Podcast appearances and mentions of John Drake

We brought the couch to hang out with our friends the night before The Game Awards 2024! We chat about being in and out of the industry, pizza, and what we're expecting from the big show!Segment 1: Karen Han, Brian David Gilbert, Elyse Willems, James Willems, Emma Fyffe, and Ify NwadiweSegment 2: Danny Peña, Riana Manuel Peña, Briana White, Robbie Daymond, Jordan Minor, and Gabe Durham, Eric Van AlenSegment 3 - WARFRAME 1999: Ben Starr, Neil Newbon, Amelia Tyler, Melissa Medina, Elsie Lovelock, Trieve Blackwood-Cambridge, Keving Afghani, Alpha TakahashiSegment 4: Rebb Ford, Wout van Halderen, Celia Bee, Parris Lilly, Jurge Cruz-AlvarezSegment 5: John Drake, Mary Kish, Michael Higham, Harris Foster, Alix Wilton Regan, Ronnell CrawfordSegment 6: Shawn McDowell, Mike Monitti, Dan Ryckert, Jeff Bakalar, Lucy James, Tamoor Hussain, Niki Grayson, Jan Ochoa

In this episode of the Better at Beach Podcast, host Mark Burik interviews John Drake, a former AVP player and current manager of Grand Sands Volleyball in Loveland, Ohio. They discuss John's transition from a competitive player to managing a successful volleyball facility, the unique playing style he developed with his partner Chris Lures, and the operational growth of Grand Sands. The conversation highlights the importance of consistency in high-level play, the challenges of adapting to different playing conditions, and the strategic decisions involved in running a volleyball facility. In this conversation, Mark Burik discusses the intricacies of managing a successful volleyball facility, emphasizing the importance of community, space management, and diverse revenue streams. He shares insights on the challenges and rewards of running leagues and tournaments, the necessity of adapting to feedback, and innovative ideas for generating income through events.

Jeff Grubb has brought the GB at Nite couch again to sunny Los Angeles, but this time we put it on a stage in front of a live audience! We've assembled some surprises, fun, and some heavy hitters for these segments on the couch!Segment 1: Brad Shoemaker, Mary Kish, Jason Schreier, John Drake, Patrick Klepek, Matt RorieSegment 2: Parris Lilly, Elyse WIllems, Ify Nwadiwe, Alanah PearceSegment 3: Tom Caswell, Lucy James, Tamoor Hussain, Emma Fyffe, Mike Minotti, Niki Grayson, Bailey Meyers, Jan Ochoa

Jeff Grubb has brought the GB at Nite couch again to sunny Los Angeles, but this time we put it on a stage in front of a live audience! We've assembled some surprises, fun, and some heavy hitters for these segments on the couch!Segment 1: Brad Shoemaker, Mary Kish, Jason Schreier, John Drake, Patrick Klepek, Matt RorieSegment 2: Parris Lilly, Elyse WIllems, Ify Nwadiwe, Alanah PearceSegment 3: Tom Caswell, Lucy James, Tamoor Hussain, Emma Fyffe, Mike Minotti, Niki Grayson, Bailey Meyers, Jan Ochoa

The complete version of this episode is available to Patrons who support us at the $4/month level at patreon.com/marvelbythemonth — join today to hear us cover all of these issues:"Games Godlings Play!" - Giant-Size Defenders #3, written by Steve Gerber, Jim Starlin, and Len Wein, art by Jim Starlin, Dan Adkins, Don Netwon, and Jim Mooney, letters by Charlotte Jetter, colors by Glynis Wein, ©1974 Marvel Comics"Mind Tap!" - Daredevil #117, written by Chris Claremont and Steve Gerber, art by Bob Brown and Vince Colletta, letters by Dave Hunt, colors by Petra Goldberg, ©1974 Marvel Comics"A Spectre From the Past!" - Thor #231, written by Gerry Conway, art by John Buscema and Dick Giordano, letters by John Costanza, colors by Petra Goldberg, ©1974 Marvel Comics"Batroc and Other Assassins" - Marvel Premiere #20, written by Tony Isabella, art by Arvell Jones and Dan Green, letters by Ray Holloway, colors by John Drake, ©1974 Marvel Comics"... And One Will Fall!" - Amazing Spider-Man #140, written by Gerry Conway, art by Ross Andru, Frank Giacoia, and Dave Hunt, letters by Artie Simek, colors by Petra Goldberg, ©1974 Marvel Comics"Fury at 50,000 Volts!" - Incredible Hulk #183, written by Len Wein, art by Herb Trimpe, letters by Glynis Wein, colors by Charlotte Jetter, ©1974 Marvel Comics"A Quiet Half-Hour In Saigon!" - Avengers #131, written by Steve Englehart, art by Sal Buscema and Joe Staton, letters by Tom Orzechowski, colors by Phil Rachelson, ©1974 Marvel Comics"The Mark of Madness!" - Captain America #181, written by Steve Englehart, art by Sal Buscema and Vince Colletta, letters by Artie Simek, colors by Linda Lessmann, ©1974 Marvel Comics"The Man In the Mystery Mask!" - Fantastic Four #154, written by Stan Lee and Len Wein, art by Dick Ayers, Bob Brown, Paul Reinman, Frank Giacoia, and Mike Esposito, letters by Artie Simek, colors by Glynis Wein, ©1974 Marvel Comics"The God Killer" - Jungle Action #13, written by Don McGregor, art by Billy Graham and Craig Russell, letters by Joe Rosen, colors by Tom Palmer, ©1974 Marvel Comics"Revenge of the River Gods!" - Ka-Zar #7, written by Gerry Conway, art by John Buscema and Bob McLeod, letters by Dave Hunt, colors by Bill Mantlo, ©1974 Marvel Comics"Beware the Coming of... Infinitus!" or "How Can You Stop the Reincarnated Man?" - Marvel Team-Up #29, written by Gerry Conway, art by Jim Mooney and Vince Colletta,letters by John Costanza, colors by Janice Cohen, ©1974 Marvel Comics"Name That Doom!" - Marvel Two-In-One #7, written by Steve Gerber, art by Sal Buscema and Mike Esposito, letters by Joe Rosen, colors by Bill Mantlo, ©1974 Marvel Comics"Deathgame!" - Creatures on the Loose #33, written by David Kraft with Tony Isabella, art by George Perez and Klaus Janson, letters by Tom Orzechowski, colors by Petra Goldberg, ©1974 Marvel Comics"Fury of the Night-Creature!" - Frankenstein #14, written by Doug Moench, art by Val Mayerik and Dan Green, letters by Artie Simek, colors by Petra Goldberg, ©1974 Marvel Comics"Castle Curse!" - Giant-Size Werewolf #3, written by Doug Moench, art by Don Perlin and Sal Trapani, letters by Jean Simek, colors by Linda Lessmann, ©1974 Marvel Comics"Red Sails at 40,000 Feet!" - Man-Thing #13, written by Steve Gerber, art by John Buscema and Tom Sutton, letters by John Costanza, colors by Petra Goldberg, ©1974 Marvel Comics"Madness In the Mind!" - Tomb of Dracula #28, written by Marv Wolfman, art by Gene Colan and Tom Palmer, letters by Ray Holloway, colors by Petra Goldberg, ©1974 Marvel Comics"An Eclipse of Evil!" - Werewolf by Night #25, written by Doug Moench, art by Don Perlin, letters by Dave Hunt, colors by Linda Lessmann, ©1974 Marvel Comics"Marvel by the Month" theme v. 3.0 written and performed by Robb Milne and sung by Barb Allen. All incidental music by Robb Milne.Visit us on the internet (and buy some stuff) at marvelbythemonth.com, follow us on Instagram at @marvelbythemonth and support us on Patreon at patreon.com/marvelbythemonth.Much of our historical context information comes from Wikipedia. Please join us in supporting them at wikimediafoundation.org. And many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information. (RIP Mike.)

The Dust Coda raises the bar even higher than their previous record "Mojo Skyline" with the captivating "Loco Paradise". Lead singer John Drake returns for a chat with The Hook Rocks about the album & the benchmarks the band has achieved, validating where they're headed. Please enjoy the podcast! The Dust Coda https://thedustcoda.com/ https://www.facebook.com/TheDustCoda/ https://twitter.com/TheDustCoda https://www.instagram.com/thedustcoda The Hook Rocks https://www.facebook.com/TheHookRocks/ https://www.instagram.com/thehookrocks/ https://twitter.com/TheHookRocks Pantheon Podcasts http://pantheonpodcasts.com/ https://www.facebook.com/PantheonPodcasts https://www.instagram.com/pantheonpods/ https://twitter.com/pantheonpods Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode seven features John Drake, the General Manager of Hollywood Casino at Greektown in Detroit. He joins host Henry Williams to discuss the success of their casino, the impact of conventions and tourism, and whether iGaming competes or complements the onsite experience.  Facebook: MichiganGCBTwitter: @MichiganGCBInstagram: @michigangcb)LinkedIn: michigangcb

This Time on Beyond The Vibe Podcast I'm joined by John Drake of The Dust Coda! We talk about the upcoming show at Hyde Park supporting non other than Guns N' Roses

It's great to hear about charity volunteers being rewarded for their vital work and when that reward includes a visit to Buckingham Palace, it's one to remember. RNIB Connect Radio's Allan Russell spoke to Dave Power and, Coronation Champion,  John Drake about volunteering for RNIB. If you'd like to find out more about volunteering, go to www.rnib.org.uk You can also email volunteering@rnib.org.uk or call 0303 123 9999. #RNIBConnect Image RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line.

TENNESSEE SHOOTING: NASHVILLE TUCKER CARLSON and ANDY NGO INTERVIEWOP -ED , STOP MESSING WITH OUR KIDS!K-12 Public School Activism Responsible for Tennessee School Murders  by Suzanne Gallagher, Parents' Rights In Education Parents Rights In Education (PRE) is opposed to the teaching and promotion of Gender Identity beginning in kindergarten. Unfortunately, the Nashville, Tennessee school shooting this week is an outgrowth of the activism now present in most public schools across the country.The Tennessee shooter, a confused young adult female, was in counseling. According to Nashville's chief of police, John Drake, investigators believed the shooting stemmed from “some resentment” the suspect harbored “for having to go to that school” as a younger person. We want to know what advice she was getting.School counselors and psychologists today, encourage parents to begin social transitioning in kindergarten. Parents are bombarded with the message their children should be encouraged to explore their “real identity.” I recently received a call from a concerned a father whose five year-old son was seen by the Philomath, Oregon grade school psychologist, who recommended Dad consider “social transitioning.” Although Dad and son discussed biological reality, his son was influenced by female siblings to wear long hair and feminine clothing. Dad needed to be reminded he is the father, and has the right to mentor his son. What if he had not contacted PRE?What seemed like an effort to protect individuals struggling with “gender dysphoria,” has rapidly developed into a highly volatile political issue, and minor children are the target. Parents' rights to direct the education of their minor children, and manage their healthcare decisions, have been stolen and sacrificed on the altar of Gender Identity Rights. These are pseudo “rights” fabricated out of a false premise. Humans cannot medically change their sex.The average voter is unaware of the purposeful solicitation and recruitment of minors by public school staff and volunteers to change their sex. Students are inundated with messages about their “gender identity” rights daily. National Education Association member teachers wear badges encouraging students to seek them out for one-on-one counseling about sexuality and gender identity. In addition, LGBTQIA++ activist teachers adorn their classrooms with Gay Pride, Transgender, and Black Lives Matter political flags and posters.Gender Sexuality Alliance (GSA) Clubs, a project of the Gay Lesbian Straight Education Network, are now in K-12 schools. GSA Network is a political organization using local public school districts as distribution centers for their trans political agenda to "leverage the collective power of thousands of trans and queer young people in the United States who connect with us through our network.”Parents are not informed of their child's membership in these clubs. Abigail Shrier, author of Irreversible Damage, confirms the influence of these clubs in decisions students are making to explore gender transition. PRE featured a parent speaker whose daughter was influenced to change her sex at age 14 because of...READ MORESupport the showDONATE, TODAY!www.ParentsRightsInEducation.com

A ex-aluna que matou três crianças e três adultos em uma escola cristã em Nashville na segunda-feira estava recebendo cuidados médicos para um "distúrbio emocional" e tinha comprado sete armas antes do ataque. As informações são do chefe de polícia da cidade e foram divulgadas pela Reuters. Audrey Elizabeth Hale de 28 anos usou duas armas de assalto e um revólver durante o ataque à escola primária. As três armas estavam entre as sete compradas ilegalmente em cinco lojas da região, disse o chefe da Polícia Metropolitana de Nashville, John Drake.

Three children and three adults were killed after a shooter opened fire at a private Christian grade school in Nashville, Tennessee. John Drake, Nashville's police chief, joins "CBS Mornings" to discuss the police response and the latest on the investigation.Forensic psychologist Jillian Peterson has spent years researching mass shootings and was president of The Violence Project. She joins "CBS Mornings" to discuss what we can learn from the Nashville shooting, and strategies that could help prevent future mass shootings.Kyra Sedgwick joins "CBS Mornings" to discuss her feature film directorial debut, "Space Oddity," which features her husband, Kevin Bacon.For our More Perfect Union series, CBS News' Elaine Quijano reports on the bond between a 15-year-old girl living with the muscular disorder cerebral palsy and a fitness coach teaching her that her diagnosis doesn't have to slow her down.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Holyoke Media, en asociación con WHMP radio, emiten diariamente la Síntesis informativa en español a través del 101.5 FM y en el 1240 / 1400 AM. Esta es la síntesis informativa del martes 28 de marzo de 2023: - Una mujer de 28 años fuertemente armada disparó fatalmente a tres niños y tres empleados adultos el lunes en una escuela cristiana privada a la que asistió la sospechosa en la ciudad capital de Tennessee antes de que la policía matara a la agresora, dijeron las autoridades. El motivo no se supo de inmediato, pero la sospechosa dibujó mapas detallados de la escuela, incluidos los puntos de entrada al edificio y dejó un "manifiesto" y otros escritos que los investigadores estaban examinando, dijo a los periodistas el jefe de policía John Drake. Drake identificó a la sospechosa como Audrey Elizabeth Hale, de 28 años, residente del área de Nashville, y se refirió a la agresora con pronombres femeninos. En respuesta a las preguntas de los periodistas, el jefe dijo: "Ella se identifica como transgénero". No quedó claro si se identificaba como hombre o mujer. En reacción, el presidente Joe Biden, instó nuevamente al Congreso de los Estados Unidos a aprobar una legislación de reforma de armas más estricta. “Es enfermizo”, dijo Biden, abordando el tema durante un evento en la Casa Blanca e instando nuevamente al Congreso a aprobar una prohibición de las armas de asalto. "Tenemos que hacer más para detener la violencia armada. Está destrozando nuestras comunidades, destrozando el alma de esta nación". FUENTE: REUTERS - El presidente de la Cámara de Representantes, Kevin McCarthy, republicano por California, dijo el domingo que los legisladores "seguirán adelante" con la legislación para hacerse cargo de las preocupaciones de seguridad nacional en torno a TikTok después de que el director ejecutivo del gigante de las redes sociales enfrentara horas de interrogatorio hostil ante un panel del Congreso la semana pasada. “Es muy preocupante que el CEO de TikTok no pueda ser honesto y admitir lo que ya sabemos que es cierto: China tiene acceso a los datos de los usuarios de TikTok”, tuiteó McCarthy. “La Cámara avanzará con la legislación para proteger a los estadounidenses de los tentáculos tecnológicos del Partido Comunista Chino”, agregó. McCarthy no especificó a qué legislación se refiere. La semana pasada, el presidente de la Cámara de Representantes dijo a los periodistas que respaldaría la prohibición de TikTok en medio del interrogatorio de cinco horas del Comité de Energía y Comercio de la Cámara de Representantes al director ejecutivo Shou Zi Chew. La administración de Biden también amenazó con una posible prohibición de TikTok en los EE. UU. si los propietarios chinos de la aplicación para compartir videos se niegan a vender sus participaciones en ella. Además, el Departamento de Justicia y el FBI están investigando a TikTok, incluidas las denuncias previamente reveladas de que los empleados de la compañía espiaron a los periodistas, dijo este mes un oficial de la ley con conocimiento del asunto. FUENTE: NBC NEWS

A shooting at a private, Christian grade school left three students and three adults dead, including the head of the school. The victims were killed in an attack at The Covenant School in Nashville, Tennessee, authorities said. Investigators are investigating a home connected to the shooter. Nashville's police chief, John Drake, said the shooter had possibly made preparations for the shooting, including having written a manifesto. Police say the shooter entered the building through a side door and fired shots before moving to the second floor, where the shooter was confronted by responding officers. Today's Sponsor: Shop Tommy John's colorful NEW spring designs at tommyjohn.com/why and get 20% OFF YOUR FIRST ORDER! Learn more about your ad choices. Visit megaphone.fm/adchoices

-John Drake saves the podcast.-New PATRON!!! Liza Stancliffe, Kaw Valley CF Coach & Andy's ex-girlfriend.-Old school programming is back for the first time: Weird PVC shit, outdoor wods, and strange standards.-Best and worst drinking holidays, Edward Snowden deep dive, and Most Famous Ginger of All Time.

This man knows Street Fighter.  This man has been in a plane and then jumped out of that plane.  He is the alpha and the omega.  Bear witness.  

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

In this episode, screenwriter Cai Ross and lecturer Chris Bainbridge continue discussing the seventeen episodes of the prescient 1967 TV show, The Prisoner. This week, special guest Rick Davy (writer, researcher, and curator of TheUnmutual.co.uk) weighs in on The Drake Debate, following our Twitter poll - Was Number 6 actually John Drake? Minutiae will be scrutinised and tangents will be explored with dash of light humour. Regular feature Who's The Two looks at the career of Welsh actor Kenneth Griffith, with input from writer Robert Fairclough (author of The Official Prisoner Companion). As ever, your hosts will cast their critical eyes over the episode, with discussion on interpretation, trivia, humour and an exploration of the production process. The only Prisoner podcast produced in north Wales, home of the Village itself, Portmeirion. Hosted on Acast. See acast.com/privacy for more information.

ITC Entertained The World - episode 14 (Season 2, episode 1) - Danger Man (50 minutes) Hosted by Jaz Wiseman, Rodney Marshall and Al Samujh. Jaz, Rodney and Al discuss the first 22 episodes of Danger Man (50 minutes) - the 1964/66 ITC action/adventure series that starred Patrick McGoohan as secret agent John Drake.  You'll need to be a master of going undercover and be able to drive that nippy mini to enter the murky world of Cold War espionage. The 22 episodes featured are: Yesterday's Enemies  The Professionals  Colony Three  The Galloping Major  Fair Exchange  Fish on the Hook  The Colonel's Daughter  The Battle of the Cameras  No Marks for Servility  A Man to be Trusted  Don't Nail Him Yet  A Date with Doris  That's Two of Us Sorry  Such Men Are Dangerous  Whatever Happened to George Foster?  A Room in the Basement  The Affair at Castelevara  The Ubiquitous Mr. Lovegrove  It's Up to the Lady  Have a Glass of Wine  The Mirror's New  Parallel Lines Sometimes Meet 

On todays episode of the Frame & Reference Podcast, Kenny talks to "American Siege" director Edward John Drake. "American Siege" follows an ex-NYPD officer-turned-sheriff (Bruce Willis) of a small rural Georgia town who has to contend with a gang of thieves who have taken a wealthy doctor hostage. Enjoy the episode! Follow Kenny on Twitter @kwmcmillan Frame & Reference is supported by Filmtools and ProVideo Coalition. Filmtools is the West Coasts leading supplier of film equipment. From cameras and lights to grip and expendables, Filmtools has you covered for all your film gear needs. Check out Filmtools.com for more. ProVideo Coalition is a top news and reviews site focusing on all things production and post. Check out ProVideoCoalition.com for the latest news coming out of the industry. Check out ProVideoCoalition.com for more!

On the third installment of The Hook Rocks Conversations & Collaborations we get another peek behind the curtain with John Drake from The Dust Coda & Josh Kennedy from The Black Moods. We talk "chasing" a record deal, the importance of a good management company, building a fan base, and much more. Please enjoy the conversation!Part of The Pantheon Podcast Networkhttp://pantheonpodcasts.comhttps://www.facebook.com/PantheonPodcastshttps://twitter.com/pantheonpodsThe Dust Codahttp://thedustcoda.comhttps://www.facebook.com/TheDustCoda/https://twitter.com/TheDustCodahttps://www.instagram.com/thedustcodaThe Black Moodshttps://theblackmoods.comhttps://www.facebook.com/TheBlackMoods/https://www.instagram.com/theblackmoods/https://twitter.com/TheBlackMoodsThe Hook Rockshttps://twitter.com/TheHookRockshttps://www.facebook.com/TheHookRockshttps://www.instagram.com/thehookrocks/

On the third installment of The Hook Rocks Conversations & Collaborations we get another peek behind the curtain with John Drake from The Dust Coda & Josh Kennedy from The Black Moods. We talk "chasing" a record deal, the importance of a good management company, building a fan base, and much more. Please enjoy the conversation! Part of The Pantheon Podcast Network http://pantheonpodcasts.com https://www.facebook.com/PantheonPodcasts https://twitter.com/pantheonpods The Dust Coda http://thedustcoda.com https://www.facebook.com/TheDustCoda/ https://twitter.com/TheDustCoda https://www.instagram.com/thedustcoda The Black Moods https://theblackmoods.com https://www.facebook.com/TheBlackMoods/ https://www.instagram.com/theblackmoods/ https://twitter.com/TheBlackMoods The Hook Rocks https://twitter.com/TheHookRocks https://www.facebook.com/TheHookRocks https://www.instagram.com/thehookrocks/ Learn more about your ad choices. Visit megaphone.fm/adchoices

On the third installment of The Hook Rocks Conversations & Collaborations we get another peek behind the curtain with John Drake from The Dust Coda & Josh Kennedy from The Black Moods. We talk "chasing" the record deal, the importance of a good management company, building a fan base, and much more. Please enjoy the conversation!Part of The Pantheon Podcast Networkhttp://pantheonpodcasts.comhttps://www.facebook.com/PantheonPodcastshttps://twitter.com/pantheonpodsThe Dust Codahttp://thedustcoda.comhttps://www.facebook.com/TheDustCoda/https://twitter.com/TheDustCodahttps://www.instagram.com/thedustcodaThe Black Moodshttps://theblackmoods.comhttps://www.facebook.com/TheBlackMoods/https://www.instagram.com/theblackmoods/https://twitter.com/TheBlackMoodsThe Hook Rockshttps://twitter.com/TheHookRockshttps://www.facebook.com/TheHookRockshttps://www.instagram.com/thehookrocks/

On the third installment of The Hook Rocks Conversations & Collaborations we get another peek behind the curtain with John Drake from The Dust Coda & Josh Kennedy from The Black Moods. We talk "chasing" a record deal, the importance of a good management company, building a fan base, and much more. Please enjoy the conversation! Part of The Pantheon Podcast Network http://pantheonpodcasts.com https://www.facebook.com/PantheonPodcasts https://twitter.com/pantheonpods The Dust Coda http://thedustcoda.com https://www.facebook.com/TheDustCoda/ https://twitter.com/TheDustCoda https://www.instagram.com/thedustcoda The Black Moods https://theblackmoods.com https://www.facebook.com/TheBlackMoods/ https://www.instagram.com/theblackmoods/ https://twitter.com/TheBlackMoods The Hook Rocks https://twitter.com/TheHookRocks https://www.facebook.com/TheHookRocks https://www.instagram.com/thehookrocks/ Learn more about your ad choices. Visit megaphone.fm/adchoices

John Drake, Vice President of Supply Chain Policy at the U.S. Chamber of Commerce, and Anthony Smith, FreightWaves Market Expert, discuss the national spotlight on supply chain and how to deal with infrastructure.Follow FreightWaves on Apple PodcastsFollow FreightWaves on SpotifyMore FreightWaves PodcastsJoin Global Supply Chain Week

John Drake, Vice President of Supply Chain Policy at the U.S. Chamber of Commerce, and Anthony Smith, FreightWaves Market Expert, discuss the national spotlight on supply chain and how to deal with infrastructure.Electric fleets are the future. Are you ready? Discover why ChargePoint is the right partner to take your operation electric to reduce fueling costs, eliminate emissions and help you turn e-mobility into a competitive advantage. Visit chargepoint.solutions/freightwavesFollow FreightWaves on Apple PodcastsFollow FreightWaves on SpotifyMore FreightWaves PodcastsJoin Global Supply Chain Week

Flu Season is upon us, and it is certainly not too late to get a flu shot, but don't wait! Dr. Cesar Termulo, Associate Medical Director at Parkland's Hatcher Station Community Oriented Primary Care Health Center tells us why. In our second segment, Dr. Termulo shares a deeply personal tragedy that affected his family directly and is the very reason why he is so passionate about this message.Dr. Claudia Perez, Neuro-intensivist at Texas Health Harris Methodist Hospital Fort Worth, tells her story of immigrating to the US at age 5, growing up in Garland, then entering medicine after the birth of her daughter. For anyone considering healthcare as a career, this is an inspiring story, indeed. Finally, we talk to John Drake, President at Baylor Scott & White Irving Foundation, about a wonderful employment assistance program to help veteran-employees at Baylor Scott & White Health. If you would like more on the program, you can go to bswhealth.com/supportveterans See acast.com/privacy for privacy and opt-out information.

Washington Post editorial writer and columnist Heather Long speaks with Gene Seroka, executive director of the Port of Los Angeles, and John Drake, vice president of supply chain policy for U.S. Chamber of Commerce, about the impact, causes and potential solutions to resolve the unprecedented supply chain problems.

-Who is our smartest listener? John Drake? Probably John Drake. You think it's you, reading this now? Doubt it. Prove me wrong.-80th Anniversary of Pearl Harbor. Not the Ben Affleck movie.-European Teams finished 2nd-12th in the CF Games this past year but Morning Chalk Up just realized "the Brits are coming."-Froning is Jordan. NoBull is repetitious. Reebok is the OG GOAT. UNANSWERABLE Q's:Are you more buttery or bro? Nick is both.Will KAMO make the Games?-Overrated/Underrated: Fishing, Sunglasses, Disneyland, S'mores

California Governor Recall Election candidate John Drake joins us. We'll talk about the recall election, libertarians, how his "submissive and breedable" tag line came to be, and anything else that comes up!https://facebook.com/fakertarians https://twitter.com/fakertarians https://www.reddit.com/r/Fakertarians/ https://twitch.tv/fakertarianspodcastMerch: www.malice4twitter.com

California Governor Recall Election candidate John Drake joins us. We'll talk about the recall election, libertarians, how his "submissive and breedable" tag line came to be, and anything else that comes up! https://facebook.com/fakertarians https://twitter.com/fakertarians https://www.reddit.com/r/Fakertarians/ https://twitch.tv/fakertarianspodcast Merch: www.malice4twitter.com

Enjoy our presentation of Island of Thieves written by Josh Lacey and published by Houghton Mifflin. Tom goes with his Uncle Harvey to Peru, where they narrowly escape imprisonment and death as they hunt for buried treasure after tracking down a journal written by John Drake, a young relative of Sir Francis Drake, on a voyage to Lima in 1577. Includes biographical information on John and Francis Drake. Island of Thieves was named a Best Fiction for Young Adults in 2013Island of Thieves is recommended for ages 9 and up for some violence.  Please see review for more information: https://www.kirkusreviews.com/book-reviews/josh-lacey/island-thieves/This title is available as an ebook on Hoopla: https://www.hoopladigital.com/title/12920009 Please visit www.calvertlibrary.info for more information. Music: Dub the Uke (excerpt) by Kara Square (c) copyright 2016. Licensed under a Creative Commons Attribution Noncommercial (3.0) license. http://dig.ccmixter.org/files/mindmapthat/53340 

Joining me this week is On The Virg is Metro Nashville Chief of Police John Drake. We talk about how he and his team navigated the civil unrest, Covid, and the Christmas bombing that all occurred at the beginning of his tenure. He shares all of his initiatives on what he and his board are putting together to keep Nashville safe and fun while it is experiencing unprecedented growth. We discuss our first meeting on lesson Ted and how golf not only brought us together but how it brings so many people from different backgrounds together. Plus we talk Prince vs. Michael Jackson, the Steelers, and his hero….his dad.

Joining me this week is On The Virg is Metro Nashville Chief of Police John Drake. We talk about how he and his team navigated the civil unrest, Covid, and the Christmas bombing that all occurred at the beginning of his tenure. He shares all of his initiatives on what he and his board are putting together to keep Nashville safe and fun while it is experiencing unprecedented growth. We discuss our first meeting on lesson Ted and how golf not only brought us together but how it brings so many people from different backgrounds together. Plus we talk Prince vs. Michael Jackson, the Steelers, and his hero….his dad.

Michael Freeby gets intimate with California gubernatorial candidate John R. Drake, as they discuss romance, dating, Michael Freeby's First Lady potential, California gubernatorial election's First Ladies, The Village People, Star Wars, why Jabba The Hutt is sexy, and more! First Lady Style takes on a whole new meaning!

With their recent album Mojo Skyline connecting with rock fans all over the globe The Dust Coda are ready to play live in front of audiences. The unknown of when that will happen remains but one this is for certain, their album is near perfection. Lead singer/guitar player John Drake chats with The Hook Rocks on the recording process and the bands journey before they signed their first record deal. Please enjoy this conversationPart of The Pantheon Podcast Network!

With their recent album Mojo Skyline connecting with rock fans all over the globe The Dust Coda are ready to play live in front of audiences. The unknown of when that will happen remains but one this is for certain, their album is near perfection. Lead singer/guitar player John Drake chats with The Hook Rocks on the recording process and the bands journey before they signed their first record deal. Please enjoy this conversation Part of The Pantheon Podcast Network! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Spy Rewind -  Matthew and Jeff take a look at the groundbreaking 1960 TV series Danger Man, specifically the episode - Time to Kill. They discuss whether John Drake is the JFK of spies, why you should always keep your bullets in loaves of bread, and the proper attire for an assassin. Plus, rock out to Jeff's rendition of the song Secret Agent Man! All that and more in this episode of Spybrary. links at www.spybrary.com/156

I kick off this episode with new releases that I dig, which includes The Skinner Brothers' Iconic, Diamante's American Dream, Olivia Rodrigo's SOUR, The Penitent Man & Cortege's Legends Of The Desert Vol. 2, and Squid's Bright Green Field. My special guests include John Drake & Scott Miller of London's hard-hitting rock 'n' roll/blues soul four-piece The Dust Coda! They join me on BRANDI IS GOING TO HELL to discuss their new album Mojo Skyline, including everything from the writing/recording process, the artwork, and how they formed. John and Scott also share some wild stories from the road, show me the last photos they took on their phones, and more!

In this episode of Super Secret Spies we discuss the 1960's British television series Danger Man which is also known as Secret Agent featuring Patrick McGoohan as secret agent John Drake.   Promo #1: Straight Outta the Federation: A Blake's 7 Podcast Promo #2: Citizen Kane Minute   Super Secret Spies is part of the RaD Adventures Network Please try our other podcasts: Trekker Talk at www.TrekkerTalk.com Warlord Worlds at www.WarlordWorlds.com Xenozoic Xenophiles at www.XenozoicXenophiles.com    Website: http://www.RaDAdventuresNetwork.com E-mail: RaDAdventuresNetwork@gmail.com Facebook: https://www.facebook.com/RaDAdventuresNetwork Twitter: https://twitter.com/RaD_Adventures Apple: http://bit.ly/RaDAdventures-Apple Google: https://bit.ly/RaDAdventures Podbean: http://RaDAdventuresNetwork.com Spotify: http://bit.ly/RaDAdventures-Spotify Stitcher: http://bit.ly/RaDAdventures-Stitcher YouTube: https://youtube.com/c/RaDAdventuresNetwork   We are a proud member of the Comics Podcast Network at http://comicspodcasts.com/    Thank you for listening and please consider leaving a review to help promote the show! 

Our second guest this week has rock n’ roll swagger, is an incredible vocalist and today celebrates the release of their brand-new album “Mojo Skyline”. In the second hour we talk to John Drake of The Dust Coda.  

Welcome, greetings and salutations to another edition of The Global Onslaught with your host Adam Onslaught on MMH The Home of Rock Radio. We have two special guests this week who although are poles apart in many ways hold a common thread that binds us all, rock n’ roll. Our first guest is a guitarist and the only remaining member of the original line up for his band. Sweet were one of the most iconic bands of British music during the 1970’s and today we find the music living on through this new line-up and at the helm, a man on guitar who has been part of our DNA for nearly 50 years. We welcome Andy Scott of Sweet as our first guest on the show. Our second guest has rock n’ roll swagger, is an incredible vocalist and today celebrates the release of their brand-new album “Mojo Skyline”. In the second hour we talk to John Drake of The Dust Coda. And if that wasn’t enough we have this stellar playlist to get the weekend to the right start. On the show. Badflower- Fuck the World Black Orchid Empire- Come In Cheap Trick- Boys & Girls & Rock n’ Roll Chemia- Angina Dead Label-Deadweight Hail the Sun- Made Your Mark Holding Absence- In Circles Oceans- Voices Pop Evil- Set Me Free Press to MECO- Smouldering Sticks Rise Against- Nowhere Generation Serj Tankian- Electric Yerevan Siamese- Enough Ain’t Enough Sweet-Blockbuster The Damn Truth- This is Who We Are Now The Dust Coda- Breakdown The Dust Coda- Limbo Man The Mercy Kills- Like You The Vintage Caravan- Crystallized This Dying Hour-Cornered Twisted Illusion-Online and In Line

The Dust Coda are one of those bands that may not be on your radar yet but with a listen to any of their singles will instantly climb to the top of your playlist.They are a perfect blending of hard blues and harder rock guaranteed to get your toes tapping while still subtly bludgeoning you into submission.With their second album Mojo Skyline set for release on March 26, frontman John Drake sat down with HEAVY to discuss the new album, and, more importantly, the fact he is actually an Aussie!"I am indeed,” he proclaimed proudly. “I was born in South Brisbane a long time ago (laughs)."With Mojo Skyline already spawning a string of hit singles, Drake continues by giving a musical overview of the upcoming album."Oh, man...Firstly I'm real proud of it,” he enthused.” We worked hard on it. I wanted to make a second album that took everything that we love about heavy rock and roll and had big choruses - which we love - but I also wanted to bring in more kind of melody and light and shade and I think we've done that. You've got these rockers like "Breakdown", "Demon" and "Limbo Man" that starts the album off, which is what we love, bang the fuck out of the guitars and then it moves into more melodic territory - which I also love. I'm influenced by Bryan Adams and guys like that so we wanted to, I guess, make a record like the albums we love. I love Superunknown by Soundgarden; I love all of the Gunners records and all of those records have so much variance in the music. It's not just smashing your head all the time, it's melodic as well, and the main thing for us is always making sure there's strong choruses and a good album's not a good album unless it has an epic, epic tune on it. The one on this album is the song called "Rolling" and that's the big fat beast which I fucken love (laughs).”In the full interview, John runs us through the album in greater detail, gives a history of The Dust Coda, talks about their sound and how it came about, discusses the order of the songs on the album and their importance, whether the three songs released are a good representation of the album as a whole, the album cover and it's meaning, signing to a label during COVID and different things the pandemic has made you consider and more.

The Student becomes the Teacher on This Episode of the Educational AD Podcast. John Drake was one of the BEST Assistant Coaches I ever had on a football staff and he has taken those lessons and become a top administrator who is now the Assistant Principal at Heritage High in Wake Forest, NC. John shares his story along with some best practices learned on the field, in the classroom, and beyond on The Educational AD Podcast! --- Send in a voice message: https://anchor.fm/jake-von-scherrer/message

This Week on BTV we are joined by John Drake Lead Vocalist of The Dust Coda, We talk about the bands journey,to the much anticipated upcoming album 'Mojo Skyline'

Get to know Nashville’s Chief of Police, John Drake. The Music City native talks about growing up in East Nashville, how he became an officer, and the call that changed his life.

There have been outbreaks of COVID-19 in more than half of UK prisons and many are running on skeleton staff. The pandemic has forced the prison estate to move to ‘an exceptional delivery mode’. One prisoner claimed they were kept in their cells for more than 23 hours a day with limited access to hygiene facilities, forcing them to dispose of human waste in plastic bags and bottles. There are signs that prisons could be epicentres for infection with small, enclosed areas and a lack of social distancing with staff potentially bringing the virus in and out. In this episode of the Sky News Daily podcast, host Noel Phillips speaks to Juliet Lyon, chair of the government's independent panel on deaths in custody, Andrea Albutt, president of the Prison Governors Association, Lucy Martindale, youth worker and anti-violence campaigner and John Drake, an ex-inmate at HMP Coldingley Prison.

Thank you to Bespoke Post and Audible for sponsoring this episode of What's Good Games! Go to http://audible.com/whatsgood or text whatsgood to 500-500 to start your free 30 day trial! Go to https://bspk.me/2XjK7tw to get 20% off your first monthly box when you sign up! This week we're chatting about the Lucasfilm Games news including a new Indiana Jones game from Machine Games and a new Star Wars game from Massive Entertainment. We're joined by special guest, John Drake, VP of Business Development and Licensing for Disney Games, to chat about what these deals mean. Plus Britt reveals she will be hosting the upcoming Resident Evil Showcase where Capcom will debut new gameplay from Village, we analyze the CD Projekt Red apology video, and Pokémon is celebrating their 25th anniversary with lots of news! In hands-on, Britt is playing indie horror game Outbreak: The New Nightmare and Andrea tried the new demo for Monster Hunter Rise while Steimer enjoyed the hot gossip of Netflix's Bridgerton. Thank you to our Patreon Producers: ·        Chewy’s Godson ·        Califorunicated ·        Justin Foshee ·        Punkdefied ·        Faris Attieh ·        Mohammed Mohammed ·        Marcus Brown ·        Alex Rigopulos Support What’s Good Games on Patreon! http://www.patreon.com/whatsgoodgames Discuss the podcast on our social channels! http://www.facebook.com/whatsgoodgames http://www.twitter.com/whatsgood_games http://www.youtube.com/whatsgoodgames Join the community page! https://www.facebook.com/groups/whatsgoodgames/ Timestamps: Segment One: News 5:10 Indiana Jones game announced 9:30 EXCLUSIVE interview with one John Drake 18:21 Ubisoft’s Star Wars announced 35:35 EA is still working on Star Wars 37:58 Resident Evil Showcase is coming next week! Segment Two: News Continued 42:49 CDPR responds to Cyberpunk controversy 48:49 Pokémon signs Katy Perry to celebrate 25th anniversary 53:09 Pokémon Snap has a release date! 1:05:04 Super Mario 3D World + Bowser’s Fury new details 1:12:27 Sony gives updated release window for PS5 games 1:17:09 Hogwarts Legacy delayed to 2022 1:17:36 Mass Effect Legendary Edition Segment Three: Hands-On 1:24:30 Outbreak The New Nightmare 1:30:35 Monster Hunter Rise demo 1:40:05 Bridgerton

Nineteen of Nashville’s most valuable acres just reopened to the public. Vanderbilt University makes history while firing their head coach all in one weekend. Plus, we’ll bring you Nashville’s Top Holiday events of 2020.Become a subscriber! Visit us at https://www.patreon.com/nashvilledailyTEXT US: 615-392-1358Today's Sponsor: Screened ThreadsUse the Code "NashvilleDaily" for 10% off online and in-storehttps://screenedthreads.com/Nash NewsNashville COVID-19 Responsehttps://www.asafenashville.org/Centennial Park’s Great Lawn Openshttps://www.tennessean.com/story/life/2020/11/25/centennial-park-parthenon-nashville/5893128002/?fbclid=IwAR02JKHtMf6SS4r9scJ2s4E-paNW7fNWM_8fdxKdmt0ZsJGQxSuiEZJD3FcVanderbilt football coach Derek Mason firedhttps://www.tennessean.com/story/sports/college/vanderbilt/2020/11/29/derek-mason-fired-vanderbilt-football-coach/6383200002/John Drake named Chief of Police for Metro Nashvillehttps://www.newschannel5.com/news/mayor-cooper-to-announce-new-metro-police-chief-on-mondayBest Holiday Events, Activities, & Pop-Up Bars in Nashvillehttp://nashvilleguru.com/38967/best-holiday-events-activities-nashvilleUpcoming Holiday Events Calendar | NashvilleLife.comhttps://nashvillelife.com/Upcoming-Holiday-Events-in-Nashville-Tennessee2020 Guide to Christmas in Nashville - Best Family Fun Holiday Ever!https://nashvillefunforfamilies.com/nashville-christmas-guide/A Country Christmas | Gaylord Opryland Resort | Ends  Jan. 3rd, 2021 | @gaylordoprylandresorthttps://christmasatgaylordopryland.marriott.com/I Love Christmas Movies | Gaylord Opryland Resort | Ends Jan. 3rd, 2021 | @gaylordoprylandresorthttps://christmasatgaylordopryland.marriott.com/nashville-interactive-holiday-pop-up-experience?_=&aff=MARWW&affname=1011l12512&co=WW&nt=PHHoliday Lights | Cheekwood | Ends Jan. 10th, 2021 | @cheekwoodhttps://cheekwood.org/calendar/cheekwood-holiday-lights-event-nashville/Drive-Thru Dancing Lights Of Christmas | James E. Ward Agricultural Center | Ends Jan. 3rd, 2021 |https://www.thedancinglightsofchristmas.com/Franktown Festival Of Lights | Williamson County Ago Expo Center | Ends Dec. 26th, 2020 | https://www.eventbrite.com/e/3rd-annual-franktown-festival-of-lights-franklin-tn-tickets-112393748728Jingle Beat | Nashville Fair Grounds | @eamotion_livehttps://www.eamotion.com/jinglebeatNorth Pole Express Train Ride | TN Central Railway Museum | Ends Dec. 19th, 2020 | @tncentralrailroadmuseumhttps://www.tcry.org/train-ridesWinterfest | Foundations At Gateway | Ends Jan. 4th, 2021 | https://fountainswinterfest.com/Local Artist Feature - Carly ColluraBreak My Heart https://open.spotify.com/artist/4F0k02afgT6pyD2xzvmBDC?si=BSUU7Yc9QMuKAG-vzJZGjAhttps://www.carlycollura.com/Nashville Daily Artist of the Day Playlisthttps://open.spotify.com/playlist/51eNcUWPg7qtj8KECrbuwx?si=nEfxeOgmTv6rFUyhVUJY9AFollow us @ XPLR NASHWebsite -  https://nashvilledailypodcast.com/YouTube Channel - https://www.youtube.com/c/xplrnashInstagram - https://www.instagram.com/xplr.nash/Twiter - https://twitter.com/xplr_nashNASHVILLE & XPLR MERCH - http://bit.ly/nashville_merchMedia and other inquiries please email hello@xplr.lifeArtists can submit songs to be featured here https://forms.gle/mtkxUCFds7g9e2466

We Sit down with Graphic designer John Drake and talk about his past, him being homeless , and the $10,000 contest hes in

This show was produced on October 20, 2020 by the Cullman High School Broadcast Network. We would like to thank John Drake, Spencer Allen, Coleman Callan, and all of our sponsors for making this week's show possible.

This week’s episode is a re-release of an episode from April 2020 that was part of our initial series on COVID-19 and is still quite relevant today. Population ecologist Dr. John Drake from the University of Georgia Odum School of Ecology talked with our podcast crew about modeling disease outbreaks and how to share scientific information in a fast moving outbreak. Interested in tracking COVID-19? Visit 2019-coronavirus-tracker.com/ Have an idea for a show? Questions for our hosts? Send email to cph-gradambassador@uiowa.edu

Welcome to Dev Game Club, where this week we are beginning to come dangerously close to spending longer talking about Republic Commando than we did playing it. This time, we get a look behind art development for Star Wars through the eyes and voices of two artists who worked on the title: Greg Knight, who was the principal concept artist for the game, and Paul Pierce, who designed the look and feel of the user interface. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Podcast breakdown: 0:45 Interview segment 1:14:39 Break 1:15:14 Feedback Issues covered: how Paul got his start, web design in the 90s, learning 3D modeling, how Greg got his start, the ubiquity of LucasFilm in Marin, making an important connection and getting an unstoppable recommendation, the importance of art in establishing a game, the design of HUDs and menus, the distinction between UX and UI, how UI art got into the game, iterating the UI in response to the game you're building, starting out as a texture artist, imagining rooms as a whole and getting noticed for your control of tone, an exciting time to learn about concept art, being a force multiplier for the art team, the need for concept art with rising fidelity, keeping cohesive style and flow in the art by use of concept art as well as art direction, differences with film, what immersive experiences mean for content, lacking control of camera, good ideas coming from all over, vs auteurism, putting a burden on UI aesthetics by being always first-person, bringing in the visor pieces, losing visual real estate and that conversation, the impact on design on art decisions, putting the ammo readouts on the guns, marking up renders to figure out where UI elements would go, weapons as characters, running into resistance with the programmers, the ways programmers can... avoid work, the conversation you have to have around iteration cost, fitting into a palette, designing vehicles that didn't exist in canon, coming up with the tone of a more deadly clone story, figuring out who the clones even were, figuring out what the side stories were, imagining beyond the borders of the film, morphing to a different scale, how little a Geonosian means to a Jedi and how much to a trooper, colorgrading and how it sells various tones and moods, giving a different interpretation of Star Wars, seeing something of Republic Commando reflected in Rogue One, focusing on what's important to your characters, the heat and contrast of the Geonosians, pulling on the film's UI elements, avoiding drama on a project, checking egos at the door, how collaborative the game was, the value of technical art, the energy of team members, tech artists as glue and bridges, the value of a demo, Neanderthal Tim, when your level is difficulty, the design ideas behind the hangars and bridge, the knobs you had to turn for storytelling through tone, having to die again and again, failure without excessive punishment, the ability level of the team, where your skills are relative to the game, improving communication between branches of the team, setting a vision without falling to design by committee, being able to deliver a new experience for a Star Wars audience, the challenge of making an AI that keeps pace with the player, "The Squad Is Your Weapon," the debate around the efficacy of the squad, building around the game's goals and how other games might attack that differently, the importance of building consensus, trying to find a way to say "yes" to an idea, "everybody can design," being able to have the squad revive you. Games, people, and influences mentioned or discussed: LucasArts, Jedi Starfighter, Bounty Hunter, Galactic Battlegrounds (series), Escape from Monkey Island, Lucidity, Disney, 2K, Transformers, EndeavorRX, Akili, Indiana Jones and the Infernal Machine, The Phantom Menace, EA, Jedi: Fallen Order, NYU Film School, Whole Foods, Cybernautics, Rocket Science Games, Obsidian, Behind the Magic, Haden Blackman, Starcraft, Dan Colon, Lightwave, LucasFilm, Ralph McQuarrie, Hal Barwood, Chris Williams, Unreal, Adobe Illustrator, Peter Chan, Joe Johnston, Doug Chiang, Obi-Wan, Bill Tiller, Jedi Knight, Dark Forces, Nathan Martz, Jeremie Talbot, Hideo Kojima, Metroid Prime, Maya, 3DS Max, Daron Stinnett, Band of Brothers, Saving Private Ryan, Black Hawk Down, Rogue One, Paul Murphy, James Zhang, Adam Piper, Harley Baldwin, Mafia III, Hangar 13, Top Mix, Kovaak's Aim Trainer, Galaxy of Heroes, Reed Knight, TIE Fighter, John Drake, Ryan/biostats, Pat Sirk, Gary Whitta, Book of Eli, Fallout, Nick from LA, Halo Reach/Halo 5, John Hancock, Kirby's Epic Yarn, Epic Mickey, Super Mario RPG: Legend of the Seven Stars, Kirk Hamilton, Aaron Evers. Next time: YET. ANOTHER. INTERVIEW. Twitch: brettdouville, instagram:timlongojr, @brett_douville, @timlongojr, and @devgameclub DevGameClub@gmail.com

In this week’s episode we are talking grief, trauma, terrifying experiences in the Sri Lankan jungle, PTSD, life in conflict zones and the unusual experience of lockdown on a small island. Meet my friend John Drake. We went to school together on the Isle of Mull on the west coast of Scotland; hung out as unsure teens. John is a wonder; one of the most intelligent people I know, and also kind, empathetic and self-deprecating, with a wicked sense of humour. Since we left school, John has lived a lot of life. After studying Politics and Arabic, he settled in London working with ex-SAS guys and intelligence analysts, before becoming a Head of Intelligence. He travelled from conflict zone to conflict zone, and spent extended periods of time in locked-down countries such as Iraq. During his university years, he spent time in the Sri Lankan jungle during the civil war, where he was attacked by an aggressive elephant that had killed six villagers, a sad result of human communities encroaching on wildlife habitat. John developed PTSD after this terrifying experience, a legacy that would stay with him for years. Then, five years ago, John lost his Dad suddenly and traumatically and was thrown into a new normal, grief characterising his every day, coupled with a resurgence of PTSD. We got into a conversation on grief and life that felt more like a chat over coffee than a recorded podcast. John shared his perspectives, with a good slice of humour thrown in, about everything from lockdown life, martini-making and sea baths on a small island to the trauma of his Dad's death and the immeasurable importance of talking therapies and CBT. Please share with others in your world.

From a young age, John has been fascinated with the ad world. From reading Ad Age magazines in high school to spending the last 23 years working in all disciplines of the industry, John is currently the Chief Strategy Officer at Drake Cooper. In this episode we chat about the role of creativity in the ad world, defining the problem you're trying to solve, the balance between art and commerce as well as John's experience working at the agency his father started. From the episode: "We have this little pool of money, who do we focus it on?" "...we have to really define the problem in order to help."      

As the COVID-19 pandemic continues to alter the legal landscape, John Drake and Amy Jensen discuss the challenges employers are facing with enforcing restrictive covenants, including how to navigate closed courts, furloughed and laid off employees, and remote work.

Dr. John Drake, Director of the Center for the Ecology of Infectious Disease at the University of Georgia, discusses the factors that impact contagion, the construction of statistical models to track and predict COVID-19 cases, and the threat of future pandemics. You can check out the CEID's COVID-19 working group here: http://2019-coronavirus-tracker.com The views of Dr. John Drake do not reflect the views of his employer, the University of Georgia, or any affiliated organization. Follow us on Instagram and Twitter = @thefinchpodcast Follow us on Spotify = https://sptfy.com/thefinchpodcast Available on Spotify, Apple Podcasts, YouTube, Google Podcasts, Anchor FM, TuneIn, Breaker, Pocket Casts, Overcast, Pod Bay, and Radio Public. Recorded on May 3rd, 2020 Aired on May 11th, 2020 --- Support this podcast: https://anchor.fm/the-finch-podcast/support

How is COVID-19 transmitted and how broad will the pandemic become? What can mathematical models of infectious disease tell us? What are steps we can take now to slow the spread? On this episode of Big Biology, we speak with John Drake, the Director of the Center for the Ecology of Infectious Diseases at the University of Georgia, who has been working with the CDC to understand the dynamics of the COVID-19 outbreak and to identify strategies for slowing its spread. --- Send in a voice message: https://anchor.fm/bigbiology/message

This week’s episode concludes the series on Novel Coronavirus. Population ecologist Dr. John Drake from the University of Georgia Odum School of Ecology talked with our podcast crew about modeling disease outbreaks and how to share scientific information in a fast moving outbreak. Interested in tracking COVID-19? Visit http://2019-coronavirus-tracker.com/ Have an idea for a show? Questions for our hosts? Send email to cph-gradambassador@uiowa.edu

There are many reasons for fundraisers to pursue certification in philanthropy. According to the CFRE, 51% of CFRE's receive their employer's support toward their initial certification while 63% of employers put money towards the continuing education of their fundraisers, required for recertification. So what makes philanthropy certification so interesting? John Drake is the President of Baylor Scott and White Irving Foundation, and he has been a donor helper for 35 years and has worked for Baylor Scott and he has other experience in advancement from the Dallas Technological Seminary and Baptist Health System of San Antonio. John has had his CFRE designation for quite some time now and he just recently passed the rigorous exam to achieve his Fellow in the Association of Healthcare Philanthropy (FAHP). In this episode of Philanthropy 212, John Drake joins Penny Cowden as they talk about the different fundraising certifications that exist, why some fundraisers opt to get certified and some don't, and how getting a certification might affect your career as a fundraiser. Stay tuned.  

The guys are back and there is a guest co host in studio Tim Miller who is a wrestling fan and TheChosenOne's brother. We talked BCWA Battle for a Champion, The upcoming CLASH Wrestling show All out War. We also talk Jim Cornette and NWA Powerrr. Go check out John Drake at Nerdy Designs on Facebook and contact John at jdrake1975@gmail.com.  Listen and Subscribe!!!  

Μπέρδεμα με το νέο βασικό Nintendo Switch, μπέρδεμα με το κάπνισμα στο Gears Of War, πτώση οικονομικών μεγεθών σε Xbox και Ubisoft, αλλά με χαρές και πανηγύρια, μια δόση Sony στην Disney και η σχέση των YouTubers με single player games. Καλοκαιρινά θέματα πριν το σύντομο θερινό διάλειμμα του Vertical Slice. Επικοινωνία με την εκπομπή: Email | Twitter Ι Facebook Group Social links παραγωγών: Ηλίας Παππάς - Facebook | Twitter | Instagram Μάνος Βέζος - Facebook | Twitter | Instagram Ι Apple Music Νέο Nintendo Switch Gears of War 5 reworked to remove smoking it apparently never had Microsoft closes fiscal 2019 with revenue spikes driven by cloud services Ubisoft sees PC, digital sales share increase in Q1 Full List of Games Coming To Uplay+ Revealed MAKE YOUR MARK WITH WATCH DOGS: LEGION AND HITRECORD Disney hires former PlayStation portfolio boss to head up games licensing “In the past, YouTubers were very problematic... Suddenly they became our allies"

Μπέρδεμα με το νέο βασικό Nintendo Switch, μπέρδεμα με το κάπνισμα στο Gears Of War, πτώση οικονομικών μεγεθών σε Xbox και Ubisoft, αλλά με χαρές…ΠερισσότεραVertical Slice 40: Θεωρίαι πρωτάκουσται

Thank you to UpStart, RayCon, and Earth Break for sponsoring this episode of What's Good Games! Hurry to http://upstart.com/whatsgood to find out HOW LOW your Upstart rate is. Right now, you can go to http://EarthBreak.com/WHATSGOOD for 25% off your first box. Go to http://buyraycon.com/WHATSGOOD to get 15% off your order! Support What’s Good Games on Patreon! Gain access to behind-the-scenes content, exclusive videos, extra podcast segments and more. http://www.patreon.com/whatsgoodgames This week the ladies JUST got back from a *secret* preview event, but that won't stop 'em from recording a show! (Excuse the deliriousness.) Topics include one John Drake joining Disney, the lack of Borderlands 3 cross-play at launch, ANOTHER Nintendo Switch model, that HitRecord controversy and more! Hands-on impressions include Stranger Things 3, Riverbond, Dr. Mario World and Andrea's obsession with LEGO Tower continues. Thank you to our Patreon Producers: Tom Bock Alex Rigopolus Faris Attieh Mohammed Mohammed David Iacolucci Segment One: News :42 Welcome to the show! 10:20 John Drake joins Disney! 19:30 No Borderlands 3 cross-play at launch 24:44 ANOTHER Nintendo Switch model! 37:50 Uplay+ subscription service 46:30 Watch Dogs: Legion/HitRecord controversy Segment Two: Hands-On 1:01:05 Welcome back! 1:08:18 Stranger Things 3 1:15:22 LEGO Towers 1:22:43 Dr. Mario World 1:37:20 Riverbond 1:42:03 Steimer’s workout of lifehttp://www.facebook.com/whatsgoodgames http://www.twitter.com/whatsgood_games http://www.youtube.com/whatsgoodgames Join the community page! https://www.facebook.com/groups/whatsgoodgames/ Brittney http://twitter.com/blondenerd http://facebook.com/blondenerd http://youtube.com/blondenerd Andrea http://twitter.com/andrearene http://www.instagram.com/andrearene_/ Steimer http://twitter.com/steimer https://www.instagram.com/ksteimer/

GameStop has plans to create gaming hubs in their stores rather than a normal retail store, a Super Monkey Ball Banana Blitz Remake is coming, new games come to Game Pass, Gears 5 will have an arcade multiplayer mode, Disney hires John Drake from PlayStation, and Epic Games donates a million bucks to Blender. --- Support this podcast: https://anchor.fm/diggitypodcast/support

Ahead of today's Celebration of Togetherness event, Randy Pitchford has confirmed that Borderlands 3 will NOT have cross-play at launch. Here are today's stories: - Borderlands 3 will not have cross-play at launch - Respawn will deal with Apex Legends cheaters by making them fight each other - Disney Hires PlayStation’s John Drake to Head Its Game Licensing Division - GameStop plans to renovate stores, pilot new store concepts Follow me on social media! Twitter: http://twitter.com/prettychillguy Instagram: http://instagram.com/samueladamsmedia YouTube: http://youtube.com/samueladamsmedia Twitch: http://twitch.tv/samueladams --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

On tonights’s episode we discuss Remedy regaining rights to Alan Wake, this month’s Games with Gold and PS Plus games, John Drake leaving Playstation, Sony feeling the PS5 is too big to fail, Nintendo’s 79th shareholder meeting, and another Switch Mini leak. Somewhere along the way Jason hits a critical roll and still fails his mic drop.

See why Upstart is ranked #1 in their category with over 300 businesses on Trustpilot and hurry to http://Upstart.com/KFGAMES to find out HOW LOW your Upstart rate is. Boost is only available at http://Experian.com/kfgames Gary and Greg talk about a Daybreak hacker getting two years in prison. Time stamps - 00:02:16 - Housekeeping Greg’s Comic Book Club #17 is up on patreon.com/kindafunny. The Boys. RTX is THIS WEEK and all of Kinda Funny will be there. Come to our signing Friday! Come see our panels Saturday: Kinda Funny: We Need Your Sub More Than Funhaus @ 2 p.m. Michael Jones and Greg Miller: Let’s See What Happens @5:30 p.m. Gary’s Book of Eli watch-a-long is Tuesday 7/9 @ 6 pm PT - twitch.tv/garywhitta The Roper Report - 00:09:43 - Daybreak Hacker Gets Two Years in Prison 00:14:27 - Epic covering Steam Refunds for Shenmue 3 00:16:57 - How big is Shovel Knight? 00:21:09 - Clarification on all those Cyberpunk games 00:25:23 - John Drake is Leaving PlayStation 00:27:21 - Out today 00:35:00 - UPSTART 00:36:15 - EXPERIAN Reader mail - 00:40:41 - “In lieu of recent events with Dr Disrespect…” - Parker B 00:48:17 - “I have a question about celebrities in video games…” - Chadwick 00:52:40 - “What if Sony acquired Konami's video game IPs…” - Charles Jakobsen 00:55:57 - Squad Up: Griffin - Twitter - GriffiDPad 00:57:19 - You‘re Wrong Tomorrow’s Hosts: Thursday - NO SHOW - Fourth of July Friday - NO SHOW - RTX

Welcome to Dev Game Club, where this week we continue our discussion about Grand Theft Auto III. We talk a bit about mission structure, failure states, learning through failure, and a host of other things. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: About a dozen missions into Staunton Podcast breakdown: 0:47    GTA III discussion 55:12  Break 55:45  Feedback Issues covered: homophones, the intermediate position between cartridges and hard drive, saving when you're "done for the night," tension between mission design and world design, building up your arsenal, adding to your mission setup loop, memory cards and the hardship of working with them, choosing your save spots in an open world game, Vita Chambers vs save spots, the weakness of the PC port, "quality of life stuff," the assassination of Salvatore, learning through failure, escalation missions, individual mission stories, sniping on the PC, aim assist for consoles and stealing from a common place, learning the map, playing the radar game, eyes being drawn low for the radar but being unable to follow landmarks as a result, the cool moment of knowing a place, usability to support the story missions, putting yourself back in 2001, wishing you could program for the PS2 again, being frustrated by timers, using the systems and tools you have rather than building new stuff for every mission, getting janky because of having few tools, bending tools to your will, capture the flag mission from humble beginnings, Rube Goldberg machines, how far can you bend a system before it's no longer in line with what your game's about, timers don't support the chaos engine that the game is, punishment for being poor with the controls, finding your lanes and staying in them, maybe missions aren't really the point, the player type that pushes the boundaries, using achievements or trophies to push you in directions you might otherwise miss, the cars being much better on Staunton, being put off by the driving model, world systems fighting your driving, fingers deep in Cheetos, no one in the game fighting for anything, finding a character you can hold on to, the value of Aristotelian structure, putting different points of view around an issue, needing stakes and counterpoints, punk rock requires an opposing authority, punching down, wanting more meaning from your choices, examining what games should be trying to do, our super-fan, host-appropriate T-shirts. Games, people, and influences mentioned or discussed: Banjo-Kazooie, Rare Replay, Nintendo, PS2, Tomb Raider, Bioshock, Hitman (2016), The Terminator, Halo, Starfighter, PS3, Thief, Unreal, Republic Commando, Jedi Starfighter, John Drake, The Incredible Machine, Casey's Contraptions, Rube Goldberg, Red Dead Redemption 2, Dark Souls (series), Ninja Gaiden (series), GTA V Online, Crazy Taxi, Batman: Arkham (series), The Witcher 3, Mazirian the mag, Mikkel Lodahl, GTA San Andreas, Bojack Horseman, Waypoint, Austin Walker, Patrick Klepek, Danielle Riendeau, Rob Zacny, Natalie Watson, Baldur's Gate, Jurassic Park: Trespasser, Microsoft, XBOX, Bill Gates, Dreamworks Interactive, Far Cry 2, Clint Hocking, Aaron Evers, Dungeons and Dragons, Tomb of Horrors, Star Wars. Links: Seamus Blackley and Trespasser Sorry, I could not find Clint Hocking's Trespasser talk... :( Next time: Finish the game! https://twitch.tv/brettdouville, @timlongojr, and @devgameclub DevGameClub@gmail.com

Here it is - our final show featuring a slew of amazing guests such as Janina Gavankar, Austin Creed, John Drake... and whatever the hell this last segment is.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5928697/advertisement

Here it is: our final show featuring a slew of amazing guests such as Janina Gavankar, Austin Creed, John Drake... and whatever the hell this last segment is.

Welcome to Dev Game Club, where we are finishing 1995's Star Wars: Dark Forces. We talk a bit about the final levels of the game while punching dragons and then turn to our takeaways. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: We finished the game! Podcast breakdown: 0:44     DF Discussion 59:08   Break 59:38   Takeaways Issues covered: the Kell dragon, entirely too much discussion of dragon types, being unsure what to do, not matching up with the fantasy, puzzle elements in fighting, having a role-playing moment in an action game that you don't often have in an RPG, starting as a Luke Skywalker game, lacking a hook for why it's Jabba's ship, enemy types, cuts later in games, the iso chamber maze puzzle, making the level itself into an interesting space, bending constraints to your will, not having anyone to tell you you can't do a thing, lowering risk, shifting towards production realities, the cost of a pivot raising aversion to risk, distinctions between studios (tech-driven vs design-driven vs art-driven), having to compete on all three, "you are fighting Boba Fett, so that's pretty cool," player skill puzzles, executing on a plan that's working, minimal story telling, television vs films, build up and implication, filling in a lot yourself, leaning on the films, the only source of Phrik in the galaxy, unmotivated space, the conveyor belt action bits, gaminess of a level, placing obstacle courses at the end of games, denouement and falling action, climax and the lack of remaining action, remaking the game, level design high water mark, being evolutionary rather than revolutionary, elevating through design and Star Wars bits, gadgetry and secondary mechanics, introduction of the Dark Trooper, high quality music, using Jedi in games, what you choose to build into your design, cornering the market in the Auction House, picking a setting that supports the fantasies, the MDA framework. Games, people, and influences mentioned or discussed: The Force Awakens, Return of the Jedi, TIE Fighter, Jon Knoles, Mysteries of the Sith, Final Fantasy IX, The Witcher, Baldur's Gate, Rebel Assault, Republic Commando, Ingar Shu, Kevin Schmitt, Reed Knight, Duke Nukem 3D, Steve Chen, Starfighter (series), John Drake, id Software, Epic MegaGames, Half-Life, Unreal, Quake, Outlaws, Jedi Knight, Indiana Jones and the Infernal Machine, Fallout, Leonard Boyarsky, Tim Cain, Obsidian, Chris Avellone, Planescape: Torment, Justin Chin, Mario, Ratchet & Clank, Battlefront II, Clint Bajakian, John Williams, @notmyviews, Star Wars Galaxies, Star Wars: The Old Republic, Everquest, Ultima Online, Raph Koster, Dungeons & Dragons, Gary Gygax, Knights of the Old Republic, Bioware, Tomb Raider, Wolfenstein. Next time: Bonus interview! @brett_douville, @timlongojr, and @devgameclub DevGameClub@gmail.com

Dave is back from PSX with interviews galore! The guys talk Christmas prep, the PlayStation Experience, The Video Game Awards, losing at Blackjack and the business side of Platform Exclusives before wrapping up the show with tons of interviews from the PSX show floor. #Team GFB Radio – Episode 14 – Our Hero John Drake Original Air … Continue reading Episode 14 – Our Hero John Drake The post Episode 14 – Our Hero John Drake appeared first on Team GFB Radio.

Main Feature: Interview with David Price, OBE, about his book "Open: How we'll work, live and learn in the future." Regular Features: AITSL's Teacher Feature, Erin and Angela discuss the things they love about teaching as a profession; Education in the News; Off Campus, Dan Haesler questions the ways we measure success in education; Teachers' Brains Trust, John Drake talks about ways to enhance creativity in the classroom; Mystery Educator competition. Don't forget the first TER Live event at the Harold Park Hotel in Glebe on March 25th. http://terpodcast.com/2014/03/23/ter-019-23-march-2014/

Stories about revenge from our January show Jay Anderson with Under the Cover of Darkness Daniel Wolfe with Sorry! John Drake with Thanks For the Cigars Tom Sellers with a Touch On the Shoulder Seth Casana with The Thing About Mayonnaise Zach Santulli with Just Friends Les Schaefer with I Want My Revenge Hot Dan […]

Transforming Your Business to Cloud With Comstor, in this podcast Matt Karst, Senior Director for Cloud Solutions for Comstor, will discuss a brief overview of Westcon/Comstor, the Cloud strategy alignment with Cisco, our value add focus for helping resellers to offer Cisco powered cloud services, also the Peak laaS solution - powered by Cisco and the next steps to business transformation. This podcast will also feature John Drake, Director for Channel Development for Peak, will talk about how Comstor and Peek Cloud technology can help transform your business and create profit margin. For more information about this podcast post contact Matt Karst, Westcon/Comstor, Senior Director, cloud Computing for Comstor at matt.karst@westcon.com or cloud@comstor.com or John Drake, Director of Channel Development, Peak at john.drake@poweredbypeak.com

This week Harmonix Music Systems' Director of Communications and Brand Management, John Drake, is on the podcast. We cover John's collegiate experience at Harvard as well as his role as "fun czar". We also discuss his music background, including his record label, and why having your own record label is not fun around tax season. And we cover some highlights of working at Harmonix, from Rock Band, to Dance Central, and the upcoming Fantasia: Music Evolved. And I ask about the Super Drake Tracker 2000 EX, because I still can't believe it's a real thing. Enjoy. Follow John on Twitter at @johntdrake, and keep up with the latest news about Fantasia: Music Evolved at facebook.com/fantasiagame. Run Time - 1:16:36 Send your feedback to feedback@justtalkingpodcast.com.

We bring Cliff Bleszinski, Jonathan Blow, Vince Zampella and the Respawn team, John Drake and Eric Pope from Harmonix, and Double Fine's own Brad Muir in for questioning.

We close out the show with IGN's Greg Miller, 343 Industries' Frank O'Connor, Josh Holmes, and David Ellis, Hello Games, Eric Pope, Alex Rigopulos, and John Drake from Harmonix, Justin McElroy and Russ Frushtick from Polygon, and, of course, MAGIC.

Jeff and Brad lure a fresh batch of guests into the Giant Bomb bar, including Jeremiah Slaczka, Ben Gilbert, John Vignocchi, John Bellomy, John Drake, and more! Listen in to this noisy podcast as we discuss Chicago, Japan, Tron threesomes, and GDC 2011.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5928697/advertisement

RuggaMatrix Episode 001 is now ready for download from RuggaMatrix.com or iTunes. Djuro Sen and Mark Cashman nail our European correspondent Ewen McKenzie on several issues in Paris. Ewen talks about a variety of topics from Stade Francais, the Heineken Cup boil over with Harlequins, Mark Gasnier and life in France. Ewen also makes a glowing tribute to his good friend John Drake who suddenly passed away in New Zealand. We track down Les Kiss in Ireland and you won’t believe what he has to say. Lote Tuqiri is our very special guest. The Wallaby and Waratah superstar welcomes RuggaMatrix into his home for a fascinating chat about the Wallaby tour, the Super Rugby season past and the year ahead. For show one it’s got it all. Thanks to the Peninsula Motor Group for making it all possible. Podcasting … listen when you want – where you want.