Podcast appearances and mentions of Jenny Boyd

Crime Capsule is happy to introduce you to a new Evergreen Podcasts show, Something About the Beatles, from David Whelan. He was a successful documentary writer and producer in the UK when, as COVID hit, he began looking into the murder of John Lennon, prompted by a podcast interview he heard. What he discovered quickly led him into a four-year investigation, as he talked with witnesses who had never before spoken publicly.  About Something About The Beatles All episodes of SATB feature conversations. Sometimes they are with Beatles authorities: writers or academics who've done the research and come up with a thesis. Others are with folks in the business: musicians who were inspired by The Beatles and who've walked the walk – written songs, recorded records, gone on tour. They know the ins and outs of Beatles music. Then there are the Beatle witnesses: folks who knew the individual Beatles well, either by direct family relations (Mike McCartney, Jenny Boyd), working directly for The Beatles (Kevin Harrington, Chris O'Dell, Ken Mansfield, Chris Thomas, Alan Parsons, John Leckie, Tony King, and so forth) or else spending considerable time in their world (journalist Ray Connolly, photographer Ethan Russell, journalist Ivor Davis, photographer Tom Murray, filmmaker Paul Saltzman, Nancy Lee Andrews, May Pang, and so forth). These people come to SATB to share their insights and observations, bringing us that much closer to the world The Beatles created. Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textWell, this is the last episode of Season 4, and once again, it's been a ball of fun (and music). 4 years and still going strong – bigger and better than ever! We look back at “Knockin' on Heaven's Door” and "Rock News", as well as some of our favourite episodes.  We recall some of the albums we've listened to (before we die), some of the shows we've seen, some of the books we've bought and some of Mick's fluffs! We also talk about what we might do next year – more interviews, more covers, maybe a list or two.   So much to look forward to!  References:  Globite, Tyka Nelson, Peter Sinfield, King Crimson, Coldplay, Taylor Swift, Nick Cave in Krakow, 1001 Albums You Must Listen to Before you Die, Robert Dimery, Kevin Rowlands, PJ Harvey, musician interviews, Jarrah McCleary, Panama, Duke Dumont, “dance cry”, Nick Lowe, Buzzsprout "Send us a message”, Ed Kuepper, Thus Spake the king of Euro Disco, They Might Be Giants, Tim Freedman (The Whitlams), The Animals, Bob Mould, Crowded House, Sydney Opera House, Rockwiz, Jesus Christ Superstar, Tim Rice and Andrew Lloyd Webber, “Half Deaf & Completely Mad”, Tony Cohen, John Olson, “Icons of Rock”, Jenny Boyd, “Us & Them”, Mark Blake, Hipgnosis, Bowie, Scary Monsters, “Teenage Wasteland”, “Teenage Wildlife”, Clash, Joe Strummer, John Lydon, Shirley Strachan, Huggy Bear, Starsky and Hutch, Antonio Fargas, Snoop Doggy Dogg, Mi-Sex, Graffiti Crimes, 250 Greatest Guitarists, How critics get it so wrong, Rob Younger, Radio BirdmanEpisode playlist 

Jenny Boyd, though not a musician, is well-known in the music industry. Formerly married to Mick Fleetwood of Fleetwood Mac, she's also Pattie Boyd's sister and sister-in-law to George Harrison and Eric Clapton. Jenny was surrounded by rock royalty from a young age and experienced many legendary moments in rock history as a result. Drawing on her deep connections in the rock world, Jenny wrote 'Icons of Rock: In Their Own Words' - a compilation of candid interviews with some of the greatest musicians of the '60s, 70s, 80s and today. Joni Mitchell, George Harrison, Don Henley, Eric Clapton and other rock giants draw back the curtain on their creative process, their thoughts on spirituality and the effect that drugs and alcohol may have had on their art. Infused with personal stories of her time in San Francisco during the Summer of Love, meeting George Harrison for the first time and her stay in India with The Beatles, Jenny and I discuss some of the most poignant interviews in the book. Get more details on the book with the links below: https://thejennyboyd.com/ https://www.amazon.com/Icons-Rock-Their-Behind-Famous/dp/1684815444 Learn more about your ad choices. Visit megaphone.fm/adchoices

Jenny Boyd, model, actress, sister-in-law to George Harrison & Eric Clapton and wife of Mick Fleetwood (twice), discusses her memoir Jennifer Juniper.(From 4-2-20)

S'ha escrit molt sobre Pattie Boyd, la dona que, entre altres coses, va inspirar les millors can

S'ha escrit molt sobre Pattie Boyd, la dona que, entre altres coses, va inspirar les millors can

Jenny Boyd – Icons of Rock: In their own words...with TRE's Giles Brown

Jenny Boyd, 1960's fashion model, ex-wife of Fleetwood Mac drummer Mick Fleetwood and former sister-in-law of George Harrison and Eric Clapton, spent much of her life in the proximity of musical and cultural influencers. Her access allowed her to interview some of the world's most recognizable musicians regarding their thoughts about the creative process. Her new book Icons of Rock-In Their Own Words is a compendium that provides an intimate insight into how some the world's greatest musicians and producers created some of their greatest work. It will be published in the U.S. by Mango Publishing on February 13, 2024. Boyd originally conducted and compiled most of these revealing interviews as part of her Ph.D dissertation some 30 years ago. She talked with dozens of artists about how they made music and whether natural talent or external influences were the key factors in their work. Her research culminated in the acclaimed book Musicians in Tune that came out in the U.S. and Japan in 1992. In a major rewriting of the book, Icons of Rock is a testament in "write what you know," delving into the drive to create, the importance of nurturing creativity, the role of unconscious influences and the effects of chemicals, alcohol and drugs on the creative process. Among the music legends included are Eric Clapton, Julian Lennon, Don Henley, Keith Richard, Ringo Starr, Steve Winwood, Mick Fleetwood, Stevie Nicks, Joni Mitchell, John Lee Hooker and many others. It also shines a light on the creative process of several artists who are no longer with us, among them George Harrison, David Crosby, Ravi Shankar, Warren Zevon and Christine McVie to whom she dedicates the new book. "I had spent the last twenty-something years surrounded by talented musicians and had watched them playing their instruments and creating songs," Boyd explains in the book's introduction. "I was immersed in their world and had witnessed their creative process first hand. Whether it was watching Paul, George and John sitting on the roof of our bungalow in India creating songs that were later to appear on The White Album, or Fleetwood Mac searching for lyrics in the communal house we shared in Hampshire, or sitting in the studio a few years later in Sausalito making their mega-hit album Rumours, it always left me wondering what it must feel like to be so creative." Rather than use portions of the 65 interviews in topical chapters as she had done previously, Boyd returned to the original transcripts of the interviews she conducted and has included them in their entirety under each of the artists' own name. She has also added interviews with four newer musicians-Eg White, Jacob Collier, Atticus Ross and Sarah Warwick-to illustrate the difference in the music world today compared to the late 1980's when her original interviews were conducted.

We are thrilled to welcome Jenny Boyd to The Style That Binds Us podcast. Jenny is a former model and has written the books, “Jennifer Juniper” and “Icons of Rock.” Jenny has a PhD in psychology. Jenny lived a whirlwind Rock ‘n' Roll' life during her 2 marriages to Mick Fleetwood of Fleetwood Mac. We previously had Jenny's sister, Pattie Boyd (who was married to George Harrison & Eric Clapton), on our podcast, & can't wait to talk to Jenny about her life, her books, musicians and more. We hope you enjoy! --- Send in a voice message: https://podcasters.spotify.com/pod/show/delia-folk8/message Support this podcast: https://podcasters.spotify.com/pod/show/delia-folk8/support

Jenny Boyd, 1960's fashion model, ex-wife of Fleetwood Mac drummer Mick Fleetwood and former sister-in-law of George Harrison and Eric Clapton, spent much of her life in the proximity of musical and cultural influencers. Her access allowed her to interview some of the world's most recognizable musicians regarding their thoughts about the creative process. Her new book Icons of Rock-In Their Own Words is a compendium that provides an intimate insight into how some the world's greatest musicians and producers created some of their greatest work. It will be published in the U.S. by Mango Publishing on February 13, 2024. Boyd originally conducted and compiled most of these revealing interviews as part of her Ph.D dissertation some 30 years ago. She talked with dozens of artists about how they made music and whether natural talent or external influences were the key factors in their work. Her research culminated in the acclaimed book Musicians in Tune that came out in the U.S. and Japan in 1992. In a major rewriting of the book, Icons of Rock is a testament in "write what you know," delving into the drive to create, the importance of nurturing creativity, the role of unconscious influences and the effects of chemicals, alcohol and drugs on the creative process. Among the music legends included are Eric Clapton, Julian Lennon, Don Henley, Keith Richard, Ringo Starr, Steve Winwood, Mick Fleetwood, Stevie Nicks, Joni Mitchell, John Lee Hooker and many others. It also shines a light on the creative process of several artists who are no longer with us, among them George Harrison, David Crosby, Ravi Shankar, Warren Zevon and Christine McVie to whom she dedicates the new book. "I had spent the last twenty-something years surrounded by talented musicians and had watched them playing their instruments and creating songs," Boyd explains in the book's introduction. "I was immersed in their world and had witnessed their creative process first hand. Whether it was watching Paul, George and John sitting on the roof of our bungalow in India creating songs that were later to appear on The White Album, or Fleetwood Mac searching for lyrics in the communal house we shared in Hampshire, or sitting in the studio a few years later in Sausalito making their mega-hit album Rumours, it always left me wondering what it must feel like to be so creative." Rather than use portions of the 65 interviews in topical chapters as she had done previously, Boyd returned to the original transcripts of the interviews she conducted and has included them in their entirety under each of the artists' own name. She has also added interviews with four newer musicians-Eg White, Jacob Collier, Atticus Ross and Sarah Warwick-to illustrate the difference in the music world today compared to the late 1980's when her original interviews were conducted.

WBCQ/The Planet airdate - 1/20/24 (Interview conducted on 1/15/24) Welcome to Fluxedo Junction! Each week we bring you the best music of all genres from throughout the world, and this week we'll be speaking with author Jenny Boyd. The last time she was on the show, back in 2020, was to promote her autobiographical book Jennifer Juniper: A Journey Beyond The Muse - which detailed her life as a model in the Swinging Sixties, spending time in the company of some of the world's most famous musicians - having been married to both Mick Fleetwood and Ian Wallace, and also being at different times a sister-In-Law to both George Harrison and Eric Clapton. That book was also a story of self-discovery, after courageously moving on from a divorce and substance abuse, Jenny earned her master's in counseling psychology and a PhD in Humanities. Which is where another of her books - Icons of Rock: In Their Own Words, comes from. That book, now available in hardback, Kindle, and Audiobook, is a major rewriting of her first book, Musicians in Tune. It was born out of interviews she conducted over the last thirty years, and it's a compelling and groundbreaking work on the creative process featuring insights from the likes of Sinead O'Connor, Mick Fleetwood, Keith Richards, Eric Clapton, Stevie Nicks, Ronnie Wood, George Harrison, Phil Collins, Joni Mitchell, Randy Newman, Peter Gabriel, Ringo Starr, and Huey Lewis. Information about all of her books is available at thejennyboyd.com

Explore the layers of Jenny Boyd's life and her book ‘Icons of Rock – In Their Own Words.' The post Jenny Boyd appeared first on The Strange Brew .

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

You wonder why her life hasn't been made into a movie. Jenny Boyd's mother had so many children she didn't realise her daughter had quit school and become a model. The world of London clubs and fashion magazines was the start of 60 years' close observation of rock stars in every context leading, eventually, to the publication of ‘Icons of Rock', her interviews with 65 musicians. Among the highlights in this pod she talks about...… what life's like when your sister marries a Beatle.… the day a besotted Donovan played her the song he'd written about her (‘Jennifer Juniper').… how the 16 year-old Cheynes' drummer Mick Fleetwood took one look at her and declared “that's the girl I'm going to marry”.… the Crazy Elephant and the Scotch of St James.… watching the Beatles write songs in Rishikesh.… her transition from being “a dollybird” to "a searcher".… modelling in California and the Monterey Pop Festival.… the characteristics songwriters have in common and the meaning of “the peak experience”.… being the only mum in the Fleetwood Mac orbit, life at their Kiln House commune and why Mick was “the pot of glue” that held the band together.… “talent is inherited but stamina often isn't”.… and memories of Peter Green, Joni Mitchell, David Crosby, Graham Nash and “Magic” Alex.Order ‘Icons of Rock' here: https://www.amazon.co.uk/Icons-Rock-Fleetwood-Mitchell-Harrison/dp/1789466717/ref=sr_1_1?qid=1700664733&refinements=p_27%3AJenny+Boyd&s=books&sr=1-1Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

You wonder why her life hasn't been made into a movie. Jenny Boyd's mother had so many children she didn't realise her daughter had quit school and become a model. The world of London clubs and fashion magazines was the start of 60 years' close observation of rock stars in every context leading, eventually, to the publication of ‘Icons of Rock', her interviews with 65 musicians. Among the highlights in this pod she talks about...… what life's like when your sister marries a Beatle.… the day a besotted Donovan played her the song he'd written about her (‘Jennifer Juniper').… how the 16 year-old Cheynes' drummer Mick Fleetwood took one look at her and declared “that's the girl I'm going to marry”.… the Crazy Elephant and the Scotch of St James.… watching the Beatles write songs in Rishikesh.… her transition from being “a dollybird” to "a searcher".… modelling in California and the Monterey Pop Festival.… the characteristics songwriters have in common and the meaning of “the peak experience”.… being the only mum in the Fleetwood Mac orbit, life at their Kiln House commune and why Mick was “the pot of glue” that held the band together.… “talent is inherited but stamina often isn't”.… and memories of Peter Green, Joni Mitchell, David Crosby, Graham Nash and “Magic” Alex.Order ‘Icons of Rock' here: https://www.amazon.co.uk/Icons-Rock-Fleetwood-Mitchell-Harrison/dp/1789466717/ref=sr_1_1?qid=1700664733&refinements=p_27%3AJenny+Boyd&s=books&sr=1-1Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

You wonder why her life hasn't been made into a movie. Jenny Boyd's mother had so many children she didn't realise her daughter had quit school and become a model. The world of London clubs and fashion magazines was the start of 60 years' close observation of rock stars in every context leading, eventually, to the publication of ‘Icons of Rock', her interviews with 65 musicians. Among the highlights in this pod she talks about...… what life's like when your sister marries a Beatle.… the day a besotted Donovan played her the song he'd written about her (‘Jennifer Juniper').… how the 16 year-old Cheynes' drummer Mick Fleetwood took one look at her and declared “that's the girl I'm going to marry”.… the Crazy Elephant and the Scotch of St James.… watching the Beatles write songs in Rishikesh.… her transition from being “a dollybird” to "a searcher".… modelling in California and the Monterey Pop Festival.… the characteristics songwriters have in common and the meaning of “the peak experience”.… being the only mum in the Fleetwood Mac orbit, life at their Kiln House commune and why Mick was “the pot of glue” that held the band together.… “talent is inherited but stamina often isn't”.… and memories of Peter Green, Joni Mitchell, David Crosby, Graham Nash and “Magic” Alex.Order ‘Icons of Rock' here: https://www.amazon.co.uk/Icons-Rock-Fleetwood-Mitchell-Harrison/dp/1789466717/ref=sr_1_1?qid=1700664733&refinements=p_27%3AJenny+Boyd&s=books&sr=1-1Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

“The goal in life is to make your heartbeat match the beat of the Universe.” - Joseph Campbell My VERY Special Guest Today is Author and Icon, Jenny Boyd. There have been innumerable 'rock star' biographies and music histories before, but there is no book that presents the deepest, innermost thoughts from some of the industry's most legendary artists on how they work, what drives them, and what made them choose a life devoted to music. In a major rewriting of her first book, Musicians in Tune: 75 Contemporary Musicians Discuss the Creative Process, Jenny Boyd – who has lived at the heart of the world of rock ‘n' roll since the 1960s – has compiled a bible of rock royalty that provides an intimate insight into how the world's greatest rockstars, musicians and producers created and delivered some of their greatest music. Icons of Rock - In Their Own Words - by Dr. Jenny Boyd Icons of Rock - In Their Own Words: From Eric Clapton to Mick Fleetwood, Joni Mitchell to George Harrison, Icons of Rock is an incredibly intimate portrait of the world's greatest rock stars and their craft. https://thejennyboyd.com/ To order a copy visit expressbookshop.com Order on Amazon UK https://www.amazon.com/Icons-Rock-Their-Own-Words-ebook/dp/B0CCKYGL6Z Bonnier Books - Every Book Matters https://www.bonnierbooks.co.uk/ BeatlesFest The New York Metro Fest will take place the weekend of February 9 to 11 at the TWA Hotel at JFK Airport, celebrating the 50th anniversary of the BeatlesFest and 60 years since the Beatles first landed in America at JFK! Jenny Boyd will be a guest speaker talking about her new book, Icons of Rock - In Their Own Words For media enquires please contact Nikki Mander: Campaigns Director, Publicity, Bonnier Books UK: nikki.mander@bonnierbooks.co.uk

On this episode, we learn that Nissan race teams are utilizing tools and training to improve their driver's cognitive performance in competition. Also, Nissan reveals a new EV concept sports car that looks eerily like a GT-R. And later, we chat with 'Junkyard' Jenny Boyd about her online business that parts out and sells first-generation Z car parts! Enjoy!    Hosted by Mike DeLashmutt and Miles Hall Produced by Mike DeLashmutt Intro: 'Highscore' by Teminite & Panda Eyes Email us at info@nissannerd.com   Subscribe to our YouTube Channel! https://www.youtube.com/channel/UC_QPjztoOpCfUyQ9jidodaw   Reference Articles: Nissan unveils EV 'HYPER FORCE" concept: https://bit.ly/40gMbko Nissan FE team participates in 'Brain to Performance' training performance: https://bit.ly/3Sl9F5W SuperGT: https://supergt.net/ Nissan Challenge: https://bit.ly/3FlCqsP GT4 America: https://www.gt4-america.com/ 'Junkyard' Jenny Boyd S30 online store: https://junkyardjenny.com/ Jenny's eBay store: https://www.ebay.com/str/junkyardjennysqualityusedparts Jenny's Instagram: https://www.instagram.com/used.zcar.parts/?hl=en Jenny's Facebook: https://www.facebook.com/datsunzcarparts/ Jenny's phone #: (720) 385-8569 CALL WITH YOUR S30 PART INQUIRIES!  

Jenny Boyd discusses her time in Rishikesh with The Beatles, with Chris Shaw.

#1960s #beatles #boyd#1298  Guest: Jenny Boyd | Coffee Talk ADIKA Live!  Bio: Jenny Boyd's extraordinary life is the stuff of movies and novels, a story of incredible people and places experienced at a pivotal time in the 20th century.Jenny has spent her life in the company of some of the greatest musical and cultural influencers of the last 50 years – and the journey she takes to finding her own sense of self and creative ability makes Jennifer Juniper a truly captivating and inspiring story.Find Jenny and her most recent memoir here ➜http://www.thejennyboyd.com/Recorded live with our Patreon audience Date: 4/14/21********************************************************************************************************************************************* The New Website ➜ https://www.adikalive.com/Merchandise ➜https://adika-live.creator-spring.comThe Ultimate VIP ALL ACCESS BACKSTAGE PASSFull episodes can be seen in Patreon! Get exclusive content and entry into the vinyl games on Patreon: ➜ https://www.patreon.com/The_adika_group?fan_landing=trueYour Donation Helps Support your Favorite Show & Channel ➜ https://www.paypal.me/stephenadika1AMAZON WISHLIST ➜ https://www.amazon.com/hz/wishlist/ls/30GQNR69L9048?ref_=wl_shareCLICK TO SUBSCRIBE ➜  https://www.youtube.com/c/TheAdikaGroup?sub_confirmation=1Artists on Record |  ADIKA Live The PodcastApple ➜ https://podcasts.apple.com/us/podcast/coffee-talk-with-adika-live/id1529816802?uo=4Spotify ➜ https://open.spotify.com/show/2lXgg3NVdnU3LmXgCrgHwk iHeartRadio ➜ https://www.iheart.com/podcast/269-coffee-talk-with-adika-liv-71566693/*Follow ADIKA Live on Tik Tok: ➜https://vm.tiktok.com/TTPdMmEfFm/ADIKA Live on Twitter➜ https://twitter.com/TalkAdikaThank you for your support!_____________________________________________Artists On Record: ➜https://m.facebook.com/profile.php?id=868952540607953&ref=content_filterTheme Song - Mark SlaughterWebsite:  ➜ https://www.markslaughter.com/Support the show

You will fail. You will have difficult times. When hard times come your way, what will you do? Today on Conflict Managed, Randy Boyd, University of Tennessee President, encourages us to persevere in the face of hardship. He tells us the four things he has discovered successful businesses do, settling disputes with win/win/win in mind (you'll have to listen to find out what the extra win is!), and a great program, The Birthday Lunch and Listen, where people from across the organization are celebrated and listened to as well as creating an opportunity for employees to network with each other. Randy Boyd was appointed as the 26th president of the University of Tennessee System by the UT Board of Trustees March 27, 2020, following a 16-month period as interim president. Boyd founded Knoxville-based Radio Systems Corporation, a company that produces over 4,000 pet related products under the brand names PetSafe, Invisible Fence, ScoopFree and SportDOG. The company employs more than 1,400 people with offices in six countries around the world. Boyd Sports, LLC, owned by Randy and Jenny Boyd, owns the Greeneville Flyboys and Tennessee Smokies.  The company also owns the Johnson City Doughboys, Elizabethton River Riders and operates the Kingsport Axmen. Boyd also served the state of Tennessee in numerous roles, including serving as commissioner of the Tennessee Department of Economic and Community Development and as the governor's special advisor on higher education where he was the architect for Tennessee Promise and Drive to 55. He is also the founder and chairman of the non-profit Tennessee Achieves. Randy and Jenny Boyd have dedicated their lives to giving back. In 2018, the couple formed the Boyd Foundation to further promote youth education, mental health, the arts and animal welfare. Among the Foundation's many philanthropic commitments is the Boyd Center for Business and Economic Research and the Anderson Center for Entrepreneurship and Innovation's Boyd Venture Challenge seed grant program for student entrepreneurs, both through the Haslam College of Business at UT Knoxville. Boyd is the first in his family to graduate from college. He earned a bachelor's degree in business with an emphasis on industrial management from UT Knoxville. He also earned a master's degree in liberal studies with a focus on foreign policy from the University of Oklahoma. The Boyds live in Knoxville and have two children and two grandchildren. You can find Randy Boyd online at utpresident@tennessee.edu. Conflict Managed is hosted by Merry Brown and produced by Third Party Workplace Conflict Restoration Services. Contact us at 3PConflictRestoration@gmail.com. Our music is courtesy of Dove Pilot.

Jenny Boyd used to sleep with her laptop (pretty much as her pillow!)She thought staying up late, and hammering out emails, to wake up early, and start up again was the way to grow success, gain influence and respect, and work her way up the ladder.Now, as a busy mom of three, AND a Chief People and Equity Officer, she has had to learn balance, AND how to ask for what she wants so that she can be the best mom, and CPEO she can be.  Find Jenny Here!Check out my website!Find me on Instagram!Find me on Facebook! 

Jenny Boyd used to sleep with her laptop (pretty much as her pillow!)She thought staying up late, and hammering out emails, to wake up early, and start up again was the way to grow success, gain influence and respect, and work her way up the ladder.Now, as a busy mom of three, AND a Chief People and Equity Officer, she has had to learn balance, AND how to ask for what she wants so that she can be the best mom, and CPEO she can be.  Find Jenny Here!Check out my website!Find me on Instagram!Find me on Facebook! 

Paul Saltzman and Face2Face host David Peck talk about his new film Meeting The Beatles in India, John Lennon and following your heart, politics, civil rights andhow storytelling can do magical things and what it might mean to look for inner peace.TrailerVisit Paul's other sites: Moving Beyond Prejudice and Prom Night in MississippiFor More InformationSynopsis:Filmmaker Paul Saltzman retraces his journey of 50 years ago when he spent a life-changing time with the Beatles at the Maharishi Mahesh Yogi's ashram on thebanks of the Ganges River. In 1968, he discovered his own soul, learned meditation, which changed his life, and hung out with John, Paul, George and Ringo.Fifty years later, he finds “Bungalow Bill” in Hawaii; connects with David Lynch about his own inner journey; as well as preeminent Beatles historian, Mark Lewisohn;Academy Award nominated film composer, Laurence Rosenthal; and Pattie and Jenny Boyd. And much of this is due to Saltzman's own daughter, Devyani, remindinghim that he had put away and forgotten these remarkably intimate photographs of that time in 1968.Narration by: Morgan FreemamExecutive Producer: David Lynch & OthersAbout Paul:Paul Saltzman is a two-time Emmy Award-winning, Toronto-based director-producer of over 300 film and television productions. In 1968, he learned meditation at theMaharishi Mahesh Yogi's ashram in India, an experience that changed his life. There, he photographed the Beatles, Jane Asher, Cynthia Lennon, Pattie BoydHarrison, Maureen Starkey, Mia Farrow, Donovan, Mal Evans and Mike Love.In 1968-69 he assisted in the birth of a new film format as second-unit director and production manager of the first IMAX film. He later attended the original WoodstockMusic Festival, produced a Leonard Cohen concert tour, and made his first film, a documentary on Bo Diddley. In 2000, Viking Penguin released Paul's first book, TheBeatles in Rishikesh. In early 2006 Paul created the Deluxe Limited-Edition box set, ‘The Beatles in India'.Today, Paul continues to make films; leads small tour groups to India; and does film screenings and workshops worldwide on the Beatles, Moving Beyond Prejudice,Meditation, Maximizing Creativity, Conflict Resolution and Nonviolent Communication, and Overcoming Performance Anxiety.Image Copyright and Credit: Paul Saltzman.F2F Music and Image Copyright: David Peck and Face2Face. Used with permission.For more information about David Peck's podcasting, writing and public speaking please visit his site here.With thanks to Josh Snethlage and Mixed Media Sound. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

One of the ‘IT' girls of Swinging London reconnects with her high school classmate, a talented drummer, striving to succeed. But his all-consuming obsession with his band and inability to communicate with Jenny makes for a difficult and unhealthy relationship. Once Fleetwood Mac finally hits big and Mick slides into fame and drugs, Jenny has to confront her own patterns of codependency. See omnystudio.com/listener for privacy information.

Host Nikki Lynette returns on May 16th to bring you 12 fascinating and dramatic stories of women whose pivotal roles in music history and pop culture are not widely known. Learn about Bob Dylan's secret wife Carolyn Dennis, Rick James's protegee Teena Marie, and Jenny Boyd, the woman Mick Fleetwood loved so much he married her twice. Nikki delves into the private struggles, the triumphs, and the heartbreak that occurred alongside the creation of timeless music. See omnystudio.com/listener for privacy information.

This week we're revisiting previous episode highlight, Jay Jay's conversation with best-selling author Jane Green, and author & former model Jenny Boyd. Listen to these two discuss their most recent writing projects, including Jenny's book "Jennifer Juniper: A Journey Beyond the Muse," which was released this past year. Jane & Jenny also discuss the differences between living in England and the United States, what their writing processes look like during a global pandemic, and remarkable stories from their careers, as well as being in and around the music world. -Produced & Edited by Matthew Mallinger

My guest for this episode is Jenny Boyd, younger sister of George's first wife Patti, who joins me to discuss her autobiography, 'Jennifer Juniper'.  Jenny shares with us tales of having George as her brother in law, modelling in Swinging London, living in San Francisco in 1967, and joining The Beatles on their meditation retreat to India in 1968.   Signed copies of Jenny's book can be ordered at www.thejennyboyd.com/  

Brian breaks down the tortured and dysfunctional soap opera that led to one of the greatest rock records of all-time. Support the show on Patreon. SHOW NOTES: Songs in this episode: "Long Grey Mare" by Fleetwood Mac https://www.mamamia.com.au/fleetwood-mac-affairs/ https://en.wikipedia.org/wiki/Fleetwood_Mac https://en.wikipedia.org/wiki/Rumours_(album) https://en.wikipedia.org/wiki/Christine_McVie https://en.wikipedia.org/wiki/Buckingham_Nicks https://www.biography.com/news/fleetwood-mac-rumours-album https://www.loudersound.com/features/stevie-nicks-all-of-us-were-drug-addicts-but-i-was-the-worst https://www.nme.com/news/music/fleetwood-macs-mick-fleetwood-says-cocaine-use-left-him-with-two-year-memory-gap-2873541 https://www.theguardian.com/music/2020/mar/30/jenny-boyd-mick-fleetwood-jennifer-juniper-its-not-what-you-think-behind-the-star-studded-life-of-a-rock-stars-wife https://genius.com/Fleetwood-mac-the-chain-lyrics The 1977 Rolling Stone piece: https://www.rollingstone.com/feature/the-true-life-confessions-of-fleetwood-mac-120867/ https://stevienicks.info/2006/01/cameron-crowe-reflects-on-fleetwood-mac-piece/ https://www.rollingstone.com/feature/the-100-best-covers-fleetwood-in-flagrante-232585/

This week we're revisiting a 2021 highlight, Jay Jay's conversation with best-selling author Jane Green, and author & former model Jenny Boyd. Listen to these two discuss their most recent writing projects, including Jenny's book "Jennifer Juniper: A Journey Beyond the Muse," which was released this past year. Jane & Jenny also discuss the differences between living in England and the United States, what their writing processes look like during a global pandemic, and remarkable stories from their careers, as well as being in and around the music world.

London fashion icon Jenny Boyd guests on the Fake Show with host Jim Tofte...enjoy!!!

Our very special guest today is Author Jenny Boyd. Her new book is “Jennifer Juniper: a journey beyond the muse” and it is fascinating! This is one of those rare books where you get what you paid for - and then some - in good story! Mick Fleetwood says of Jenny Boyd's Autobiography, “Jennifer Juniper: a journey beyond the muse” - - -“The beautifully poignant story of a partner, mother, friend, and truly inspirational woman.” I love a good “personal journey” story. Jenny's story is a page turner, I can't imagine what it was to live it in real life! That's because Jenny Boyd has lived several lives, while the rest of us were just living one. In college, while getting her Masters in Counseling Psychology and a PhD in Humanities, her dissertation on musicians and creativity became the critically-acclaimed book “Musicians in Tune: 75 Contemporary Musicians Discuss the Creative Process.” Jenny Boyd is a muse to some of the most prolific musicians in the world. Let's think about that for a minute. What is a muse? A muse is a a person and a force who is the source of inspiration for a creative artist. The artist-muse relationship has been around for centuries. These relationships are often romantic and always dramatic. Sometimes the muses have more to offer than inspiration, however, as did the following nine women. The muse also and usually Contributes substantial bodies of work of their own, in some cases becoming better known than their male partners. As a natural Flower Child, Jenny soon became part of the counter-cul- ture in San Francisco during the Flower Power era, witnessing the Sum- mer of Love; she was the inspiration for Donovan's famous song, Jen- nifer Juniper, and her photograph was featured inside the box set of his eponymous album A Gift from a Flower to a Garden. As an up-and-coming young model, Jenny found herself at the heart of Carnaby Street in London, immersed in the fashion and pop culture of the Swinging 60s. With boyfriend Mick Fleetwood, sister Pattie, George Harrison and the rest of the Beatles, she lived the London scene. Jenny attended Maharishi Mahesh Yogi's ashram in India to study meditation with her sister and the Beatles, witnessing their creativity and the genesis of songs that would later appear on the White Album. Yes, she was there sharing the experiences with the Fab Four for the very best album of all time - The White Album! As an up-and-coming young model, Jenny found herself at the heart of Carnaby Street in London, immersed in the fashion and pop culture of the 60s. Her two marriages to Mick Fleetwood, founder member of Fleetwood Mac, brought her to the forefront of the world of rock and roll – and its fame, money, drugs and heartache. Jenny has spent her life in the company of some of the greatest musical and cultural influencers of the last 50 years – and the journey she takes to finding her own sense of self and creative ability makes “Jennifer Juniper: a journey beyond the muse” a truly captivating and inspiring story. Jennifer Juniper: a journey beyond the muse http://www.thejennyboyd.com https://www.instagram.com/jenny_boydlevitt/ Mick Fleetwood says of Jenny Boyd's Autobiography, “Jennifer Juniper: a journey beyond the muse” - - -“The beautifully poignant story of a partner, mother, friend, and truly inspirational woman.” Beatlesfan Magazine says: ”a must read for those interested in Beatles history.” Pick up your copy toady on Amazon or go to http://www.thejennyboyd.com

It was in 1968 that a young Canadian filmmaker, seeking solace in TM for a broken heart, was befriended by The Beatles in Rishikesh during their immersive study with Maharishi Mahesh Yogi. In 2000, Paul Saltzman published his wonderfully immediate photos in a book (The Beatles in Rishikesh), later augmented and re-published as The Beatles in India in 2018. 2020 saw the release of his documentary, Meeting The Beatles in India - a film that brings together others who were there (Pattie and Jenny Boyd) as well as the real "Bungalow Bill," Beatles historian Mark Lewisohn and filmmaker David Lynch, a major booster of TM.  You can check out Paul's website here, and see the film as well as participate in a Q&A with Paul at the first Fab4ConJam on February 21, 2021.  Details: fab4conjam.com   

It was in 1968 that a young Canadian filmmaker, seeking solace in TM for a broken heart, was befriended by The Beatles in Rishikesh during their immersive study with Maharishi Mahesh Yogi. In 2000, Paul Saltzman published his wonderfully immediate photos in a book (The Beatles in Rishikesh), later augmented and re-published as The Beatles in India in 2018. 2020 saw the release of his documentary, Meeting The Beatles in India - a film that brings together others who were there (Pattie and Jenny Boyd) as well as the real "Bungalow Bill," Beatles historian Mark Lewisohn and filmmaker David Lynch, a major booster of TM.  You can check out Paul's website here, and see the film as well as participate in a Q&A with Paul at the first Fab4ConJam on February 21, 2021.  Details: fab4conjam.com   

Tune in to this special episode of The Jay Jay French Connection to hear Jay Jay have a conversation with best-selling author Jane Green, and author & former model Jenny Boyd. Listen to these two discuss their most recent writing projects, including Jenny's book "Jennifer Juniper: A Journey Beyond the Muse," which was released this past year. Jane & Jenny also discuss the differences between living in England and the United States, what their writing processes look like during a global pandemic, and remarkable stories from their careers, as well as being in and around the music world.

The best of Dave's chats with conductor, David Brophy about Beethoven on his 250th birthday, as well as 60s British model, Jenny Boyd about her memoir, 'Jennifer Juniper'!

Jenny Boyd guests on this brand new Fake Show podcast with host Jim Tofte...enjoy!!!

On this track, Kris & Producer Char try something a little different, and record a casual chat about the making of the podcast and its first 7 interview tracks. Hear some back story about each interview, with clips from each conversation, some never even aired before. --About the Podcast: ‘TEXT PROSE AND ROCK N ROLL'- is the only podcast dedicated to the written account of musicians. From artist memoirs to band bios, and anything in between. You'll hear first accounts from those who lived the lifestyle; a Book Club that rocks - literally. It was Created, Hosted & Executive Produced by Kris Kosach. It was Produced & Edited by Charlene Goto of Go-To Productions. For more on the show, visit the website. Or follow us on Instagram and Facebook @TextproserocknrollFollow Kris on Social Media: @KrisKosachFollow Producer Char on Social Media: @ProducerChar

Jenny Boyd, the former model who hung out with The Beatles and inspired Donovan to write a song about her, is my guest to discuss her memoir, Jennifer Juniper: A Journey Beyond The Muse.

Back in January I hosted a Vision Board - Goal Setting workshop at my practice. That is where I met my next guest, Jenny Boyd. I can't speak for Jenny, but I know my goals have taken a wee bit of a detour since March. Jenny is an award winning brand and graphic designer. With a background in director level leadership in brand management and art direction, she has been recognized in the areas of product innovation, as well as brand and editorial design. She enjoys making things come to life with her designs. Bringing a positive energy and an understanding that true art is in the details, Jenny takes great pride in her work and continues to strive to bring all of her projects the dedication they deserve. She is the founder of JennyBCreative, a graphic design and branding firm located in Cape Coral, Florida. And she is the co-host of "Deep Thoughts on Marketing" on Youtube, where she and her co-host Mary-Anne Cipressy share educational tips about marketing. In this episode, Jenny shares about the 8 Parts of Branding. Who knew there were 8 parts? I didn't! She also shares other valuable tips about marketing your business. I learned a lot from her and I hope you will, too! Resources: Jenny's website: www.jennybcreative.com Deep Thoughts on Marketing: https://www.jennybcreative.com/deep-thoughts-on-marketing

John & Heidi share funny stories of people doing weird things... plus John chats with a guest. Jenny Boyd about her new book Jennifer Juniper Learn more about our radio program, podcast & blog at www.JohnAndHeidiShow.com

Welcome to the B Sides! On these special Bonus tracks, we share unreleased audio clips that weren't included in the original podcast track... Today, we hear from Jenny Boyd, talking about San Francisco around the Summer of Love. --We love to hear from you and yes, Text prose & RocknRoll takes requests! Please subscribe, rate, comment, then tell a friend! Special Thanks:  Laura Mazer, Eve Atterman and the team at WME.Dave Grohl appears courtesy of Hatchet. Original music by Mike Bowman and Pictures of a Floating World.  --About the Podcast: ‘TEXT PROSE AND ROCK N ROLL'- is the only podcast dedicated to the written account of musicians. From artist memoirs to band bios, and anything in between. You'll hear first accounts from those who lived the lifestyle; a Book Club that rocks - literally. It was Created, Hosted & Executive Produced by Kris Kosach. It was Produced & Edited by Charlene Goto of Go-To Productions. For more on the show, visit the website. Or follow us on Instagram  @TextproserocknrollFollow Kris on Social Media: @KrisKosachFollow Producer Char on Social Media: @ProducerChar

Liner Notes: Kris is honored to welcome her guest, music muse and Beatle ally, Jenny Boyd.  "Just be yourself." These were the worlds of George Harrison to his then sister-in-law, Jenny Boyd. And while the model turned rock wife, followed his advice, she had a rough go of it along the way. From being chased by Beatles fans enraged that she had access, to the Beatles' fateful trip to India; from San Francisco's peace-loving streets to the drug-fueled parties of the 70s and finally to her own path, Jenny's story is riveting, sad and wildly exciting. Join us for stories of her travels and observations of some of the most memorable moments in music history as they appear in her new memoire, Jennifer Juniper, a Journey Beyond the Muse. Jenny's book is available in paperback and Kindle edition. Visit Jenny on The Web  or follow her on Socials:Instagram @jenny_boydlevitt  - Facebook @JenniferJuniperauthor --We love to hear from you! Please subscribe, rate, comment, then tell a friend!Special Thanks to Matthew Smith and Sharon Kosach for contributing to this make this track possible. Original music by Mike Bowman.  --About the Podcast: ‘TEXT PROSE AND ROCK N ROLL'- is the only podcast dedicated to the written account of musicians. From artist memoirs to band bios, and anything in between. You'll hear first accounts from those who lived the lifestyle; a Book Club that rocks - literally. It was Created, Hosted & Executive Produced by Kris Kosach. It was Produced & Edited by Charlene Goto of Go-To Productions. For more on the show, visit the website. Follow Kris on Social Media: @KrisKosachFollow Producer Char on Social Media: @ProducerChar

When fashion and pop culture intersected during the Swinging '60's in London, she was swept up into both worlds. A promising young model for cutting edge designers, she worked in Carnaby Street by day and danced at the city's most popular clubs at night where the music of the best of the British Invasion was showcased. She was Beatle George Harrison's (and later Eric Clapton's) sister-in-law, she married Mick Fleetwood, founder member of Fleetwood Mac, twice, and she was entrenched in the rock 'n roll world of fame, money, drugs and betrayal. She accompanied The Beatles to Rishikesh in Northern India in 1968 to study meditation at the ashram of the Maharishi Mahesh Yogi and worked in the Beatles' Apple boutique in London. It was during her 10-year marriage to rock and jazz drummer Ian Wallace that Jenny Boyd stopped her rock and roll lifestyle and went back to school, becoming a research psychologist and author with a Ph.D in Human Behavior. Bridging her two disparate paths, her Ph.D dissertation about musicians and the creative process morphed into a book that was first published in 1992 and later updated and reissued in the US and UK in 2014 under the title IT'S NOT ONLY ROCK 'N' ROLL. She has effectively lived two lives, both of them extraordinary.

When fashion and pop culture intersected during the Swinging '60's in London, she was swept up into both worlds. A promising young model for cutting edge designers, she worked in Carnaby Street by day and danced at the city's most popular clubs at night where the music of the best of the British Invasion was showcased. She was Beatle George Harrison's (and later Eric Clapton's) sister-in-law, she married Mick Fleetwood, founder member of Fleetwood Mac, twice, and she was entrenched in the rock 'n roll world of fame, money, drugs and betrayal. She accompanied The Beatles to Rishikesh in Northern India in 1968 to study meditation at the ashram of the Maharishi Mahesh Yogi and worked in the Beatles' Apple boutique in London. It was during her 10-year marriage to rock and jazz drummer Ian Wallace that Jenny Boyd stopped her rock and roll lifestyle and went back to school, becoming a research psychologist and author with a Ph.D in Human Behavior. Bridging her two disparate paths, her Ph.D dissertation about musicians and the creative process morphed into a book that was first published in 1992 and later updated and reissued in the US and UK in 2014 under the title IT'S NOT ONLY ROCK 'N' ROLL. She has effectively lived two lives, both of them extraordinary.

Lights, Camera, Author! #24 - an interview with Jenny Boyd, author of "Jennifer Juniper" --- Support this podcast: https://anchor.fm/the-junot-files/support

On this show, we talk to author Jenny Boyd about her new book, "Jennifer Juniper: A Journey Beyond the Muse." The sister of Pattie Boyd, former wife of Mick Fleetwood of Fleetwood Mac, she talks about Pattie, George Harrison, meditation, the Maharishi, how she inspired two songs and much much more. Please spread the l(Beatles) news (Briefs). Thanks and enjoy the show! 

You may know her as the muse who inspired Donovan's "Jennifer Juniper"; maybe you know her as Pattie Boyd's sister who went to Rishikesh with The Beatles. She may be known to some as the one-time flat-mate of Magic Alex or the two-time wife of Mick Fleetwood, but above all, she was a perceptive observer with a ringside seat at some of the most momentous events in 60s youth culture; wise beyond her years but in tune with the zeitgeist as it shifted around her. Meet (Dr.) Jenny Boyd, author of the newly-published Jennifer Juniper: A Journey Beyond The Muse. She also authored Musicians In Tune, republished and expanded as It's Not Only Rock 'n' Roll: Iconic Musicians Reveal The Source of Their Creativity; a fascinating exploration into the creative process with some of her best friends. In this conversation, we discuss her life and times, along with a lots of familiar personas in her circle.  Check out all things Jenny Boyd here: http://www.thejennyboyd.com/

You may know her as the muse who inspired Donovan's "Jennifer Juniper"; maybe you know her as Pattie Boyd's sister who went to Rishikesh with The Beatles. She may be known to some as the one-time flat-mate of Magic Alex or the two-time wife of Mick Fleetwood, but above all, she was a perceptive observer with a ringside seat at some of the most momentous events in 60s youth culture; wise beyond her years but in tune with the zeitgeist as it shifted around her. Meet (Dr.) Jenny Boyd, author of the newly-published Jennifer Juniper: A Journey Beyond The Muse. She also authored Musicians In Tune, republished and expanded as It's Not Only Rock 'n' Roll: Iconic Musicians Reveal The Source of Their Creativity; a fascinating exploration into the creative process with some of her best friends. In this conversation, we discuss her life and times, along with a lots of familiar personas in her circle.  Check out all things Jenny Boyd here: http://www.thejennyboyd.com/

Despite a history scattered with scandal, Fleetwood Mac have sold over 100 million albums worldwide in their forty-year history. The controversy began with an in-depth interview with guitarist Bob Weston, the catalyst that almost broke the band after his high profile affair with Mick Fleetwood’s wife, Jenny Boyd. Bob Brunning, bass player and a founder member of Fleetwood Mac adds invaluable brushstrokes to the overall portrait of this iconic band. 

Welcome to Fluxedo Junction! Each episode we bring you the best music of all genres from throughout the world, and this week we'll be speaking with author Jenny Boyd. Her latest book, Jennifer Juniper: A Journey Beyond The Muse is partially a retrospective of her life as a model in the Swinging Sixties, spending time in the company of some of the worlds most famous artists musicians, having been married to both Mick Fleetwood and Ian Wallace, and also being at different times a sister-in-law to both George Harrison and Eric Clapton. The book is also a story of self discovery, after courageously moving on from a divorce and substance abuse, Jenny earned her Masters in Counseling Psychology and a PhD in Humanities. Ever since she's been an in demand public speaker and an accomplished writer. Her website is www.thejennyboyd.com

Two-time Grammy nominee and the award-winning author — Holly George-Warren has written 16 books including the New York Times bestseller The Road to Woodstock and the new biography Janis: Her Life and Music about rock icon Janis Joplin. Holly is also working with Petrine Day Mitchum on a new documentary called Rhinestone Cowboy about the story of Nudie, the Rodeo Tailor. Find out more about Holly George-Warren. Read more about The Passionistas Project. FULL TRANSCRIPT: Passionistas: Hi and welcome to the Passionistas Project Podcast. We're Amy and Nancy Harrington and today we're talking with two-time Grammy nominee and the award winning author Holly George-Warren. To date, Holly has written 16 books, including the New York times bestseller, “The Road to Woodstock” and the forthcoming biography, “Janice: Her Life and Music” about rock icon Janice Joplin. Holly is also working with Patrine Day Mitchell on a new documentary called “Rhinestone Cowboy” about the story of Nudie, the rodeo tailor. So please welcome to the show Holly George-Warren. Holly: Great to be here. Thanks so much for having me. Passionistas: What's the one thing you're most passionate about? Holly: Wow, gosh, what time is it? Every time it changes on the hour it seems like, but of course right now I'm most passionate about, I guess both Janis Joplin and Nudie. As far as my work life goes, my head is wrapped around both of those people. And interestingly enough, Nudie actually did make some outfits for Janice in 1970 so there's a connection with everything. And of course my other passion in my personal life is my family, my husband Robert Brook Warren and my son Jack Warren, who fill my life with joy and excitement and share, uh, my love for the arts, film, music, the outdoors, etc. So I'm very blessed. Passionistas: So tell us a little bit about what first inspired you to become a writer. Holly: I think music really did first inspire me beginning at a very, very young age. I grew up in a small town in North Carolina and literally I'm old enough to have discovered music back in the days of am radio. And in my town it was so tiny. We had very, you know, little radio, just some gospel, I think country and Western. This was in the ‘60s. But I discovered at night after like say nine o'clock on my little clock radio that I could tune into w ABC in New York and WCFL in Chicago. And that just blew my mind. It opened up this whole world for me of all these different sounds and styles of music. Cause that was in the day of very eclectic radio. Playing a DJs, they, they didn't go by strict playlists or anything like that. And I literally started just kind of writing, I think inspired by the music I was hearing. I started writing a little bit about music and I of course started reading biographies also at the same time. So that was the other major I would say inspiration for me. I started reading in elementary school these biographies of all kinds, everyone, you know, from like George Washington Carver to Florence Nightingale to Abraham Lincoln biographies and became kind of obsessed with reading those books. And you know, I just love to read from a young age. So I think those interests kind of combined that. Um, by the time I got to college I was writing quite a bit and uh, always did quite well with my writing assignments in school and then found myself writing more and more about music, going out and seeing bands performing live. And then that's what I did when I moved to New York city in 1979 I started writing for all kinds of fanzines and underground magazines that existed at that time in the East village. About then, it was kind of the post punk scene I guess, but I had been inspired by the original punk rockers, you know. I got to see the Ramones and bands like that in North Carolina before I moved to New York. So I've just started writing about the scene, which was not that well covered at the time. Talk a little bit more about the scene at that point. Back in those days, in the late seventies in New York city, there were only a couple of clubs where you could go out and see bands that had, were kind of either following in the footsteps of the original punk scene in New York and London. And a few of those people were still around New York and playing. So there was this great resurgence of kind of DIY homemade magazines, sort of called fanzines that all kinds of people that were into the scene started writing articles for. And it didn't have as many gatekeepers as say the big glossy magazines of the day, you know, even Cream magazine, which was kind of an upstart as compared to say Rolling Stone was pretty restrictive as far as who could write for those magazines. And I would send out queries and tried to get assignments and never hear back anything. But in the meantime, just people out on the scene who were playing in bands, booking bands, going out to see shows every night we're putting out these music magazines that pretty much anyone through, you know, string a sentence together and had a little bit of knowledge about writing. But a lot of passion basically. Again, passion was very much the key word of I would say the music scene, the people on stage and then also people writing about the music. So that's really what got me started and I started getting published in some, again very small run underground, a little music magazines. Passionistas: Then you did eventually start to write for Rolling Stone and you became an editor of the Rolling Stone press in '93. So tell us about the road to that and your experience working there. Holly: It was quite the fun road. It was circuitous because I did get swept up in the whole band scene and actually started playing in bands very early. I played, I used to call it lead rhythm guitar. So again, playing in different bands over pretty much throughout the 1980s and while I was doing that, I didn't write quite as much, but I felt like it was a huge tool for being able to write about music to actually be in a band. You know, we went on the road, we toured around some of my different bands, I did several recordings. So I learned what it was like to work in a recording studio. And just the whole life of being a musician became a real thing for me. So I felt like I could write about musicians with much more authority. I never considered myself a real musician. I still was a fan, but I, I could play a mean bar chord. And I started out with a fender Mustang and then I moved up to a fender Jazzmaster of the vintage one from the late fifties so I was pretty hip. Let me tell you. In the meantime, I did start getting some real jobs to pay the bills, including, believe it or not, I became an editor at American Baby magazine, which funnily enough, almost everyone that worked there was childless. And that was really my first nationally published articles was for this magazine. Um, how to know when your child is old enough for a pet or, you know, I did a research article where I went out and interviewed parents of quintuplets and quadruplets and triplets, you know, um, but I, you know, really kinda cut my teeth writing for that magazine. I learned how to be a journalist, you know, a real journalist. And then gradually through meeting people and also being a total rock and roll geeky nerd who was constantly reading every rock biography that would come out. And also I was really into, it was weirdly enough through punk rock, I got totally into old timey country music, like the Carter family. And honkytonk music like Hank Williams and I loved, uh, Patsy Cline, Wanda Jackson, the queen of rockabilly. So I got into that kind of music pretty much while I was a full-fledged punk rocker. And again, I think passion is the line between those two, the thread that connects them that, you know, both of those kinds of music, that earlier country that were raw primitive kind of country music as well as punk rock had that passion was very obvious in the music and that I loved it. I was totally into all that kind of music. And in fact, I saw George Jones at the Bottom Line in 1980 which blew my mind. So anyway, so I started learning more about that kind of music by just reading books all the time and eventually heard about a job as a fact checker at Rolling Stone press in the 1980s they were doing this big rock and roll encyclopedia and needed someone to double check everything. You know, these established writers who I'd been reading for years, Rolling Stone, like people like Dave Marsh had written. And so that was my first, you know, I was getting to call up Question Mark of Question Mark and the Mysterians and asking him, you know, was it true that he came from another planet and called up, you know, all these people. In fact, funnily enough, I handsome Dick Manitoba, the singer, the Dictators, I called him up to check some facts about this notorious horrible fight on stage, basically abroad between him and Jayne County at CBGBs. And then literally when I was playing in my band, we were rehearsing and this music building famously where Madonna once lived before she got an apartment near times square I was in, had gotten a taxi to get home with my equipment and there was, who was driving me, but you know, Richard, Manitoba, handsome Dick himself, who I had just caught up and asked him about his career as a fact checker. So anyway, that kind of got my foot in the door at Rolling Stone, which led to me over the years doing freelance projects for them. And till finally in 1993, well actually ‘91, they hired me as the editor to do a couple of their Landmark books, had deals with Random House to do new additions, “The Rolling Stone Album Guide” and “The Rolling Stone Illustrated History of Rock and Roll.” And so they hired me to kind of be the editor to work with uh, Anthony DeCurtis and Jim Hinky at the magazine to guide these books, which are these massive, massive researched, you know, a lot of people involved, you know, a lot of moving parts to do these new, uh, additions. So that went really well. So in 1993 they decided to start up a new book division, which had kind of fallen by the wayside and they hired me to come on board and run that book division. And that was a great experience and that's what led me to start writing for the magazine. I started doing assignments for the magazine, record reviews and things like that while running the book division. I learned so much from working on those kinds of big reference books. You know, and again, we had amazing writers that I got to interface with and on “The Illustrated History of Rock and Roll,” too, I got to work with everyone from Peter [inaudible] to Mark Marcus to the late great Robert Palmer. Again, Dave Marsh, you know, many, many writers. And then I got to assign a lot of new chapters and in fact I wrote a chapter, Anthony DeCurtis became a real mentor to me. He was an editor at Rolling Stone that was in the trenches with me on these book projects and he assigned me as the writer to do a big piece on the changing role of women and rock, you know, beginning with Patty Smith, et cetera. Up to that current time. I think, you know, I covered, I think Sinead O'Connor at that point was maybe one of the newer artists that was, uh, the focus of my chapter. But that was a real huge, exciting thing to get to be part of. And then I got to do another very cool book with a wonderful writer editor named Barbara Odair, who came to my office. She was working at Rolling Stone and then at US magazine back in the day when it was owned by Winter media and said, “Let's do a whole book on women in music with every chapter written by women and every, as much as possible, all the photography done by women.” So we did this really cool book called “Trouble Girls: The Rolling Stone Book of Women in Rock.” And funnily enough, one of the chapters I did for that one was this big piece on Nico, who was my first ever famous person I ever interviewed when I was, you know, living in New York city. I was still waitressing at the time. And Nico, of course from the velvet underground fame was kind of down at the heels. Editorials at the time, but having to go to a methadone clinic across from where I was working and would come in every day afterwards and have an amaretto on the rocks and cheesecake. So I got up my courage and asked her if I could interview her and I didn't even have a platform for my interview, but she said yes and got to spend some time with her and interview her and use part of the interview and a little fanzine back in the day. But then I got to really expand and write this whole chapter on Nico and use this interview I'd done 10 years earlier or even earlier than me, I guess 12 years earlier for this book “Trouble Girl.” So that was really exciting. Yeah. Passionistas: So you were writing about women, you're interviewing women, but what was it like for you as a woman starting in those early days in the punk rock scene through this time where you've becoming a more established rock journalist? What were your experiences like both as a musician and a journalist, as a woman in the music industry? Holly: Well, when I met people face to face and worked with them, say for example, Anthony DeCurtis and Jim Hinky, who sadly just passed away just a few weeks ago or a month, a month or so ago. They were very, very encouraging and very supportive. They really encouraged me to write and gave me assignments, et cetera. But before that I really found, and maybe it's true whether you're male or female or whatever gender, you know, but if I just blindly sent out queries or blindly tried to get gigs writing, when I first moved to New York City, it was a disaster. I mean, people either ignored me or just blew me off or said no or you know, it was really hard to get the foot in the door without actually working with people and for them to see what my work was like. Now, I did have the good fortune early on to meet some people that had worked with punk magazine and part of, there was this whole cool kind of resurgence of comics. This really great artists. Peter Bag had joined forces with John Holmstrom who had done punk magazine. And Peter and I, a Peter's wife and I work together, you know, at this restaurant. So Peter knew that I, you know, at this time I was just going out and writing about stuff on my own and pitching it to a few people I knew actually from North Carolina had moved to New York, but then they started giving me assignments for this. These magazines they started, one was called Stop and when it was called comical funny. So they, you know, they really encouraged me. So, you know, I can't say that I experienced gender bias or anything like that. Once I knew the people, I think maybe I was just, it's hard to know. I mean I did definitely get a lot of rejection. A lot of people that I pitched didn't really take me seriously and whether it's they didn't really know my work or because I was a woman, I don't know. I mean I, I did frequently find myself being the only music geek, you know, blabbing away on all this arcane kind of Trainspotting rock and roll history trivia with, you know, I'd be the only gal in the room blabbing away about that, you know, with some guys and stuff like that. There weren't a lot of women doing it and there weren't that many women around Lee for me that I crossed paths with to kind of support my endeavors at that part of my career. However, I very fortunately met a couple of women when I was a fact checker at Rolling Stone Press who were very, very encouraging and really I would not be talking to you right now if not for them. And one was Patti Romanowski who was the editor of Rolling Stone Press at the time, who hired me as a fact checker back in the ‘80s. She went on to write many as told two books with everyone from Mary Wilson to Otis Williams at the temptations. And that book has recently been the basis for this very successful Broadway show right now. So Patty was fantastic. And then her boss, the woman who ran rolling stone press with Sarah Layson who became, you know, really made my career because after she left Rolling Stone Press, she started a book packaging company and became a literary agent and hired me continuously for her book company. And then she became my literary agent when I left Rolling Stone. No, actually before I even started at Rolling Stone, my first ever book, which I uh, got my first book deal around 1990. So it was even before I went to Rolling Stone actually, she became my literary agent and my first ever book, she connected me with my coauthor Jenny Boyd, who had been married to make Fleetwood and her sister Patty Boyd, you might know the name was married to George Harrison, Eric Clapton. And Patty was a really interesting person who had kind of dug out a new life for herself. After her marriage with Mick Fleetwood ended, went back to school, became a psychologist, got a PhD and wanted to do a book on creativity and in musicians. So she hired me to be her co-author and we did this book called, well, it's available now. It got repackaged again and republished in England called, “It's Not Only Rock and Roll,” but it was basically about the creative process of musicians based on interviews with 75 musicians. So that really started me on my path as an author. That was my first book and that came out and a ‘91 Simon Schuster, a Fireside Division. So Sarah did that and then she became my, you know, agent. I wrote a few other books, a couple while I was at Rolling Stone and then when I left there in 2001 I've been writing books ever since. And Sarah has been my agent for all of them up to this my Janice Joplin book. And she definitely is one of my, you know, if not for her, I would, you know, like I said, I would not be talking to you right now. Passionistas: You're listening to the Passionistas Project Podcast and our interview with award winning author Holly George-Warren. To find out more about her latest book, “Janice: Her Life and Music” visit HollyGeorgeWarren.com. Now here's more of our interview with Holly. So clearly you have an extreme in depth knowledge of the history of women in the music industry. So how do you think the music industry has evolved over the years in terms of opportunities for women? Holly: When I first moved to New York as far as women performing in bands, that was just starting to really happen thanks to the whole, you know, punk explosion with bands from England, like the Slits and the Raincoats, the Modettes, you know, I saw all those bands, that little tiny clubs and it just was a much more welcoming atmosphere for women to pick up instruments and play in pants. And like I said, I started playing guitar in bands. Then of course, you know people like Tina Weymouth and Chrissy Hynde, I mean Patty Smith of course. So as far as getting the courage to get up on stage and play and then just, um, to have other like-minded souls out there that wanted to be in bands with you was very, uh, it was a great time to be in New York and gradually there became more and more venues, places to play. I got to play at all of them from, you know, CBS to Max's Kansas city, peppermint lounge, Danceteria, you know, all these great classic clubs in New York, you know, late seventies, early eighties. And as far as the music business, I mean, you know, at that time we were like screw the music, but you know, we were punk rockers, man. We were underground. We didn't want anything to do with that. In fact, when I started even working for Rolling Stone in ‘93, I would tell people like, yeah, I'm working for Rolling Stone so I can afford now to write about the bands I really love. For it cause I was still writing for this really cool magazine called Option, which, and I'll if you remember that magazine, but very cool magazine based on the West Coast. And so I'd still write about people that would never ever get covered in Rolling Stone, but all different types of music. And again started writing about some of the early country music pioneers and rockabilly people like Wanda and people like that. So I didn't really interface that much with the mainstream music business at that time. You know, I basically had good experiences on that very low level. Again, this was the time of the Go-Go's had come around and the Bangles, my band Dos Furlines, went on a tour of Canada with a couple of other all women bands and it was, you know, it was a male promoter and everything went really great. Once I started moving up the food chain, once I was at Rolling Stone, I started working on producing some CD packages with labels. And again, everybody I worked with were male, but they were very supportive. They were really into what, you know, my ideas were. So I didn't really have any problem with that. And you know, gradually I started meeting some very cool women that a lot of women I discovered had been really behind the scenes. So I started meeting some of those women who had been working at labels for years. Some of them had left, it started their own publicity companies, some of them were in management, et cetera. So, and then I, you know, finally got to meet a few of the women who had been pioneering women, female journalists. But again, there weren't that many. It was very cool to see. And then, you know, like I said, Barbeau Dara and I did a whole book with lots of great, great women writers. The scene I think helped, um, a lot of women find their, you know, their niche a lot. You know, a lot of women were total big into music just the way I was. But you know, finally, all these channels that opened up for them to pursue it as either a writer or you know, an A& R person manager, publicist, a photographer, lots of great women photographers. And again, I was, I loved meeting women who started in the business in the ‘60s into the ‘70s. So I loved getting to meet them in the ‘90s and just, I wish I would've known them or could've somehow met them when I first started out in the ‘70s, late seventies, even early eighties to get encouragement from them. But you know, they, they were really kind of behind the scenes. They weren't that obvious. And some of them became very good friends like Jan new house ski, uh, fabulous, wonderful. A writer who was one of the early women writers for Cream magazine. And, uh, I got to know her and work with her and you know, Daisy McLean, who had written for Rolling Stone, um, back in the glory days of rock journalism where they were all these junkets and you were flown all over and wined and dined by the labels and all that kind of stuff. And she had some amazing stories to tell about being in the trenches. And Ellen sand or another wonderful writer who her great book called, I think it's called trips, was just reissued last year. And she was a very early writer. And when out on the road with, you know like LEDs up one and covered a Woodstock and a lot of Janis Joplin gigs, Forest Hills tennis stadium wrote about that. And so again, just these great writers who were hard to find when I started out. Passionistas: You have an interest in all these genres. And you've written about such a wide range of music from country to punk. What makes a topic or an artist compelling enough for you to dedicate a book to the subject? Holly: I guess if there's a complexity to the person and arguably perhaps all artists are a complex people, who knows cause I don't know about all of them, but I've been really attracted to writing about people that have had to really struggle, who've had to break down barriers to be heard, who have, you know, a lot of facets to their personality. And Janice is my third biography. My first one was Gene Autry, the singing cowboy who was a very complex man and very much a groundbreaking artist going way back to the beginning in the late 1920s broke through in the early thirties. And then Alex Chilton, who of course a lot of people know from big star, but it started out as this pop star at age 16 and the Box Tops and just had this incredible career in life. I become passionate about them, their music, their lives. I never lose that passion. I mean I still get excited if some crazy, you know, online radio station plays, you know, a Gene Autry song. Same thing without, I was so thrilled. I went to see once upon a time at time in Hollywood and to hear a very deep cut box top song on the soundtrack of a, of the new Quintin Tarantino films. So two to train. By the way, I never lose the passion for the people that I like. Literally moving in with one of my biography subjects, you know, for several years. And you never forget your roommates, right? Most of them. Passionistas: Tell us about why you chose to write a book about Janis Joplin and what you learned about her that you found most fascinating from writing the book. Holly: I have to say part of it, I mean, I really believe that my subjects also choose me somehow. Again, following my passion, I ended up in a place where it just kind of comes together and with Janice for years, of course I had loved her music. She was definitely an inspiration for me growing up again in this tiny town in North Carolina, that didn't have a lot going on for me as far as the kind of things I was interested in. And now again, I might be like one of my biography subjects, but I think I saw her on the Dick Cavett show and just her whole look and attitude and sensibility and not to mention her incredible voice. I'm like, what's that? I want to be that. She was probably actually a little did I know at the time wearing this outfit that Nudie made for her. Of course. I was one of those people that was devastated when she died in 1970 and in 1971 I had joined the Columbia Record Blub and got Pearl. I still have my original copy. So just a fan and then once I was working at Rolling Stone and started doing projects with the Rock and Roll Hall of Fame, the Hall of Fame did a really cool symposium on Janis back in the nineties, I think it was ‘97. And Bob Santoli, the head of education, VP of education and programming at the time invited me to be part of it and I'm, I got to go to Cleveland and give a talk about Janice's influence on contemporary women musicians, but the best part was I got to meet Janice's brother and sister Michael and Laura. I got to meet Sam Andrew, her a guitar player, Chet Holmes, who was the manager for Big brother and the Holding Company and started the Avalon Ballroom dances there back in the ‘60s some other people to her, John Cook, her road manager. So I got to meet all these people. Then lo and behold, they did an American masters, American Music masters panel on Janice or weekend symposium on Janice again in 2009 I believe it was. And once again this time, um, and powers and I were asked to give talks about, Janis kind of a keynote thing with Lucy O'Brien, a grade a woman, rock journalists who's based in London. So the three of us kind of gave a joint keynote and again got to meet all these amazing people. So I just kind of got to learn more and more and more about Janice and about her music. The thing that really got me was I was asked to write liner notes for this two CD set called the Pearl sessions that Sony was doing in the early teens. And for the first time they had gone into the vaults and pulled out all this talk back between Janice and Paul Rothchild, her producer, who was known for being a very authoritarian producer. Like he worked with Joni Mitchell and one of her first or I think or second album. And she's like, no, I can't work with him. He's too bossy. He tells me what to, you know, so she wouldn't work with him. He famously produced most of the Door's albums and he would make Jim Morrison like redo his vocal like 10 times or whatever. But he listening to them in the studio together, I'm like, Oh my gosh, this woman is calling the shots. Janis Joplin is telling Paul Rothchild like, Oh wait, let's slow it down here. Wait, let's try a different arrangement on this. Let's have this guitar part here. I mean, she was basically producing the record with him. She's never gotten credit really for being this very thoughtful orchestrator of music and hardworking musician. She created a very different image of herself in order to sell herself as a persona, this rock persona. And she was very successful at that and I think I, and almost everybody else bought it, but I realized from listening to these recordings that there was a whole other side to her, this musician side, that she wasn't just blessed born with this incredible voice that she just came out of the box singing. She worked, she really worked. And that very much intrigued me and that made me more interested in wanting to spend four and a half, five years working on Janice's life story and trying to make a write a book about her that shows her trajectory as a musician because you know, there had been some other books, some very well researched. I'm Alice Echols wrote a great book about Janis with a lot of research, but I felt still that somehow or musicianship and had not ever been acknowledged the extent that it should have been. So that was kind of my goal for this book to really find out who her musical influences were. What did she do to improve her craft, or how did she discover her voice? What were the obstacles she had to overcome, all those kinds of things. So that really fired me up. And again, my wonderful agent, Sara Liaison, who had actually been the agent for Laura Joplin's book that she wrote called “Love Janice,” which told her story of growing up with Janice as her sister and used a lot of letters that Janice had written home. She reproduced a lot of the letters in the book and my agent told Laura about me and I had met her back in the nineties and so I was able to come to an agreement that, again, similar to the Autry book, they would allow me to go into Janice's personal files or scrapbooks or letters, and I could use all that in my book, but without any controls over what I wrote, they would not have any editorial approvals or anything like that. So again, that's, that's how that came about. Passionistas: And your other current passion, you've touched on it a couple times, but tell us a little bit more about “Rhinestone Cowboy,” the story of Nudie. Holly: I think there's kind of a pattern here. You can see that none of these, I'm no one overnights and station or whatever. All of my projects really, they come from years of passionately pursuing something just really for the love of it, more than with any sort of goal in mind. And that's kind of the same story with Nudie. As I mentioned, I was a collector of Western where I worked on the, “How the West Was Worn” book and that's when I really learned about Nudie, who was this very showman, like couturier the Dior of the sagebrush or whatever they used to call him, who catered to early on cellular Lloyd Cowboys, people like gene Autry. And Roy Rogers was a huge client and then all the stars like Hank Williams making their incredible embroidered outfits. Then he started putting rhinestones on the outfits. I'm for a country in Western singers. And then in the late sixties people like Graham Parsons, The Flying Burrito Brothers, Janice, the Grateful Dead, the Rolling Stones, Elton John all started going there, getting these really outrageous over the top and bordered and rhinestone suits. So I learned about him gradually and then it turns out through doing “How the West Was Worn,” I met Patrine Day Mitchum, who herself had actually hung out at Nudie's back in the ‘70s, knew him and he had tapped her to write his memoir with him. So she has hours and hours and hours of taped, uh, recordings with him telling his fascinating story about being an immigrant as a young boy from the Ukraine to New York, all these ups and downs. He went through very colorful stories that finally landed him in Los Angeles in the late forties and started his shop and started making outfits for all these Western swing performers. Tex Williams was his first. So we teamed up and started talking literally back in 2002 about, Oh, we should do a project together about Nudie. Should we do a book, because should we do a film? And so literally, all these years later now, we've actually started working on our documentary. In the meantime, I had worked on several documentaries over the years as a consulting producer and producer on lots of music documentaries that have been on PBS, etc. So I had that experience. And then Trina has worked in the film industry over the years as well. So we were able to kind of combine our passion for Nudie and his incredible clothing and some of the other outfits were made by some other great, also immigrants from Eastern Europe. This guy named Turk who was out on the end. VanNess was the first one. His shop opened in 1923 and then back in Philadelphia on the East coast rodeo. Ben had a shop beginning in 1930 all three of them in Nudie where they came from. Eastern Europe was young boys, young men, and then also the whole story of the immigrants from Mexico. Manuel who still at age 86 is designing these incredible outfits in Nashville. He worked with Nudie and Heimaey Castenada who is still right there in North Hollywood, making incredible outfits for Chris Isaac and Billy Gibbons and Dwight Yoakam. So it's a bigger story. Even then I realized as far as it's a story of immigrants coming to this country and creating the iconic American look, the rhinestone cowboy outfit. Right. So go figure. Passionistas: Looking back on your journey so far, is there one decision you've made that you consider the most courageous? That sort of changed your trajectory? Holly: Oh, I guess it was just picking up and moving to New York city with, I had a little audio cassette player. You remember those? It was even pre Walkman. I had that. If you could set mix tapes or suitcase and that was it. 500 bucks, maybe 700 I don't know. Just kind of moved to New York and I mean, I think, I guess that was the smartest thing I ever did because basically in New York I made lifelong friends. I met my husband, he was playing in a band, the flesh tones. Um, we were on a double bill. My band does for line. So that's how we met in the 80s all these passions, some of which I had as a young girl growing up in North Carolina, I was literally able to materialize into projects, into a lifestyle and into a livelihood. I mean, gosh, I mean, how lucky am I that that happened? Things that could have just been a hobby actually became a way of life and an occasional paycheck here and there. So I feel very, very lucky. And I think moving to New York city, almost at a whim, I went to school at the University of North Carolina, Chapel Hill. So I had two sides of my personality, the former hippie Janice wannabe, and the punk rocker. So when I was going to leave Chapel Hill, I'm like, well, I'm either gonna move to New York City or Key West. So I think it's a good thing. I moved to New York city. Passionistas: What's your secret to a rewarding life? Holly: Again, and I teach, I tell my students this, whatever you do, if you can pursue it with passion. You guys nailed it with the name of your podcast. Because if you can approach even, you know, path things with passion, you know, with anger or … of one with passion, I think, you know, whatever it is, if you can just engage and be passionate about things that's going to enrich your life. I mean it can maybe take its toll on you too. But I think how that kind of feeling and motivation that you're driven by the passion of whatever it is that you're thinking about or wanting to learn about or whatever, you're going to do a much better job with whatever it is you're pursuing. Passionistas: What's your definition of success? Holly: I guess success is not only attaining a goal that you had for yourself, but within that goal also having happiness and a good state of mind about it. Because I think horribly, you know, in our culture, a lot of people that find certain success, you know, material success or even career success, there's other aspects of their life that is not working out too well. So that's not really success is that I think you have to put all the parts of the puzzle together so that they're all kind of working out together to really be successful. It's tricky. It's difficult because life has a way of throwing lots of curve balls at ya. Passionistas: So what advice would you give to a young woman who wants to be a journalist or an author? Holly: First off, subscribe to your podcast. And seriously, I think surrounding yourself or finding out about or listening to other people who are passionate about things that you're interested in doing or even if it's something different, but people that their passion is driven them to be successful or to work towards attaining success, that that can be very inspirational and motivational for them. And then also not just do things through rote or whatever. You have to really find something that energizes you and does and passion you to want to pursue it, and I think that's really important and not do something just because you're supposed to or someone tells you you should do this, but you have to really find things that are going to bring you fulfillment. Passionistas: Thanks for listening to the Passionistas Project Podcast and our interview with Holly George-Warren to find out more about her latest book, “Janice: Her Life and Music,” visit HollyGeorgeWarren.com. And don't forget, our quarterly subscription box The Passionistas Project Pack goes on sale October 30th. Each box is filled with products made by women owned businesses and female artisans to inspire you to follow your passions. Sign up for our mailing list@thepassionistasproject.com to get 10% off your first purchase. And be sure to subscribe to the Passionistas Project Podcast so you don't miss any of our upcoming inspiring guests.

Jenny Boyd has led an incredible life. In the 60’s she found herself immersed in the world of Rock n Roll. Jenny was a model, a Muse, a sister to Pattie Boyd, sister is[...] The post Ep 98: Interview with Jenny Boyd appeared first on Muses and Stuff Podcast.

Jenny Boyd has led an incredible life. In the 60’s she found herself immersed in the world of Rock n Roll. Jenny was a model, a Muse, a sister to Pattie Boyd, sister is law to George Harrison and later Eric Clapton and wife to Mick Fleetwood. In her 30s she embarked on a new adventure, earning a PhD in Humanities. From there she authored a book, It’s Not Only Rock’n’Roll,  in which 75 of the world’s most iconic musicians reveal their thoughts on creating music. She has probed the minds of legends such as Eric Clapton, Don Henley, Joni Mitchell, George Harrison, Ravi Shankar and many more; delving into the drive to create; the importance of nurturing creativity; the role of unconscious influences and the effects of chemicals and drugs on the creative process. Jenny has also worked in the addiction field, founding Spring Workshops which brought therapists from the US to the UK to facilitate workshops. It was an absolute pleasure to talk to Jenny about her life and career and our mutual fascination with the creative process. Make sure to check out Jenny’s website for more information! You can find us on Twitter, Instagram & Facebook. Don’t forget to Rate, Review & Subscribe to our podcast on iTunes! Check out Pantheon Podcasts for more amazing podcasts!

We move outdoors to sit among the olive trees for our second part of our interview with rock ’n’ roll royalty Jenny Boyd.  We talk music, creativity, and her book It’s Not Only Rock ’n’ Roll. Topics we cover: •  We talk about Jenny’s second husband •  The British invasion •  How Brits saw America a land of opportunity •  What musicians drive was during the creative process, what they experience when writing a son •  What part drugs and alcohol played in the creative process •  If they believed everyone has the potential to be creative and how to express yourself •  How they musicians are just like normal folks •  How the Beatles never knew their music would live on and be so popular for so long •  How they came from very simple lives in Liverpool •  How Jenny’s new book is a memoir of her life growing up in the 60s and 70s with all these musicians •  How George Harrison was most influenced by their experience in India •  Carpool Karaoke with Corbin •  The reason some groups have stayed together or come back together •  How Jenny interviewed Keith Richards for the book •  Keith’s take on creativity •  How all the artists were willing to talk about their muse •  How they all had a sense of destiny and knew they were going to be famous •  Paul’s breakfast with Pete Townsend •  Pete’s take on people feeling he was selling out by using his music in advertising •  How people feel they have ownership over of the music and even the artists •  The most interesting Don Hendly, Joni Mitchel, David Crosby, Graham Nash •  How all of the artists were really encouraged by someone when they were young •  How you have to be you to be creativity •  How Paul hated seeing work that was imitating other work in advertising •  How you need to find your own voice and find the courage to use it. •  A book on the subject:  The Courage to Create •  Paul’s description of showing creative work to clients and how it feels like you are exposing yourself to them •  How Eric Clapton described it as looking into the face of God •  How Ringo described presenting songs to the rest of the group •  One of Paul’s favorite quotes about creativity:  “Big ideas are so hard to find, so fragile, and so easy to kill. Don’t forget that, all of you that don’t have them.” •  How Jenny was inspired by her stay at Villa Cappelli •  How she stayed “in the now” while here and enjoying •  How she was inspired by the food and cooking at Villa Cappelli •  Steven’s take on cooking and how there are no rules •  Jenny’s take on our creative expression at Villa Cappelli •  Steven’s appreciation of Italian’s “living in the now” and definitely enjoying each moment and each day •  Italians don’t just each to nourish, but sit down, relax and each with the family •  Paul really wants to create a sign that says, “Just calm down!” for guests that come to the villa •  How tours have changed here at the villa from guests really interacting with each other to everyone sitting on their phone posting pics to Facebook •  How one of our guests did something amazing while staying here.  She wouldn’t take a camera with her when she went out.  She instead took her sketch pad and would sketch whatever she saw and then watercolor it. •  Jenny said she was inspired to draw while staying here •  The famous picture of everyone “enjoying” the Pope’s visit •  How we hope to do an unplugged tour at some point •  This great Nature Valley commercial [embed]https://www.youtube.com/watch?v=er5IijMC24A[/embed] •  Again, enjoy Jenny’s book. Check it out here. •  Again, you can follow Jenny here at her website.

Jenny Boyd, actress and star of the CW’s “Legacies” is our lovely guest this week. Jenny shares how she was cast in “The Vampire Diaries” universe show, plus her excitement and fears for the new series. We also share our own hilarious memories of what it was like when we first started on “The Vampire Diaries” almost 10 years ago. Follow Jenny: @JennyLBoyd22 (twitter) @jenaroosk (instagram) Thanks to our wonderful sponsors Parabo Press, Poshmark, Stitch Fix, and Hello Fresh: parabo.press Offer Code: INTRO poshmark.com Intro Code: CHALLENGED5 stitchfix.com/challeged helloFresh.com/CHALLENGED60 Offer Code: CHALLENGED60 Check out our website: www.candicekayla.com Follow us on Instagram and Twitter: @CandiceKayla

We are finally back after a very very very busy summer.  But we couldn't resist making some time to sit down with one of our guests, Jenny Boyd, and talk to her about creative and music and her book It's Not Only Rock 'n' Roll. Topics we cover: •  We introduce Jenny Boyd, a recent guest at Villa Cappelli •  She wrote the book It’s Not Only Rock and Roll  Click here to get a copy. •  How Paul grew up with the music Jenny had a first-hand account of this music •  How Jenny is a part of rock and roll nobility if you will •  How music today doesn’t have the same social relevance as it did in the 60s and 70s •  We wonder what has changed, why aren’t artist tapping into the zeitgeist like that used to •  They really had no idea that it was going to be such an important time and that music would be such a big part of it. •  The Beatles were like the first boy band •  Jenny was married to Mick Fleetwood of Fleetwood Mac •  How Jenny and Mick meet •  Pattie Boyd is Jenny’s sister, who was married to George Harrison of the Beatles and later Eric Clapton •  Jenny talks about how Pattie and George met •  How Eric Clapton wooed Jenny away from George, writing Layla for her while Pattie and George were still together Here's the song on iTunes and below are the lyrics: [Verse 1] What will you do when you get lonely And nobody is waiting by your side? You have been running and hiding much too long You know it is just your foolish pride [Chorus] Layla, you’ve got me on my knees Layla, I am begging, darling, please Layla Darling, won't you ease my worried mind? [Verse 2] I tried to give you consolation When your old man had let you down Like a fool, I fell in love with you You turned my whole world upside down [Chorus] Layla, you’ve got me on my knees Layla, I am begging, darling, please Layla Darling, won't you ease my worried mind? [Verse 3] Let us make the best of the situation Before I finally go insane Please, don’t say we will never find a way And tell me all my love in vain [Chorus] Layla, you’ve got me on my knees Layla, I am begging, darling, please Layla Darling, won't you ease my worried mind? [Chorus] Layla, you’ve got me on my knees Layla, I am begging, darling, please Layla Darling, won't you ease my worried mind? [Chorus] Layla, you’ve got me on my knees Layla, I am begging, darling, please Layla Darling, won't you ease my worried mind? [Chorus] Layla, you’ve got me on my knees Layla, I am begging, darling, please Layla Darling, won't you ease my worried mind? •  How Paul likes Bell Bottom Blues from the same album •  The drive is very key for all the artists Jenny interviewed •  They also had a sense of destiny.  For example, Graham Nash of Crosby, Stills & Nash said he just knew they were going to be famous •  Jenny went to San Fransisco in the 60s and had an “ah-ha” moment •  When she moved to San Fransisco, they were all tapping into the zeitgeist •  How the musicians hung out with royals and everyone was just equal •  How Paul thinks pot had something to do with it •  Paul’s memory of disc eaters •  Paul’s story of when Rumors came out and smoking when his Mom was visiting •  How the song Jennifer Juniper was written about Jenny by Donovan [embed]https://www.youtube.com/watch?v=kCtcXDCxh7w[/embed] "Jennifer Juniper" Jennifer Juniper, lives upon the hill Jennifer Juniper, sitting very still Is she sleeping? I don't think so Is she breathing? Yes, very low Whatcha doing, Jennifer, my love? Jennifer Juniper, rides a dappled mare Jennifer Juniper, lilacs in her hair Is she dreaming? Yes, I think so Is she pretty? Yes, ever so Whatcha doing, Jennifer, my love? I'm thinking of what it would be like if she loved me How just lately this happy song, it came along And I like to somehow try and tell you Jennifer Juniper, hair of golden flax Jennifer Juniper, longs for what she lacks Do you like her? Yes, I do, sir Would you love her? Yes, I would, sir Whatcha doing, Jennifer, my love? Jennifer Juniper Jennifer Juniper Jennifer Juniper Jennifer Juniper, vit sur la colline Jennifer Juniper, assise très tranquille Dort-elle? Je ne crois pas Respire-t-elle? Oui, mais tout bas Qu'est-ce que tu fais, Jenny, mon amour? Jennifer Juniper Jennifer Juniper Jennifer Juniper   •  Jenny went to India with the Beatles •  How the Beatles influenced people to start meditating •  How they were met at the airport by Mia Farrow •  How the Beatles would come up with songs on the roof of where they were staying and a lot of those songs ended up on The White Album •  What the book is about, which is that we all have a creative potential •  One common thread explored in the book is the “muse” •  Abraham Maslow coined the term “peak experience” •  How many of the artist had never talked about before where their creativity comes from •  How some of the artists said if they didn’t write the inspiration down when they had it, say in bed, then they would later hear it and someone else had actually “picked it up” and written it down •  How when the inspiration visits, it visits, and you have to answer the call at that moment •  How Paul creates starting with a visual, and that is the middle of the story, then you create by writing going back to the start and then the end •  How the artists see themselves as just the messengers •  How Jenny interviewed 75 artists •  How it sounds like a great Netflix series •  How it would be hard to do a book like this now •  How Jenny had a calling card when contacting the artists •  How the bands would get so connected to each other that they would all start on the same wrong verse together •  How runners can tap into the peak experience as well •  Jenny was in love with Buddy Holly when she was young •  Jenny talks about her experience when John Lennon died •  We talk a little about Catcher in the Rye, a book Paul has never finished •  How artistic expression can move us in so many ways •  Jenny’s website is:  http://www.thejennyboyd.com/ •  Paul asks for some of Jenny’s favorite songs: “Things we said today” by the Beatles [embed]https://www.youtube.com/watch?v=NItAlTsPuQg[/embed] "Things We Said Today" You say you will love me If I have to go You'll be thinking of me Somehow I will know Someday when I'm lonely Wishing you weren't so far away Then I will remember Things we said today You say you'll be mine, girl Till the end of time These days such a kind girl Seems so hard to find Someday when we're dreaming Deep in love, not a lot to say Then we will remember Things we said today Me, I'm just the lucky kind Love to hear you say that love is luck And though we may be blind Love is here to stay and that's enough To make you mine, girl Be the only one Love me all the time, girl We'll go on and on Someday when we're dreaming Deep in love, not a lot to say Then we will remember Things we said today Me, I'm just the lucky kind Love to hear you say that love is luck Though we may be blind Love is here to stay and that's enough To make you mine, girl Be the only one Love me all the time, girl We'll go on and on Someday when we're dreaming Deep in love, not a lot to say Then we will remember Things we said today     “I put a spell on you” by Nina Simone [embed]https://www.youtube.com/watch?v=ua2k52n_Bvw[/embed]   "I Put A Spell On You" I put a spell on you 'Cause you're mine You better stop the things you do I ain't lyin' No I ain't lyin' You know I can't stand it You're runnin' around You know better daddy I can't stand it cause you put me down Yeah, Yeah I put a spell on you Because you're mine You're mine I love ya I love you I love you I love you anyhow And I don't care If you don't want me I'm yours right now You hear me I put a spell on you Because you're mine   “Further on up the road” by Bobby Bland [embed]https://www.youtube.com/watch?v=aRZCdJ4n60Q[/embed] Further on up the road, someone gonna hurt you like you hurt me Further on up the road, someone gonna hurt you like you hurt me Further on up the road, baby you just wait and see You got to reap just what you sow, that old saying is true You got to reap just what you sow, that old saying is true Like you mistreat someone, someone's gonna mistreat you Now you're laughing pretty baby, someday you're gonna be crying Now you're laughing pretty baby, some, someday you're gonna be crying Further on up the road, you'll find out I wasn't lying Yeah, baby, further on up the road, baby, hmmm, you'll find out I wasn't lying Further on up the road, when you're all alone and blue Further on up the road, when you're all alone and blue You're gonna ask me to take you back baby, but I'll have somebody new Hmmm, baby, further on up the road Hmmm, baby, further on up the road Hmmm, you'll get yours “Landslide” by Stevie Nix [embed]https://www.youtube.com/watch?v=1sQ7cuYgjzw[/embed]   "Landslide" I took my love, I took it down I climbed a mountain and I turned around And I saw my reflection in the snow-covered hills 'Till the landslide brought me down Oh, mirror in the sky, what is love? Can the child within my heart rise above? Can I sail through the changing ocean tides? Can I handle the seasons of my life? Well, I've been afraid of changing 'Cause I've built my life around you But time makes you bolder Even children get older And I'm getting older too Well, I've been afraid of changing 'Cause I've built my life around you But time makes you bolder Even children get older And I'm getting older too Oh, I'm getting older too Oh, take my love, take it down Oh, climb a mountain and turn around And if you see my reflection in the snow-covered hills Well the landslide will bring it down And if you see my reflection in the snow-covered hills Well the landslide will bring it down, oh oh The landslide will bring it down   •  How Paul appreciates The Beatles’ songs more as he gets older •  Paul tells his story about George Michael and The Beatles •  One of Paul’s favorite Beatles’ songs at the time was Hey Jude, and he explains why •  Paul talks about preferring Christine McVie over Stevie Nicks •  Jenny talks about how Stevie Nicks joined Fleetwood Mack •  How when Stevie joined the band it totally changed their sound •  Jenny talks just a bit about her time at Villa Cappelli If you liked this podcast, we do a second recap podcast with Jenny in the next one.  What do you think?  Did we miss out on asking Jenny a question?  What would you ask her?  Let us know in the comments (and she just may respond herself!).  

More On The Film & Alan G Parker  From the Emmy nominated director of Monty Python: Almost The Truth , Alan G. Parker (Rebel Truce: The Story of The Clash, Hello Quo, Never Mind the Sex Pistols, Who Killed Nancy) and produced by Reynold D'Silva and Alexa Morris , the film features incredible rare archival footage unseen since the 1960s. The film also features rare interviews with The Beatles' original drummer Pete Best , John Lennon's sister Julia Baird , Beatles' manager Brian Epstein's secretary Barbara O'Donnell, Steve Diggle of the Buzzcocks, Beatles associate Tony Bramwell, Pattie Boyd's sister Jenny Boyd , Hunter Davies, Simon Napier-Bell, Ray Connolly, Bill Harry, Philip Norman, Steve Turner, Andy Peebles, Freda Kelly and The Merseybeats . IT WAS FIFTY YEARS AGO TODAY! THE BEATLES: SGT. PEPPER & BEYOND examines the year 1967, the year that would arguably be the most crucial in the band's career, a year in which they stopped being the world's number one touring band and instead became the world's most innovative recording artists, pushing the boundaries of what could be achieved in the studio. Unable to hear themselves perform and mired by controversy, the band decided to stop touring in August 1966. What followed was a period of extreme creativity and rebirth during which they embraced Swinging London, the ‘avant-garde', LSD and the advent of the Summer Of Love. The result was the creation of their new alter ego, Sgt. Pepper, with the desire to create a pop music first, the concept album. A devoted fan since the age of nine, the film's director Alan G. Parker has set out to explore this period by filming interviews with former employees, fellow musicians, family member and journalists, all of whom were there at the time. These stories are in turn supported by a vast array of impressive archival footage, much of it not seen since first transmission. The result is a detailed examination of why the band stopped touring, how the album was conceived and its recording at EMI's Abbey Road Studios, its lyrics, the creation of its sleeve and finally its release. All this is set against a background of the band's changing relationship with their manager, Brian Epstein and the tragedy of his death, the creation of Apple and the powerful influence of the Maharishi Mahesh Yogi. Trailer: https://www.youtube.c om/watch?v=n2uUckwL6oo IMDb: http://www.imdb.com/titl e/tt6440916 Alan G. Parker (Director IMDb): http://www.imdb.com/nam e/nm2569672 See omnystudio.com/listener for privacy information.

This week’s episode is all about Jenny Boyd. You may recognize the Boyd name as a popular one in rock and roll history, as she’s sisters with Pattie Boyd (married to George Harrison and Eric[...] The post EP 39: Jenny Boyd appeared first on Muses and Stuff Podcast.