Podcasts about Jimmy Scott

**It's The Relax With Rendell Show Replay On Trax FM & Rendell Radio. Rendell Featured Soul & Boogie/Rare Groove/80's & 70's Grooves/Easy Listening Cuts From Sylvers, Roundtree, Originals, Nappy Brown & Kip Anderson, Love De-Luxe, Jimmy Scott, Heat Exchange, Father's Children, Electric Hand Band, Duncan Sisters, Congress, 24 Karat Gold & More. #originalpirates #soulmusic #disco #reggae #raregroove #easylistening #boogiefunk Catch Rendell Every Saturday From 8PM UK Time The Stations: Trax FM & Rendell Radio Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Join us in-person for a discussion with performance, as we delve into music and the technology revolution, hearing Black voices on how technology is impacting our music. African Americans have played an outsized and pivotal role in American and global music. At most of the shifts and transitions in music driven by technology and culture, Black Americans have been in the forefront. Join us for a discussion of the past, present and future of the mix of technology and music with a focus on African American innovation.  In addition to the panel discussion, we will end with a short suite of performances by the presenters. About the Speakers Award winning recording artist Nicolas Bearde is a singer-songwriter, actor and educator whose career has spanned more than 35 years. Born and raised in Nashville, TN, the second of 7 children, he has toured the globe with many of today's jazz legends, such as Bobby McFerrin, Nat Adderley, Jr., Bernard Purdie, Vincent Herring and more. His style is likened to Lou Rawls, Nat King Cole and Bill Withers and he is known for his “velvet voice,” wit and engaging rapport that has drawn audiences into his live performances around the world. As an educator, Nicolas has worked with the California Jazz Conservatory and Jazz Camp West teaching “Vocal Intensive” workshops, skills he honed on the road as a member of Bobby McFerrin's wildly innovative a cappella ensemble, “Voicestra” for more than 10 years, and was the chair of “popular voice” for the Young Arts Foundation in Miami, Florida for 5 years. Phil Hawkins is a drummer and media producer living in San Francisco. He regularly performs with Ray Obiedo, Pete Escovedo and other local artists. Phil operates a media production business that offers audio recording, mixing, and mastering for videography, photography, and graphic design services. He has taught music production at the college level for more than 20 years. Glen Pearson is both a noted pianist as well as the current head of music studies at the College of Alameda. He began playing piano at age 6 and was playing professionally by age 15. He has appeared on stage, television and on recordings with such notables as Regina Belle, Jimmy Scott, Diane Reeves, Marlena Shaw, Bobby Hutcherson and Nicolas Bearde, and served for 11 years as the musical/band director for the world-renowned Boy's Choir of Harlem. For the past 5 years he toured with The Count Basie Orchestra, who's latest record, Basie Swings the Blues, netted “Best Large Jazz Ensemble Album” at the 2024 Grammy Awards. Organizer: Gerald Anthony Harris   An Arts Member-led Forum program. Forums at the Club are organized and run by volunteer programmers who are members of The Commonwealth Club, and they cover a diverse range of topics. Learn more about our Forums. Bearde photo by James Barry Knox Photography; Pearson photo by Timothy Bryan Burgess; additional photos courtesy the speakers. Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:30:02 - Jazz Collection - par : Alex Dutilh - Les voix buissonnières, ce sont des voix hors des sentiers battus, à l'écart des clichés attendus des chanteuses ou des chanteurs de jazz. Dans cet épisode, Blossom Dearie, Maxine Sullivan, Rose Murphy, Jimmy Scott, Chet Baker, Lisa Ekdahl, Kat Edmonson, Cyrille Aimée, Ken Nordine. - réalisé par : Pierre Willer

durée : 00:54:41 - Very Good Trip - par : Michka Assayas - Ce soir, Michka Assayas nous entraîne dans un rêve, mais un de ces rêves dont on ne sait trop s'ils sont heureux ou si c'est tout le contraire. - réalisé par : Stéphane Ronxin

 In today's episode, Saranne, the founder of the Comedy Cures Foundation, shares her personal journey of beating Stage IV cancer and the source of her courage during treatment. She delves into the power of a particular song, "If I Were Brave" by Janice Stanfield and Jimmy Scott, which became her anthem throughout her battle. Saranne reflects on the lyrics that resonated with her deeply, inspiring her never to lose faith and take courageous steps each day. She also recounts a heartwarming encounter with Jana Stanfield, the songwriter, and how their connection led to a memorable performance together. Join Saranne as she explores the transformative impact of music and encourages listeners to find their own sources of strength and inspiration. The #1 Rated Cancer Survivor Podcast by FeedSpot and Ranked the Top 5 Best Cancer Podcast by CancerCare News, Beating Cancer Daily is listened to in more than 91 countries on six continents and has over 300 original daily episodes hosted by stage IV survivor Saranne Rothberg!   To learn more about Host Saranne Rothberg and The ComedyCures Foundation:https://www.comedycures.org/ To write to Saranne or a guest:https://www.comedycures.org/contact-8 To record a message to Saranne or a guest:https://www.speakpipe.com/BCD_Comments_Suggestions To sign up for the free Health Builder Series live on Zoom with Saranne and Jacqui, go to The ComedyCures Foundation's homepage:https://www.comedycures.org/ Please support the creation of more original episodes of Beating Cancer Daily and other free ComedyCures Foundation programs with a tax-deductible contribution:http://bit.ly/ComedyCuresDonate THANK YOU! Please tell a friend who we may help, and please support us with a beautiful review. Have a blessed day! Saranne

Sally returns this week to discuss The Roadhouse MC. We talk about the significance of his introductions, use of colors in his scenes, speculate if he is the same person portrayed by Jimmy Scott in The Original Series and how it builds up into Audrey Horne's arc.   Sally on Social Media: https://www.instagram.com/mylifeistwinpeaks/ https://www.instagram.com/mistyglamoire/ https://www.instagram.com/mistyglamoirepoison/   Intro/Outro: "My Prayer" by Agent Ivy 

My lawyer has advised that I don't finish the bit in the title. We're coming off the bye week and getting right back into it. #1 Pitt volleyball has their game of the year this Friday in the Pete against the hated Birds With Teeth. Pitt is looking to continue its dominance over Syracuse and Thursday Nights under Pat Narduzzi. A full preview of the McCord-Holstein showdown, a recap of Week 8 in ACC play, and previewing a fun Week 9 slate on a Saturday where Pitt is off. If you liked the podcast, be sure to follow us on Twitter @semplefipod rate us on your podcast app of choice! It helps out the show tremendously. Hosted & Produced by Zack Kaminski, who writes on Substack and has been featured on Meet at Midfield. Co-hosted by Kent VanderWoude and Mason Kling. Podcast Art & Logo were commissioned from friend of the show Birdblitz.Contact us by email at semplefipodcast@gmail.com

Pitt football is 6-0 for the first time since 1982. We're breaking down the offensive struggles in their 17-15 home win and the resurgence of the defense to keep a zero in the loss column. Shoutout Ben Sauls. The gang is back, breaking down Week 7 and  previewing Week 8 in college football. If you liked the podcast, be sure to follow us on Twitter @semplefipod rate us on your podcast app of choice! It helps out the show tremendously. Hosted & Produced by Zack Kaminski, who writes on Substack and has been featured on Meet at Midfield. Co-hosted by Kent VanderWoude and Mason Kling. Podcast Art & Logo were commissioned from friend of the show Birdblitz.Contact us by email at semplefipodcast@gmail.com

Post-Gazette Pitt insiders Stephen Thompson and Christopher Carter break down the Panthers' 17-15 win over Cal on Saturday at Acrisure Stadium. What led to the role reversal — where the Panthers defense had to bail out the offense instead of the other way around? Why did Eli Holstein struggle and have his first truly bad game as a college football player? Why were Jimmy Scott, Braylan Lovelace and the Panthers defensive front able to pressure Golden Bears quarterback Fernando Mendoza? And is it time Pitt fans start considering a trip to the College Football Playoff as a possibility? Our duo tackles those topics and more.

In today's episode, Saranne, the founder of the Comedy Cures Foundation, shares her journey of beating Stage IV cancer and the source of her courage during treatment. She delves into the power of a particular song, "If I Were Brave" by Janice Stanfield and Jimmy Scott, which became her anthem throughout her battle. Saranne reflects on the lyrics that resonated with her deeply, inspiring her never to lose faith and take courageous steps each day. She also recounts a heartwarming encounter with Jana Stanfield, the songwriter, and how their connection led to a memorable performance together. Join Saranne as she explores the transformative impact of music and encourages listeners to find their sources of strength and inspiration.The #1 Rated Cancer Survivor Podcast by FeedSpot and Ranked the Top 5 Best Cancer Podcast by CancerCare News, Beating Cancer Daily is listened to in more than 91 countries on six continents and has over 300 original daily episodes hosted by stage IV survivor Saranne Rothberg!   To learn more about Host Saranne Rothberg and The ComedyCures Foundation: homepage: https://www.comedycures.org/ To write to Saranne or a guest: https://www.comedycures.org/contact-8 To record a message to Saranne or a guest: https://www.speakpipe.com/BCD_Comments_Suggestions To sign up for the free Health Builder Series live on Zoom with Saranne and Jacqui, go to The ComedyCures Foundation's homepage: https://www.comedycures.org/ Please support the creation of more original episodes of Beating Cancer Daily and other free ComedyCures Foundation programs with a tax-deductible contribution: http://bit.ly/ComedyCuresDonate THANK YOU! Please tell a friend who we may help, and please support us with a beautiful review. Have a blessed day! Saranne

PITT WINS THE 2024 BACKYARD BRAWL, 38-34.Episode art is a photo from Matt Hawley. If you liked the podcast, be sure to follow us on Twitter @semplefipod rate us on your podcast app of choice! It helps out the show tremendously. Hosted & Produced by Zack Kaminski, who writes on Substack and has been featured on Meet at Midfield. Co-hosted by Kent VanderWoude and Mason Kling. Podcast Art & Logo were commissioned from friend of the show Birdblitz.Contact us by email at semplefipodcast@gmail.com

Helping out Buffalo Boxing

Presented by Juliette Caton. Edited by Sam Benoiton. Nina Sun Eidsheim (she/her) is Professor of Musicology, at UCLA Herb Alpert School of Music. She is also a vocalist and the founder and director of the UCLA Practice-based Experimental Epistemology Research (PEER) Lab, an experimental research Lab dedicated to decolonializing data, methodology, and analysis, in and through multisensory creative practices.  She writes about voice, race, and materiality, including the books Sensing Sound: Singing and Listening as Vibrational Practice and The Race of Sound: Listening, Timbre, and Vocality in African American Music. Publications include The Race of Sound: Listening, Timbre, and Vocality in African American Music (Duke University Press, 2019); Sensing Sound: Singing and Listening as Vibrational Practice (Duke University Press, 2015); Oxford Handbook of Voice Studies (co-editor, OUP, 2019); and she is co-editor of the Refiguring American Music book series for Duke University Press. Her work has been recognized in many ways, including by the Mellon Foundation Fellowship, Cornell University Society of the Humanities Fellowship, the UC President's Faculty Research Fellowship and the ACLS Charles A. Ryskamp Fellowship. She received her bachelor of music from the voice program at the Agder Conservatory (Norway); MFA in vocal performance from the California Institute of the Arts; and Ph.D. in Musicology from the University of California, San Diego.  VOICE CHOICE Listen to Nina's favourite vocal performance ‘This Love Of Mine' by Jimmy Scott on the VocalScope Podcast Guests Playlist on Spotify: ⁠https://open.spotify.com/playlist/4pjclKQVRnnUnMW0vgu0H0⁠ The Race of Sound is part of an open source program and free here, if you're interested: https://escholarship.org/uc/item/9sn4k8dr If you want to purchase the paper back copy with a 30% discount code (no expiration date) for both Sensing Sound and The Race of Sound: E24EIDSH https://www.dukeupress.edu/the-race-of-sound⁠ https://www.dukeupress.edu/sensing-sound Follow Nina: @ninaeidsheim (Instagram) @peerlabucla (Instagram) Join the ⁠VOCALSCOPE BOOK CLUB⁠ Train your voice with JULIETTE CATON in the ⁠VOCALSCOPE VOICE STUDIO⁠ Follow Vocalscope: @‌vocalscope & @‌vocalscopevoice www.vocalscopevoice.com

Jimmy Scott / James Victor Scott (1925-2014)When Jimmy was first heard on records, the audience assumed it was a woman. He was a one of a kind jazz vocalist, a phenomenon who lived a challenging existence, trying to negotiate his intersexuality with the prejudicial attitudes and toxic stigma of the 1940s and 50s. This caused him to adopt an aggressively “male” stance in order to survive and maintain his equilibrium. The 60s and 70s brought some improvement - career wise, but his greatest recognition found him towards the end of his life.  There is, however, an abundant and glorious discography that he left behind for the ages.https://www.washingtonpost.com/entertainment/music/jimmy-scott-hard-luck-singer-with-a-haunting-voice-dies-at-88/2014/06/13/270725b6-48c3-11e3-a196-3544a03c2351_story.htmlhttps://www.discogs.com/artist/129731-Jimmy-Scott

In 2023, Memphis earned the dubious distinction of being ranked the second most overweight city in America. With the health of our city on the line (literally!), medical professionals across organizations are joining hands to rally for our community. Healthier 901 aims to help Mid-Southerners create small changes to access the vibrant quality of life we all deserve. Here with us to discuss the initiative are Tabrina Davis, Dr. John Leslie, and Jimmy Scott. Resources mentioned in this episode include: Healthier 901 Methodist Le Bonheur Healthcare Learn more about Jimmy Scott's journey here Side effects of obesity according to the CDC Mid-South health challenges according to UTHSC A note of motivation from Methodist's CEO This episode is made possible in partnership with Independent Bank.

Cela faisait longtemps que l'on voulait le faire : hurler (James?) notre amour pour David Lynch ! Episode spéciale donc ou on parlera de façon classique du film Une histoire Vraie, le film le plus abordable du cinéaste mais loin d'être le moins intéressant. Ensuite on enchainera avec une review de toute la filmo du Davidou Lynchou (enfin sauf les court métrage trop chelopus). Enfin on se quittera avec une magnifique chanson de Jimmy Scott issue de la BO de la saison 2 de Twin Peaks (et twin peaks c'est le meilleure truc au monde). Attention podcast où l'on va beaucoup se toucher. Le Film : Une histoire vraie de David Lynch (1999)La Zik : Sycamore Trees de Jimmy Scott (1992)Issue de la BO de twin peaks : Fire Walks With Me.

Sperber Dan digs around in recent releases, finding local gems by Mel Stevenson and Christoph El Truento, UK jazz scene highlights and more. Later it's off to the op shop for Dollar Disco, Jazz Show style. Then, after some very contemporary vocal numbers, we pause to reflect with Bill Evans and Jimmy Scott, finishing with some groove classics.

Sperber Dan digs around in recent releases, finding local gems by Mel Stevenson and Christoph El Truento, UK jazz scene highlights and more. Later it's off to the op shop for Dollar Disco, Jazz Show style. Then, after some very contemporary vocal numbers, we pause to reflect with Bill Evans and Jimmy Scott, finishing with some groove classics.

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

In today's episode, Saranne, the founder of the Comedy Cures Foundation, shares her personal journey of beating Stage IV cancer and the source of her courage during treatment. She delves into the power of a particular song, "If I Were Brave" by Janice Stanfield and Jimmy Scott, which became her anthem throughout her battle. Saranne reflects on the lyrics that resonated with her deeply, inspiring her never to lose faith and take courageous steps each day. She also recounts a heartwarming encounter with Jana Stanfield, the songwriter, and how their connection led to a memorable performance together. Join Saranne as she explores the transformative impact of music and encourages listeners to find their own sources of strength and inspiration.Welcome to the Beating Cancer Daily Podcast from ComedyCures.org, a charity that brings laughter, hope, and healing to millions of people affected by cancer worldwide. Founded by Saranne Rothberg, a Stage IV cancer survivor, our mission is to help you rediscover your funny bone, mojo, and purpose. We've already uplifted and empowered over one million individuals through groundbreaking studies, live and digital events, and the "Beating Cancer Daily" podcast. And now, we're inviting you to join us and make a difference in the lives of those battling cancer. Meet Saranne Rothberg, Cancer Survivor and Laughter Advocate In 1999, Saranne launched The ComedyCures Foundation from her chemo chair with a "Chemo Comedy Party." Now cancer-free, she's dedicated her life to helping others find strength, courage, and laughter in their fight against cancer. As a healthcare thought leader, speaker, patient advocate, and health and happiness expert, Saranne's work has garnered recognition and support from prestigious organizations like the NIH/NCI, the United Nations, the World Health Organization, and numerous universities and cancer societies. Saranne's transformative strategies, research findings, fun, practical tips, and comic insights can be found in the "Beating Cancer Daily" podcast and the BCD Membership Circle, where she helps listeners navigate their treatment and survivorship with humor and resilience. Wondering How You Can Support the Beating Cancer Daily and ComedyCures.org? By becoming a supporter of ComedyCures.org, you'll help us continue our essential programs and research. Your generosity will significantly impact cancer patients, caregivers, doctors, nurses, and researchers worldwide. Choose your level of support:Supporter: $50 (or $5 per month)Friend: $150 (or $15 per month)Champion: $500 (or $50 per month)VIP: $5,000 annually [Click Here to DONATE]    Share the Laughter with Beating Cancer Daily PodcastLove the podcast? Share it with a friend and spread the laughter! Your support and word-of-mouth recommendations are invaluable in helping us reach more people who need a little humor and hope during their cancer journey. And we really want to hear from you. Click Here to Record a Voice Mail or Write a Note and let us know how the Beating Cancer Daily strategies are going for you. Need a Chuckle Between Episodes?Call the ComedyCures LaughLine®, our free 24/7 joke hotline.Dial (888) Ha-Ha-Ha-Ha 888-424-2424 Press 1 to hear a professional comedian, 2 to hear an amateur joke teller, or 3 to record your jokes and laughter. Over 100 comedians have participated in our interactive LaughLine, and you can find them on the Comedians' page. ComedyCures: More Than Just a PodcastOur Beating Cancer Daily Podcast is just the beginning. We're conducting innovative studies and research, such as the eight-week Mindset and Metastatic Research Study, which uses artificial intelligence to investigate personalized stress reduction strategies for women living with advanced cancer. The American Association for Cancer Research recognized this pioneering study as "Leading Discoveries." [Click Here to DOWNLOAD THE 2021 STUDY] Your support is crucial to our ongoing mission to help people survive cancer with humor, hope, and healing. By donating to ComedyCures.org, you're not just contributing to a podcast; you're providing vital resources for groundbreaking studies, live and digital events, and ongoing support for cancer patients and their families.Join us today in our quest to bring laughter and hope to those who need it most. Make a donation, share our podcast, and help us spread the word about the incredible power of comedy in curing cancer.[Click Here to DONATE NOW] 

When he was a young teen, Oscar Herrera (Former lead singer with The Sleep of Reason, Halo, El Duende and Black Tape for a Blue Girl) discovered the Beatles and there was no looking back. When he and his wife had children they made sure that music - and especially the Beatles - was front-and-center in their lives. For this special episode, Oscar is joined by his daughter Danielle Herrera as they unpack some songs from the Fab Four's 1968 release 'The Beatles' aka The White Album. Along the way they are both amused and slightly confused by Rob's lack of familiarity with the record, and it's a super-fun conversation! I'm So Tired - Alex Chilton; These Fleeting Moments, She's Gone - Black Tape For A Blue Girl; Sgt. Pepper's Lonely Hearts Club Band, Back In The U.S.S.R. - The Beatles; California Girls - The Beach Boys; Dear Prudence - Siouxsie & The Banshees; Dear Prudence - The Beatles; You Shouldn't Be So Sad - The Kinks; Sand and Foam - Donovan; Ob-La-Di Ob-La-Da Story (part 1) - Jimmy Scott; Ob-La-Di Ob-La-Da - The Beatles; Goo Goo Itch - DEVO; The Continuing Story Of Buffalo Bill, While My Guitar Gently Weeps - The Beatles; What Is Life - George Harrison; Happiness Is A Warm Gun - The Breeders; Happiness Is A Warm Gun, Martha My Dear, Blackbird, Piggies, Rocky Raccoon, I Will, Julia, Sexie Sadie - The Beatles; Mr Blue Sky - E.L.O.; Everybody's Got Something To Hide Except Me And My Monkey, Helter Skelter - The Beatles; Helter Skelter - Siouxsie & The Banshees; Revolution, Revolution 1, Cry Baby Cry, Revolution 9, Good Night - The Beatles; Good Night - Linda Ronstadt

#807 - Grégoire Maret The Grégoire Maret Interview is featured on The Paul Leslie Hour. Are you here? Let me guess, you're here. And let me guess you want to get in and out with today's show. You heard it's a short interview from the archives on this episode of The Paul Leslie Hour. Right. It's the interview with jazz artist Grégoire Maret. Now folks, sometimes Paul is only given a few minutes with the special guest, but what remains is nonetheless a little piece of history. Some of the interviews aren't long, but they're potent. Like this one. Ok. So, Grégoire Maret is a musician, recording artist and concert performer from Geneva, Switzerland. He is recognized as the top jazz harmonica players. Grégoire worked with people like Jimmy Scott, Pat Metheny, Marcus Miller, George Benson and many others. On this episode, he is interviewed about his debut solo album "Grégoire Maret” and more. You want to do us a favor? Oh, thank you. Just subscribe to The Paul Leslie Hour on YouTube and ring that bell. www.youtube.com/thepaulleslie If you're really in the mood to help, just go to www.thepaulleslie.com/support and put a little soup in our bowl. Know what I mean? We thank you all. And now folks, we must do what we set out to do. It's the Grégoire Maret interview. It's a short one today, but there's some cool things to learn. Roll tape. The Paul Leslie Hour is a talk show dedicated to “Helping People Tell Their Stories.” Some of the most iconic people of all time drop in to chat. Frequent topics include Arts, Entertainment and Culture.

Happy Halloween Hobos!! Send questions and comments to theretrohale@gmail.com Thanks for listening, ENJOY IT! Special thanks to: Jimmy Scott www.freesound.org and all their contributors

Un programa de música para gente que le gusta la música. Ep.17: La revancha de Chunga. Oliver Nelson, Ari Joshua, Jup Do Bairo, Fémina, Jimmy Scott, Rosinha de Valença, Jazzanova, y más, más y más!! Conduce Cintia Rodil. Musicalizan Cintia y Agustín Dellagiovanna. Edita Diego Carrera.

For some artists, they get popular quickly. Maybe it's their location, the "it" factor, inside connections. For some other artists, it takes them years of hard work and dedication. Through the discipline, they are able to carve out a niche for themselves and might get popular through that. Some artists never make it. Some get close then something thwarts it. Jimmy Scott aka Little Jimmy Scott was a jazz vocalist like no other. From his phrasing to his ability to put so much emotion into his voice, Jimmy was recognized by anyone whose seen him that he was special. Held back from a bad deal at Savoy Records, Jimmy Scott's attempts to record and play live hit obstacle after obstacle for decades. After a performance at a funeral for his friend Doc Pomus, Jimmy Scott was able to get a new deal and gained popularity in his late 70's. This 'Lum podcast is about the ones that don't make it, barely make it, should have made it, and sometimes beyond all odds sometimes do...even if it takes forever. feel free to reach me at intricatedialect@gmail.com or IG intricate dialect made by intricate dialect and mixed by Timo 1-2 --- Support this podcast: https://anchor.fm/thelumpodcast/support

The last song is sung by Jimmy Scott. Wikipedia : After success in the 1940s and 1950s, Scott's career faltered in the early 1960s. He slid into obscurity before a comeback in the 1990s. His unusual singing voice was due to Kallmann syndrome, a rare genetic disorder that limited his height to 4 feet 11 inches (150 cm) until the age of 37, when he grew by 8 inches (20 cm). The syndrome prevented him from reaching classic puberty and left him with a high voice and unusual timbre.

Peace and love world. Today we welcome the great and powerful Jimmy Scott Jr

Lewis Allan Reed (March 2, 1942 - October 27, 2013) was an American musician, singer, songwriter, and poet. He was the guitarist, singer, and principal songwriter for the rock band the Velvet Underground and had a solo career that spanned five decades. Although not commercially successful during its existence, the Velvet Underground became regarded as one of the most influential bands in the history of underground and alternative rock music. Reed's distinctive deadpan voice, poetic and transgressive lyrics, and experimental guitar playing were trademarks throughout his long career. In this episode 100 of the songs Reed considered the greatest of all time, as shared with the Helsinki Music Club in 2004. Lineup: Ornette Coleman, Eddie & Ernie, Rahsaan Roland Kirk, Ray Charles, Little Richard, The Excellents, Lorraine Ellison, Elvis Presley, Carl Perkins, Chuck Berry, Billy Lee Riley, Wanda Jackson, Nolan Strong & The Diablos, Roy Orbison, Musical Creations Studio Musicians (Karaoke), Fats Domino, Dion & The Belmonts, Hank Williams, Bo Diddley, Chris Connor, Chet Baker, Jimmy Scott, The Mellows, Otis Redding, Jimi Hendrix, Ike & Tina Turner, Sam Cooke, Jerry Lee Lewis, J.J. Cale, Ry Cooder, (question mark) & The Mysterians, Ameritz Top Tracks, Huey 'Piano' Smith, His Clowns, Bobby Charles, Clarence 'Frogman' Henry, Jimmy Reed, John Lee Hooker, Albert King, Booker T. & the M.G.'s, Wilson Pickett, Sam & Dave, The Youngbloods, The Left Banke, The Students, Jackie & The Starlites, The Easybeats, The Cadillacs, Hank Ballard & The Midnighters, B.B. King, Al Green, Ricky Nelson, James Brown & The Famous Flames, Laurie Anderson, Kate Bush, The Beach Boys, Link Wray, Ann Peebles, Skeeter Davis, Bob Dylan, Peter Gabriel, Carpenters, Charlie Dore, The Rolling Stones, Bobby 'Blue' Bland, Solomon Burke, Sly & The Family Stone, Etta James, Carla Thomas, Clarence Carter, Aretha Franklin, Ameritz Karaoke Entertainment, James & Bobby Purify, Aaron Neville, Lee Dorsey, Detroit, U2, John Lennon, Moe Tucker, Stevie Wonder, Marvin Gaye, The Chiffons

In this month's episode of the Men In Progress series, host Dave Casey is joined by Chris Robinson, Andy Juett, and Jimmy Scott to discuss faith, fatherhood, and how one informs the other raising kids in a challenging world. Men In Progress is a monthly series within the Life+ God Podcast hosted by the United Methodist Men of Trietsch.

On this episode of Money Making Conversations Master Class I am joined by the Grammy-nominated Jazz duo, Marcus and Jean Baylor, an astonishing duo built on love, family, faith, culture and community. Topics Covered on this Episode:Telling Authentic Stories Through MusicUnderstanding Purpose to stay motivatedSuccessfully working with family.Musical History More on the Baylor ProjectThe Baylor Project notably rose to prominence in 2017 when they released their debut album The Journey. A smashing international success, it debuted at #1 and #8 on the iTunes and Billboard Jazz charts respectively, garnered world-wide acclaim from top-tier media, and went on to receive two GRAMMY® nominations (for Best Jazz Vocal Album and Best Traditional R&B Performance for their song “Laugh And Move On”). “The Journey was an introduction to the Baylor Project and established that foundation of our sound,” explains Marcus. “Generations is an extension of that sound and goes way deeper into our story, life and culture.” More on Marcus & Jean BaylorJean, a New Jersey native, was introduced to jazz in college as a Vocal Performance Major at Temple University, where she was heavily influenced by artists such as Carmen McCrae, Jimmy Scott, and Shirley Horn. She subsequently made her mark as one-half of the platinum recording duo, Zhane´. In time, Jean grew into a composer, arranger, producer and bandleader. She has been a featured guest artist on performances and recordings with artists including Yellowjackets, Kenny Garrett, Marcus Miller and legendary bassist, Buster Williams.Marcus, a St. Louis native, is widely recognized as the former member and drummer of the GRAMMY® Award winning jazz quartet, Yellowjackets. While attending The New School for Jazz and Contemporary Music, he began touring and recording with Cassandra Wilson and went on to work with artists including Kenny Garrett and John Scofield. Since then, Marcus has come into his own as a composer, arranger, producer and bandleader.Support the show: https://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.

On this episode of Money Making Conversations Master Class I am joined by my dear friend Melody Shari Holt and the Grammy-nominated Jazz duo, Marcus and Jean Baylor.Topics Covered on this Episode:Balancing motherhood and businessRebranding after divorceTips for starting a successful company.Telling Authentic Stories Through MusicUnderstanding Purpose to stay motivatedMore on Melody ShariMelody's entrepreneurial ambitions have led her to become the CEO of a multi-million-dollar property preservation business, the star and producer of the Oprah Winfrey Network's (OWN) Love & Marriage: Huntsville, and the literal beauty behind the Seventh Avenue Beauty brand. The mom of four isn't ready to stop there. She launched Masterclass with Melody in June of 2020 and has used the platform to teach over 400 entrepreneurial hopefuls tried and true methods for building a profitable brand. More on Marcus & Jean BaylorJean, a New Jersey native, was introduced to jazz in college as a Vocal Performance Major at Temple University, where she was heavily influenced by artists such as Carmen McCrae, Jimmy Scott, and Shirley Horn. She subsequently made her mark as one-half of the platinum recording duo, Zhane´. In time, Jean grew into a composer, arranger, producer and bandleader. She has been a featured guest artist on performances and recordings with artists including Yellowjackets, Kenny Garrett, Marcus Miller and legendary bassist, Buster Williams.Marcus, a St. Louis native, is widely recognized as the former member and drummer of the GRAMMY® Award winning jazz quartet, Yellowjackets. While attending The New School for Jazz and Contemporary Music, he began touring and recording with Cassandra Wilson and went on to work with artists including Kenny Garrett and John Scofield. Since then, Marcus has come into his own as a composer, arranger, producer and bandleader. Support the show: https://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.

Mostly 1940s jazz selections tonight: swing, big band, a little bebop and more. We'll hear: Mildred Bailey & Red Norvo and His Orchestra, Billie Holiday, Sidney Bechet, Artie Shaw, Glenn Miller, Benny Goodman, Dizzy Gillespie, John Coltrane, Mary Lou Williams' Girl Stars, and Erroll Garner. From the 1950s we'll hear Ella Fitzgerald & Louis Armstrong, Miles Davis, Jimmy Scott, Stan Getz with Zoot Sims, Johnny Hodges with Duke Ellington, Sonny Stitt, and Oscar Peterson.

A track from the excellent Jimetta Rose album produced by House Shoes. Soul from Moonchild feat Tank and The Bangas and Jimmy Scott covering Prince (who was 73 when he recorded this version). Wonderful uplifting harp music from Alina Bzhezhinska. Boogie Jazz by JD73's ElectTrio on the excellent Colin Curts compilation. Jazz Broken Beat fusion from Rebecca Vasmant. Producer Villem does a quality downtempo tune which is taken from the Drum & Bass producer 130+ tracks compilation Together With Ukraine. A play of the Bun Down Boris track from the new album by DJ Vadim feat Irah, Killa & Lasai. Plus plenty more musical treats.

This week, Kate talks about Jimmy Scott's tavern in 1890's Gooderham (Haliburton County) and a lumber camp bully looking for trouble. What could go wrong? Plus, Paul talks about John Ware who was born a slave in the U.S. prior to the Civil War, was freed, became a cowboy, and ended up in Alberta where - despite racism - rose to the top of his profession and earned the respect of his colleagues. Kate Butler is the Director of the Haliburton Highlands Museum. Paul Vorvis is the host of the Your Haliburton Morning Show 7 - 9 a.m. Fridays on Canoe FM 100.9 and streaming on your devices. Haliburton County is in cottage country about 2 1/2 hours north of Toronto. You can contact us at timewarp@canoefm.com

Tonight on Jazz After Dark: first we'll hear from Ethel Ennis, Sonny Stitt, Etta Jones, John Coltrane, and Wes Montgomery. Then a set with Benny Carter: with Ben Webster and Barney Bigard in 1962, from a live performance in 1977, and with the American Jazz Orchestra in 1987. We'll take it out with Zoot Sims, and Jimmy Scott.

Tonight on Jazz After Dark: first we'll hear from Ethel Ennis, Sonny Stitt, Etta Jones, John Coltrane, Wes Montgomery. Then a set with Benny Carter: with Ben Webster and Barney Bigard in 1962, from a live performance in 1977, and  with the American Jazz Orchestra in 1987. We'll take it out with Zoot Sims, and Jimmy Scott.

Each day this week, Ryan is giving away 700 euro of Supervalu vouchers to one lucky listener. But this is a Christmas quiz with a magical twist as they will also win 700 euro worth of vouchers to give to somebody they know who you feel deserves them. Jimmy Scott won today's prize and will share it with his friend Brian Frawley.

Welcome to a new edition of the Neon Jazz interview series with Detroit-based Jazz Pianist & Composer Sven Anderson .. He has a new project out now .. The 2021 CD Doc's Holiday .. Over the years, he's been privileged to play a small role in linking the great musical tradition that runs through this city with new directions in music by working with masters like Jimmy Scott, Marcus Belgrave and Earl Klugh .. He's got a deep & rich story .. Enjoy .. Click to listen.Neon Jazz is a radio program airing since 2011. Hosted by Joe Dimino and Engineered by John Christopher in Kansas City, Missouri giving listeners a journey into one of America's finest inventions. Take a listen on KCXL (102.9 FM / 1140 AM) out of Liberty, MO. Listen to KCXL on Tunein Radio at http://tunein.com/radio/Neon-Jazz-With-Joe-Dimino-p381685/. You can now catch Neon Jazz on KOJH 104.7 FM out of the Mutual Musicians Foundation from Noon - 1 p.m. CST Monday-Friday at https://www.kojhfm.org/. Check us out at All About Jazz @ https://kansascity.jazznearyou.com/neon-jazz.php. For all things Neon Jazz, visit http://theneonjazz.blogspot.com/If you like what you hear, please let us know. You can contribute a few bucks to keep Neon Jazz going strong into the future.   https://www.paypal.com/donate?hosted_button_id=ERA4C4TTVKLR4

News Corp and Rupert drop all objectivity to paint themselves green - and they found a rich Sydney sider to be their poster child - and who's behind the Facebook whistleblower coming to lecture our parliament? Why, it's a group of foreign leftists! ... And mining magnate Andrew Forrest! Doncha just love getting lectured by billionaires?

De 1999… Holding Back The Years, del extraordinario cantante norteamericano Jimmy Scott. Holding Back The Years con canciones de la era del rock y el R&B de finales del siglo XX; con una voz dolorosamente frágil, Scott interpreta algunas de las canciones más melancólicas de John Lennon, Prince, Elvis Costello, Simply Red y otros grandes artistas.

It's another awe-inspiring episode from the Someone Gets Me podcast as I share the screen with China Forbes, the lead singer, and songwriter of the band Pink Martini. A gifted multi-potentialite, China's exceptional talents, coupled with her rich life experience, is truly a story worth telling (and made into a movie!) Tune in as she shares her journey of what it's like pursuing many passions, enrolling at Harvard University, where she juggled visual arts, acting and singing, and even finishing as cum laude. China's life shows us how music is a source of hope, how it takes courage to focus on giving your gifts to the world, and the importance of accepting that the good and the bad things in life don't last forever. Key points covered in this episode: ✔️ A musical genius making beauty from sadness. China's unusual childhood, her mother and father, divorcing when she was five, and the many struggles after that are depicted in a movie her sister made called Infinitely Polar Bear, starring Mark Ruffalo and Zoe Saldana. Such was the backdrop as China grew up and made it through with the help of art, music, and her eternal optimism for life. ✔️ She is releasing the song "Rise," which she wrote for her Pink Martini bandmate, Derek Rieth. "I just felt like my words did not succeed in helping him, but I felt that they could help someone else who was struggling with suicidal thoughts. I've been sitting on it for six years, but it's now coming out; I do believe that this song will help many people." ✔️ There is still more to be done by the singing sensation, and she has this to say to fellow creatives: "You need not care what anyone thinks. It would be best if you dedicated time every day to do your craft. Trust that no one else is you and don't compare yourself to others, and you need to get the focus off of yourself because self-consciousness is paralyzing. Ask yourself, how do I give my gifts to the world?" ✔️ China recently co-written Pink Martini's two latest hits, including "The Lemonade Song," approaching 2 million streams on Spotify alone. This soaring anthem of orchestral pop, written on either side of a breakup, celebrates the strength we all have to persevere and survive and learn to love our lives. It describes each individual's Full Circle: the power each of us has to steer our lives in the direction we want to go, a direction that will end up back where we started, but as a different person each time we come around. China Forbes was born and raised in Cambridge, Massachusetts, where she graduated cum laude from Harvard and was awarded the Jonathan Levy Prize for acting. She appeared in New York regional theatre and Off-Broadway productions, earning her Equity card alongside future stars of stage and screen such as Norm Lewis, Peter Jacobson, and Rainn Wilson. Soon after college China formed and sang with her first band. They regularly performed at NYC clubs CBGB's Gallery, Mercury Lounge, and Brownies. Her first solo album Love Handle was released in 1995, and she was chosen to sing "Ordinary Girl," the theme song to the TV show Clueless.   In 1995, she was plucked from New York City by Harvard classmate Thomas Lauderdale to sing with Pink Martini. She has written many of Pink Martini's most beloved songs with Lauderdale, including "Sympathique," "Lilly," "Clementine," "Let's Never Stop Falling in Love," "Over the Valley," and "A Snowglobe Christmas," which can be heard on Pink Martini's holiday album Joy to the World. Her original song "Hey Eugene" is the title track of Pink Martini's third album, and many of her songs can also be heard on television and in film. She sang "Qué Será Será" over the opening and closing credits of Jane Campion's film In the Cut. Her original song "The Northern Line" appears at the end of sister Maya Forbes' directorial debut Infinitely Polar Bear, released in 2015 by Sony Pictures Classics.   With Pink Martini, Forbes has appeared on The Late Show with David Letterman, Late Night with Conan O'Brien, The Tonight Show with Jay Leno, and Later with Jools Holland. She has performed songs in over twenty languages. China has sung duets with Michael Feinstein, Jimmy Scott, Georges Moustaki, Henri Salvador, Saori Yuki, Faith Prince, Carol Channing, and Rufus Wainwright, among others. She has performed in venues from Carnegie Hall to Red Rocks, the Sydney Opera House to the Grand Rex in Paris. She released her second solo album '78 on Heinz Records in 2008, a collection of autobiographical folk-rock songs. She has recently co-written Pink Martini's two latest hits, including "The Lemonade Song," approaching 2 million streams on Spotify. Listen to China sing LIVE and visit  http://pinkmartini.com/ for the concert, live stream, and tour updates.  Follow her on Spotify: https://open.spotify.com/album/5oqp4UKhk2VEHkokCCCW4Y?si=bpyfk80dTyiIDx32Ca8XuA&dl_branch=1 IG: https://www.instagram.com/chinaforbes/?hl=en FB: https://www.facebook.com/chinaforbes Lemonade song: https://youtu.be/mJNMagxeTrU Full Circle link: https://youtu.be/slI5oydKyoY ____________________________________________________________________________________ How to Connect with Dianne A. Allen You have a vision inside to create something bigger than you. What you need is a community and a mentor. The 6-month Visionary Leader Program will move you forward. You will grow, transform and connect. https://msdianneallen.com/ Join our Facebook Group Someone Gets Me Follow Dianne's Facebook Page: Dianne A. Allen Email contact: dianne@visionsapplied.com Dianne's Mentoring Services: msdianneallen.com Website: www.visionsapplied.com Be sure to take a second and subscribe to the show and share it with anyone you think will benefit. Until next time, remember the world needs your special gift, so let your light shine!

Scott Ostler from the San Francisco Chronicle chats with Greg Papa and John Lund See omnystudio.com/listener for privacy information.

Scott Ostler from the San Francisco Chronicle chats with Greg Papa and John Lund See omnystudio.com/listener for privacy information.

A few years back I got the itch, as I often do, to start a new podcast. I mostly ignore these itches as scratching just makes it worse, but this time I could not. I began writing and planning a solo show called Reid Messerschmidt Gets Metal. I was going to start it like this: RMGM INTRO Hello. I'm Reid Messerschmidt - a 34 year old father and husband. I have a house and many things - four vintage globes, a vinyl collection, and a desk job among them. I'm a culture snob. An elitist. What's charmingly known these days as a libtard cuck. A low T Beta, as they say. A snowflake. I enjoy musical artists like Belle and Sebastian and Jimmy Scott and The Smiths and Edith Piaf and, sometimes - a lot, really - Neil Diamond. I think he's criminally under rated and I like to talk about that opinion as though it were objective and important. I've spent significant time with the Pet Sounds boxed set and I love documentaries, Ingmar Bergman films, calling movies films, feelings, books about feelings, bike rides, progressive (not prog) agendas, and quietness. I don't love injustice and toxic masculinity. I say things like toxic masculinity. I've been known to sport a cardigan. As such, I am not a metal guy. I like to think that I know good music when I hear it, regardless of genre, but metal is a blind spot. A big one. And I don't just mean the music. Metal is more than a genre, it seems to me. It has a built in culture, and that culture feels impenetrable and scary. I've dabbled around its edges, sure. I went through the requisite Metallica phase in Junior High-school. I saw Corrosion of Conformity live once. Also, Korn. I liked the former and not the latter, though, to be honest, I went into the Korn show with a pretty bad attitude. Let's see . . . That Roots album by Sepultura is pretty rad. I predictably kind of like Deafheaven, as they are the metal band that guys like me are supposed to kind of like. I enjoy what I've heard from Hawkwind, but I haven't gone very deep with them and I'm not sure they're very metal. I think occult stuff is fun, but I didn't care for the Lord of the Rings movies and I've never read the books. I don't care for dragons. I'm not particularly angry. Occasionally perturbed? Yes. Often annoyed? Sure. Riddled with angst? Less, in my old age. And not angry. To me, at this point, metal represents rage, a spectrum of masculinity that I find completely foreign, and a complete disregard for fashionably good taste that a big part of me admires. It's a home to a lot of unrepresented folks in the ongoing culture wars, some that I get, many that I don't. So I want to get metal. And that's what this podcast is all about. Getting metal. I've made a list of every metal band that I can come up with, From Sabbath to Cannibal Corpse to whatever the fuck is going on with metal right now. I honestly don't know. Based on some cursory internet searches, it looks to consist mostly of skinny guys with neck tattoos and Hot Topic haircuts calling each other fags and arguing about absurdly specific genres designations. For the most part, I only know the band names. I've purposely tried not to really listen to any metal yet or find out too much about any one group. I've chopped that list up and put it in something very metal – a skull to which I've applied Norwegian Black Metal makeup – and each week I'll draw a name out of the skull, deep dive into whatever band comes out, and let you know what I find and what I think. And guests. There might be some guests and whatever else comes up here. My goal is not just to understand the music. I want to understand the culture. To understand the anger and the dragons. The term metal is broad to the point of meaninglessness, but under its tent are generations of unsatisfied and angry white folks in all the styles that those people come in. Folks that feel persecuted even if the “mainstream” sees that as a delusion.

In this interview, I'm talking Grammy-winning virtuoso of the chromatic harmonica, Gregoire Maret. Known the world over for his playing and musicality, Gregoire has worked with the likes of Pat Metheny, Jimmy Scott, Cassandra Wilson, George Benson, Herbie Hancock, Marcus Miller, Prince, Elton John and Sting. 

What song inspired the title of this podcast?  What album launched ABBA into megastardom? What was Jealous Guy originally called? Join Stevie Nix as he answers these questions and more on this special episode looking at the Seventies and the covers it inspired.WARNING: This episode contains traces of John Travolta.Featured songs [in chronological order]:Sweet Jane [Cowboy Junkies]Jealous Guy [Jimmy Scott, Elliott Smith]Avalanche [Nick Cave]Cosmic Dancer [Nick Cave]Superstition [Quincy Jones, Macy Gray]Changes [Charles Bradley]Woman Is The N***** Of The World [Ben Lee]Live & Let Die [Duffy]On The Beach [Joan As Policewoman]Make Me Smile (Come Up And See Me) [Erasure]Dancing Queen [Whitley]Never Going Back Again [Lindsey Buckingham & Stevie Nicks]Stayin' Alive [Erin & The Wildfire]You're The One That I Want [Angus & Julia Stone]Don't Stop Me Now [Peter Bence]I Was Made For Loving You [Maria Mena] SOS [Manfred Mann's Earth Band] Join Stevie on Spotify. He's just a click away.20 Songs That Have The 1970s Covered #120 Songs That Have The 1970s Covered #2

Theo Ryan, Cody Bender, and Jimmy Scott consider how the NBA bubble may affect the Suns, and celebrate an internal goal hitting lucky episode 7 while reflecting on what each person learned throughout the process. Show Notes How Great Leaders Inspire Action (Start With Why) - Simon Sinek https://www.ted.com/talks/simon_sinek_how_great_leaders_inspire_action?language=en#t-11432 Brian Houston's devotional on Leadership Capacity https://www.bible.com/en-GB/reading-plans/13671-leadership-capacity-by-brian-houston New episodes every Friday! Listen wherever you find your podcasts: https://www.anchor.com/sevensecondoffense Check out our completely free Digital Library: https://forms.gle/hh3C187XCcaHPC2dA Let us know what you want to hear us cover next! What did we miss in this week's episode? Comment down below or email us at sevensecondoffense@gmail.com! Connect with the guys from SSO on social Theo Instagram: @theojryan Twitter: @theojryan Facebook: /pastortheojryan Tiktok: @time2rise Cody IG: @unfollowbodey FB: /cody.bender.35 Jimmy Instagram: @jimmycscott Twitter: @3pac5me Facebook: /jimmy.scott.9406 Tiktok: @newkidonthetok Intro track by prōdusent https://connorhedge.com/

Theo Ryan, Cody Bender, and Jimmy Scott talk about showing stewardships while facing uncertainty, risk, and life changing moments. Show Notes Dr. Tim Clinton- https://books.google.com/books/about/... "Our spiritual development may not progress as fast as our physical or moral development” -https://journals.sagepub.com/doi/abs/... Manny Arango Soul Ties- https://www.youtube.com/watch?v=D7s54... New episodes every Friday! Listen wherever you find your podcasts: https://www.anchor.com/sevensecondoff... Check out our completely free Digital Library: https://forms.gle/hh3C187XCcaHPC2dA Let us know what you want to hear us cover next! What did we miss in this week's episode? Comment down below or email us at sevensecondoffense@gmail.com! Connect with the guys from SSO on social Theo Instagram: @theojryan Twitter: @theojryan Facebook: /pastortheojryan Tiktok: @time2rise Cody IG: @unfollowbodey FB: /cody.bender.35 Jimmy Instagram: @jimmycscott Twitter: @3pac5me Facebook: /jimmy.scott.9406 Tiktok: @newkidonthetok Intro track by prōdusent https://connorhedge.com/

Theo Ryan, Cody Bender, and Jimmy Scott talk about social media and managing information consumption in today's day and age. Show Notes Kelly Oubre Tweet- https://www.instagram.com/p/CCmOwilHk... JR Smith Inside NBA Bubble- https://www.youtube.com/watch?v=wemtp... Dopamine & Smartphones- http://sitn.hms.harvard.edu/flash/201... Relationships with Social Media Usage- https://psycnet.apa.org/record/2017-5... Joe Rogan Podcast [EXPLICT] - https://www.youtube.com/watch?v=NpOxx... Check out our completely free Digital Library: https://forms.gle/hh3C187XCcaHPC2dA Intro track by prōdusent https://connorhedge.com/