitless love of all, God.Jane is passionate about mission work, especially those helping women and children. She travels outside the United States to build homes and schools and to feed the homeless. Jane lives in San Diego with her husband, Tom.More about Jane-https://janeasherreaney.com/https://www.amazon.com/Books-Jane-Asher/s?rh=n%3A283155%2Cp_lbr_one_browse-bin%3AJane+AsherMore about Liz-Work- https://www.lizshealingtouch.com/Radio Show- https://www.voiceofvashon.org/raise-the-vibePodcast- https://www.buzzsprout.com/958816Facebook- https://www.facebook.com/raisethevibewithlizInstagram- https://www.instagram.com/raisethevibewithliz/*** Support the show! https://www.buzzsprout.com/958816/supportSupport me on Patreon- https://www.patreon.com/user?u=43081730https://paypal.me/LisbethPeterson?country.x=US&locale.x=en_USThank you!Support the show

An international authority on near-death states, Dr. PMH Atwater, L.H.D. uses the culmination of her research to establish that the near-death phenomenon is not some kind of anomaly, but is rather part of the larger genre of transformations of consciousness. She combines her 38 years of near-death research with what she was doing in the 60s and 70s, experiencing, experimenting with, and researching altered states of consciousness, mysticism, psychic phenomena, and the transformational process, to reveal what transformations of consciousness really are, why we have them, and where they lead us. This lifetime endeavor covers over 43 years of work, involving nearly 7,000 people. Her meticulous and unique protocol gives validity to what she has discovered, and verified, about the percentage worldwide of people who have undergone near-death experiences. Dr. PMH Atwater, L.H.D. visit the site Find Jane Asher's book The Next Room and books from other MindBodySpirit.fm podcast hosts in the online store Find out more about Jane Asher here Learn more about your ad choices. Visit megaphone.fm/adchoices

A professional clairvoyant and certified hypnotherapist, Camille has been clairvoyant all of her life and enjoys a highly respected and successful private reading and teaching practice with clients all over the world. She travels frequently to conduct readings and present workshops on a number of empowerment areas, such as Manifesting your Dreams, Dream Interpretation and Working with Universal Signs. Camille has served as an advisor on cases with local and federal law enforcement agencies, has been featured on ABC News and is a frequent guest on radios programs nationwide. Camille Procassini Find out more about Jane Asher, Host of The Next Room Find Jane's book The Next Room and books from other MindBodySpirit.fm podcast hosts in the online store Learn more about your ad choices. Visit megaphone.fm/adchoices

I welcome Liz Peterson on the show to talk about her new book "Mom Died Last Night" (My Shared Death Experience) We discussed all of the signs Liz got immediately after her mother, Miss Connie passed away last year. Aside from her brand new book, Liz also has a podcast called "Raise the Vibe With Liz" and she is also an Alternative and Holistic Health Services Healer. It's a lively show covering Higher Consciousness, Reiki Healing, Shadow Work, and of course connection with the afterlife in The Next Room! Liz's book: "Mom Died Last Night" (My Shared Death Experience) Find out more about host Jane Asher Find books by Jane Asher and other MindBodySpirit.fm podcast hosts in the online store Learn more about your ad choices. Visit megaphone.fm/adchoices

I'm excited to introduce you to a fascinating woman that I met while I traveled to the Congo a few weeks ago. Anastasia Hansel is an empowered trailblazing woman who is continually raising her awareness to learn while she's still in her "temporary container" on earth. Anastasia has been widowed twice and shares with me an uplifting view on grief and how she chooses to live her life fully. We discuss the danger's of spiritual plateauing and eulogy values verses resume values. It's a show filled full of a-ha moments and passion with purpose. You too while want to keep on dancing after you meet Anastasia Hansel this week on The Next Room! Her husband Tim's book "You Gotta Keep Dancing" Find out more about Jane Asher here Find books by Jane Asher and other MindBodySpirit.fm podcast hosts in the online store Learn more about your ad choices. Visit megaphone.fm/adchoices

I just returned from a fascinating journey to the Democratic Republic of the Congo. Even though the Congo has faced political repression and instability since it achieved independence in 1960, I witnessed resiliency, curiosity, passion, deep faith and hope. The DRC is the fourth-largest African country by population and the most populous francophone country in the world, and is home to an abundance of vital natural resources. Despite its massive human capital and resource endowment, peace has eluded the Congo, and human security challenges have proliferated. Please join me as I share my insights into a life changing trip to the DRC.  Jane's Support for Africa New Day Find books by Jane Asher and other MindBodySpirit.fm podcast hosts in the online store Learn more about your ad choices. Visit megaphone.fm/adchoices

“Is this all there is?”  “Will I ever see my loved ones who have died again?”  “Is there life after death?” If you struggle with these existential questions, then this episode is for you. Jenn talks with Author and host of The Next Room podcast Jane Asher about how she stays connected with those who have passed. She shares how she co-wrote a book with her mother after she died and how the cord connecting us with our loved ones remains. You will be invited to ask, listen, and shift your perception of what your relationship is with those beyond. Listen for comfort, connection, and a challenge to alter our relationship with death.   Resources: Learn more about Jane and her work at www.janeasherreaney.com Connect with Jane for a free digital copy of her book The Next Room at thenextroomwithjane@gmail.com Listen to The Next Room Podcast with Jane Asher   Looking for more support? Join our monthly free virtual trainings on every third Thursday in the morning and evening. Click here to register for our next training.   Have you joined the Grief and Grace Facebook group yet? Join to connect with others experiencing grief, resources, events, and more.   Enjoying the podcast? Support our production costs by donating here Receive your Free Grief Guidebook and find Jenn's work here Music by Daniel Plane: www.reelcello.com Podcast production by Caitlin Epstein

It's time to delve into our archive. In this brilliantly descriptive and entertaining episode, the award-winning writer and satirist Craig Brown takes us on a cultural tour of 1963. We discuss the Great Train Robbery, the Beatles meteoric rise to fame and the assassination of JFK. For much, much more about all this and to be the first to see the amazing new colourised photograph of the Beatles in Washington DC at their first US concert – head to our website. Show Notes: Scene One: August 1963, lingering with the robbers in their hide-out at Leatherslade Farm. Scene Two: Second half of 1963, Jane Asher's family home, Wimpole Street, to see/be Paul McCartney, living with the Ashers, at the time of the first flush of the Beatles' success. Scene Three: November 23 1963. In the Texas School Book depository with Lee Harvey Oswald as he shoots President Kennedy. Memento: Paul McCartney's handwritten lyrics for ‘Yesterday' People/Social Presenter: Peter Moore Interview: Artemis Irvine Guest: Craig Brown Producer: Maria Nolan Follow us on Twitter: @tttpodcast_ Podcast Partner: ColorGraph Craig Brown's book One, Two, Three Four: The Beatles in Time is available now from 4th Estate books.

As the Red Death ravages the surrounding countryside, Prince Prospero and his followers celebrate darkness within their rainbow-hued castle. In this episode of Weirdhouse Cinema, Rob and Joe discuss the 1964 Roger Corman film “The Masque of the Red Death,” based on two different works from Edgar Allen Poe and starring the legendary Vincent Price, Hazel Court and Jane Asher.See omnystudio.com/listener for privacy information.

Episode one hundred and fifty-four of A History of Rock Music in Five Hundred Songs is the last of our four-part mini-series on LA sunshine pop and folk-rock in summer 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Baby, Now That I've Found You" by the Foundations. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There is no Mixcloud this week, because there were too many Turtles songs in the episode. There's relatively little information available about the Turtles compared to other bands of their era, and so apart from the sources on the general LA scene referenced in all these podcasts, the information here comes from a small number of sources. This DVD is a decent short documentary on the band's career. Howard Kaylan's autobiography, Shell Shocked: My Life with the Turtles, Flo and Eddie, and Frank Zappa, Etc.,  is a fun read, if inevitably biased towards his own viewpoint. Jim Pons' Hard Core Love: Sex, Football, and Rock and Roll in the Kingdom of God is much less fun, being as it is largely organised around how his life led up to his latter-day religious beliefs, but is the only other book I'm aware of with a substantial amount of coverage of the Turtles. There are many compilations of the Turtles' material available, of which All The Singles is by far and away the best. The box set of all their albums with bonus tracks is now out of print on CD, but can still be bought as MP3s. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've spent a lot of time recently in the LA of summer 1967, at the point where the sunshine pop sound that was created when the surf harmonies of the Beach Boys collided with folk rock was at its apex, right before fashions changed and tight sunny pop songs with harmonies from LA became yesterday's news, and extended blues-rock improvisations from San Francisco became the latest in thing. This episode is the last part of this four-episode sequence, and is going to be shorter than those others. In many ways this one is a bridge between this sequence and next episode, where we travel back to London, because we're saying goodbye for a while to the LA scene, and when we do return to LA it will be, for the most part, to look at music that's a lot less sunshine and a lot more shadow. So this is a brief fade-out while we sing ba-ba-ba, a three-minute pop-song of an episode, a last bit of sunshine pop before we return to longer, more complicated, stories  in two weeks' time, at which point the sun will firmly set. Like many musicians associated with LA, Howard Kaylan was born elsewhere and migrated there as a child, and he seems to have regarded his move from upstate New York to LA as essentially a move to Disneyland itself. That impression can only have been made stronger by the fact that soon after his family moved there he got his first childhood girlfriend -- who happened to be a Mouseketeer on the TV. And TV was how young Howard filtered most of his perceptions -- particularly TV comedy. By the age of fourteen he was the president of the Soupy Sales Fan Club, and he was also obsessed with the works of Ernie Kovacs, Sid Caesar, and the great satirist and parodist Stan Freberg: [Excerpt: Stan Freberg, "St. George and the Dragonet"] Second only to his love of comedy, though, was his love of music, and it was on the trip from New York to LA that he saw a show that would eventually change his life. Along the way, his family had gone to Las Vegas, and while there they had seen Louis Prima and Keeley Smith do their nightclub act. Prima is someone I would have liked to do a full podcast episode on when I was covering the fifties, and who I did do a Patreon bonus episode on. He's now probably best known for doing the voice of King Louis in the Jungle Book: [Excerpt: Louis Prima, "I Wanna Be Like You (the Monkey Song)"] But he was also a jump blues musician who made some very good records in a similar style to Louis Jordan, like "Jump, Jive, an' Wail" [Excerpt: Louis Prima, "Jump, Jive, an' Wail"] But like Jordan, Prima dealt at least as much in comedy as in music -- usually comedy involving stereotypes about his Italian-American ethnic origins. At the time young Howard Kaylan saw him, he was working a double act with his then-wife Keeley Smith. The act would consist of Smith trying to sing a song straight, while Prima would clown around, interject, and act like a fool, as Smith grew more and more exasperated, and would eventually start contemptuously mocking Prima. [Excerpt: Louis Prima and Keeley Smith, "Embraceable You/I've Got It Bad and That Ain't Good"] This is of course a fairly standard double-act format, as anyone who has suffered through an episode of The Little and Large Show will be all too painfully aware, but Prima and Smith did it better than most, and to young Howard Kaylan, this was the greatest entertainment imaginable. But while comedy was the closest thing to Kaylan's heart, music was a close second. He was a regular listener to Art Laboe's radio show, and in a brief period as a teenage shoplifter he obtained records like Ray Charles' album Genius + Soul = Jazz: [Excerpt: Ray Charles, "One Mint Julep"] and the single "Tossin' and Turnin'" by Bobby Lewis: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] "Tossin' and Turnin'" made a deep impression on Kaylan, because of the saxophone solo, which was actually a saxophone duet. On the record, baritone sax player Frank Henry played a solo, and it was doubled by the great tenor sax player King Curtis, who was just playing a mouthpiece rather than a full instrument, making a high-pitched squeaking sound: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] Curtis was of course also responsible for another great saxophone part a couple of years earlier, on a record that Kaylan loved because it combined comedy and rock and roll, "Yakety Yak": [Excerpt: The Coasters, "Yakety Yak"] Those two saxophone parts inspired Kaylan to become a rock and roller. He was already learning the clarinet and playing part time in an amateur Dixieland band, and it was easy enough to switch to saxophone, which has the same fingering. Within a matter of weeks of starting to play sax, he was invited to join a band called the Nightriders, who consisted of Chuck Portz on bass, Al Nichol on guitar, and Glen Wilson on drums. The Nightriders became locally popular, and would perform sets largely made up of Johnny and the Hurricanes and Ventures material. While he was becoming a budding King Curtis, Kaylan was still a schoolkid, and one of the classes he found most enjoyable was choir class. There was another kid in choir who Kaylan got on with, and one day that kid, Mark Volman came up to him, and had a conversation that Kaylan would recollect decades later in his autobiography: “So I hear you're in a rock 'n' roll band.” “Yep.” “Um, do you think I could join it?” “Well, what do you do?” “Nothing.” “Nothing?” “Nope.” “Sounds good to me. I'll ask Al.” Volman initially became the group's roadie and occasional tambourine player, and would also get on stage to sing a bit during their very occasional vocal numbers, but was mostly "in the band" in name only at first -- he didn't get a share of the group's money, but he was allowed to say he was in the group because that meant that his friends would come to the Nightriders' shows, and he was popular among the surfing crowd. Eventually, Volman's father started to complain that his son wasn't getting any money from being in the band, while the rest of the group were, and they explained to him that Volman was just carrying the instruments while they were all playing them. Volman's father said "if Mark plays an instrument, will you give him equal shares?" and they said that that was fair, so Volman got an alto sax to play along with Kaylan's tenor. Volman had also been taking clarinet lessons, and the two soon became a tight horn section for the group, which went through a few lineup changes and soon settled on a lineup of Volman and Kaylan on saxes, Nichol on lead guitar, Jim Tucker on rhythm guitar, Portz on bass, and Don Murray on drums. That new lineup became known as the Crossfires, presumably after the Johnny and the Hurricanes song of the same name: [Excerpt: Johnny and the Hurricanes, "Crossfire"] Volman and Kaylan worked out choreographed dance steps to do while playing their saxes, and the group even developed a group of obsessive fans who called themselves the Chunky Club, named after one of the group's originals: [Excerpt: The Crossfires, "Chunky"] At this point the group were pretty much only playing instrumentals, though they would do occasional vocals on R&B songs like "Money" or their version of Don and Dewey's "Justine", songs which required more enthusiasm than vocal ability. But their first single, released on a tiny label, was another surf instrumental, a song called "Dr. Jekyll and Mr. Hyde": [Excerpt: The Crossfires, "Dr. Jekyll and Mr Hyde"] The group became popular enough locally that they became the house band at the Revelaire Club in Redondo Beach. There as well as playing their own sets, they would also be the backing band for any touring acts that came through without their own band, quickly gaining the kind of performing ability that comes from having to learn a new artist's entire repertoire in a few days and be able to perform it with them live with little or no rehearsal. They backed artists like the Coasters, the Drifters, Bobby Vee, the Rivingtons, and dozens of other major acts, and as part of that Volman and Kaylan would, on songs that required backing vocals, sing harmonies rather than playing saxophone. And that harmony-singing ability became important when the British Invasion happened, and suddenly people didn't want to hear surf instrumentals, but vocals along the lines of the new British groups. The Crossfires' next attempt at a single was another original, this one an attempt at sounding like one of their favourite new British groups, the Kinks: [Excerpt: The Crossfires, "One Potato, Two Potato"] This change to vocals necessitated a change in the group dynamic. Volman and Kaylan ditched the saxophones, and discovered that between them they made one great frontman. The two have never been excessively close on a personal level, but both have always known that the other has qualities they needed. Frank Zappa would later rather dismissively say "I regard Howard as a fine singer, and Mark as a great tambourine player and fat person", and it's definitely true that Kaylan is one of the truly great vocalists to come out of the LA scene in this period, while Volman is merely a good harmony singer, not anything particularly special -- though he *is* a good harmony singer -- but it undersells Volman's contribution. There's a reason the two men performed together for nearly sixty years. Kaylan is a great singer, but also by nature rather reserved, and he always looked uncomfortable on stage, as well as, frankly, not exactly looking like a rock star (Kaylan describes himself not inaccurately as looking like a potato several times in his autobiography). Volman, on the other hand, is a merely good singer, but he has a naturally outgoing personality, and while he's also not the most conventionally good-looking of people he has a *memorable* appearance in a way that Kaylan doesn't. Volman could do all the normal frontman stuff, the stuff that makes a show an actual show -- the jokes, the dancing, the between-song patter, the getting the crowd going, while Kaylan could concentrate on the singing. They started doing a variation on the routine that had so enthralled Howard Kaylan when he'd seen Louis Prima and Keeley Smith do it as a child. Kaylan would stand more or less stock still, looking rather awkward, but singing like an angel, while Volman would dance around, clown, act the fool, and generally do everything he could to disrupt the performance -- short of actually disrupting it in reality. It worked, and Volman became one of that small but illustrious group of people -- the band member who makes the least contribution to the sound of the music but the biggest contribution to the feel of the band itself, and without whom they wouldn't be the same. After "One Potato, Two Potato" was a flop, the Crossfires were signed to their third label. This label, White Whale, was just starting out, and the Crossfires were to become their only real hit act. Or rather, the Turtles were. The owners of White Whale knew that they didn't have much promotional budget and that their label was not a known quantity -- it was a tiny label with no track record. But they thought of a way they could turn that to their advantage. Everyone knew that the Beatles, before Capitol had picked up their contracts, had had their records released on a bunch of obscure labels like Swan and Tollie. People *might* look for records on tiny independent labels if they thought it might be another British act who were unknown in the US but could be as good as the Beatles. So they chose a name for the group that they thought sounded as English as possible -- an animal name that started with "the", and ended in "les", just like the Beatles. The group, all teenagers at the time, were desperate enough that they agreed to change their name, and from that point on they became the Turtles. In order to try and jump on as many bandwagons as possible, the label wanted to position them as a folk-rock band, so their first single under the Turtles name was a cover of a Bob Dylan song, from Another Side of Bob Dylan: [Excerpt: Bob Dylan, "It Ain't Me Babe"] That song's hit potential had already been seen by Johnny Cash, who'd had a country hit with it a few months before. But the Turtles took the song in a different direction, inspired by Kaylan's *other* great influence, along with Prima and Smith. Kaylan was a big fan of the Zombies, one of the more interesting of the British Invasion groups, and particularly of their singer Colin Blunstone. Kaylan imitated Blunstone on the group's hit single, "She's Not There", on which Blunstone sang in a breathy, hushed, voice on the verses: [Excerpt: The Zombies, "She's Not There"] before the song went into a more stomping chorus on which Blunstone sang in a fuller voice: [Excerpt: The Zombies, "She's Not There"] Kaylan did this on the Turtles' version of "It Ain't Me Babe", starting off with a quiet verse: [Excerpt: The Turtles, "It Ain't Me Babe"] Before, like the Zombies, going into a foursquare, more uptempo, louder chorus: [Excerpt: The Turtles, "It Ain't Me Babe"] The single became a national top ten hit, and even sort of got the approval of Bob Dylan. On the group's first national tour, Dylan was at one club show, which they ended with "It Ain't Me Babe", and after the show the group were introduced to the great songwriter, who was somewhat the worse for wear. Dylan said “Hey, that was a great song you just played, man. That should be your single", and then passed out into his food. With the group's first single becoming a top ten hit, Volman and Kaylan got themselves a house in Laurel Canyon, which was not yet the rock star Mecca it was soon to become, but which was starting to get a few interesting residents. They would soon count Henry Diltz of the Modern Folk Quartet, Danny Hutton, and Frank Zappa among their neighbours. Soon Richie Furay would move in with them, and the house would be used by the future members of the Buffalo Springfield as their rehearsal space. The Turtles were rapidly becoming part of the in crowd. But they needed a follow-up single, and so Bones Howe, who was producing their records, brought in P.F. Sloan to play them a few of his new songs. They liked "Eve of Destruction" enough to earmark it as a possible album track, but they didn't think they would do it justice, and so it was passed on to Barry McGuire. But Sloan did have something for them -- a pseudo-protest song called "Let Me Be" that was very clearly patterned after their version of "It Ain't Me Babe", and which was just rebellious enough to make them seem a little bit daring, but which was far more teenage angst than political manifesto: [Excerpt: The Turtles, "Let Me Be"] That did relatively well, making the top thirty -- well enough for the group to rush out an album which was padded out with some sloppy cover versions of other Dylan songs, a version of "Eve of Destruction", and a few originals written by Kaylan. But the group weren't happy with the idea of being protest singers. They were a bunch of young men who were more motivated by having a good time than by politics, and they didn't think that it made sense for them to be posing as angry politicised rebels. Not only that, but there was a significant drop-off between "It Ain't Me Babe" and "Let Me Be". They needed to do better. They got the clue for their new direction while they were in New York. There they saw their friends in the Mothers of Invention playing their legendary residency at the Garrick Theatre, but they also saw a new band, the Lovin' Spoonful, who were playing music that was clearly related to the music the Turtles were doing -- full of harmonies and melody, and inspired by folk music -- but with no sense of rebelliousness at all. They called it "Good Time Music": [Excerpt: The Lovin' Spoonful, "Good Time Music"] As soon as they got back to LA, they told Bones Howe and the executives at White Whale that they weren't going to be a folk-rock group any more, they were going to be "good time music", just like the Lovin' Spoonful. They were expecting some resistance, but they were told that that was fine, and that PF Sloan had some good time music songs too. "You Baby" made the top twenty: [Excerpt: The Turtles, "You Baby"] The Turtles were important enough in the hierarchy of LA stars that Kaylan and Tucker were even invited by David Crosby to meet the Beatles at Derek Taylor's house when they were in LA on their last tour -- this may be the same day that the Beatles met Brian and Carl Wilson, as I talked about in the episode on "All You Need is Love", though Howard Kaylan describes this as being a party and that sounded like more of an intimate gathering. If it was that day, there was nearly a third Beach Boy there. The Turtles knew David Marks, the Beach Boys' former rhythm guitarist, because they'd played a lot in Inglewood where he'd grown up, and Marks asked if he could tag along with Kaylan and Tucker to meet the Beatles. They agreed, and drove up to the house, and actually saw George Harrison through the window, but that was as close as they got to the Beatles that day. There was a heavy police presence around the house because it was known that the Beatles were there, and one of the police officers asked them to drive back and park somewhere else and walk up, because there had been complaints from neighbours about the number of cars around. They were about to do just that, when Marks started yelling obscenities and making pig noises at the police, so they were all arrested, and the police claimed to find a single cannabis seed in the car. Charges were dropped, but now Kaylan was on the police's radar, and so he moved out of the Laurel Canyon home to avoid bringing police attention to Buffalo Springfield, so that Neil Young and Bruce Palmer wouldn't get deported. But generally the group were doing well. But there was a problem. And that problem was their record label. They rushed out another album to cash in on the success of "You Baby", one that was done so quickly that it had "Let Me Be" on it again, just as the previous album had, and which included a version of the old standard "All My Trials", with the songwriting credited to the two owners of White Whale records. And they pumped out a lot of singles. A LOT of singles, ranging from a song written for them by new songwriter Warren Zevon, to cover versions of Frank Sinatra's "It Was a Very Good Year" and the old standard "We'll Meet Again". Of the five singles after "You Baby", the one that charted highest was a song actually written by a couple of the band members. But for some reason a song with verses in 5/4 time and choruses in 6/4 with lyrics like "killing the living and living to kill, the grim reaper of love thrives on pain" didn't appeal to the group's good-time music pop audience and only reached number eighty-one: [Excerpt: The Turtles, "Grim Reaper of Love"] The group started falling apart. Don Murray became convinced that  the rest of the band were conspiring against him and wanted him out, so he walked out of the group in the middle of a rehearsal for a TV show. They got Joel Larson of the Grass Roots -- the group who had a number of hits with Sloan and Barri songs -- to sub for a few gigs before getting in a permanent replacement, Johnny Barbata, who came to them on the recommendation of Gene Clark, and who was one of the best drummers on the scene -- someone who was not only a great drummer but a great showman, who would twirl his drumsticks between his fingers with every beat, and who would regularly engage in drum battles with Buddy Rich. By the time they hit their fifth flop single in a row, they lost their bass player as well -- Chuck Portz decided he was going to quit music and become a fisherman instead. They replaced him with Chip Douglas of the Modern Folk Quartet. Then they very nearly lost their singers. Volman and Kaylan both got their draft notices at the same time, and it seemed likely they would end up having to go and fight in the Vietnam war. Kaylan was distraught, but his mother told him "Speak to your cousin Herb". Cousin Herb was Herb Cohen, the manager of the Mothers of Invention and numerous other LA acts, including the Modern Folk Quartet, and Kaylan only vaguely knew him at this time, but he agreed to meet up with them, and told them “Stop worrying! I got Zappa out, I got Tim Buckley out, and I'll get you out.” Cohen told Volman and Kaylan to not wash for a week before their induction, to take every drug of every different kind they could find right before going in, to deliberately disobey every order, to fail the logic tests, and to sexually proposition the male officers dealing with the induction. They followed his orders to the letter, and got marked as 4-F, unfit for service. They still needed a hit though, and eventually they found something by going back to their good-time music idea. It was a song from the Koppelman-Rubin publishing company -- the same company that did the Lovin Spoonful's management and production. The song in question was by Alan Gordon and Gary Bonner, two former members of a group called the Magicians, who had had a minor success with a single called "An Invitation to Cry": [Excerpt: The Magicians, "An Invitation to Cry"] The Magicians had split up, and Bonner and Gordon were trying to make a go of things as professional songwriters, but had had little success to this point. The song on the demo had been passed over by everyone, and the demo was not at all impressive, just a scratchy acetate with Bonner singing off-key and playing acoustic rhythm guitar and Gordon slapping his knees to provide rhythm, but the group heard something in it. They played the song live for months, refining the arrangement, before taking it into the studio. There are arguments to this day as to who deserves the credit for the sound on "Happy Together" -- Chip Douglas apparently did the bulk of the arrangement work while they were on tour, but the group's new producer, Joe Wissert, a former staff engineer for Cameo-Parkway, also claimed credit for much of it. Either way, "Happy Together" is a small masterpiece of dynamics. The song is structured much like the songs that had made the Turtles' name, with the old Zombies idea of the soft verse and much louder chorus: [Excerpt: The Turtles, "Happy Together"] But the track is really made by the tiny details of the arrangement, the way instruments and vocal parts come in and out as the track builds up, dies down, and builds again. If you listen to the isolated tracks, there are fantastic touches like the juxtaposition of the bassoon and oboe (which I think is played on a mellotron): [Excerpt: The Turtles, "Happy Together", isolated tracks] And a similar level of care and attention was put into the vocal arrangement by Douglas, with some parts just Kaylan singing solo, other parts having Volman double him, and of course the famous "bah bah bah" massed vocals: [Excerpt: The Turtles, "Happy Together", isolated vocals] At the end of the track, thinking he was probably going to do another take, Kaylan decided to fool around and sing "How is the weather?", which Bonner and Gordon had jokingly done on the demo. But the group loved it, and insisted that was the take they were going to use: [Excerpt: The Turtles, "Happy Together"] "Happy Together" knocked "Penny Lane" by the Beatles off the number one spot in the US, but by that point the group had already had another lineup change. The Monkees had decided they wanted to make records without the hit factory that had been overseeing them, and had asked Chip Douglas if he wanted to produce their first recordings as a self-contained band. Given that the Monkees were the biggest thing in the American music industry at the time, Douglas had agreed, and so the group needed their third bass player in a year. The one they went for was Jim Pons. Pons had seen the Beatles play at the Hollywood Bowl in 1964, and decided he wanted to become a pop star. The next day he'd been in a car crash, which had paid out enough insurance money that he was able to buy two guitars, a bass, drums, and amps, and use them to start his own band. That band was originally called The Rockwells, but quickly changed their name to the Leaves, and became a regular fixture at Ciro's on Sunset Strip, first as customers, then after beating Love in the auditions, as the new resident band when the Byrds left. For a while the Leaves had occasionally had guest vocals from a singer called Richard Marin, but Pons eventually decided to get rid of him, because, as he put it "I wanted us to look like The Beatles. There were no Mexicans in The Beatles". He is at pains in his autobiography to assure us that he's not a bigot, and that Marin understood. I'm sure he did. Marin went on to be better known as Cheech Marin of Cheech and Chong. The Leaves were signed by Pat Boone to his production company, and through that company they got signed to Mira Records. Their first single, produced by Nik Venet, had been a version of "Love Minus Zero (No Limit)", a song by Bob Dylan: [Excerpt: The Leaves, "Love Minus Zero (No Limit)"] That had become a local hit, though not a national one, and the Leaves had become one of the biggest bands on the Sunset Strip scene, hanging out with all the other bands. They had become friendly with the Doors before the Doors got a record deal, and Pat Boone had even asked for an introduction, as he was thinking of signing them, but unfortunately when he met Jim Morrison, Morrison had drunk a lot of vodka, and given that Morrison was an obnoxious drunk Boone had second thoughts, and so the world missed out on the chance of a collaboration between the Doors and Pat Boone. Their second single was "Hey Joe" -- as was their third and fourth, as we discussed in that episode: [Excerpt: The Leaves, "Hey Joe"] Their third version of "Hey Joe" had become a top forty hit, but they didn't have a follow-up, and their second album, All The Good That's Happening, while it's a good album, sold poorly. Various band members quit or fell out, and when Johnny Barbata knocked on Jim Pons' door it was an easy decision to quit and join a band that had a current number one hit. When Pons joined, the group had already recorded the Happy Together album. That album included the follow-up to "Happy Together", another Bonner and Gordon song, "She'd Rather Be With Me": [Excerpt: The Turtles, "She'd Rather Be With Me"] None of the group were tremendously impressed with that song, but it did very well, becoming the group's second-biggest hit in the US, reaching number three, and actually becoming a bigger hit than "Happy Together" in parts of Europe. Before "Happy Together" the group hadn't really made much impact outside the US. In the UK, their early singles had been released by Pye, the smallish label that had the Kinks and Donovan, but which didn't have much promotional budget, and they'd sunk without trace. For "You Baby" they'd switched to Immediate, the indie label that Andrew Oldham had set up, and it had done a little better but still not charted. But from "Happy Together" they were on Decca, a much bigger label, and "Happy Together" had made number twelve in the charts in the UK, and "She'd Rather Be With Me" reached number four. So the new lineup of the group went on a UK tour. As soon as they got to the hotel, they found they had a message from Graham Nash of the Hollies, saying he would like to meet up with them. They all went round to Nash's house, and found Donovan was also there, and Nash played them a tape he'd just been given of Sgt Pepper, which wouldn't come out for a few more days. At this point they were living every dream a bunch of Anglophile American musicians could possibly have. Jim Tucker mentioned that he would love to meet the Beatles, and Nash suggested they do just that. On their way out the door, Donovan said to them, "beware of Lennon". It was when they got to the Speakeasy club that the first faux-pas of the evening happened. Nash introduced them to Justin Hayward and John Lodge of the Moody Blues, and Volman said how much he loved their record "Go Now": [Excerpt: The Moody Blues, "Go Now"] The problem was that Hayward and Lodge had joined the group after that record had come out, to replace its lead singer Denny Laine. Oh well, they were still going to meet the Beatles, right? They got to the table where John, Paul, and Ringo were sat, at a tense moment -- Paul was having a row with Jane Asher, who stormed out just as the Turtles were getting there. But at first, everything seemed to go well. The Beatles all expressed their admiration for "Happy Together" and sang the "ba ba ba" parts at them, and Paul and Kaylan bonded over their shared love for "Justine" by Don and Dewey, a song which the Crossfires had performed in their club sets, and started singing it together: [Excerpt: Don and Dewey, "Justine"] But John Lennon was often a mean drunk, and he noticed that Jim Tucker seemed to be the weak link in the group, and soon started bullying him, mocking his clothes, his name, and everything he said. This devastated Tucker, who had idolised Lennon up to that point, and blurted out "I'm sorry I ever met you", to which Lennon just responded "You never did, son, you never did". The group walked out, hurt and confused -- and according to Kaylan in his autobiography, Tucker was so demoralised by Lennon's abuse that he quit music forever shortly afterwards, though Tucker says that this wasn't the reason he quit. From their return to LA on, the Turtles would be down to just a five-piece band. After leaving the club, the group went off in different directions, but then Kaylan (and this is according to Kaylan's autobiography, there are no other sources for this) was approached by Brian Jones, asking for his autograph because he loved the Turtles so much. Jones introduced Kaylan to the friend he was with, Jimi Hendrix, and they went out for dinner, but Jones soon disappeared with a girl he'd met. and left Kaylan and Hendrix alone. They were drinking a lot -- more than Kaylan was used to -- and he was tired, and the omelette that Hendrix had ordered for Kaylan was creamier than he was expecting... and Kaylan capped what had been a night full of unimaginable highs and lows by vomiting all over Jimi Hendrix's expensive red velvet suit. Rather amazingly after all this, the Moody Blues, the Beatles, and Hendrix, all showed up to the Turtles' London gig and apparently enjoyed it. After "She'd Rather Be With Me", the next single to be released wasn't really a proper single, it was a theme song they'd been asked to record for a dire sex comedy titled "Guide for the Married Man", and is mostly notable for being composed by John Williams, the man who would later go on to compose the music for Star Wars. That didn't chart, but the group followed it with two more top twenty hits written by Bonner and Gordon, "You Know What I Mean" and "She's My Girl". But then the group decided that Bonner and Gordon weren't giving them their best material, and started turning down their submissions, like a song called "Celebrity Ball" which they thought had no commercial potential, at least until the song was picked up by their friends Three Dog Night, retitled "Celebrate", and made the top twenty: [Excerpt: Three Dog Night, "Celebrate"] Instead, the group decided to start recording more of their own material. They were worried that in the fast-changing rock world bands that did other songwriters' material were losing credibility. But "Sound Asleep", their first effort in this new plan, only made number forty-seven on the charts. Clearly they needed a different plan. They called in their old bass player Chip Douglas, who was now an experienced hitmaker as a producer. He called in *his* friend Harry Nilsson, who wrote "The Story of Rock & Roll" for the group, but that didn't do much better, only making number forty-eight. But the group persevered, starting work on a new album produced by Douglas, The Turtles Present The Battle of the Bands, the conceit of which was that every track would be presented as being by a different band. So there were tracks by  Chief Kamanawanalea and his Royal Macadamia Nuts,  Fats Mallard and the Bluegrass Fireball, The Atomic Enchilada, and so on, all done in the styles suggested by those band names. There was even a track by "The Cross Fires": [Excerpt: The Cross Fires, "Surfer Dan"] It was the first time the group had conceived of an album as a piece, and nine of the twelve tracks were originals by the band -- there was a track written by their friend Bill Martin, and the opening track, by "The US Teens Featuring Raoul", was co-written by Chip Douglas and Harry Nilsson. But for the most part the songs were written by the band members themselves, and jointly credited to all of them. This was the democratic decision, but one that Howard Kaylan would later regret, because of the song for which the band name was just "Howie, Mark, Johnny, Jim & Al". Where all the other songs were parodies of other types of music, that one was, as the name suggests, a parody of the Turtles themselves. It was written by Kaylan in disgust at the record label, who kept pestering the group to "give us another 'Happy Together'". Kaylan got more and more angry at this badgering, and eventually thought "OK, you want another 'Happy Together'? I'll give you another 'Happy Together'" and in a few minutes wrote a song that was intended as an utterly vicious parody of that kind of song, with lyrics that nobody could possibly take seriously, and with music that was just mocking the whole structure of "Happy Together" specifically. He played it to the rest of the group, expecting them to fall about laughing, but instead they all insisted it was the group's next single. "Elenore" went to number six on the charts, becoming their biggest hit since "She'd Rather Be With Me": [Excerpt: The Turtles, "Elenore"] And because everything was credited to the group, Kaylan's songwriting royalties were split five ways. For the follow-up, they chose the one actual cover version on the album. "You Showed Me" is a song that Roger McGuinn and Gene Clark had written together in the very early days of the Byrds, and they'd recorded it as a jangly folk-rock tune in 1964: [Excerpt: The Byrds, "You Showed Me"] They'd never released that track, but Gene Clark had performed it solo after leaving the Byrds, and Douglas had been in Clark's band at the time, and liked the song. He played it for the Turtles, but when he played it for them the only instrument he had to hand was a pump organ with one of its bellows broken. Because of this, he had to play it slowly, and while he kept insisting that the song needed to be faster, the group were equally insistent that what he was playing them was the big ballad hit they wanted, and they recorded it at that tempo. "You Showed Me" became the Turtles' final top ten hit: [Excerpt: The Turtles, "You Showed Me"] But once again there were problems in the group. Johnny Barbata was the greatest drummer any of them had ever played with, but he didn't fit as a personality -- he didn't like hanging round with the rest of them when not on stage, and while there were no hard feelings, it was clear he could get a gig with pretty much anyone and didn't need to play with a group he wasn't entirely happy in. By mutual agreement, he left to go and play with Crosby, Stills, Nash, and Young, and was replaced by John Seiter from Spanky and Our Gang -- a good drummer, but not the best of the best like Barbata had been. On top of this, there were a whole host of legal problems to deal with. The Turtles were the only big act on White Whale records, though White Whale did put out some other records. For example, they'd released the single "Desdemona" by John's Children in the US: [Excerpt: John's Children, "Desdemona"] The group, being the Anglophiles they were, had loved that record, and were also among the very small number of Americans to like the music made by John's Children's guitarist's new folk duo, Tyrannosaurus Rex: [Excerpt: Tyrannosaurus Rex, "Debora"] When Tyrannosaurus Rex supported the Turtles, indeed, Volman and Kaylan became very close to Marc Bolan, and told him that the next time they were in England they'd have to get together, maybe even record together. That would happen not that many years later, with results we'll be getting to in... episode 201, by my current calculations. But John's Children hadn't had a hit, and indeed nobody on White Whale other than the Turtles had. So White Whale desperately wanted to stop the Turtles having any independence, and to make sure they continued to be their hit factory. They worked with the group's roadie, Dave Krambeck, to undermine the group's faith in their manager, Bill Utley, who supported the group in their desire for independence. Soon, Krambeck and White Whale had ousted Utley, and Krambeck had paid Utley fifty thousand dollars for their management contract, with the promise of another two hundred thousand later. That fifty thousand dollars had been taken by Krambeck as an advance against the Turtles' royalties, so they were really buying themselves out. Except that Krambeck then sold the management contract on to a New York management firm, without telling the group. He then embezzled as much of the group's ready cash as he could and ran off to Mexico, without paying Utley his two hundred thousand dollars. The Turtles were out of money, and they were being sued by Utley because he hadn't had the money he should have had, and by the big New York firm, because  since the Turtles hadn't known they were now legally their managers they were in breach of contract. They needed money quickly, and so they signed with another big management company, this one co-owned by Bill Cosby, in the belief that Cosby's star power might be able to get them some better bookings. It did -- one of the group's first gigs after signing with the new company was at the White House. It turned out they were Tricia Nixon's favourite group, and so they and the Temptations were booked at her request for a White House party. The group at first refused to play for a President they rightly thought of as a monster, but their managers insisted. That destroyed their reputation among the cool antiestablishment youth, of course, but it did start getting them well-paid corporate gigs. Right up until the point where Kaylan became sick at his own hypocrisy at playing these events, drank too much of the complimentary champagne at an event for the president of US Steel, went into a drunken rant about how sick the audience made him, and then about how his bandmates were a bunch of sellouts, threw his mic into a swimming pool, and quit while still on stage. He was out of the band for two months, during which time they worked on new material without him, before they made up and decided to work on a new album. This new album, though, was going to be more democratic. As well as being all original material, they weren't having any of this nonsense about the lead singer singing lead. This time, whoever wrote the song was going to sing lead, so Kaylan only ended up singing lead on six of the twelve songs on what turned out to be their final album, Turtle Soup. They wanted a truly great producer for the new album, and they all made lists of who they might call. The lists included a few big names like George Martin and Phil Spector, but one name kept turning up -- Ray Davies. As we'll hear in the next episode, the Kinks had been making some astonishing music since "You Really Got Me", but most of it had not been heard in the US. But the Turtles all loved the Kinks' 1968 album The Kinks Are The Village Green Preservation Society, which they considered the best album ever made: [Excerpt: The Kinks, "Animal Farm"] They got in touch with Davies, and he agreed to produce the album -- the first time he did any serious outside production work -- and eventually they were able to persuade White Whale, who had no idea who he was, to allow him to produce it. The resulting album is by far the group's strongest album-length work, though there were problems -- Davies' original mix of the album was dominated by the orchestral parts written by Wrecking Crew musician Ray Pohlman, while the group thought that their own instruments should be more audible, since they were trying to prove that they were a proper band. They remixed it themselves, annoying Davies, though reissues since the eighties have reverted to a mix closer to Davies' intentions. Some of the music, like Pons' "Dance This Dance With Me", perhaps has the group trying a little *too* hard to sound like the Kinks: [Excerpt: The Turtles, "Dance This Dance With Me"] But on the other hand, Kaylan's "You Don't Have to Walk in the Rain" is the group's last great pop single, and has one of the best lines of any single from the sixties -- "I look at your face, I love you anyway": [Excerpt: The Turtles, "You Don't Have to Walk in the Rain"] But the album produced no hits, and the group were getting more and more problems from their label. White Whale tried to get Volman and Kaylan to go to Memphis without the other band members to record with Chips Moman, but they refused -- the Turtles were a band, and they were proud of not having session players play their parts on the records. Instead, they started work with Jerry Yester producing on a new album, to be called Shell Shock. They did, though bow to pressure and record a terrible country track called "Who Would Ever Think That I Would Marry Margaret" backed by session players, at White Whale's insistence, but managed to persuade the label not to release it. They audited White Whale and discovered that in the first six months of 1969 alone -- a period where they hadn't sold that many records -- they'd been underpaid by a staggering six hundred and fifty thousand dollars. They sued the label for several million, and in retaliation, the label locked them out of the recording studio, locking their equipment in there. They basically begged White Whale to let them record one last great single, one last throw of the dice. Jim Pons had, for years, known a keyboard player named Bob Harris, and had recently got to know Harris' wife, Judee Sill. Sill had a troubled life -- she was a heroin addict, and had at times turned to streetwalking to earn money, and had spent time in prison for armed robbery -- but she was also an astonishing songwriter, whose music was as inspired by Bach as by any pop or folk composer. Sill had been signed to Blimp, the Turtles' new production and publishing company, and Pons was co-producing some tracks on her first album, with Graham Nash producing others. Pons thought one song from that album, "Lady-O", would be perfect for the Turtles: [Excerpt: Judee Sill, "Lady-O"] (music continues under) The Turtles stuck closely to Sill's vision of the song. So closely that you haven't noticed that before I started talking, we'd already switched from Sill's record to the Turtles' version. [Excerpt: The Turtles, "Lady-O"] That track, with Sill on guitar backing Kaylan, Volman, and Nichol's vocals, was the last Turtles single to be released while the band were together. Despite “Lady O” being as gorgeous a melody as has ever been produced in the rock world, it sank without trace, as did a single from the Shell Shock sessions released under a pseudonym, The Dedications. White Whale followed that up, to the group's disgust, with "Who Would Ever Think That I Would Marry Margaret?", and then started putting out whatever they had in the vaults, trying to get the last few pennies, even releasing their 1965 album track version of "Eve of Destruction" as if it were a new single. The band were even more disgusted when they discovered that, thanks to the flurry of suits and countersuits, they not only could no longer perform as the Turtles, but White Whale were laying legal claim to their own names. They couldn't perform under those names -- Howard Kaylan, Mark Volman, and the rest were the intellectual property of White Whale, according to the lawyers. The group split up, and Kaylan and Volman did some session work, including singing on a demo for a couple of new songwriters: [Excerpt: Steely Dan, "Everyone's Gone to the Movies"] When that demo got the songwriters a contract, one of them actually phoned up to see if Kaylan wanted a permanent job in their new band, but they didn't want Volman as well, so Kaylan refused, and Steely Dan had to do without him. Volman and Kaylan were despondent, washed-up, has-been ex-rock stars. But when they went to see a gig by their old friend Frank Zappa, it turned out that he was looking for exactly that. Of course, they couldn't use their own names, but the story of the Phlorescent Leech and Eddie is a story for another time...

Hi, 27 Club fans! iHeartPodcasts and Double Elvis is excited to announce About A Girl Season 3! Host Nikki Lynette is back to bring women out from the shadows of music history. With familiar characters and new perspectives, this riveting podcast dives into the history of many iconic women whose stories have been eclipsed by their famous partners. Don't just take our word for it, check out the trailer to decide for yourself!   About A Girl: About A Girl is a scripted narrative anthology series that brings to light the stories of women who inspired some of the most celebrated and enduring music of the modern age. Angie Bowie, Jane Asher, Rita Marley, Pam Courson... Host Nikki Lynette brings focus to the many women without whom the landscape of popular music might be very different.   Listen and subscribe to About A Girl here.  See omnystudio.com/listener for privacy information.