Podcast appearances and mentions of Jim Tucker

Momentum is everything, according to Queensland Reds media manager Jim Tucker, as the team looks to finish the regular series on a high before finals kick off next week.See omnystudio.com/listener for privacy information.

What if death isn't the end—but just the beginning of your next chapter? Could uncovering past lives reveal what happens in the afterlife? Do near death experiences reveal past lives? Dr. Jim Tucker (author of Life Before Life), a leading child psychiatrist and former director at UVA's Division of Perceptual Studies, dives into 2,000+ real cases of children who vividly remember past lives and provides real evidence and research to scientifically explain near-death experiences (NDEs). In this mind-blowing exploration, he uncovers eerie patterns in some of the most famous past life stories, explains why past life memories fade with age, reveals how trauma may link past deaths to new lives, and explores whether we can tap into our own past life memories. From the mysterious Akashic Records to extrasensory abilities and near-death experiences, this is a deep dive into reincarnation research, consciousness, and what it all means for your health, relationships, and how we should be living.Learn more about Dr. Jim Tucker, his works, and his books: https://www.jimbtucker.com/ BialikBreakdown.comYouTube.com/mayimbialik

What if death isn't the end—but just the beginning of your next chapter? Could uncovering past lives reveal what happens in the afterlife? Do near death experiences reveal past lives? Dr. Jim Tucker (author of Life Before Life), a leading child psychiatrist and former director at UVA's Division of Perceptual Studies, dives into 2,000+ real cases of children who vividly remember past lives and provides real evidence and research to scientifically explain near-death experiences (NDEs). In this mind-blowing exploration, he uncovers eerie patterns in some of the most famous past life stories, explains why past life memories fade with age, reveals how trauma may link past deaths to new lives, and explores whether we can tap into our own past life memories. From the mysterious Akashic Records to extrasensory abilities and near-death experiences, this is a deep dive into reincarnation research, consciousness, and what it all means for your health, relationships, and how we should be living.Learn more about Dr. Jim Tucker, his works, and his books: https://www.jimbtucker.com/ BialikBreakdown.comYouTube.com/mayimbialik

Seriah is joined by author, researcher, musician, and friend of the show Joshua Cutchin to discuss Josh's recent book “Ecology of Souls”. Topics include the difficulties of spelling and pronouncing Josh's last name, Josh's love of music and the tuba, Mardi Grau, Josh's future book “Fourth Wall Phantoms”, Josh's over decade-long podcast history, Micah Hanks, surprising acceptance of “Ecology of Souls”, the technical aspects of producing the book, the 2017 resurgence of nuts-and-bolts ufology, Barbara Fisher and the cycle of life, Kenneth Ring's “The Omega Project”, Ann Strieber, aliens and fairies and the dead, Greys and other “aliens” in NDEs, Ray Hernandez, completely human-looking UFO occupants, the book “Communion” and the surge in experiences with Greys, the ambiguities of the Near Death Experience, Eric Wargo, pre-membering, Out of Body Experiences during NDEs, a fascinating study by a cardiac surgeon, DMT, death as the hub around which multiple phenomenon revolve, Rick Strassman, Jeff Kripal, psychedelics and their limits, paranormal events and personal transformation, the lack of either/or contradiction between physical and spiritual experiences, Seriah's black dog at a crossroads experience, materialist-reductionism, re-enchanting and the need for meaning, Seriah's EVP and the call of a fox, Jungian interpretation, Dr. Gregory Shushan and expectations of NDEs, paranormal archetypes, the near-universal association of the human soul with birds, the ancient Egyptian conception of the soul, Dr. Edgar Mitchell, the cross-over between NDEs and alien abduction experiences, the experience-prone personality, John Keel associating UFOs and NDEs (“death dreams”), a Keel report where MIB and mysterious scuba divers approach a possibly dying man on a boat, Keel's approach to journalism, absolute agnosticism and the writing process, life-changing results from perceived (but not actual) paranormal experiences, near-NDEs, the imaginal realm and its origins, the concept of “real” and its contradictions, philosophical uncertainties, reality and its interpretations, NDEs among those who in no way died, the Seth material, Moody's list of common NDE experience, impossible healing after NDEs, Cherylee Black, varieties of NDE experience, Divine justice, side-effects of NDEs and encounter experiences, the possible electrical nature of paranormal phenomena, the idea of oneness, reincarnation, hypnotic regression and its issues, Jim Tucker, Patrick Harper, Brent Raines, an incident with a hypnotic regression and an in-real-time UFO sighting, the movie “Presence”, Robert Monroe and psychopomps, Anubis, birds and horses and dogs as psychopomps, shamans, the sun and the moon as psychopomps, the boat as psychopomp, bees symbolic meanings, horses and the sun, diminutive paranormal entities, celebrities dying in threes, three-ness in the paranormal, Freud and polypsychism, doppelgangers, light phenomena and the soul, poltergeist activity and unconscious projection, a very unique outro music piece featuring Josh playing the tuba in a brass jazz band, and much more! This is some truly wonderful information-packed conversation!

Seriah is joined by author, researcher, musician, and friend of the show Joshua Cutchin to discuss Josh's recent book “Ecology of Souls”. Topics include the difficulties of spelling and pronouncing Josh's last name, Josh's love of music and the tuba, Mardi Grau, Josh's future book “Fourth Wall Phantoms”, Josh's over decade-long podcast history, Micah Hanks, surprising acceptance of “Ecology of Souls”, the technical aspects of producing the book, the 2017 resurgence of nuts-and-bolts ufology, Barbara Fisher and the cycle of life, Kenneth Ring's “The Omega Project”, Ann Strieber, aliens and fairies and the dead, Greys and other “aliens” in NDEs, Ray Hernandez, completely human-looking UFO occupants, the book “Communion” and the surge in experiences with Greys, the ambiguities of the Near Death Experience, Eric Wargo, pre-membering, Out of Body Experiences during NDEs, a fascinating study by a cardiac surgeon, DMT, death as the hub around which multiple phenomenon revolve, Rick Strassman, Jeff Kripal, psychedelics and their limits, paranormal events and personal transformation, the lack of either/or contradiction between physical and spiritual experiences, Seriah's black dog at a crossroads experience, materialist-reductionism, re-enchanting and the need for meaning, Seriah's EVP and the call of a fox, Jungian interpretation, Dr. Gregory Shushan and expectations of NDEs, paranormal archetypes, the near-universal association of the human soul with birds, the ancient Egyptian conception of the soul, Dr. Edgar Mitchell, the cross-over between NDEs and alien abduction experiences, the experience-prone personality, John Keel associating UFOs and NDEs (“death dreams”), a Keel report where MIB and mysterious scuba divers approach a possibly dying man on a boat, Keel's approach to journalism, absolute agnosticism and the writing process, life-changing results from perceived (but not actual) paranormal experiences, near-NDEs, the imaginal realm and its origins, the concept of “real” and its contradictions, philosophical uncertainties, reality and its interpretations, NDEs among those who in no way died, the Seth material, Moody's list of common NDE experience, impossible healing after NDEs, Cherylee Black, varieties of NDE experience, Divine justice, side-effects of NDEs and encounter experiences, the possible electrical nature of paranormal phenomena, the idea of oneness, reincarnation, hypnotic regression and its issues, Jim Tucker, Patrick Harper, Brent Raines, an incident with a hypnotic regression and an in-real-time UFO sighting, the movie “Presence”, Robert Monroe and psychopomps, Anubis, birds and horses and dogs as psychopomps, shamans, the sun and the moon as psychopomps, the boat as psychopomp, bees symbolic meanings, horses and the sun, diminutive paranormal entities, celebrities dying in threes, three-ness in the paranormal, Freud and polypsychism, doppelgangers, light phenomena and the soul, poltergeist activity and unconscious projection, a very unique outro music piece featuring Josh playing the tuba in a brass jazz band, and much more! This is some truly wonderful information-packed conversation! Recap by Vincent Treewell of The Weird Part PodcastOutro Music is The Half Dozen Brass Band with Loa Dance Hosted on Acast. See acast.com/privacy for more information.

Jim Tucker could hardly believe what he was hearing. It sounded like fiction, a nightmare too outlandish for an unassuming town like his.It was July 2023, and Tucker was hosting a meeting of the board of Heartland Tri-State Bank, a community-owned business in a small Kansas town called Elkhart. Heartland was a beloved local institution and a source of Tucker family pride: Tucker served on the board with his elderly father, Bill, who founded the bank four decades earlier. All of the board members — the Tuckers and several other farmers and businesspeople — had known one another for years.That evening, however, they were gathering to discuss what seemed, on its face, an epic betrayal. Over the past few weeks, the bank's longtime president, a popular local businessman named Shan Hanes, had ordered a series of unexplained wire transfers that drained tens of millions of dollars from the bank. Hanes converted the funds into cryptocurrencies. Then the money vanished. Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.

Are you curious about spirituality but don't know where to start? In this episode, I share five book recommendations for those wanting to dip their toes into spiritual concepts in a very accessible way. These books offer wisdom whether you're new to spirituality or returning to deepen your understanding.Books Recommended:The Celestine Prophecy by James RedfieldA fictional story exploring the interconnectedness of beingsIntroduces concepts of meaningful coincidences, energy fields, and subtle communicationPerfect starting point for those new to spiritual conceptsMany Lives, Many Masters by Dr. Brian WeissChronicles a psychiatrist's unexpected journey into past life regression therapyShows how past life experiences may influence current challengesBridges traditional psychology with spiritual explorationJourney of Souls by Dr. Michael NewtonExplores the spiritual realm between physical livesDocuments patterns from thousands of regression therapy sessionsOffers perspective on how we may choose our life challenges for spiritual growthThe Awakened Brain by Dr. Lisa MillerCombines personal experience with neuroscience researchDemonstrates how spirituality strengthens brain healthShows how spiritual practice protects against depression, addiction, and lonelinessMan's Search for Meaning by Viktor FranklWritten by a psychiatrist who survived concentration campsExplores how finding meaning transforms our experience of sufferingEmphasizes our power to choose our response to any circumstanceFREE GUIDE -  20 Client Conversation Starters Guide:https://www.integratedwisdom.com.au/20conversationstartersBe sure to SHARE this episode to anyone you feel may be interested or benefit from this content.And please don't forget to hit SUBSCRIBE to keep up to date with our episodes and give us a RATING below. ⭐️⭐️⭐️⭐️⭐️You can now send me your comments or questions, to hello@integratedwisdom.com.au or you can also find me on Instagram  https://www.instagram.com/integrated_wisdom/Intro and Outro music: Inspiring Morning by PlaysoundDisclaimer: This podcast is intended for educational purposes only. It is not intended to be treated as psychological treatment or to replace the need for psychological treatment.

Pour découvrir le livre de Brigitte : https://amzn.to/3Q8qSNGBrigitte Favre est psychologue et psychothérapeute en Suisse. Enfant, elle vit des contacts avec son défunt grand-père qu'elle ne questionne pas vraiment et qui sont pour elle naturels. Mais c'est en tant que jeune adulte, lorsque sa main gauche commence a écrire des messages provenant d'ailleurs (de défunts à leurs proches), sans qu'elle puisse le maitriser, qu'elle se demande ce qui lui arrive.Progressivement Brigitte va admettre qu'elle communique avec les défunts, devant le nombre de preuves qu'elle accumule.Soucieuse d'être précise et rigoureuse dans sa pratique, elle va se former en Angleterre pour maitriser au mieux ses capacités.Aujourd'hui elle propose également une activité de medium, décorrélée de son activité de psychologue.Dans cette interview, elle nous raconte son histoire, ses découvertes, les messages que les défunts lui transmettent, et les preuves que la science a accumulé sur la survie de la conscience à la mort du corps.Les personnes que mentionne Brigitte dans cette interview : Jim Tucker : https://amzn.to/41ekhYJIan Stevenson : https://amzn.to/3EBhkbuMark Gober : https://www.markgober.com/Et toutes les références : https://www.windbridge.org/https://www.spr.ac.uk/https://galileocommission.org/report/https://www.bigelowinstitute.org/https://podcasts.apple.com/us/podcast/where-is-my-mind/id1470129415https://open.spotify.com/show/4ejBG3cGHTok592813S9Ih Become a member at https://plus.acast.com/s/lapsychologiepourtous. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

EVEN MORE about this episode!Years after losing her father, Liz Entin embarked on a journey from grief to discovering groundbreaking research on children's past life memories, conducted by Dr. Ian Stevenson and Dr. Jim Tucker at the University of Virginia. This episode chronicles her transformation from skeptic to believer, blending personal revelations with scientific inquiry into life beyond death. Liz's entrepreneurial background in fashion provided her with unique methods for verifying mediums, ensuring authenticity through rigorous testing. The conversation also explores the intersection of science and spirituality, touching on the contributions of scholars studying consciousness and offering comfort to those grappling with grief and questions of the afterlife.Guest Biography:Liz Entin began exploring the possibility of an afterlife and paranormal phenomena after her father's passing in 2015. Although she remains a skeptic and atheist, the evidence she encountered left her astonished. Liz is the author of two books in the WTF Just Happened?! series, which chronicle her journey through grief, healing, and investigating afterlife evidence. She also hosts a podcast called WTF Just Happened?!, focusing on afterlife exploration without embracing "woo" beliefs. Additionally, Liz organizes private “Science and Spirituality” events, where small groups can learn about the science of the afterlife and receive readings from scientifically tested mediums.Episode Chapters:(0:00:01) - Journey to the Afterlife(0:06:33) - Testing Medium Authenticity With Scientific Approach(0:18:15) - Medium Authenticity and the Afterlife(0:33:18) - Exploring Beliefs and Afterlife Perspectives(0:49:25) - Spiritual Communication and Grieving Validation(0:59:49) - Exploring Afterlife Research and BeliefsPlease join Julie next week with your question.Thursdays at 8pm ET, 7pm CT, 5pm PT.https://askjulieryanshow.comAnd, please leave a five-star review and subscribe so you can hear all the new episodes.Sponsors & RecommendationsDisclaimer: This show is for informational purposes only. It is not intended to be medical, psychological, financial or legal advice. Please contact a licensed professional. The Ask Julie Ryan show, Julie Ryan, and all parties involved in producing, recording and distributing it assume no responsibility for listener's actions based on any information heard on this or any Ask Julie Ryan shows or podcasts.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Brought to you by Chasing the Sun 2 coming soon to RugbyPass TV – head to rugbypass.tv and sign up for FREE, to watch wherever you are in the rugby world! Rugby podcasters Brett McKay and Harry Jones are joined on The 8-9 Combo by renowned Australian rugby writer and author, noted tourist and regular friend of the pod, the great Jim Tucker, to look back on the second round of The Rugby Championship and the lessons learned for the Wallabies, as they gear up for a now very important tour of Argentina. The tour comes at a crucial point for the Wallabies and new coach Joe Schmidt; after three wins in July followed by heavy losses to South Africa, Schmidt takes his Australian squad to South America next weekend where wins are necessary but certainly not guaranteed after Los Pumas themselves had an up-and-down tour of New Zealand. Is it more pain, or finally some gain for the Wallabies? Also, Harry is introduced to that fine Australian publication, The Betoota Advocate! Social media: #89Combo Twitter: https://twitter.com/89combo YouTube: https://www.youtube.com/@8-9Combo Brett: https://twitter.com/BMcSport Harry: https://twitter.com/HaribaldiJones Make sure you SUBSCRIBE on Spotify! https://open.spotify.com/show/1BcKhb24YOtwQhKc0S3sDm Find Brett and Harry's written work on RugbyPass and The Roar: Brett: https://www.rugbypass.com/plus/contributor/brett-mckay/ Harry: https://www.theroar.com.au/author/haribaldi/ Music from Uppbeat: https://uppbeat.io/track/oakvale-of-albion/extreme Voiceovers by Chookman + Sean Maloney + Amelia Learn more about your ad choices. Visit podcastchoices.com/adchoices

On episode 195 we're joined by our returning co-host Jim Tucker aka TUCKY. We dive into the OTM mailbag and answer our listeners questions and comments related to both the WWE & AEW. Follow the show on all socials for more @PodOnTheMark.

Ben Sinclair joins us from France to share stories about his life and his powerful podcast, Unravelling The Universe. He speaks about his interviews with scientists, academics, researchers and experiencers. His guests have included Dr. Dean Radin, Dr. Diana Walsh Pasulka, Dr. Jim Tucker and many more. Areas of discussion on his shows include UFOs/UAP, psychic phenomena, consciousness, mediumship, reincarnation and much more. Ben balances his curiosity and open-mindedness with his natural skepticism. WEBSITE/LINKS: YouTube: https://www.youtube.com/@unravellingtheuniverse Spotify: https://open.spotify.com/show/62prCg7wMoQc12cCVBvU1Q Apple Podcasts: https://podcasts.apple.com/cz/podcast/unravelling-the-universe/id1577838693 Find us on other podcast apps by searching for: "Unravelling the Universe" Linktree: https://linktr.ee/unravellingtheuniverse X/Twitter: https://twitter.com/UnravellingU (on YouTube it is possible to tag my channel using @UnravellingtheUniverse) FOLLOW US ON FACEBOOK: http://www.facebook.com/ASMALPodcast VISIT OUR WEBSITE: http://www.asmallmediumatlarge.co Show Produced by Green Valley Production Studio Music by DJ Booda: http:/www.djbooda.com

Researchers at the University of Virginia have investigated children's reports of memories of previous lives for nearly sixty years, studying more than 2,500 cases from around the world. In many cases, a deceased individual has been identified whose life matches the details given by the child. Common features in the cases include a child talking about a past life at a very early age, behaviors that appear connected to that life such as phobias related to the mode of death, and sometimes even birthmarks or birth defects that correspond to wounds the previous person suffered. Our conversation will highlight Dr. Tucker's research over the past 20 years, including details of some of his most interesting cases. His work provides persuasive evidence that some children do, in fact, possess memories of previous lives and we will look at how this phenomenon changes our understanding of consciousness and what it means to be human. Dr. Jim Tucker is a child psychiatrist at the University of Virginia, where he is the Bonner-Lowry Professor of Psychiatry and Neurobehavioral Sciences. He is the Director of UVA's Division of Perceptual Studies (DOPS), and he is continuing the work of Ian Stevenson with children who report memories of previous lives

The topic of past life memories and reincarnation is often considered a taboo subject. However, inquiring minds like Ian Stevenson and Jim Tucker are well-known in their field due to the incredible case reports they have collated over their decorated careers. That said, it's not well-known that it was actually a 200-year-old report from Japan that spurred Stevenson to explore this fascinating phenomenon. On this episode, we hear this report and other incredible cases of reincarnation from Japan. Some children's memories are so vivid that rich details provide considerable evidence for life continuing beyond our understanding. Then, in our Plus+ extension, we discuss the 'beetle levitation platform' and hear how an unwitting bug scientist's encounters with an angry beehive led him to discover antigravity technology and create a flying platform that could potentially be associated with UFO tech. Links Katsugoro and Other Reincarnation Cases in Japan Before: Children's Memories of Previous Lives Dr. Jim Tucker Gunkan māchi Noh performance TOMOE Southall rail crash Plus+ Extension The extension of the show is EXCLUSIVE to Plus+ Members. To join, click HERE. Wendy Connors Faded Discs A collection of radio broadcasts about the UFO phenomenon. Viktor Grebennikov Viktor Grebennikov - Anti-Gravity & Levitation How Viktor Grebennikov Built an Anti Gravity Levitating Machine Viktor Grebennikov Anti Gravity Levitation Boyd Bushman On Antigravity Grebennikov's Flying Platform - Bio-Gravitics “My World” By Viktor Grebennikov The Bizarre Flying Humanoids of Mexico Learn more about your ad choices. Visit megaphone.fm/adchoices

(Originally part of Noyz Boyz 37 and recorded 3/4/2024)Imgur Album: https://imgur.com/a/tZvzC61Talking Points: Two podcasters figure out the secrets of life and death,Death cannot be infinite,matter cannot be destroyed,Dr Jim Tucker reincarnation theory,past lives,Planck units,time travel caveman,gravity spirits,FUDDERS,the GAIA THEORY,the GREAT FILTER,the MULTIPLE EARTH THEORY,EXTRATERRESTRIAL EVANGELISM,proxima B,greater and lesser infinities,what humans are meant to be,THE SPIRAL,wowie yaoi and CWC the APEX HUMANIntro/Outro BGM is 'Rhodesia' by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ from Youtube Creators Music. Check out the website for links to our shows on iTunes, GooglePlay and Spotify► http://www.lmtya.com► https://spoti.fi/2Q55yfL Peep us on Twitter► @LetMeTellYouPD Official Discord► https://discord.gg/SqyXJ9R /////// SHILL CORNER ///////► https://www.patreon.com/LMTYA LMTYA shirts!► https://lmtya.myspreadshop.com/all/////// SHILL CORNER ///////

From an early age, Ryan claimed to recall a previous existence in Hollywood, providing names, locations, and events that he had no apparent way of knowing. His story caught the attention of Dr. Jim Tucker, a psychiatrist from the University of Virginia, who specializes in children's past-life memories. Through Tucker's meticulous research, many of Ryan's memories were confirmed, including his identification with a little-known movie extra from the 1930s. Learn more about your ad choices. Visit megaphone.fm/adchoices

Every year, more American adults say they believe in reincarnation, a concept that has existed throughout human history and across the globe. But, for a philosophy so famous, not much is known about the inner workings of past lives. How can we connect with our past lives? How do prior life experiences show up in our current lives? And the question on everyone's minds: is reincarnation something we can prove? This week, an optimistic Mory and an undecided Melissa trade personal stories, thrilling case studies, and a sprinkling of scientific research to show that the debate on reincarnation is far from settled. Mory recounts how her meeting with esteemed Past Life Psychic Ainslie MacLeod helped her make sense of guilt (and also proved her eternal love for Paris). Melissa narrates the real-life story of James Leininger, a toddler who recounted the plane crash of an American pilot with inexplicable accuracy. If you're convinced, curious, or even skeptical about the possibility of a karmic world, there's no better place to be.Rose Bridge Farm: https://rosebridgefarmsanctuary.com/NPR Interview with Jim Tucker: https://www.npr.org/2014/01/05/259886077/searching-for-science-behind-reincarnationPast Life Regression: https://www.youtube.com/watch?v=rAgcbBW1dnMAinslie MacLeod's Soul Types Quiz: https://ainsliemacleod.com/soul-type-quiz/To submit questions for future episodes: https://forms.gle/ZhSKGveWox33GvFq6Follow Signal on insta: https://www.instagram.com/signalwithmoryandmelissaFollow Mory on insta: https://www.instagram.com/moryfontanez/

The subject of reincarnation may be a divisive one, but that does not mean there are not serious scientific researchers that are still working in this field. Joining us on the podcast today is none other than Dr. Jim Tucker, a top expert on past life memories and reincarnation.Dr. Tucker is based in North Carolina and we get to have an amazing conversation with our guest about the subject at large, his journey through the field, as well as his reflections on what the study might bring us in the future.We get to explore some real examples from Dr. Tucker's work, stories that he has published in his books, and these examples really lend credence to this kind of endeavor. No matter what your beliefs on the subject, these anecdotes are sure to make you think twice about your assumptions, and possibly even reconsider what you thought you knew.Dr. Tucker maintains a strict, scientific approach to his work, with no past life memories of his own, and merely a fascination with the investigation of others' experiences. We get to talk about the commonalities between the cases, the results of disparate families connecting, and also the reality of public perception of these phenomena. So for all this, and a whole lot more, join us for this fantastic conversation!

Studies   University of Virginia, Jim Tucker.  “Some young children, usually between the ages of 2 and 5, speak about memories of a previous life they claim to have lived. At the same time they often show behaviors, such as phobias or preferences, that are unusual within the context of their particular family and cannot be explained by any current life events. These memories appear to be concordant with the child's statements about a previous life.” In many cases of this type, the child's statements have been shown to correspond accurately to facts in the life and death of a deceased person. Some of the children have birthmarks and birth defects that correspond to wounds or other marks on the deceased person whose life is being remembered by the child.  In numerous cases, postmortem reports have confirmed these correspondences.  Older children may retain these apparent memories, but generally they seem to fade around the age of seven.  The young subjects of these cases have been found all over the world including Europe and North America. For the past 20 years, Dr. Jim Tucker, now the director of the Division of Perceptual Studies, has focused mainly on cases found in the United States. His book Return to Life offers accounts of very strong American cases of young children who remember previous lives. In this book, Dr. Tucker writes about the now well-known cases of James Leininger, a young boy who had verifiable past-life memories of being a WWII pilot, and Ryan Hammons, who had verifiable memories of being a Hollywood extra and talent agent. Types of Statements a Child Might Make “You're not my mommy/daddy.” “I have another mommy/daddy.” “When I was big, I …(used to have blue eyes/had a car, etc.).” “That happened before I was in mommy's tummy.” “I have a wife/husband/children.” “I used to…(drive a truck/live in another town, etc.)” “I died … (in a car accident/after I fell, etc.)” “Remember when I …(lived in that other house/was your daddy, etc.) Quick discussion : between Phil and Handi  Main topic  Topic :Reddit user u/TapiocaTuesday asked the AskReddit community: "Parents, what spooky 'past life' memory did your kid utter?" eplies : 1. "Back pre-pandemic, I was watching my friend's then–3-year-old for her and he saw a big military ship and he got this kind of faraway look, and said, 'I remember when my boat sank. There were so many sharks.'" "I said, 'What?' He blinked and, said, 'What?' and then started asking questions about the boat. I mentioned it to my friend and she said, 'Yeah, he does that sometimes.'" —Planksgonemad 2. "When I was very young and still unable to string sentences together, my mom and I were sitting at the dining room table. She was crying and I comforted my mother by telling her without any babbling or hesitation: 'It's okay, I used to be your great grandmother, I'll take care of you.'" "I have no memory of this and my mom said I went back to my baby-like talk immediately after. She stopped crying, probably because it scared the shit out of her." —AceTrainerEmily 3. "I used to watch my nephew when he was about 3 or 4. One day, he was at my house and pointed to a magnet of Arizona — it had a picture of the desert with rock formations. Kid pointed at it and asked where it was. He said he used to live by 'red rocks like that' with his first family." "(The first family) all had straight, dark hair (his is blond and curly) and that he had a mom, a dad, and a brother, that is until he went too far into the desert, too close to dark, and got eaten by 'not dogs, not wolves, but smaller.' I said, 'Coyotes?' And he kind of mouthed the word and said, 'Oh, that's what you call them.' Then he was sad and didn't want to talk about it anymore, so we had lunch and that was the first and last time he mentioned it." —auntiepink --- Send in a voice message: https://podcasters.spotify.com/pod/show/creative-habits/message

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Marieta Pehlivanova is a Research Assistant Professor of Psychiatry and Neurobehavioral Sciences at the University of Virginia Division of Perceptual Studies. She has a background in statistics and experimental psychology. Marieta's main research interests are Near-Death Experiences (NDEs) and the phenomenon of children who report past-life memories, popularly referred to as reincarnation. Along with Jim Tucker, Bruce Greyson, & others, Marieta is the 5th member of the University of Virginia Division of Perceptual Studies that we've interviewed. You can find the others by scrolling or via our UVA DOPS playlist on YouTube: https://www.youtube.com/playlist?list=PL3m2_kolG9Sf88BUTEgFZK-IykYnYGnGT Please scroll down ⏬ for links + TIMESTAMPS 

The Roar rugby experts Brett McKay and Harry Jones are joined by NZ radio broadcaster Martin Devlin, and esteemed Australian rugby writer and tourist Jim Tucker, for the Instant Reaction to South Africa's 12-11 win over New Zealand In a titanic Rugby World Cup Final at the Stade de France in Paris. The Springboks are the first country to win four RWC titles, and huge congratulations to their team and their fans the world over. Hosted on Acast. See acast.com/privacy for more information.

The Roar rugby experts Brett McKay and Harry Jones are joined by well-travelled Australian rugby writer turned tour-leader Jim Tucker from Lyon, for the Instant Reaction to Wales' 40-6 win over Australia at the OL Stadium, as the Wallabies campaign has crashed spectacularly on the third weekend of the 2023 Rugby World Cup in France. Hosted on Acast. See acast.com/privacy for more information.

The Roar rugby experts Brett McKay and Harry Jones are joined by legendary Australian rugby tourist and sportswriter Jim Tucker from Saint-Étienne, for the Instant Reaction to FIJI's stunning 22-15 win over AUSTRALIA at the Stade Geoffroy-Guichard, in their huge Pool C clash on the second weekend of the 2023 Rugby World Cup in France. Hosted on Acast. See acast.com/privacy for more information.

Triggerwarnung: Diese Folge erhält Nacherzählungen von Gewalt. Passt also bitte auf euch auf, wenn ihr reinhört. *** Auburn Calloway ist ein ehemaliger Navy-Pilot, einer der besten der USA, überhäuft mit Medaillen. Auch Pilot David Sanders ist extrem erfahren, genauso wie Co-Pilot Jim Tucker und Flugzeugingenieur Andy Peterson. Sie alle arbeiten zum Zeitpunkt dieser Geschichte für FedEx und obwohl das eigentlich nicht so geplant war, sitzen sie am 7. April 1994 alle zusammen in derselben Maschine von Memphis nach Kalifornien. Doch neben der regulären Fracht hat einer von ihnen noch anderes, ungewöhnliches Gepäck mit an Bord gebracht: ein Karton mit Nägeln, 2 Hämmer und eine Harpune. Der Flug wird in die Geschichte der Luftfahrt eingehen – und drei der Männer als ihre Helden. *** Instagram *** Folgt Weird Crimes auch auf Instagram @weirdcrimes_podcast und bleibt auf dem Laufenden! Hier posten wir auch die Fotos, von denen Ines und Visa im Podcast sprechen: https://www.instagram.com/weirdcrimes_podcast/ *** Werbung *** Ihr möchtet mehr über unsere Werbepartner erfahren? Hier findet ihr alle Infos & Rabatte: https://linktr.ee/weirdcrimes

Megan and Michelle contemplate reincarnation, consciousness, karma, quantum physics, portals, and fantastical places.Resources:How Reincarnation WorksEvaluating the Evidence for ReincarnationThe Science of ReincarnationSearching For The Science Behind ReincarnationChilling Reincarnation Stories: Meet 6 People Who Lived BeforeThe Evidence for Human Reincarnation is HereWant to support Prosecco Theory?Become a Patreon subscriber and earn swag!Check out our merch, available on teepublic.com!Follow/Subscribe wherever you listen!Rate, review, and tell your friends!Follow us on Instagram!****************Ever thought about starting your own podcast? From day one, Buzzsprout gave us all the tools we needed get Prosecco Theory off the ground. What are you waiting for? Follow this link to get started. Cheers!!

The Roar rugby experts Brett McKay, Harry Jones and Jim Tucker are together again for the Instant Reaction to New Zealand's last-ditch 23-20 to overcome a dominant first half from the Wallabies in Dunedin, in their final match of The Rugby Championship and Bledisloe Cup campaign down south. Both teams will begin Rugby World Cup preps in earnest in Europe in the coming weeks. Hosted on Acast. See acast.com/privacy for more information.

The Roar rugby experts Brett McKay, Harry Jones and Jim Tucker are together again for the Instant Reaction to New Zealand's 38-7 win over the Wallabies at the Melbourne Cricket Ground, to secure the Bledisloe Cup and The Rugby Championship for 2023 ahead of next weekend's 2nd and final match in Dunedin. Hosted on Acast. See acast.com/privacy for more information.

The Roar rugby experts Brett McKay, Harry Jones and Jim Tucker are together again for the Instant Reaction to Argentina's last gasp 34-31 win over the Wallabies at CommBank Stadium in Sydney's west, while the All Blacks proved their class over the Springboks in Auckland, winning 35-20 to complete the second round of The 2023 Rugby Championship. Hosted on Acast. See acast.com/privacy for more information.

This is the second episode with ⁠Simon Bown. Simon Bown is the host of The Past Lives Podcast and The Alien UFO Podcast. He has a diploma in Clinical Hypnotherapy and is certified in Past Life Regression Therapy. He specialises in taking people through past life regressions and has conducted a large number of sessions. He has had many paranormal experiences including psychic flashes, UFO sightings and a number of strange events not easily explained. These have proved to me that there is something more to us than flesh and blood and that we are energetic beings working through a cycle of reincarnation with the aim of experiencing everything there is to be experienced as a human being. He has had three remarkable incidences of feathers showing up in an unexpected and profound way while discussing angels with mediums. He took part in his first past life regression in 1987 at the College of Psychic Studies in London. The thoughts and feelings he experienced have stayed with him to this day. Since then he has viewed several other past lives through hypnotic regression. They have never failed to provoke intense feelings and give him great insight into his life today. He has produced over 250 podcast episodes. Each one is an hour long interview with a researcher or someone who has had an amazing experience. Almost all of the guests have written a book and in preparation for each episode Simon reads the guest's book to give him the knowledge to ask in depth questions. Combining the information and insight gained from the interviews and the books has given him a detailed overview of the concepts of Reincarnation, Near Death Experiences and the continuation of consciousness. Podcast guests include Dr Raymond Moody, Dr Eben Alexander, Whitley Strieber, Dr Bruce Greyson, Dr Christopher Kerr, Dr Jim Tucker and Leslie Kean. The Past Lives Podcast has achieved over 2,000,000 downloads, is in the top 0.5% of podcasts worldwide and recently went to No.1 in the UK Apple podcasts spirituality chart and was No.5 in the USA. When I am not working I have many interests. I have been playing bass guitar for over 40 years which I find to be tremendous fun. I also have a hobby of writing science fiction." Follow Simon Bown: ⁠Website⁠ | ⁠Patreon⁠ *and on all podcast apps Full Episode Notes with Video of Dr. Ian Stevenson "Where Reincarnation and Biology Intersect ⁠The Best Evidence of an Afterlife with Simon Bown, Host of the Past Lives Podcast⁠ Get the book: ⁠⁠WTF Just Happened?!: ⁠A sciencey skeptic explores grief, healing, and evidence of an afterlife⁠⁠⁠  In this episode: - There are many "Goldilocks planets" in the solar system. Is there life on them? - Is there intelligent life on other planets? - We now see and are able to observe more planets than ever - Some people have reported "between lives" experiences - What experiences has anyone had with aliens - It is obvious there is life on other planets with so many planets - Books on scientific studies of UFOs - Japanese aircraft picked up UFOs - Have physicists examined UFO information - Some UFOs have been spotted moving in inexplainable ways and more... ⁠Book⁠ ⁠| ⁠⁠⁠⁠⁠⁠Website ⁠⁠ Sponsor links and discount codes WONGO puzzles:⁠ https://zen.ai/wtfjusthappened10⁠ Enter discount code for 10% off: Wtfjusthappened --- Support this podcast: https://podcasters.spotify.com/pod/show/wtfjusthappened/support

Simon Bown is the host of The Past Lives Podcast. He has a diploma in Clinical Hypnotherapy and is certified in Past Life Regression Therapy. He specialises in taking people through past life regressions and has conducted a large number of sessions. He has had many paranormal experiences including psychic flashes, UFO sightings and a number of strange events not easily explained. These have proved to me that there is something more to us than flesh and blood and that we are energetic beings working through a cycle of reincarnation with the aim of experiencing everything there is to be experienced as a human being. He has had three remarkable incidences of feathers showing up in an unexpected and profound way while discussing angels with mediums. He took part in his first past life regression in 1987 at the College of Psychic Studies in London. The thoughts and feelings he experienced have stayed with him to this day. Since then he has viewed several other past lives through hypnotic regression. They have never failed to provoke intense feelings and give him great insight into his life today. He has produced over 250 podcast episodes. Each one is an hour long interview with a researcher or someone who has had an amazing experience. Almost all of the guests have written a book and in preparation for each episode Simon reads the guest's book to give him the knowledge to ask in depth questions. Combining the information and insight gained from the interviews and the books has given him a detailed overview of the concepts of Reincarnation, Near Death Experiences and the continuation of consciousness. Podcast guests include Dr Raymond Moody, Dr Eben Alexander, Whitley Strieber, Dr Bruce Greyson, Dr Christopher Kerr, Dr Jim Tucker and Leslie Kean. The Past Lives Podcast has achieved over 2,000,000 downloads, is in the top 0.5% of podcasts worldwide and recently went to No.1 in the UK Apple podcasts spirituality chart and was No.5 in the USA. "When I am not working I have many interests. I have been playing bass guitar for over 40 years which I find to be tremendous fun. I also have a hobby of writing science fiction." Follow Simon Bown: Website | Patreon *and on all podcast apps Full Episode Notes with Video of Dr. Ian Stevenson "Where Reincarnation and Biology Intersect The Best Evidence of an Afterlife with Simon Bown, Host of the Past Lives Podcast Get the book: ⁠WTF Just Happened?!: ⁠A sciencey skeptic explores grief, healing, and evidence of an afterlife⁠⁠ In this episode: - How did Simon get started - Past life regression hypnosis - He has had fascinating and inexplicable personal experiences - Fascinating things he has learned - Physical mediumship. Stewart Alexander and Kai Muegge - Dr. Ian Stevenson and the birthmark cases - Do the spirit world ever make mistakes? - People get healed during past life regressions. - Evidential past life regressions - Simon had psychic experiences and more... Book ⁠| ⁠⁠⁠⁠⁠Website ⁠ Sponsor links and discount codes WONGO puzzles: https://zen.ai/wtfjusthappened10 Enter discount code for 10% off: Wtfjusthappened --- Support this podcast: https://podcasters.spotify.com/pod/show/wtfjusthappened/support

The Roar rugby experts Brett McKay, Christy Doran and Jim Tucker come together for a special project ahead of this year's Rugby World Cup in France: shortlisting more than 150 Wallabies who have appeared at a RWC down to five options in each position, before readers of The Roar choose the Greatest Ever Wallabies RWC XV. Powered by ASICS - the Official Performance Apparel and Footwear partner of the Wallabies. Hosted on Acast. See acast.com/privacy for more information.

How good are Liz's protocols when getting a medium reading? Are they different than Kenny's? What are ways to detect cold-readings? Kenny shares some really entertaining "ghost hunts," and how to make sure you assess everything skeptically. Both Liz and Kenny like evidence, try to avoid belief, have the sense of humor of a twelve-year-old, and challenge how one another think, all of which makes this an especially fun episode. Kenny Biddle is the Chief Investigator for the Committee for Skeptical Inquiry, skeptical investigator and has a column in the Skeptical Inquirer. Despite his skeptical take (more so than Liz), he has taught a class alongside Loyd Auerbach at The Rhine Education Center "Skeptical Approach to Parapsychology." He used to "believe it all," unskeptically, but after some absurd experiences, he changed his mind and learned how to logically evaluate. While he has concluded differently than Liz and Loyd, and has not concluded an afterlife (or PSI) in general is highly probable, he shares how to protect against fraudulent psychic mediums, how to detect cold-readings, and shares some of the most ridiculous frauds out there, such as $300 ghost-detectors. He has some really fun stories from the field of "ghost-hunting," and he and Liz actually do not disagree on techniques and most of the conclusions. Follow Kenny Biddle: Facebook | Skeptical Inquirer⁠ | YouTube Full Notes for: Assess Afterlife Evidence and Medium Readings Critically and Avoid $300 Ghost Detectors with Kenny Biddle, Chief Investigator for the Committee for Skeptical Inquiry Episode 48 In this episode: - Kenny had been a ghost-hunter, like the ones on TV - He realized he had not thought critically - He avoids dogmas and belief and likes to have ideas - What does he think or reincarnation? The work of Dr. Jim Tucker? - What cases did Kenny work on as a ghost-hunter - What are some of the most ridiculous cons and tricks he has seen - In most of the cases he has uncovered, are the people intentionally fraudulent or do they genuinely believe - How do people react when he uncovers what is going on - He was a Catholic and believed everything with our assessment - Does he think any of the Psi evidence is valid - How can one recognize a cold-reading or avoid a fraudulent medium reading - What was his "turning point" - Has he had anything that “shook his skepticism to the core”  - Can Kenny explain logically how Liz bent a spoon - What's the death clock? - How good a sitter is Liz in terms of recognizing cold-reading - How good are Liz's protocols when getting a medium reading? - How can anyone be a really good sitter - Has Kenny had a reading with any of the scientifically verified mediums ... and more Book | ⁠⁠⁠⁠Website ⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/wtfjusthappened/support

The Roar rugby experts Brett McKay, Harry Jones and Jim Tucker come together for an early return of the Instant Reactions for 2023, with the Brumbies going down to the Chiefs 19-6 in Saturday night's second Super Rugby Pacific Semi-Final. The Chiefs will face the Crusaders in next week's Final. Hosted on Acast. See acast.com/privacy for more information.

Consciousness can be created by a brain and there could still be an afterlife. How could that work? Sea Kimbrell has a JD and a PhD in biology, and is a former Professor of Biology. Sea decided to leave academia because he wanted to spend his time thinking about the big questions in life, not where his next grant was coming from. He currently writes from his home in Kansas. He is author of "Atheists in the Afterlife: Eight Paths to Life After Death Without God." As an atheist from a secular family he always wondered what could happen after death. Using his knowledge as a scientist, he realized there ARE ways we can survive death that has nothing to do with god, heaven, or religion. While there has been lots of scientific research on survival of consciousness, Sea takes a completely unique approach to this question. Theories such as a Block Universe related to how time is an illusion and the simulation theory are some of the theories that play into his assessment. Sea and Liz discuss how as two atheists, who think there could be an afterlife, their thoughts are alike and how they differ. Follow Sea Kimbrell: Amazon | Medium Full notes on: ⁠"Atheists in the Afterlife: Eight Paths to Life After Death Without God," Author Sea Kimbrell In this episode: - Sea Kimbrell has a PhD in biology and was a biology professor who took his knowledge to come up with ways there could be an afterlife - Both Sea and Liz agree that there is (most likely) no god - Sea defines a god as a conscious being who could break laws of physics - But could there be other laws of physics in other dimensions - If there was a being that defied the laws, it would make more sense to reevaluate the laws of physics than assume there is a god - Physicists do not understand time - Time could play into a way there could be a type of afterlife - The Block Universe is one way there could be an afterlife - Of the 8 possibilities to life after death Sea wrote about, which does he think is most likely? - Which is leads likely? - Are we possibly living in a simulation? - Do we have free will? - What does Sea think about reincarnation? - The Einstein Twin Experiment and the mystery of time - The research of Drs. Ian Stevenson and Jim Tucker on kids with past life memories - Sea came up with unique philosophical and scientific ways there could be an afterlife different than the typical research - How have people in the scientific community responded to his book? There is a lot of stigma on afterlife topics. - Quantum Entanglement and Spooky Action could add to evidence of an afterlife - Shadow People and the Brane Theory of Dr. Stephen Hawking - Is there a 9th theory Sea would add? - The Branch Theory - Infinite Universe Theory - Dr. Stuart Hameroff and Sir Roger Penrose who won Nobel Prizes and worked with Dr. Stephen Hawking have done research that could explain survival of consciousness - Could anything convince Sea that there definitely is an afterlife? - Could Liz be convinced there isn't? ... and more ⁠⁠Newsletter⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠Website ⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/wtfjusthappened/support

***Click here to join THC+ and get full uninterrupted 2 hour episodes, a dedicated Plus RRS feed, lifetime forum access, merch discounts, & other bonuses like free downloads of THC music.*** See detailed sign up options down below. About Today's Guest: Longtime THC staple, Gordon White of Rune Soup returns to go over our lists for the top 10 paranormal books of all time. Gordon's List: 10 Life After Life by Dr Raymond Moody 9 Return to Life by Dr. Jim Tucker 8 Our Haunted Planet/Operation Trojan Horse by John Keel 7 The Spirit Molecule by Dr Rick Strassman 6 Journeys Out of the Body: The Classic Work on Out-of-Body Experience by Robert A. Monroe 5 Reality of ESP by Dr. Russell Targ 4 The Scole Experiments by Grant & Jane Solomon 3 Real Magic by Dean Radin 2 Book of the Damned by Charles Fort 1 The Super Natural by Jeff Kripal & Whitley Streiber Greg's List: 10 Penetration: The Question of Extraterrestrial and Human Telepathy - Engo Swann 9 Whitley Strieber – Communion 8 Journeys Out of the Body: The Classic Work on Out-of-Body Experience by Robert A. Monroe 7 The Trickster and the Paranormal - George P Hansen 6 Trojan Feast: The Food and Drink Offerings of Aliens, Faeries, and Sasquatch – Joshua Cutchin 5 The Eighth Tower: On Ultraterrestrials and the Superspectrum by John Keel 4 Daemonic Reality: A Field Guide to the Otherworld - Patrick Harpur 3 Scole Experiences. Society for Psychical Research. One of the most important paranormal research books. by Grant & Jane Solomon 2 Passport to Magonia: From Folklore to Flying Saucers - Jacque Vallee 1 Charles Fort Collection/Book of the Damned. THC Links: Website Proper MeetUps Calendar THC T-shirts & Merch Store  Leave a voicemail for the Joint Session Bonus Shows Leave us an iTunes review THC Communities:  Telegram Subreddit THC Plus Sign-Up Options: Subscribe via our website for a full-featured experience, or Subscribe via Patreon, including the full Plus archive, a dedicated RSS feed, & payment through Paypal. To get a year of THC+ by cash, check, or money order please mail the payment in the amount of $96 to: Greg Carlwood PO Box: 153291 San Diego, CA 92195 Cryptocurrency If you'd like to pay the $96 for a year of THC+ via popular Cryptocurrencies, transfer funds and then send an email to support@thehighersidechats.com  with transaction info and your desired username/password. Please give up to 48 hours to complete. Bitcoin: 1AdauF2Mb7rzkkoXUExq142xfwKC6pS7N1 Ethereum: 0xd6E9232b3FceBe165F39ACfA4843F49e7D3c31d5 Litecoin: LQy7GvD5Euc1efnsfQaAX2RJHgBeoDZJ95 Ripple: rnWLvhCmBWpeFv9HMbZEjsRqpasN8928w3 Solana: FvsBazMY9GAWuWqh5RH7musm9MPUw7a5uF6NVxxhNTqi Doge: D7ueXbfcKfhdAWrDqESrFjFV6UxydjsuCC Monero: 4ApmFHTgU72QybW194iJTZHZb6VmKDzqh5MDTfn9sw4xa9SYXnX5PVDREbnqLNLwJwc7ZqMrYPfaVXgpZnHNAeZmSexCDxM

Stephen Hawley Martin (Steve) is a best-selling author and writer of many books, including ones that examine the evidence of life after death, a fascination of his. Among his books are "Life After Death, Powerful Evidence You Will Never Die," "Life After Death, Powerful Evidence You Will Never Die," "ESP: How I Developed My Sixth Sense and So Can You," among others on this type of inexplicable phenomena. While Steve had owned an advertising agency and has written best-selling books, both fiction and non-fiction, on many other topics such as novels and business management books, afterlife evidence has always been a main topic of curiosity for him. Raised in a science-minded materialist family, he was astounded when had an OBE (Out of Body Experience,) possibly an NDE (Near Death Experience) one night when he was twenty-five. This experience, along with some books he discovered around this time opened up a whole new world to him. He also hosted a podcast in the early days of podcasting, where he talked with people such as Dr. Jim Tucker and Dr Julie Beischel. His books discuss the same people - serious science-minded afterlife researchers from places such as DOPS - Division of Perceptual Studies at University of Virginia. In This Episode: - When he was twenty-five, Steve had a terrible flu which lead to a brief OBE, possibly an NDE. - He was raised in a science-minded materialist family, so this was a life-changer for him. - He joined a group called the Rosicrucianism Order, which added to his current understanding of consciousness - He had a podcast where he got to speak with people studying survival of consciousness, such as people from the Division of Perceptual Studies in UVA - Dr. Raymond Moody's book, "Life After Life," helped further his thought that there was an afterlife and understand what hd happened to him -  He had lost his father when he was young - Steve ended up experiencing many synchronicities that furthered his explorations - He does think that reincarnation is part of the explanation - Drs. Ian Stevenson and Jim Tucker who studied/study cases of kids with past-life memories - The researchers at UVA Division of Perceptual Studies and the history of DOPS - Carl Jung and synchronicities - Dr. Julie Beuschel and the research being done by the Windbridge Research Center - Skip Atwater and Remote Viewing - The Monroe Institute - Lynne McTaggart and Henry Stamp and their research - Physics and the splits particle experiment And more... Full notes on “Life After Death, Powerful Evidence You Will Never Die,” Author Stephen Hawley Martin Episode 38 Follow Stephen Hawley Martin⁠: Website | ⁠Email ⁠⁠⁠Get the book - WTF Just Happened?!: A sciencey-skeptic explores grief, healing, and evidence of an afterlife. ⁠⁠⁠ ⁠Contact⁠ | ⁠Newsletter ⁠ ⁠Check the sponsors on our Website ⁠⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/wtfjusthappened/support

Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. 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 I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground.  The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to  get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret".  It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David  Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them),  and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New

Ashley recounts the stories of two children, Ryan Hammond and James Leininger, who remember their past lives, lists a few statistics discovered by Dr. Jim Tucker and Dr. Ian Stevenson, then discusses potential theories as to how these memories are possible. Shanda tells the story of Dorothy Louise Eady, who as a teenager in Britain began to remember her life in ancient Egypt where she was a lover of Pharaoh Seti; then, in the 1931 at age 27, moved to Egypt and helped archeologists with her memories of her past life. You can find us at: Facebook Instagram You can find Shanda at: Facebook Instagram You can find Ashley at: Crimson Moon Farm YouTube Crimson Moon Farm Facebook Crimson Moon Farm TikTok --- Send in a voice message: https://anchor.fm/passingnotes/message Support this podcast: https://anchor.fm/passingnotes/support

Andrew For America presents the 6th installment of his supercut show, which is an artfully assorted arrangement of clips which illustrate Andrew's "always consistent" points. Andrew explains nearly everything! This supercut includes: Obama, Bush, Biden, 9/11, the Rothschilds, the WEF, Albert Pike and the freemasons, the Illuminati, Blackrock, Clayton Morris on Putin's plan to combine oil with gold-backed currency (Petrogold), Milton Friedman on inflation, CBDC's (central bank digital currency) are the end of freedom and ushers in total surveillance, FDR, fascism in America, and how Smedley Butler saved us all, Project Artichoke, JFK on weather control, why does the UN building in Senegal, West Africa look like a hurricane, chemtrails, MLK, Gandhi, and other “created heroes” who worked for the elite, Hitler worked with the Zionists, presidential inaugurations happen simultaneously with the raising of Osiris ceremony, Luciferian doctrine and the tenets of satanism, Naomi Wolf on fabricated fiction in mainstream media, the Smith-Mundt Modernization Act, propaganda, Osama Bin Laden was a CIA "creation," JP Morgan funded Epstein, Milton William Cooper predicted 9/11 and sums up everything, the "Insurrection" was a pathetic attempt at the German Reichstag Fire, Jim Tucker on the Bilderberg Group, the CIA interrogated Jesse Ventura while he was governor, FTX, The Black, White, and Grey Pope, The Black Nobility, MK Ultra and the CIA flooding our streets with psychedelic drugs, how we are dumbed down, poisoned, and programmed since birth, and more! Visit politicsandpunkrockpodcast.com and buy a t-shirt or donate to the show! Visit altmediaunited.com and check out all the awesome podcasts! Visit allegedlyrecords.com and check out all of the amazing punk rock artists! Visit patreon.com/andrewforamerica and become a "My Fellow American" subscriber for only $3 per month! Visit soundcloud.com/andrewforamerica1984 to check out Andrew's music!

Bernard Beitman, M.D.: “It's a good idea to get lost every once in a while.” Bernard, a psychiatrist and founder of the Coincidence Project, joins mbg co-CEO, Jason Wachob, to discuss how to make sense of random coincidences, plus: - How Bernard became an expert in coincidences (~01:18) - What is a coincidence? (~03:04) - How to identify synchronicity, seriality, and serendipity (~06:14) - How to make meaning of coincidences (~12:57) - How to find coincidences without overanalyzing them (~15:42) - What drives random coincidences (~19:56) - What sciences says about coincidences (~21:45) - What type of person is more likely to see coincidences (~25:12) - How animals can give us emotional signals (~30:26) - How to communicate with plants (~32:39) - What to do after you notice a coincidence (~39:00) - How to make the most out of coincidences (~40:51) - How to attract more coincidences in your life (~48:50) - How to tap into your internal GPS (~54:23) - The most awe-inspiring stories of synchronicity (~58:16) - Why coincidences deserve more science (~01:05:55) Referenced in the episode: - Bernard's book, Meaningful Coincidences: How and Why Synchronicity and Serendipity Happen. - Read Bernard's profile in the WSJ.  - Learn more about the Coincidence Project. - Take Bernard's coincidence survey. - Check out Bernard's podcast, Connecting with Coincidence 2.0. - mbg Podcast episode #301, with Jim Tucker, M.D. - mbg Podcast episode #287, with Bruce Greyson, M.D. - mbg Podcast episode #344, with Lisa Miller, Ph.D. We hope you enjoy this episode, and feel free to watch the full video on Youtube! Whether it's an article or podcast, we want to know what we can do to help here at mindbodygreen. Let us know at: podcast@mindbodygreen.com.

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

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Is reincarnation real? We think so and so does SCIENCE! This week, Liv looses her mind as she recounts her deep-dive into the scientific study and stories of reincarnation. It turns out that our past lives may influence our current existence more than we think. From our “unexplained”childhood fears and phobias to just outright creepy statements our childhood selves and current psychic psyche may remember more than we think. But can we prove it? James Leininger is one of many reincarnation CORT cases. Exhibiting a slew of type B and some type A reincarnation characteristics which Dr. Jim Tucker, Director of Perceptual Studies at the University of Virginia School of Medicine, has epically documented. Tune in to find out how your past life may influence your current life. How reincarnation has been documented in the past. And how scientists today have created an entire segment of research to the metaphysical mash-up of classical psychology and current parapsychology to better understand our lives before. Perhaps we can help jog your souls' memories. Honoring James McCready Huston and those who have lost their lives defending their country - https://www.honorstates.org/index.php?id=359263CHECK OUT DR. JIM TUCKER'S PUBLICATION - Dr. Jim Tucker Director of Perceptual Studies - Journal of Scientific Exploration: Anomalies and Frontier Science, Responses To Sudduth's “James Leininger Case Re-Examined”. - https://med.virginia.edu/perceptual-studies/wp-content/uploads/sites/360/2022/05/Tucker-JSE-Response-to-JL-crit-2487-Article-Text-12829-1-10-20220522-1.pdfFOR MORE WATCH THE VIDEO ON THIS TOPIC: https://youtu.be/YsVltrqbliEOR READ THE BLOG: https://www.metapsyckicks.com/journalOR JOIN OUR PATREON: https://www.patreon.com/metapsyckicks——-BOOK A PSYCHIC MEDIUM READING:Olivia the Medium: https://www.metapsyckicks.com/our-servicesBOOK A TAROT READING:Emily the Intuitive: https://www.metapsyckicks.com/our-services-----RECOMMENDED PRODUCTS:Our YouTube Setup ►► https://kit.co/metapsyckicks/meta-psyckicks-youtube-setupOur Podcast Setup ►► https://kit.co/metapsyckicks/meta-psyckicks-podcasting-setupEm's Tarot Collection ►► https://kit.co/metapsyckicks/em-s-tarot-card-collectionOther Divination Tools: ►► https://kit.co/metapsyckicks/other-divination-toolsDISCLAIMER: This description might contain affiliate links that allow you to find the items mentioned in this video and support the channel at no cost to you. While this channel may earn minimal sums when the viewer uses the links, the viewer is in NO WAY obligated to use these links. Thank you for your support!-----ARE YOU A PSYCHIC QUIZ: https://www.metapsyckicks.com/extrasTELL US YOUR PARANORMAL STORIES HERE: https://www.metapsyckicks.com/extrasCHECK OUT OUR WEBSITE AND BLOG:www.metapsyckicks.comEMAIL US: metapsyckicks@gmail.com——-SAY HI ON SOCIAL:YouTube: https://www.youtube.com/channel/UC-Np1K0QH8e-EDHhIxX-FaAInstagram: https://www.instagram.com/metapsyckicksTikTok: https://www.tiktok.com/@metapsyckicks?lang=enFacebook: https://www.facebook.com/Meta-PsycKicks-107812201171308Em's Pet Channel - Chin Villain: https://www.youtube.com/chinvillainOlivia The Medium:Instagram -  https://www.instagram.com/oliviathemedium/Twitter - https://twitter.com/OliviaTheMediumSupport this podcast at — https://redcircle.com/meta-psyckicks/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Today we welcome Dr. Jim Tucker who is a child psychiatrist and the Bonner-Lowry Professor of Psychiatry and Neurobehavioral Sciences at the University of Virginia. He is Director of the UVA Division of Perceptual Studies, where he is continuing the work of Dr. Ian Stevenson on reincarnation. He has been invited to speak about his research on Good Morning America, Larry King Live, and CBS Sunday Morning. He recently published BEFORE: Children's Memories of Previous Lives, a 2-in-1 edition of his previous books.In this episode, I talk to Dr. Jim Tucker about the science of reincarnation. We delve into his research findings and methodology on children who claim to remember their previous lives. Dr. Tucker notes that these children don't just recall biographical details of their past, but they also retain feelings and emotions. His findings have important implications for how we understand consciousness. We also touch on the topics of mortality, trauma, quantum physics, and panpsychism. Website: www.uvadops.orgFacebook: /jimbtuckermd Topics02:15 Dr. Ian Stevenson's research04:59 Psychophore06:39 Dr. Jim Tucker's interest in reincarnation 10:01 Past life statements and unusual play18:34 Announcing dreams, predictions, birthmarks25:13 Fraud, self-deception, fantasy30:18 Genetic memory 34:21 Transfer of consciousness 39:07 Why are past memories so fleeting?41:10 Are we all reincarnated?42:20 Death, trauma, and growth across lifetimes48:08 Panpsychism and multiverses

LifeBlood: We talked about answering the question “Do I need a financial advisor,” how to think about and set your financial foundation, common mistakes people make, and how to get started with Jim Tucker, CFP, CRPS and Wealth Advisor with Tucker Brian Wealth Strategies.   Listen to learn why you shouldn't let complexity keep you from financial success! You can learn more about Jim at TuckerBria.com, YouTube and LinkedIn. Thanks, as always for listening!  If you got some value and enjoyed the show, please leave us a review here: ​​https://ratethispodcast.com/lifebloodpodcast You can learn more about us at LifeBlood.Live, Twitter, LinkedIn, Instagram, YouTube and Facebook or you'd like to be a guest on the show, contact us at contact@LifeBlood.Live.  Stay up to date by getting our monthly updates.