Podcast appearances and mentions of John Lennon

Hamamoto on YouTube:    / @professorhamamoto  Watch Lionel on Diddy verdict: https://youtube.com/live/KR85dKR3Nao Watch part 6 here: https://youtube.com/live/DViShfvP9yE Watch part 5 here: https://youtube.com/live/TaF8EMyS4V4 Watch Prof Hamamoto Part 4 https://youtube.com/live/TkUr4CanA_k Watch Prof Hamamoto Part 3 https://youtube.com/live/qUHdKtabgNo Prof. Darrell Hamamoto, who is an American writer, academic, and specialist in U.S. media and ethnic studies. Professors Facebook : https://www.facebook.com/share/hZajgC... Follow P Diddys latest:    • P Diddy  #jayz #beyonce #hollywood #countrymusic #nashville #pdiddy #puffdaddy #truecrime #news #youtubenews #podcast #livestream #youtube #thepope #vatican #church  Here are Hamamoto's recommended books: Can't Stop Won't Stop: A History of the Hip-Hop Generation  ——- The Psychological Covert War on Hip-Hop ——- The Covert War Against Rock: What You Don't Know About The Deaths of; (Jim Morrison, Tupac Shakur, Michael Hutchence, Brian Jones, Jimi Hendrix, Phil Ochs, Bob Marley, Peter Tosh, John Lennon & The Notorious B.I.G) ——- Hit Men: Power Brokers and Fast Money Inside the Music Business ——- Me, the Mob, and the Music: One Helluva Ride Tommy James and the Shondells ——- Godfather of the Music Business: Morris Levy (American Made Music Series) ——- LAbyrinth: A Detective Investigates the Murders of Tupac Shakur and Notorious B.I.G., the Implication of Death Row Records, Suge Knight, and the Origins of the Los Angeles ——- The FBI war on Tupac Shakur: State repression of Black Leaders from the Civil Rights Error to the 1990s (real world) ——- The FBI war on Tupac Shakur and Black Leaders: US Intelligence's: Murderous Targeting of Tupac, MLK, Malcol, Panthers, Hendrix, Marley rappers and Linked Ethic Leftists ——- Have Gun Will Travel: The Spectacular Rise and Violent Fall of Death Row Records ——- The Big Payback: The History of the Business of Hip-Hop ——- Ruthless: A Memoir ——- Hip-Hop Decoded ——- Q: The Autobiography of Quincy Jones ——- How to Wreck a Nice Beach: The Vocoder from WW II to Hip-Hop, The Machine Speaks ——- Dancing with the Devil: How Puff burned the bad boys of Hip-Hop ——- Hiding in Hip-Hop: On the Down Low in the Entertainment industry—from Music to Hollywood

If you have a spare $40 lying around, you might be able to get Corey Feldman to inscribe your buttocks — just bring your own camera.The Simpsons have “killed off” Marge, so Paulo revisits three other 80s TV show deaths: one that traumatised him, one that confused him, and one that, well... titillated him.Paulo's movie recommendation features some bizarre cameos, while Dori manages to upset Yoko Ono — something we can probably all get behind.And finally, we uncover Tony Danza's tattoo and Rob Lowe's most 80s moment. We don't know if it involves a saxophone.Jump To: Corey Feldman's Autograph Economics (00:02:36): https://www.instagram.com/reel/DLQ87EAx0pF/?utm_source=ig_web_copy_link80s TV Character Deaths: Transformers & Airwolf (00:08:29): Optimus Prime: https://youtu.be/S7sjXkYHOg0?si=1KTQ8oOld3mB1aCIAirwolf: https://www.youtube.com/watch?v=shJnFFZO6l8Dallas & Bobby Ewing's Dream Death (00:15:03): https://youtu.be/nCEjeTb1rrs?si=nS4PlLOFf92YU8IsChapter 27 (00:17:31): https://youtu.be/TktOCF-iBTQ?si=3kkF8CNEnGfdMEZxClint Eastwood's Pink Cadillac (00:34:27): https://youtu.be/I5P2UWe-c1I?si=hI_4IderbhKb95bRBryan Adams in Pink Cadillac: https://images.app.goo.gl/RKJajr1EZqfDCK5m8Jim Carrey in Pink Cadillac: https://www.imdb.com/title/tt0098097/mediaviewer/rm189105665/?ref_=ext_shr_lnkTony Danza's Legal Trouble & Who's the Boss (00:43:07): https://www.cracked.com/article_47129_tony-danza-avoided-jail-time-thanks-to-whos-the-boss.htmlRob Lowe, Saint Elmo's Fire, and 80s Nostalgia (00:46:56): https://www.aol.com/rob-lowe-reveals-favorite-part-150000509.html?guccounter=1  # character deaths, # The Simpsons, # Transformers, # Airwolf, # Dallas, # Corey Feldman, # celebrity appearances, # autograph signings, # 1980s television, # character arcs, # media commentary, # Chapter 27, # John Lennon, # Mark David Chapman, # Jared Leto, # method acting, # Lindsay Lohan, # Clint Eastwood, # absurdity, # movie reviews, # Tony Danza, # Rob Lowe, # St. Elmo's Fire, # entertainment industry, # celebrity culture, # 80s films, # cultural significance, # film recommendations, # absurd plot, # comedic elements, # character transformations, # psychological aspects, # entertainment nostalgia, # film discussions, # movie cameos, # light-hearted banter.

Hello, boys (and girls)! We're ba-aaaaaaaack!! It's time to kick the tires and light the fires, big daddies (and mommies)!  If you're excited for the 4th of July, you want to feel great about America and humanity in general, or you just want to see mid-90s Will Smith whip E.T.'s ass, then this is the commentary for you, that's all.  So strap in for the greatest, most patriotic alien invasion movie of all time, with the greatest on-screen presidential speech of all time, just in time for Independence Day.  As you can imagine, they don't let us out much... so we've made the most of our time inside by re-visiting the hottest flick of 1996.  Press play and we can guarantee your next 2+ hours will be really exciting.  And yes, that's exactly the word we'd choose to describe it.Happy listening!  Happy Independence Day!  And remember -- All you need is love.  John Lennon.  Smart man.  Shot in the back, very sad.  Peace! 

Hello, boys (and girls)! We're ba-aaaaaaaack!!It's time to kick the tires and light the fires, big daddies (and mommies)!  If you're excited for the 4th of July, you want to feel great about America and humanity in general, or you just want to see mid-90s Will Smith whip E.T.'s ass, then this is the commentary for you, that's all.  So strap in for the greatest, most patriotic alien invasion movie of all time, with the greatest on-screen presidential speech of all time, just in time for Independence Day.  As you can imagine, they don't let us out much... so we've made the most of our time inside by re-visiting the hottest flick of 1996.  Press play and we can guarantee your next 2+ hours will be really exciting.  And yes, that's exactly the word we'd choose to describe it.Happy listening!  Happy Independence Day!  And remember -- All you need is love.  John Lennon.  Smart man.  Shot in the back, very sad.  Peace! 

Geoffrey Giuliano: Author, Actor and MusicologistEd interviews author and actor Geoffrey Giuliano.Geoffrey Giuliano (born September 11, 1953) is an American author, radio personality, and film actor, best known for his biographies of The Beatles members John Lennon, Paul McCartney, and George Harrison, and of musician Pete Townshend. He is also known for his involvement in the Mclibel case.A biography Giuliano wrote, Lennon In America (released in 2000), was controversial. Giuliano said the book was based in part on transcripts of Lennon's journal given to him by the singer Harry Nilsson. The book was issued after Nilsson's death, and several people close to Nilsson do not believe he ever had the transcripts in his possession. Washington Post reporter David Segal quoted Giuliano's response when he was asked to corroborate his claim that Nilsson gave him the diaries. "It's obvious that I'm going to do things in an ethical manner." Segal also reported the view of Steven Gutstein, a former New York assistant district attorney who was asked to read the diaries during an early 1980s larceny lawsuit against former Lennon personal assistant Fred Seaman. Gutstein described his own memory of the diaries as "a lot of philosophical musings combined with mundane details of everyday life."http://www.geoffreygiuliano.net/Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Director Alan G. Parker's newest film is a personal expression of gratitude toward John Lennon for being a figure that helped him through some difficult years when he was growing up. Borrowed Time: Lennon's Last Decade includes interviews with dozens of figures who knew him; everyone from Aunt Mimi (archival footage) to journalists like Ray Connolly, Chris Charlesworth, and Anthony DeCurtis, plus writers like Philip Norman and Ken Womack and other figures of influence, like Tariq Ali. The result is an impressionistic portrait of John's post-Beatles years, tapping the creativity that comes from working without official sanction. Parker's other work includes 2017's It Was Fifty Years Ago Today on Sgt. Pepper, plus other films and books covering punk acts including The Clash and the Sex Pistols.     

It's More Rosebud, and time for another guest with an unusual tale to tell. Julia Baird is the half-sister of John Lennon, and here she tells Gyles about her childhood, their mother (Julia Lennon, née Stanley) and what it was like to grow up alongside a future pop icon. John Lennon and Julia Baird's family was big, and complicated - their mother, Julia, was one of five girls. She met John Lennon's father, Alf Lennon, in the park when she was just 14, and the pair courted, and later married. John was born in 1940, but Alf got a job in the merchant navy and from then on was seldom home. After that, Julia had three more daughters with two different partners, but her family did not approve and John was taken to live with his aunt, Mimi. However, John and his mother never stopped seeing each other, and never stopped loving each other - and this is the story Julia Baird tells to Gyles in this episode. She also tells Gyles about John's success, about the band's rehearsals in her mum's kitchen, about John and Cynthia, and about going to see the Beatles play in Liverpool and the early days of Beatlemania.This really is a must for any John Lennon fans who want to know more about his childhood.Julia Baird's book Imagine This: Growing Up With My Brother John Lennon is available here. Tickets to Live Odyssey, an immersive exhibition about British music and featuring a new John Lennon exhibition, are available here.This episode was recorded at the JW Marriott Grosvenor House in London. Thank you very much to everyone there! Hosted on Acast. See acast.com/privacy for more information.

By the time The Beatles released their twelfth and final studio album, Let It Be, the ban had already broken up.  Their official break-up was in April 1970, and this album was released in May.Much of the recording dates back over a year, and a project that Paul McCartney developed in an attempt to save the band.  The Beatles went into the studio in January 1969 to begin an album, document the development on film, and showcase the band as they return both to a simpler rock 'n' roll style and to live performance.  They started in Twickenham Film Studios, but quickly began fighting.  George Harrison left the group, only returning after they agreed to returning to Apple Studios and to bringing keyboardist Billy Preston in to assist in the process.Originally entitled "Get Back," the album was delayed multiple times as the group considered aligning with potential televised performances, and eventually postponing the release in favor of the studio album "Abbey Road."  As the demise of the group became more clear, Engineer Glyn Johns and producer Phil Spector were brought in to turn the pieces from the "Get Back" sessions into a complete album.These sessions were also the ones which included the final Beatles live performance, the "Rooftop Concert" recorded from the roof of Apple Studios on the afternoon of January 30, 1969.  This concert proceeded for 42 minutes until the police arrived and instructed the group to turn the sound down.Contemporary reviews of the album were more negative than previous Beatles albums, but those critiques have been revised upwards over time.Bruce presents this album marking the end of an era for this week's podcast.Two of UsPaul McCartney wrote most of this song which is credited to the Lennon-McCartney partnership.  The original idea was inspired by McCartney's travel adventures with Linda Eastman (to whom he was married in March 1969), but it took on more meaning as a gesture of affection to John Lennon after the group broke up.  I Me MineOne of the few non Lennon-McCartney songs on the album, this track was written by George Harrison.  It was their last new track recorded before their official break-up in April 1970.  The lyrics are a cry against the self-centeredness of mankind.  The Beatles recorded it in January 1970, by which time Lennon has privately left the group, so the three remaining members recorded it.  I've Got a FeelingThis song is actually a medley of two unfinished songs.  Paul McCartney wrote "I've Got a Feeling," and John Lennon wrote "Everybody Had a Hard Year." and the two were put together.  This was recorded during the Beatles' rooftop concert in January 1969 with Billy Preston on electric piano.Get BackThe concluding song from the album is unusual. because almost every moment of the song's development was recorded from the first riff to final mixing.  The concluding quip from John Lennon regarding hope that "we passed the audition," was taken from the Rooftop Concert and worked in by Phil Spector.  It was originally released as a single a year before in April 1969, and credited to "The Beatles with Billy Preston." ENTERTAINMENT TRACK:"Burning Bridges" (Main theme from the action comedy film Kelly's Heroes)This World War II comedy stars Clint Eastwood and Telly Savalas revolves around a gold heist as the war draws to a close.   STAFF PICKS:Question by The Moody BluesLynch brings us a song in multiple movements.  The frantic phase represents the question of why we must go to war, while the more subdued section represents love and peace.  Guitarist Justin Hayward wrote this song as a mashup of two unfinished songs which came together after observing the anxiety young US fans were experiencing regarding the draft and the Vietnam War.Proper Stranger by The Guess WhoRob features a deeper cut from the Canadian band off their "American Woman" album.  The lyrics depict the feelings of being alone in a big city where "Nobody knows my face or knows my name.  Nobody knows where I'm going or how I came.  Lost and found, no one claimed me. Alone with a million others."50,000 Miles Beneath My Brain by by Ten Years AfterWayne takes us on another deep cut.  This one is a psychedelic journey with the group that gets its name from their being founded ten years after Elvis's start.  We noticed the similarity between this song and the Rolling Stones' "Sympathy for the Devil," with which it shares a similar chord progression.Baby Hold On by The Grass RootsBruce closes the staff picks with a group that was big from 1965-1985.  The Grass Roots originated in 1965 as a project between the duo P.F. Sloan and Steve Barri.  This song went to number 35 and was included on their compilation album, "More Golden Grass," released in the fall of 1970.   INSTRUMENTAL TRACK:Genesis by Tangerine DreamWe close out this week's podcast with an early industrial track from the future jazz fusion giants. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

4th Wall: Conspiracies - MK Ultra, Stephen King, John Lennon, Tesla, The Smithsonian, Eygpt, The Grand Canyon, The Moon, and Dinosaur bones..... Put on your tin foil hats! TNC: https://linktr.ee/thenightclub -Letterboxd- Travis: https://letterboxd.com/thenightclub/ Ricky: https://letterboxd.com/fvlsekvltrick/ Trevor: https://letterboxd.com/darkfixius/ Cody: https://letterboxd.com/codyco/

Amazon Music SpotifyMore about artist BioBack in the mid-'80s, James Sifuentes began writing and recording some pretty goodpop rock. He and Bill, his brother and bandmate, dreamed of getting the songs re-recorded professionally, but life, other interests and careers intervened.Then came more life: age 50, cancer, Hodgkins's lymphoma. He beat that. Ten yearslater, July 2023, turmoil at the hospital where he had been an executive for 19 yearsresulted in his firing. A few months after that, January 2024, he suffered a heart attackwhile interviewing for his current regional manager position with the Chicago ParkDistrict.He didn't know about the heart attack until he went to urgent care after the interview.At this point, he tells himself that if he's going to put out his music, he ought to do it, andby March, he persuades himself to get it done.Then, January 2025, disaster for the second January in a row. He is diagnosed withstage 4 pancreatic cancer, but now he is seriously committed to putting out his music.And the result, a year later, is “Summertime,” the single, a jazzy pop-rock anthem to theseason, and Summertime, a 12-track album of some pretty good pop rock transformedinto seriously good pop rock.It's all under the name Sifuentes. It features Jim, his brother Bill on guitar, and MattRiggen, a multi-talented colleague from the park district, on drums, brass and piano.“Overall, it's pop rock, but there's some stuff that fits in different genres.”The single features the rocking guitar and beat you would expect from someoneinfluenced by the Beatles, especially John Lennon and Paul McCartney, funkadelic,(Parliament) and R&;B.And it also has some swinging brass work too.“The '60s, I was only a little kid,” said Sifuentes. “My dad actually bought Beatlesalbums, and we were just listening to them and, yeah, they became it.”Growing up, living and working in Chicago, “Summertime,” to him, means the end of theice, snow and cold of winter and the “beauty, the energy when people get to go out,wear shorts, barbecue, head to the beach and enjoy a different feeling.”“It's just trying to capture that feeling and make people feel good when they listen to thesong.”He has been writing, composing, playing and recording music ever since he and hisbrother were teens. At one time, he wanted to do that full time.“We just didn't pull the trigger, my brother and I. We wanted to get into the studio torecord these songs. We wanted to hear what they would have sounded likeprofessionally.”After the heart attack last year, “I said, ‘I'm gonna get these songs done.' In March oflast year, I said I'm gonna put out an album, so I set the goal.”But doubts set in: already 60, health not good, and though the music he had written andrecorded was good, he hadn't been playing much, or singing.Somewhere in here, his daughter Amanda says to him about “Summertime,” which hewrote in his 40s, “I love that song, Dad. You should finish it.”“And I said, ‘You know what? I'm going to do this album. I will release it aroundsummertime, so, I want that to be the title.”He began work, getting back into musical shape, working over his songs, and byNovember, he was back in the studio.Then January, and this time it's pancreatic cancer. But, “I'm always one to finish a goal.”Now it's June, and the album is out.“And I celebrated yesterday,” he said. “My staff here at the park district, we held alistening, they called it a listening event, and they played the album. My brother, Mattand I did some of the songs, five of them, just acoustic versions, but it was really nice.”And that's the story, he said. The love of music, the talent, the gift, has always beenthere, waiting to be unveiled.That's what he calls it, an unveiling.“People know I play guitar, kind of, but didn't know this other part of me, that I couldsing, or I can record, and I compose songs. It's an unveiling of another part of Jim thatpeople might not know.”He wrote most of the songs when he was 18-25. “The Memory” is about where he grewup, “walking around the park, going to school.” “Searching for Another Day” he wrotewhen he was 18.“Life,” coming more than 30 years later, after the first bout with cancer, “kind ofcomplements that song, saying, like, ‘After your search, this is where you're at.'”“Will You Be Mine” is R&B, “kind of a stepper.” “Loving You Dear,” “a catchy little clubsong.” The last song, “Yes, It's Me,” started out as a love song to a woman namedOrquídea, orchid in English. It features a Latin flavor and Sifuentes on guitar.“But it became in many ways more about me, showing everyone that it's me singing,recording, unveiling parts of me that were hidden, and still living fully.”He wrote other songs for people like him and his brother, people who grew up duringthe same period and listened to The Beatles, Elton John, The Who and others.“I'm hoping as they've grown and listened to music, it fits right into their lives.”One song, “Rumors,” a fast-moving rocker, is in its original recording of the Sifuentesbrothers from the late '80s, early '90s.“I just threw it in because I wanted to get 12 songs done, and it fits the mood of thealbum perfectly.”“Life,” a soft, lovely ballad, has special meaning.“It's the question every kid gets: What do you want to be in life? I just wanted to befamous and write songs, but you got to live your life for real.”The last lines are:Now that I'm older, I've come to beAll the gifts life has given meStill life comes asking one more thingIs this really what it means to be“I have this gift, and I wanted to share it, what I think my brother and I wanted to doback when. When you get that opportunity, like now, go ahead and make that happen.”Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.

On the June 27 edition of the Music History Today podcast, Elvis comes back, John Entwistle goes out like a only a rock star can, a smile turns into a queen, and John Lennon finally becomes legal. Also, happy birthday to Lorrie Morgan and Leigh Nash of Sixpence None the Richer.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytodayResources for mental health issues - https://en.wikipedia.org/wiki/List_of_suicide_crisis_lineshttps://findahelpline.comResources for substance abuse issues - https://988lifeline.orghttps://www.samhsa.gov/find-help/helplines/national-helpline

May Pang was John Lennon's companion for the late-1973-to-early-1975 period that has become known as Lennon's “lost weekend.” Although Pang has used that phrase for her documentary and photo exhibition, she doesn't see this time as “lost” for Lennon. Not only did he record two albums (Walls and Bridges and Rock ‘n' Roll) and produce another (Harry Nilsson's Pussy Cats), but Pang reunited him with his son Julian and was there when he reconnected with Paul McCartney and considered writing with him again. She puts Lennon's Los Angeles nightclub antics in context, describes Rock ‘n' Roll producer Phil Spector's crazed behavior and details the night she and Lennon saw a UFO from their New York City balcony. She also recounts interactions with Yoko Ono, who set her up with her husband when Pang was the couple's assistant, and offers a surprising take on the recent Beatles release “Now and Then.” And she explains why George Harrison ripped Lennon's glasses off his face. (Photo by Scott Segelbaum.)

Antony Rotunno From the "Glass Onion on John Lennon" podcast returns to review/discuss several 1966 singles/EP's and Tim Cooper talks about collecting Cliff Richard records and memorabilia. 

We know her name, but the story of Yoko Ono has been largely ignored or told only as a footnote in the story of John Lennon and The Beatles. Music journalist David Sheff was the last person to interview Lennon and Ono just before Lennon was murdered in 1980. He's maintained a friendship with Ono over all these years. She's now 92, and Sheff's new book 'Yoko: A Biography' spans her life as the child of wealthy parents in pre-war Tokyo to the avant-garde art world. Jesse asks David the question, did she break up The Beatles.

"Verschleppen und Hinhalten" - Vorwürfe der kulturpolitischen Sprecherin der Grünen im Bayerischen Landtag Sanne Kurz hinsichtlich Bayerns Umgang mit NS-Raubkunst. Im Update-Gespräch antwortet darauf: Anton Biebl, Generaldirektor der Bayerischen Staatsgemäldesammlungen / Filmkritik: "One to one: John and Yoko" - Dokumentarfilm von Kevin Macdonald und Sam Rice-Edwards, der die 18 Monate beleuchtet, die John Lennon und Yoko Ono Anfang der 70er in Greenwich Village verbrachten. Von Julia Haungs / Außerdem: Das Ringen um die Meinungsfreiheit an britischen Universitäten. Aus London berichtet Franziska Hoppen.

What do J.D. Salinger's Catcher in the Rye and the Holy Bible have in common? They both contain explicit instructions to kill John Lennon—or at least, according to Mark David Chapman, they do. And guess what? Chapman's been up to some stuff since that fateful day in 1980 when he snuffed out the life of the quote-unquote “Smart” Beatle. In this episode, the boys find out exactly what the fame-hungry murderer has been up to since our original coverage of him in Episode 315 on the Last Podcast on the Left—which includes being denied parole a grand total of THIRTEEN TIMES. Maybe he should've given peace a chance, huh? For Live Shows, Merch, and More Visit: www.LastPodcastOnTheLeft.comKevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Subscribe to SiriusXM Podcasts+ to listen to new episodes of Last Podcast on the Left ad-free and a whole week early. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus.

GGACP celebrates the birthday (b. June 22) of Grammy-winning producer, British Invasion rocker and former Apple Records exec Peter Asher by presenting this ENCORE of an interview from 2017. In this episode, Peter joins the boys for a fascinating discussion about the genius of James Taylor, the profound influence of the Everly Brothers, the rivalry between the Beach Boys and the Fab Four and the 50th anniversary of “Sgt. Pepper's Lonely Hearts Club Band.” Also, John Lennon meets Yoko Ono, Peter “inspires” Austin Powers, Linda Ronstadt teams with Nelson Riddle and Peter and Gordon play the '64 World's Fair. PLUS: Spike Milligan! Del Shannon! Jackie Gleason acts out! Chad & Jeremy meet the Caped Crusaders! And a “rejected” Beatles tune lands Peter at the top of the charts!  Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Tony Brueski digs into the chilling mysteries surrounding The Dakota, one of New York's most iconic and enigmatic buildings. From its origins as a luxurious Upper West Side residence to its association with John Lennon's tragic murder, The Dakota carries a legacy of both history and hauntings. We explore the tales of spectral figures like the Crying Lady and a ghostly young girl, alongside Lennon's own eerie encounters in the building. Are these events a result of lingering energies from its storied past, or is there a psychological explanation tied to its fame and architecture? Join Tony Brew-ski as he delves into the eerie phenomena and unresolved mysteries that make The Dakota an enduring fascination for believers and skeptics alike.

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, 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/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing.  Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander.  And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha

Today's Topics: 1, 2) Praying the Rosary boosts mental health and reduces depression https://www.lifesitenews.com/news/praying-the-rosary-boosts-mental-health-reduces-depression-study-reveals/ 2, 3) Did  Ouija board warn John Lennon he would be murdered https://spiritdaily.org/blog/did-ouija-board-warn-john-lennon/ 3, 4) Candace Cameron Bure: "That's a Portal" Watching horror movies invites evil into homes https://cbn.com/news/entertainment/thats-portal-candace-cameron-bure-says-watching-scary-movies-invites-stuff-home

In this episode, Tony Brueski digs into the chilling mysteries surrounding The Dakota, one of New York's most iconic and enigmatic buildings. From its origins as a luxurious Upper West Side residence to its association with John Lennon's tragic murder, The Dakota carries a legacy of both history and hauntings. We explore the tales of spectral figures like the Crying Lady and a ghostly young girl, alongside Lennon's own eerie encounters in the building. Are these events a result of lingering energies from its storied past, or is there a psychological explanation tied to its fame and architecture? Join Tony Brew-ski as he delves into the eerie phenomena and unresolved mysteries that make The Dakota an enduring fascination for believers and skeptics alike.

STAR WARS: STARFIGHTER will go in front of cameras later this year and we have fresh casting info, rumors and speculation about this upcoming film starring Ryan Gosling. Mark Hamill is on a media tour to promote his new film “The Life Of Chuck” but that doesn't stop interviewers from asking him about his Star Wars history. Mark addresses rumors that he's done playing Luke Skywalker and provides insight into that famous wardrobe malfunction from earlier this year when his pants fell down in front of an audience of his peers at the BAFTA awards. We also have fresh interview highlights from Andor showrunner Tony Gilroy, Bail Organa actor Benjamin Bratt, and Sam Witwer, who talks about the upcoming series, MAUL: SHADOW LORD. And for something completely different, we present you with a connection between John Lennon and STAR WARS that you may never have known before. 

This week, we are back at it with another two-part episode. We just interviewed John Lennon after his recent Warhammer Open victory in Edmonton, Canada, with his newly NERFED Emperors ChildrenSubscribe to part 2 on patreon.com/aow40k to get access to all of our other episodes as well as our amazing discord server!Emperor's ChildrenCoterie of the ConceitedStrike Force (2,000 Points)CHARACTERSDaemon Prince of Slaanesh with Wings (230 Points)  • 1x Hellforged weapons  • 1x Infernal cannon  • Enhancements: Pledge of Unholy FortuneDaemon Prince of Slaanesh with Wings (200 Points)  • Warlord  • 1x Hellforged weapons  • 1x Infernal cannonLord Exultant (80 Points)  • 1x Bolt Pistol  • 1x Close combat weapon  • 1x Phoenix power spear  • 1x Rapture lashLord Exultant (80 Points)  • 1x Bolt Pistol  • 1x Close combat weapon  • 1x Phoenix power spear  • 1x Rapture lashLord Kakophonist (60 Points)  • 1x Close combat weapon  • 1x Screamer pistol  • 1x Screamer pistolLucius the Eternal (150 Points)  • 1x Blade of the Laer  • 1x Lash of TormentBATTLELINEInfractors (85 Points)  • 1x Obsessionist     ◦ 1x Plasma pistol     ◦ 1x Rapture lash  • 4x Infractor     ◦ 4x Bolt pistol     ◦ 4x Duelling sabre     ◦ 1x Icon of ExcessInfractors (85 Points)  • 1x Obsessionist     ◦ 1x Plasma pistol     ◦ 1x Rapture lash  • 4x Infractor     ◦ 4x Bolt pistol     ◦ 4x Duelling sabre     ◦ 1x Icon of ExcessTormentors (85 Points)  • 1x Obsessionist     ◦ 1x Plasma pistol     ◦ 1x Power sword  • 4x Tormentor     ◦ 2x Boltgun     ◦ 4x Close combat weapon     ◦ 1x Icon of Excess     ◦ 1x Meltagun     ◦ 1x Plasma gunTormentors (85 Points)  • 1x Obsessionist     ◦ 1x Plasma pistol     ◦ 1x Power sword  • 4x Tormentor     ◦ 2x Boltgun     ◦ 4x Close combat weapon     ◦ 1x Icon of Excess     ◦ 1x Meltagun     ◦ 1x Plasma gunDEDICATED TRANSPORTSChaos Rhino (80 Points)  • 1x Armoured tracks  • 1x Combi-bolter  • 1x Combi-bolter  • 1x Havoc launcherChaos Rhino (80 Points)  • 1x Armoured tracks  • 1x Combi-bolter  • 1x Combi-bolter  • 1x Havoc launcherOTHER DATASHEETSMaulerfiend (130 Points)  • 2x Magma cutters  • 1x Maulerfiend fistsMaulerfiend (130 Points)  • 2x Magma cutters  • 1x Maulerfiend fistsNoise Marines (145 Points)  • 1x Disharmonist     ◦ 1x Close combat weapon     ◦ 1x Power sword     ◦ 1x Screamer pistol  • 5x Noise Marine     ◦ 2x Blastmaster     ◦ 5x Close combat weapon     ◦ 3x Sonic blasterNoise Marines (145 Points)  • 1x Disharmonist     ◦ 1x Close combat weapon     ◦ 1x Sonic blaster  • 5x Noise Marine     ◦ 2x Blastmaster     ◦ 5x Close combat weapon     ◦ 3x Sonic blasterNoise Marines (145 Points)  • 1x Disharmonist     ◦ 1x Close combat weapon     ◦ 1x Sonic blaster  • 5x Noise Marine     ◦ 2x Blastmaster     ◦ 5x Close combat weapon     ◦ 3x Sonic blaster

The Farm are touring again this summer and have just made their first album for 31 years (with the same-line-up). This sparky and wide-ranging conversation with Peter Hooton stops off at the following … … the advice Mark E Smith gave him when they were interviewed by Select magazine. … “Suedeheads v Trogs and Greebos”: early ‘70s tribal warfare in Bootle. … seeing Cockney Rebel, the Sensational Alex Harvey Band and Genesis at the Liverpool Empire. … the death of old heroes – “you imagined Bowie was always going to be there”. … backstage with the Clash in Paris and why they were the Farm's role models. … Bill Drummond's attempt to remodel them “in tracksuits with hard dogs”. … how the death of John Lennon made him start writing. … the use of All Together Now as a football anthem – from everyone to Everton to Euros 2004 to a disastrous campaign by the Labour Party - “but the Qatar World Cup was a bridge too far”. … touring with Mick Jones (“the Pied Piper”) for the Hillsborough 96 Campaign. … his school band, Breakwind - “the forerunners of Half Man Half Biscuit” – and being in the cast of Oliver!. …. his guided music tours of Liverpool and the places they visit. … and why The Farm has “omni-appeal – a band who look like they're from a street corner”. Also in the mix: Big Audio Dynamite, Deaf School, Nile Rodgers, Roger Eagle and Cliff Richard on Top Of The Pops. Buy tickets and the album Let The Music (Take Control) here: https://thefarmmusic.co.uk/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear

The Farm are touring again this summer and have just made their first album for 31 years (with the same-line-up). This sparky and wide-ranging conversation with Peter Hooton stops off at the following … … the advice Mark E Smith gave him when they were interviewed by Select magazine. … “Suedeheads v Trogs and Greebos”: early ‘70s tribal warfare in Bootle. … seeing Cockney Rebel, the Sensational Alex Harvey Band and Genesis at the Liverpool Empire. … the death of old heroes – “you imagined Bowie was always going to be there”. … backstage with the Clash in Paris and why they were the Farm's role models. … Bill Drummond's attempt to remodel them “in tracksuits with hard dogs”. … how the death of John Lennon made him start writing. … the use of All Together Now as a football anthem – from everyone to Everton to Euros 2004 to a disastrous campaign by the Labour Party - “but the Qatar World Cup was a bridge too far”. … touring with Mick Jones (“the Pied Piper”) for the Hillsborough 96 Campaign. … his school band, Breakwind - “the forerunners of Half Man Half Biscuit” – and being in the cast of Oliver!. …. his guided music tours of Liverpool and the places they visit. … and why The Farm has “omni-appeal – a band who look like they're from a street corner”. Also in the mix: Big Audio Dynamite, Deaf School, Nile Rodgers, Roger Eagle and Cliff Richard on Top Of The Pops. Buy tickets and the album Let The Music (Take Control) here: https://thefarmmusic.co.uk/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear

The Farm are touring again this summer and have just made their first album for 31 years (with the same-line-up). This sparky and wide-ranging conversation with Peter Hooton stops off at the following … … the advice Mark E Smith gave him when they were interviewed by Select magazine. … “Suedeheads v Trogs and Greebos”: early ‘70s tribal warfare in Bootle. … seeing Cockney Rebel, the Sensational Alex Harvey Band and Genesis at the Liverpool Empire. … the death of old heroes – “you imagined Bowie was always going to be there”. … backstage with the Clash in Paris and why they were the Farm's role models. … Bill Drummond's attempt to remodel them “in tracksuits with hard dogs”. … how the death of John Lennon made him start writing. … the use of All Together Now as a football anthem – from everyone to Everton to Euros 2004 to a disastrous campaign by the Labour Party - “but the Qatar World Cup was a bridge too far”. … touring with Mick Jones (“the Pied Piper”) for the Hillsborough 96 Campaign. … his school band, Breakwind - “the forerunners of Half Man Half Biscuit” – and being in the cast of Oliver!. …. his guided music tours of Liverpool and the places they visit. … and why The Farm has “omni-appeal – a band who look like they're from a street corner”. Also in the mix: Big Audio Dynamite, Deaf School, Nile Rodgers, Roger Eagle and Cliff Richard on Top Of The Pops. Buy tickets and the album Let The Music (Take Control) here: https://thefarmmusic.co.uk/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Bababam donne le LA à la musique ! A l'occasion de la Fête de la Musique le 21 juin, découvrez ces couples de chanteurs et chanteuses qui ont marqué la musique. Rares sont les couples aussi controversés. L'amour entre John Lennon et Yoko Ono en a dérangé plus d'un. Par son intensité, leur relation a suscité des incompréhensions et de l'agacement. Un podcast Bababam Originals Ecriture et voix : Alice Deroide Learn more about your ad choices. Visit megaphone.fm/adchoices

In new remarks for this week's baseball, history, and politics reissue, notes from the 1500s on kings and princes vs. the mob and what that might tell us about the Rafael Devers trade. Then we revisit two acts of resistance: Tom Seaver and John Lennon have an indirect team-up to remind us of our own power, and the wrong president shows up at the World Series.The Infinite Inning is a journey to the past to understand the present using baseball as our time machine. Baseball, America's brighter mirror, often reflects, anticipates, and even mocks the stories we tell ourselves about our world today. Baseball Prospectus's Steven Goldman discusses the game's present, past, and future with forays outside the foul lines to the culture at large. Expect history, politics, stats, and frequent Casey Stengel quotations. Along the way, we'll try to solve the puzzle that is the Infinite Inning: How do you find the joy in life when you can't get anybody out? 

Imagine being the person who asks, “What the hell happened to Blood, Sweat and Tears?” Beside that documentary, John Scheinfeld, who is from Milwaukee, masterminded films like “The U.S. Vs. John Lennon,” “Reinventing Elvis: The '68 Comeback” and “Who is Harry Nilsson and Why is Everybody Talking About Him?” John is an Emmy and Grammy-nominated filmmaker. I was working at WISN at the time and John wrote the catchy slogan: “Radio 11, WISN, of course.” You might have one of those bumper stickers, which I see selling on Ebay for $10.95. John surprised me at the end of the interview with a personal memory.

MUSIC The Muny opened its 107th season this week with Bring It On: The Musical, which stars Kennedy Holmes, a Florissant native who rose to fame on NBC's The Voice in 2018, where she finished as a finalist in fourth place. This new season opened despite the tornadoes that Forest Park endured, where a tree crushed the venue's pre-show stage, and luckily No major structural harm was reported, and thanks to an enormous citywide effort, opening night never had to be postponed. For the first time ever, three of the Beatles' offspring have collaborated on a song. Sean Lennon, James McCartney, and Zak Starkey posted part of their song, "Rip Off". From Starkey's band Mantra of the Cosmos titled "Rip Off" featuring Paul McCartney's son James and John Lennon's son Sean on vocals. TV Eric Dane from "Grey's Anatomy" sat for an interview with Diane Sawyer to discuss his battle with ALS . . . also known as Lou Gehrig's disease. Eric revealed that he has only "one functioning arm." Quote, "My left side is functioning, my right side has completely stopped working. Martha Stewart recently rescued three orphaned squirrels. “They were inside a fallen tree,” Stewart said of how she discovered them. MOVING ON INTO MOVIE NEWS: Al Pacino met Pope Leo at the Vatican, as Pacino was a part of a delegation from the film Maserati: The Brothers.Will Smith turned down Christopher Nolan's offer to be in the blockbuster film, Inception. The first full trailer for the "Naked Gun" remake with Liam Neeson is out. Pamela Anderson is featured in a couple sight gags. Here's a quick example of the puns to come.· Here are 10 famous people who have, or had, unusual animal companions:1. Kristen Stewart: She grew up raising wolf-hybrids. a. In 2013, she had to go to court with a neighbor who wasn't cool with the two that she had on her property. She said, quote, "They're loyal, they're big, they're completely socialized, they're licensed, they're legal for me to have them, and I love them!"2. Kirstie Alley: Before she died, she owned 14 lemurs . . . which she fell in love with while doing conservation work in Madagascar.3. Salma Hayek: She adopted a rescue owl in 2019. Her name is Kering, after a company Salma's husband owns. She says, quote, "[She's often] on my head or my shoulder, my arms. Sometimes, when she is really close to me, I can feel her rubbing against me, which is really nice. And I feel so blessed."4. Paris Hilton: Years ago, she got herself a little rainforest mammal called a kinkajou. She named it Baby Luv. In 2006, she had to get a tetanus shot after it bit her. At one point she actually owned two of them.5. Leonardo DiCaprio: In 2010, he attended the North American Reptile Breeders Conference and Trade Show . . . and left with a 10-year-old tortoise. There's no word if he still has it, but they can live to be 80 years old.6. Tyga: He owned an actual tiger, even though they're illegal in California. When the cops came after him, he gave it to an animal shelter.7. Ice-T: He had a shark tank in his home recording studio, but that's gone now. He still has a regular aquarium, though.8. Tracy Morgan: He had to spend $400,000 on a 2,700-gallon tank for his giant Pacific octopus named Bwyadette.9. Nicolas Cage: Where do you start? He's owned sharks, an octopus, a 5-foot monitor lizard, and two venomous albino king cobras named Moby and Sheba. He had them locked behind bulletproof glass and kept antivenom handy. He once said, quote, "If they bite me . . . I have 15 minutes to live."10. Vanilla Ice: He once owned a wallaroo, which is a cross between a wallaby and a kangaroo. He sent it to a farm in Florida after it got too big for his property. AND FINALLY As Marvel prepares for an 'X-Men' reboot, these actors have been rumored to star in the mutant franchise: 'Breaking Bad' star Bryan Cranston as Mister SinisterDenzel Washington as MagnetoAnya Taylor-Joy as MagikHarris Dickinson as CyclopsMargaret Qualley as RogueColman Domingo as Professor XHunter Schafer as MystiqueNathalie Emmanuel as StormSadie Sink as Jean GreyHugh Jackman as WolverineAND THAT IS YOUR CRAP ON CELEBRITIES!Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams - Check out King Scott's Linktr.ee/kingscottrules + band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows ⁠http://www.1057thepoint.com/RizzSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Kerri Green: Andy from The Goonies has a very special message from the "Filth Pigs". What a nice lady. Also Erok comes through with the FeldDog Summer Anthem. Goonies House: Adam The Woo visited the Goonies house and our boy showed up and had no problem showing everyone exactly who he is. Characters Snippet: As we anxiously anticipate 6/27 to hear the new song, we have to listen to a small piece of the snippet. COREY FELDMAN!, SHOW STOPPER!, LET'S JUST TALK!, DON CHEADLE!, BOOGIE NIGHTS!, JIM AND THEM IS POP CULTURE!, YOU KNOW THAT!, REAL ONES!, FELDDOG SUMMER!, KERRI GREEN!, ANDy!, GOONIES!, FILTH PIGS!< POP CULTURE!, COCOBAUNZ!, KIMPOSSIBLE!, 58!, KEN LEVINE!, WIFE!, PRIVATE LIFE!, COCOBAUNZ!, GREAT KERRI GREEN!, 40TH ANNIVERSARY GOONIES!, OMA DRUMMER!, SUPERTIPS!, COREY VOICE!, CATCHPHRASES!, SLOGANS!, BOOPAC IS SKIZZ NASTY!, POGATZ!, EROK!, RAP!, FELDDOGSUMMER!, WHITE BOY SUMMER!, CHET HANKS!, THREE LITTLE FILTH PIGS!, ADAM THE WOO!, THE DAILY WOO!, GOONIES HOUSE!, DIGITAL UNDERGROUND!, SHOCK G!, ASTORIA!, GOONIES HOUSE!, FANFARE!, GOONIES SUPERFANS!, DAY OF THE DEAD!, COINS!, ROBERT DAVI!, ANNOYED!, BODYGUARD!, SCARED!, SHOOK!, RICHARD DONNER!, DON DICKER!, MARY ELLEN TRAINOR!, THREE CHEERS HIP HOP!, NO MAS!, MONSTER SQUAD!, LETHAL WEAPON!, CHARACTERS!, SNIPPET!, AIRPOD PRO 2!, DOLBY!, MIXING!, THE BEATLES!, JOHN LENNON!, COREY'S TWITTER!, SLY STONE!, SOBER!, RELAPSE!, LEGAL SPEAK!, NUMEROLOGY!, THE BONFIRE!, SLAVE BITCH!, FOULEST!, GRAPE!, UNALIVE!, CHARLI!, BRAT SUMMER!  You can find the videos from this episode at our Discord RIGHT HERE!

John Lennon literally said it best: "All You Need Is Love: The Cirque Du Soleil Soundtrack, on CD in multiple editions, streaming with bonus tracks on iTunes, and on a making of DVD." And in 2020, a younger, dumber, sadly Casey-less Gab Two gabbed fab and dished deep on this album! Now, for the first time, here's the Deluxe Edition remaster, in 5.1 Dolby NR Cr02 Color. See you next week with an all new episode!   EPISODE LINKS Like and subscribe! Please support our scrappy show. Score some sweet merch or find us on Patreon. Come hang with us on Facebook/Twitter/Instagram! Drop us a review on Apple Podcasts!   ----- [Originally released September 19, 2020] In this episode of Pizza Talk, T.J. and Tony get acrobatically off-topic trying to discuss The Beatles collaboration with Cirque du Soleil. It contains 101 local Chicago references. We think this episode will sell a lot of tickets for the Vegas show.

You grow up in a rough neighborhood in Brooklyn. You drop out of college. Your dad is your best friend but you don't want to work the docks like him. You're determined to “do something special.” You get a job sweeping the floor at recording studio. You get fired—twice. You'll do anything to work in the music business, including working on Easter Sunday. That's how you meet John Lennon. This is the day your life begins. You focus on being of service. You stay in the room and in the saddle. Bruce Springsteen teaches you what work ethic really means. You work with Tom Petty, Bono, Patti Smith, Stevie Nicks, and countless others. You'll produce hundreds of songs. You get restless, start a family, and start a record company. You get advice from David Geffen. You figure out your edge is producing the producers. You work with the absolute best, hand them the keys, and tell them to drive. You're a scrapper, you're persistent, you use fear as a tailwind, you keep the main thing the main thing, you work all the time, you put 100% into whatever is in front of you. You're described as fiercely competitive, insanely driven, and brilliant. You can never turn it off and you don't understand why everyone else isn't like that too. You start multiple companies, make billions of dollars, and tell the best stories when you go on podcasts after you retire. You are Jimmy Iovine.  This episode is what I learned from rewatching the documentary The Defiant Ones and listening to these excellent interviews with Jimmy Iovine.  ----- Ramp gives you everything you need to control spend, watch your costs, and optimize your financial operations —all on a single platform. Make history's greatest entrepreneurs proud by going to Ramp and learning how they can help your business control your costs and save time and money. ----- Join my free email newsletter to get my top 10 highlights from every book

O convidado do programa Pânico dessa sexta-feira (13) é Eduardo Araújo.Nascido no interior de Minas Gerais, na cidade de Joaíma, Eduardo é filho do fazendeiro Coronel Lídio Araújo. Na infância, seus ídolos eram Luiz Gonzaga e Pedro Raimundo. Na adolescência, Eduardo se deixou influenciar pelo rock and roll e rockabilly.Conhecido como “O Bom”, “O Rei do Rock de Minas Gerais” e “O Garoto do Rock”, alcançou o status de ídolo de toda uma geração.Compôs sucessos atemporais, criou clássicos do rock, vendeu milhões de discos, teve programas de sucessos nas principais emissoras brasileiras, estúdio de som, gravadora, descobriu novos talentos, e realizou inúmeros shows, traçando uma carreira de vanguarda.No país, popularmente conhecido como Jovem Guarda, compôs e lançou sucessos absolutos como "O bom", primeiro lugar em todas as paradas de sucesso, "Vem quente que estou fervendo", uma das músicas mais tocadas no país.“Ave Maria no Morro”, um dos primeiros discos brasileiros a alcançar a marca de 1.000.000 de cópias vendidas.Artista ousado e apaixonado pelo folclore e música regional, com a maestria de poucos, compôs rock sob influência da música afro brasileira, do baião, do forró e da soul music.Lançou discos de rock psicodélico, rock progressivo e soul que foram a vanguarda de sua época e até hoje são cultuados por DJs de todas as partes do mundo.Sua carreira continua permeada pelo sucesso, tendo álbuns produzidos por nomes como Renato Teixeira, Odilon Wagner e Roy Cicala (produtor de discos dos maiores astros da música mundial, como John Lennon, ACDC, Black Sabbath, Aerosmith).Redes Sociais:Instagram: https://www.instagram.com/eduardoaraujocantorhttps://www.instagram.com/obomeduardoaraujo/https://www.instagram.com/sossertanejo/

In this episode of My Rock Moment, we sit down with Jake Brennan, the creator and voice behind the wildly popular podcast Disgraceland. Known for blending true crime and music history, Jake explores the wild, dark, and often unbelievable stories behind some of rock's most iconic figures. We dive into the legends—and the controversies—surrounding John Lennon, Jim Morrison, Mama Cass, Jerry Lee Lewis, and more. We also tackle the bigger question: Can we really separate the art from the artist? Find more info on Disgraceland and Hollywoodland here: https://www.disgracelandpod.com Disgraceland Apple Podcasts: https://podcasts.apple.com/us/podcast/disgraceland/id1275172907 Hollywoodland Apple Podcasts: https://podcasts.apple.com/us/podcast/hollywoodland/id1563966720 Learn more about your ad choices. Visit megaphone.fm/adchoices

John Hall has been CEO of the family-run Rickenbacker guitar company since 1984, right around when R.E.M.'s Peter Buck was inspiring a generation of jangly bands with his Rick riffs. The Beatles had led a Rickenbacker surge 20 years earlier as John Lennon and George Harrison played Ricks in A Hard Day's Night and prompted the Byrds' Roger McGuinn to get a 12-string Rickenbacker and basically to invent folk rock. Hall tells a hell of a story about meeting the Beatles and McGuinn, and he reflects on company's history, which dates back to 1931. He explains why Rickenbacker still makes all of its guitars at one California factory instead of expanding its production; discusses the company's fierce trademark protection; weighs distinctions among hollow-bodied, solid-bodied, 6-string and 12-string models; addresses whether pricey vintage Ricks are actually better than new ones; and, once and for all, clears up the pronunciation of “Rickenbacker.”

He has made a career of 40-plus years in music on the non-performer side of the glass. His time in recording studios has included sessions involving some of the biggest names in music, from Billy Joel to John Lennon to Frank Sinatra. He built and designed a recording studio in Manhattan that he ended up owning, with an office inside there being home to the personal management company for the legendary Keith Richards. Another studio that he built was included in a cover story that Mix Magazine did on the ten best studios built in the world at the time. Present day he is Product Specialist for Equi=Tech.

Diane and Sean discuss the ultimate 'what-if' in Danny Boyle's, Yesterday. Episode music is, "Ob-La-Di, Ob-La-Da", written by John Lennon and Paul McCartney, performed by Himesh Patel from the OST.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  BlueSky: WhyDoWeOwnThisDVD-  IG: @whydoweownthisdvd- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplants- Watch Sean be bad at video games on TwitchSupport the show

In the latest episode of a comedic podcast hosted by Isaac Abrams, the spotlight is on Erica Cantor, a multi-talented actor, comedian, writer, and producer. The conversation kicks off with humorous anecdotes, including a lengthy discussion about a lost backpack, which unexpectedly leads to a captivating story about an almost romantic encounter. The show embodies a casual, comedic vibe, as the participants share laughs and delve into various topics, setting a lighthearted tone for the episode.As the dialogue progresses, Cantor recounts her experience of losing the backpack, which involved a series of comedic mishaps. She humorously narrates how she tracked her stolen belongings through her phone and the ensuing chaos that followed her quest to retrieve them. The story serves as a backdrop to explore themes of persistence and the quirks of urban life, particularly in Los Angeles, where Cantor resides. The comedic exchange reveals how the incident brought together a community of strangers, all rallying to help her recover her belongings.The conversation veers into the realm of music and cultural commentary, particularly regarding the current state of the music industry. Cantor expresses her longing for iconic male musicians akin to John Lennon while lamenting the lack of figures that resonate in today's scene. The discussion highlights a broader cultural context, pondering the evolution of music and its impact on contemporary society. This segment not only entertains but also sparks reflection on the shifting dynamics of artistic influence and representation in the music world.In terms of personal insights, the episode touches on the difficulties of navigating relationships and societal expectations. Cantor shares her thoughts on dating, particularly in the context of her bisexuality, revealing the complexities that come with it. The interplay between comedy and genuine personal experiences allows listeners to connect with the host and guest on a deeper level, blending humor with poignant observations about life and identity.In conclusion, the episode encapsulates a delightful mix of humor, storytelling, and cultural commentary. Through the lens of a lighthearted conversation, Cantor's experiences offer insight into the challenges and joys of urban life, relationships, and the arts. The dialogue is rich with laughter, making for an engaging listen that resonates with audiences while prompting them to consider their own experiences and perspectives in a humorous light. As the episode wraps up, listeners are left with a sense of connection and camaraderie, eagerly anticipating what future episodes may bring. #comedypodcast #comedy #standupcomedy #funnypodcast

VIDEO WERSION HERE https://youtube.com/live/PxO-63KK3p0?feature=shareJoin Opie for a wild live episode of the Opie Radio podcast at Gebhards Beer Culture in NYC! Opie is joined by Gebhards owner Matt and comedian Ron the Waiter for a no-holds-barred conversation that spirals from mispronouncing "Gebhards" as "Gepfarts" to debating chicken wings with cutlery. Expect unfiltered rants about John Lennon's parenting, a bizarre foot health showdown revealing Ron's alarming "ringworm" and Opie's athlete's foot, and cosmic theories about 432 Hz music frequencies shutting off your pineal gland. Comedian Chris Ferretti drops in with a spot-on Trump impression, sharing tales from Paisan Con and Sopranos cast interviews. From transparent mice to Danny DeVito eating raw fish, this episode is a hilarious, chaotic mix of barroom banter, conspiracy theories, and questionable hygiene. Tune in for laughs, gasps, and a reminder to take care of your feet!

On December 8, 1980, the world lost a legend. John Lennon—iconic Beatle, peace activist, and voice of a generation—was shot multiple times outside his New York City apartment in a senseless act of violence. In this episode of Seven Deadly Sinners, we unravel the twisted psychology of his killer, Mark David Chapman, whose obsession with fame and delusion collided in one of the most shocking celebrity murders in history. We explore Lennon's final days, the eerie premonitions, the haunting symbolism of The Catcher in the Rye, and the dark underbelly of idolatry. This isn't just a story about a murder—it's about the cost of fame, the fragility of peace, and the sinister side of devotion.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Some kickback to my take on the '007 First Light,' great feedback from Scott's ranking podcast, my ‘Capital Royale' Memorial Day weekend, some time with David Zaritsky discussing the Bond Community, the 2024 Golden Bullet Awards, and remembering John Lennon, the founder of the Irish James Bond Fan Club. You can find Being James Bond at… • Being James Bond | http://www.beingjamesbond.com • Facebook | https://www.facebook.com/Being-James-Bond-17631406474/ • Twitter | http://twitter.com/headofsection • Instagram | https://www.instagram.com/beingjamesbond/ • iTunes | https://itunes.apple.com/us/podcast/being-james-bond/id205222801?mt=2 • Check out REVIEWS WITHOUT REMORSE | https://www.youtube.com/@reviewswithoutremorse168

In this episode, Adam and Dr. Drew kick things off by unpacking the narcissism epidemic and the naïve idealism behind John Lennon's “Imagine.” Adam reflects on how he sounded the alarm decades ago about the importance of trade skills—especially for kids from low-income families. Adam reflects on his long-standing warnings about the need for trade education, especially for kids from low-income urban areas, and criticizes VH1's “Save the Music” campaign as a misguided effort. Dr. Drew admits his own shortcomings in shop class, while Adam breaks down why you won't find aluminum cans on L.A. streets—because incentives matter. Finally, Adam and Dr. Drew talk about a tragic parasailing accident caused by a panic attack, and they highlight the stark differences in how men and women respond to fear.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

A return to Luke's Film Club with a conversation about one of the funniest and most controversial films of all time, also voted one of the UK's favourite films. Antony and I discuss the film's writing, production, story, famous scenes, deeper meanings and acting by the various members of the Monty Python team. Transcript available.

The success of I Love Lucy is often credited to Lucille Ball's comedic talent, but biographer Todd Purdum says Desi Arnaz was more than just "second banana" to Lucy. He also helped shape the modern sitcom. Also, TV critic David Bianculli reviews a documentary about John Lennon and Yoko Ono.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

In this episode I welcomed Greg Yows to The Survival Podcast.  Greg is a great friend to both the show and me personally.  Together we wrote “The Revolution is You” our show theme. When asked about himself Greg says, “I am a simple songwriter. The hippies in the 60s had their “protest” bards in the form of Bob Dylan, The Byrds, Janice Joplin, John Lennon, Joan Baez…the list goes on. Now, I ain't claimin' to have their skill. But I have just as much passion for my cause. And that cause is making sure my kids enjoy freedom from the … Continue reading →

Professors and educators are now turning to A.I. to prepare lessons, teach, and even grade students' work. We talk with New York Times tech reporter Kashmir Hill about the ongoing debate in higher-ed about A.I.. TV critic David Bianculli reviews One to One, a new documentary about John Lennon and Yoko Ono.Also, writer Amanda Hess talks about motherhood in the digital age, navigating a world where apps, surveillance tech, and a relentless stream of algorithmic advice have become part of pregnancy and parenting. Her book is Second Life.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Colleges and universities have been trying to fight against students using tools like ChatGPT to do class assignments and communicate. But here's a twist: Professors and educators are now turning to A.I. to prepare lessons, teach, and even grade students' work. We talk with NYT tech reporter Kashmir Hill about these conflicts on campus. Also, she shares what she learned after giving over her life for a week to A.I. tools, which wrote emails for her, planned her meals, chose what she should wear, and even created video messages for TikTok using her likeness and a clone of her voice.David Bianculli reviews a new documentary about John Lennon and Yoko Ono.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy