Podcasts about John Wyndham

Rebellious MPs, a nightmare spending review, the endless Two Child Benefit Cap row, dire polling… is Labour in for a summer of discontent? We ask whether the Government can bend with the wind to succeed, what policies will change, and whether Starmer/Reeves is a double act with two straight men? Plus: Have researchers found a new way to deal with digital disinformation? And in a special bonus, Jonn and Andrew discuss why the best political drama of the decade so far is the Star Wars spin-off Andor.  • Don't miss Oh God, What Now? Live at 21Soho on Weds 11 June.  • Listen to the new Crime Scene – the truth about true crime.  ESCAPE ROUTES • Ros recommends The Midwich Cuckoos by John Wyndham.  • Jonn recommends Paradise on Disney+. • Marie recommends Six Of Crows by Leigh Bardugo. • Andrew recommends Earthsea by Ursula K. Le Guin and Murderbot on Apple TV+.  • Back us on Patreon for ad-free listening, bonus materials and more.  Written and presented by Andrew Harrison with Marie le Conte, John Elledge and Ros Taylor. Audio production by Robin Leeburn. Theme music by Cornershop. Produced by Chris Jones. Managing Editor: Jacob Jarvis. Group Editor: Andrew Harrison OH GOD, WHAT NOW? is a Podmasters production. www.podmasters.co.uk Learn more about your ad choices. Visit podcastchoices.com/adchoices

Podcasts are the original voices in your head. David Dredrick discusses John Wyndham’s The Chrysalids (1955). John McCoy with David Dedrick.

Podcasts are the original voices in your head. David Dredrick discusses John Wyndham’s The Chrysalids (1955). John McCoy with David Dedrick.

Welcome to the Fresh Juice podcast! Your go-to spot for in-depth reviews, insights, and discussions on indie games. We're passionate about uncovering hidden gems in the gaming world and giving indie developers the spotlight they deserve.In each episode, we dive deep into the gameplay, mechanics, and artistry of various indie games. We also feature exclusive interviews with developers, sharing their stories and the inspirations behind their games.THIS EPISODE: This week Tommy and Matty dive deep into some of their favorite demos from the Steam Next Fest!DEMOS:Megabonk - https://store.steampowered.com/app/3405340/Megabonk/King is Watching - https://store.steampowered.com/app/2753900/The_King_is_Watching/Castle v Castle - https://store.steampowered.com/app/3398880/Castle_V_Castle/Rogue Loops - https://store.steampowered.com/app/3275010/Rogue_Loops/

We begin this episode of the Fully-Booked podcast with Meaghan and Arthur, the enthusiastic hosts, setting a casual and relatable tone by discussing the challenges of February in Canada. They joke about the cold, the snow, and the dreariness of the month while expressing their gratitude for remote car starters.To brighten the month, the hosts decide to explore fresh topics for the podcast, focusing on adult apocalyptic and post-apocalyptic literature. They promise a mix of lighthearted moments and in-depth discussions, showcasing their thoughtful approach to balancing heavy themes with entertainment.Current Reads and Book RecommendationsThe hosts dive into their current reads, introducing several books across diverse genres.Arthur shares her experience reading Advent by Seth Ring, a LitRPG novel, a genre he initially found unfamiliar but eventually enjoyable. He explains that LitRPG combines literature with the style of role-playing games, making it an engaging read for gamers.Meanwhile, Meaghan discusses The Perfect Rom-Com by Melissa Ferguson, a romantic and humorous story about an aspiring writer navigating through a writer's conference. The hosts highlight the novel's light-hearted charm, likening it to Hallmark movies. She also touches on Fourth Wing and This Will Be Fun, describing the appeal of dragons, cozy fantasy elements, and character-driven narratives.[related-link1] Exploring Apocalyptic and Post-Apocalyptic FictionShifting to the main topic, the hosts delve into apocalyptic and post-apocalyptic novels, differentiating them from dystopian fiction. They explain that while these genres overlap, they explore different phases of societal collapse.Apocalyptic novels often depict the event itself, while post-apocalyptic stories focus on survival and rebuilding. The hosts highlight recurring themes such as survival, morality, and societal reorganization, underscoring the emotional depth these stories often explore.Meaghan and Arthur identify popular tropes within these genres, particularly the prevalence of disease, viruses, or infections as catalysts for societal collapse.Examples include;The Stand by Stephen KingThe Girl with All the GiftsI Am LegendThey discuss how these stories depict characters grappling with humanity's darkest fears, from global pandemics to environmental disasters. The themes resonate with readers due to their connections to real-world anxieties, such as the COVID-19 pandemic.Diverse Approaches to the GenreThe hosts emphasize the variety within the genre, mentioning works like War of the Worlds by H.G. Wells, Day of the Triffids by John Wyndham, and The Three-Body Problem by Liu Cixin, which explore alien invasions and speculative science fiction. They compare older narratives to contemporary takes, noting how modern authors add depth and complexity to familiar concepts. They also touch on environmental and nuclear disaster stories, such as The Road by Cormac McCarthy, which depicts bleak yet deeply human struggles.Another interesting angle discussed is the idea of new societal orders forming after apocalyptic events, often in dystopian contexts. Examples include The Handmaid's Tale, Fahrenheit 451, and 1984. These stories reflect fears of authoritarianism, loss of individual freedoms, and societal regression, raising questions about morality, ethics, and leadership in extreme situations.Why the Genre EnduresMeaghan and Arthur explore why apocalyptic and post-apocalyptic fiction remains a popular and enduring genre. They argue that these stories allow readers to confront collective fears in a safe space.By imagining “what if” scenarios, the authors offer reflections on current societal issues, such as environmental collapse, pandemics, and technological threats. The hosts note that every generation brings its own anxieties to the genre, ensuring its relevance and evolution.They also highlight the emotional depth of these stories, focusing on character-driven narratives that inspire readers with tales of resilience and hope. The relatability of everyday characters navigating extraordinary circumstances makes these novels compelling. The hosts conclude that the genre's adaptability to evolving fears and real-world events ensures its lasting appeal.Key Themes and TakeawaysApocalyptic and post-apocalyptic fiction explores survival, morality, and societal reorganization, often reflecting real-world fears and anxieties.The genre remains popular due to its ability to adapt to contemporary issues and its focus on character-driven, emotionally resonant stories.Humor and personal anecdotes from the hosts make complex themes accessible and relatable, encouraging audience engagement.

In this episode of Other Worlds, we delve into the fascinating world of robots and monsters, and the intersection of science fiction writing and pop culture. Robots and monsters have clearly captivated the imagination of writers and artists for centuries, to discuss this theme is Other Worlds exhibition curator Renee Orr. We discuss magazines with evocative cover art, 19th and 20th century classics like Mary Shelley's 'Frankenstein' and Frank Herbert's 'Dune', and objects like the Blade runner origami unicorn and a gorilla soldier from Planet of the Apes. Visit the onsite exhibition and join us in a series of events and activations: www.aucklandlibraries.govt.nz/Other-Worlds-exhibition For recommended reads visit: www.aucklandlibraries.govt.nz/Other-Worlds-reads Books mentioned in the podcast: Astounding science fiction, vol. 7, no. 1. London: Atlas, January 1950. Mary Shelley, with engravings on wood by Lynd Ward. Frankenstein: or, The modern Prometheus. New York: Harrison Smith and Robert Haas, 1934. Phillip K. Dick. Do androids dream of electric sheep? London: Rapp & Whiting, 1969. Blade runner origami unicorn, 2007. On loan from a private collection. Frank Herbert, with illustrations by John Schoenherr. Dune world. From: Analog science fact, science fiction. New York: Street & Smith Publications, December 1963. Samuel Butler. Erewhon, or, Over the range. London: Trübner, 1872. Arthur C. Clarke. 2001, a space odyssey. London: Arrow, 1968. Pierre Boulle, translated from the French by Xan Fielding. Monkey planet. Harmondsworth: Penguin, 1975. Samuel R. Delany, cover illustration by Jack Gaughan. The jewels of Aptor. New York: Ace Books, 1962. John Wyndham, cover illustration by Richard Powers. Re-birth. New York: Ballantine Books, 1955. Music credit: https://www.melodyloops.com/tracks/space-harmony/ Image credit: Astounding science fiction, vol. 7, no. 1. London: Atlas, January 1950. Produced by Sue Berman and JL.

pWotD Episode 2780: 28 Days Later Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 221,199 views on Wednesday, 11 December 2024 our article of the day is 28 Days Later.28 Days Later is a 2002 British post-apocalyptic horror film directed by Danny Boyle and written by Alex Garland. It stars Cillian Murphy as a bicycle courier who awakens from a coma to discover the accidental release of a highly contagious, aggression-inducing virus has caused the breakdown of society. Naomie Harris, Christopher Eccleston, Megan Burns, and Brendan Gleeson appear in supporting roles.Garland took inspiration from George A. Romero's Night of the Living Dead film series and John Wyndham's 1951 novel The Day of the Triffids. Filming took place in various locations in the United Kingdom in 2001. The crew filmed for brief periods during early mornings and temporarily closed streets to capture recognisable and typically busy areas when they were deserted. John Murphy composed an original soundtrack for the film, with other instrumental songs by Brian Eno, Godspeed You! Black Emperor and other artists also being featured.28 Days Later was released on 1 November 2002 to critical acclaim and financial success. Grossing more than $82.7 million worldwide on its modest budget of $8 million, it became one of the most profitable horror films of 2002. Reviewers praised Boyle's direction, the cast's performances, Garland's screenplay, the atmosphere and soundtrack. Despite Boyle not considering it a zombie film, 28 Days Later is credited with reinvigorating the zombie genre of horror film and influencing a revival in the genre a decade after its release, with its fast-running infected and character-driven drama. Since its release, it has been featured in several "best-of" film lists and maintained a following, particularly amid the COVID-19 pandemic in the 2020s.The film's success launched its titular film series, including 28 Weeks Later (2007), and 28 Years Later which is scheduled for release in 2025. Additional sequels are currently in development, while a graphic novel titled 28 Days Later: The Aftermath, and the 2009—2011 comic book series 28 Days Later also expanded the series into other media.This recording reflects the Wikipedia text as of 01:50 UTC on Thursday, 12 December 2024.For the full current version of the article, see 28 Days Later on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Emma.

This is the third in our weapons trilogy and it's about what happens AFTER the ultimate weapons have done their work: Apocalypse! The end of all things… This term comes from the bible, with the Book of Revelations which talks about what happens during the end of the world, but aside from the myth it's a pretty real concept- there are a LOT of ways the world can end and has indeed ended for various civilisations throughout history. If you want to go riiiiight back there were the different mass extinction events that ended almost all life a few times on this planet. In the history of humanity we have the fall of Rome, an event that was felt for almost 1000 years in Western Europe! It ended technological development, scientific research, the progress of culture, communication, trade, and production were shut down. Development atrophied and technology reversed and reverted. Meanwhile in Northern Africa, the middle east, South America and China advanced empires flourished, but that didn't stem the rot in Europe because there was little contact, communication or trade. There are other examples of this but that's the main one that comes to mind. Modern fiction is replete with a lot of different apocalypse and post apocalypse stories in many different forms (both natural, man made, and mythological). After the second world war the major influence was the idea of nuclear annihilation. A famous early example was On The Beach, a chilling film about American sailors on a submarine who survive the initial Apocalypse. They come to Australia in the Southern hemisphere and try and rally because life seems almost normal there, but when they travel back to the US to find survivors they learn everyone is dead that and the nuclear fallout will eventually even kill the people in the southern hemisphere down in Australia. The whole planet has an inescapable death sentence so all that's left is to choose how and when they will die. 20 years later 1979 famously gave us Mad Max! Which was a beginning of a whole genre of crazy low budget ultra violent deiselpunk post-apocalypse SciFi with muscle cars and torn leather. In this first movie it's pretty tame, we assume that society is slowly breaking down after an apocalypse but people are still keeping things going nevertheless. Max is a leather-clad highway policeman with a wife and child. Pretty soon though a road gang ends his little slice of normalcy and the Road Warrior is born. After that the world of the Mad Max films becomes more and more chaotic and alien, totally divorced from any connection to our present day society. This spawned many imitators, usually terrible but sometimes strangely amazing. What are some of your fave stories in the genre? The cover of this Quackcast is inspired by the 1985 Canadian film Defcon 4 (an image originally created in 1976 by Angus McKie). A Canticle for Lebowitz is a seminal story in the genre, about the preservation of culture and technology after an Apocalypse and how that can help rebuild things and that humans will inevitably repeat the same mistakes… Hell comes to Frogtown is an amazing and fun take on the dieselpunk post-apocalypse genre and definitely a fave of mine. But I think my faves would have to be The Day of the Triffids and The Kraken Wakes by John Wyndham. Often thought of as “cozy catastrophes” because even though the world as we know it ends and the characters have to re-adapt they do it in a very level-headed way and they find a new normal- that is actually one of the very few absolutely accurate and realistic takes on what happens during and after a real Apocalypse which is why I appreciate it so much: life goes on, it's not the same but you do what you can to make it that way. What do you think? A fan of Waterworld, Fallout, Terminator 2, The Walking Dead, The End, Radioactive dreams, Don't look up, something more fun or more depressing? This week Gunwallace has given us a theme inspired by The KAMics - Relaxed, the coolest of the cool. Kick back and let go to this breezy, slow track with a killer, bopping beat! You could listen to this forever, it's so soothing and calming. Topics and shownotes Links Featured comic: Plague Rat - https://www.theduckwebcomics.com/news/2024/nov/18/featured-comic-plague-rat/ Featured music: The KAMics - https://www.theduckwebcomics.com/KAMics_Kast/ - by Kam, rated T. Special thanks to: Gunwallace - https://www.theduckwebcomics.com/user/Gunwallace/ Ozoneocean - https://www.theduckwebcomics.com/user/ozoneocean Tantz Aerine - https://www.theduckwebcomics.com/user/Tantz_Aerine/ Banes - https://www.theduckwebcomics.com/user/Banes/ VIDEO exclusive! Become a subscriber on the $5 level and up to see our weekly Patreon video and get our advertising perks! - https://www.patreon.com/DrunkDuck Even at $1 you get your name with a link on the front page and a mention in the weekend newsposts! Join us on Discord - https://discordapp.com/invite/7NpJ8GS

Having covered the first BBC adaptation of John Wyndham's The Day of the Triffids in our Apocalypse UK mini-strand, it would have been remiss of us not to talk about the one that followed in 2009 Presented by J.R. Southall, with Jim Cameron and Dylan Rees

Capítulo 247, séptimo de esta séptima temporada de Audiolibros y Relatos, un podcast literalmente literario, en el que te traigo a uno de los escritores británicos de ciencia ficción más reconocidos y respetados: John Wyndham. Narrado por Xavi Villanueva !Nuevo episodio! Ya puedes disfrutar de Circuito compasivo. JOHN WYNDHAM en ABISMOfm.

"They have the look of man... but not the nature of mankind..." John Carpenter followed up his memorable Lovecraftian meta horror In the Mouth of Madness with a fresh stab at adapting John Wyndham's classic tale, The Midwich Cuckoos, but does his remake compare to the book or original 1960s movie? In this shorter bonus episode of AT THE MOVIES IN THE 90s recorded in late 2023, your host A. J. Black is joined by Modern Horror host Hugh McStay and podcaster Robert Clark to discuss 1995's Village of the Damned... Host / Editor A. J. Black Guests Hugh McStay / Robert Clark Find A. J. on Linktr.ee: https://linktr.ee/ajblackwriter Find the podcast on Linktr.ee: https://linktr.ee/atthemoviesinthe90s Support the Film Stories podcast network on Patreon: https://www.patreon.com/simonbrew Twitter: @filmstories Facebook/Instagram/Threads: Film Stories Website: www.filmstories.co.uk Title music: 'I Am Changing' by Isaac Elliott (c) epidemicsound.com Learn more about your ad choices. Visit megaphone.fm/adchoices

I so want to connect with my hearers when I preach or speak. Yes, one has a Message -- the One-Way Love of God embodied in the Compassionate Christ. But if it doesn't really connect with the listener -- with the sufferer! -- it is not able to do its job. J.B. Priestley (d. 1984), who had basically lost whatever faith he had been exposed to as a child, spent a lot of years looking for... something. He would gladly have capitalized "something" (i.e., Something). In 1960 Priestley wrote specifically about the decline of Christianity in the West. He wrote that the only way the "Church" could 'come back' -- which he would have welcomed given the cultural despair and nihilism he observed everywhere around him -- was to get through to the unconscious. Christianity's original, great and contagious strength had been to reach individuals in their depth/s. I agree with JBP. For many years Mary and I have listened to sermons that are sincere, sound theologically, and well prepared exegetically. Yet we often leave the service untouched, un-addressed, un-healed. As Herr Kaesemann said once, after listening to a sermon during a conference at Yale Divinity School: "Es gibt keine Anrede!" In other words, the Word has to address me in the deeps. The preacher's "deeps" need to be calling out to mine (Psalm 42:7). This cast draws on Priestley's "Presence of the Absence"; a John Wyndham paperback from 1953; and -- wait for it -- Spanky & Our Gang. The last track, from 1969, is IMO pure perfection. Oh, and "Out of the Deeps" is dedicated to Mary Zahl, whose recent talk to the Women of the Advent in Birmingham, entitled "The Things That Remain" (https://talkingbird.fireside.fm/400) is as fine as anything I have ever heard her present. LUV U.

Our thoughts on the BBC's first screen adaptation of John Wyndham's 1951 novel Presented by J.R. Southall, with Jim Cameron and Dylan Rees

This week Mike is joined by Matt and James from Journey Through Sci-Fi to talk about walking, talking carnivorous plants in the acclaimed 1981 BBC adaptation of John Wyndham's THE DAY OF THE TRIFFIDS.  Watch all six episodes on Archive.org  Hosted, Produced and Edited by Mike Muncer Music by Jack Whitney.  Artwork by Mike Lee-Graham Visit our website www.evolutionofhorror.com  Buy tickets for our UPCOMING SCREENINGS & EVENTS Buy yourself some brand new EOH MERCH! Subscribe and donate on PATREON for bonus monthly content and extra treats... www.patreon.com/evolutionofhorror  Email us!  Follow us on TWITTER Follow us on INSTAGRAM Like us on FACEBOOK Join the DISCUSSION GROUP Join the DISCORD Follow us on LETTERBOXD Mike Muncer is a producer, podcaster and film journalist and can be found on TWITTER

Jeremy got to Mars, all right, but nobody else came back. And so people would not believe he had actually been there at all. Never on Mars by John Wyndham, that's next on The Lost Sci-Fi Podcast.John Wyndham appears for the first time on our podcast. Wyndham was born in 1903, the English science fiction writer is best known for his novels The Day of the Triffids, released on the big screen in 1963 and The Midwich Cuckoos, later filmed as Village of the Damned in 1960.He wrote about a dozen novels and more than 70 short stories.A British daily newspaper, The Financial Times, called Wyndham, "one of Great Britain's most serious and literate pioneers of intelligent science-fiction", and that "he always wrote well and imaginatively”. It took a great deal of imagination to write today's story which was published in Fantastic Universe in January 1954 on page 62, Never on Mars by John Wyndham…Next on The Lost Sci-Fi Podcast, Want to join our secret organization? Well, first you have to pass the tests. Membership Drive by Murray F. Yaco.☕ Buy Me a Coffee https://www.buymeacoffee.com/scottsVYouTube - https://www.youtube.com/@VintageSciFiAudiobooksFacebook - https://www.facebook.com/TheLostSciFiPodcastTwitter - https://twitter.com/lost_sci_fi=========================== ❤️ ❤️ Thanks to All Our Listeners Who Bought Us a Coffee$200 Someone$75 James Van Maanenberg$50 Anonymous Listener$25 Dave Wiseman, Bromite Thrip, Marwin de Haan, Future Space Engineer, Fressie, Kevin Eckert, Stephen Kagan, James Van Maanenberg, Irma Stolfo, Josh Jennings, Leber8tr, Conrad Chaffee, Anonymous Listener$15 Patrick McLendon, Curious Jon, Buz C., Fressie, Anonymous Listener$10 Anonymous Listener$5 Tif Love, Chrystene, Richard Hoffman, Anonymous Listener Hosted on Acast. See acast.com/privacy for more information.

Somebody once came up with a song title we have never forgotten: “For every man there is a woman, so why did I gel stuck with you?” Not that Mr. Morcheck felt that way about Myra. He not only believed she was absolutely perfect; you could get a punch in the nose for doubting it! And he was so right—for a while! The Perfect Woman by Robert Sheckley, that's next on The Lost Sci-Fi Podcast.Actually we have two stories for you today on the podcast. We'll start with Robert Sheckley, from the pages of Amazing Stories in December 1953, let's go to page 118, The Perfect Woman by Robert Sheckley…Up next, a time travel story from the pages of Fantastic Universe magazine in December 1960, Time For Survival by George O. Smith…Next on The Lost Sci-Fi Podcast, Jeremy got to Mars, all right, but nobody else came back. And so people would not believe he had actually been there at all. Never on Mars by John Wyndham.☕ Buy Me a Coffee https://www.buymeacoffee.com/scottsVYouTube - https://www.youtube.com/@VintageSciFiAudiobooksFacebook - https://www.facebook.com/TheLostSciFiPodcastTwitter - https://twitter.com/lost_sci_fi=========================== ❤️ ❤️ Thanks to All Our Listeners Who Bought Us a Coffee$200 Someone$75 James Van Maanenberg$50 Anonymous Listener$25 Dave Wiseman, Bromite Thrip, Marwin de Haan, Future Space Engineer, Fressie, Kevin Eckert, Stephen Kagan, James Van Maanenberg, Irma Stolfo, Josh Jennings, Leber8tr, Conrad Chaffee, Anonymous Listener$15 Patrick McLendon, Curious Jon, Buz C., Fressie, Anonymous Listener$10 Anonymous Listener$5 Tif Love, Chrystene, Richard Hoffman, Anonymous Listener Hosted on Acast. See acast.com/privacy for more information.

Welcome to the Instant Trivia podcast episode 1256, where we ask the best trivia on the Internet. Round 1. Category: My Tv Dads 1: James Gandolfini led 2 types of families, each with their own unique sets of problems, on this HBO drama. The Sopranos. 2: In "Two and a Half Men", he was just Duckie playing Alan Harper, dad to the half-man. (Jon) Cryer. 3: On this show, Will moved in with his Auntie Viv and Uncle Phil, parents to Hilary, Ashley, Nicky and dance master Carlton. The Fresh Prince of Bel-Air. 4: Taiwanese immigrant Louis Huang makes a go of it in 1990s Orlando with his wife and 3 sons on this ABC sitcom. Fresh Off the Boat. 5: His 2017 Emmy award as dad and son on "This Is Us" was his second in two years--for your information, the "K" is for Kelby. (Sterling K.) Brown. Round 2. Category: That Book Was A Horror! 1: Anne Rice, 1976: "Interview with" him. the Vampire. 2: Ira Levin, 1967: her "Baby". Rosemary. 3: Stephen King, 2009: "Under" this. the Dome. 4: Shirley Jackson, 1959: "The Haunting of" this "House". Hill. 5: John Wyndham, 1951: "The Day of" these invading plants. the Triffids. Round 3. Category: The Brightest Stars 1: Regulus, from the Latin Rex, for "king", is in this king of beasts. Leo. 2: It's brighter than its twin, Castor. Pollux. 3: This brightest star in our night sky shares its name with a Keanu Reeves grunge band. Dogstar. 4: This red supergiant in Orion is over 300 light years away from you, but it's much closer to Michael Keaton's heart. Betelgeuse. 5: Proxima, a component of this constellation's brightest star system, is a super close 4.3 light years away. the Centaur (Centaurus). Round 4. Category: Nom Nom Nominations 1: Alaska's Copper River Fish Market got a 2023 Good Food Award nom for its locally sourced Copper River sockeye this. salmon. 2: From 2001 to 2006, Emmy voters didn't quite get the "essence of" this chef, but in 2017... bam! he got a trophy for "Eat the World". Emeril Lagasse. 3: A 2022 Beard nominee for Outstanding Restaurant, Brennan's in New Orleans is famed for this flambéed fruit and rum dessert. bananas Foster. 4: "Beat" this chef? as a 1991 and '92 nominee for Beard's rising chef of the year, yes, but in '93? Winner winner barbecue dinner!. Bobby Flay. 5: She got a BAFTA TV must-see moment nomination for her pronunciation of "microwave" on "Cook, Eat, Repeat". Nigella Lawson. Round 5. Category: Uniquely American Literature 1: A brutal 1959 mass murder was the basis of this Truman Capote nonfiction novel. In Cold Blood. 2: A battle to keep a girl from the clutches of Satan takes place in this William Peter Blatty novel that turned heads in '71. The Exorcist. 3: In this Tom Robbins novel, Sissy Hankshaw is born with enormous thumbs and hitchhikes across America. Even Cowgirls Get the Blues . 4: One of the 2 Erskine Caldwell novels of the 1930s that were censored for their portrayals of poor whites. Tobacco Road (or God's Little Acre). 5: This American's stories like "Will You Please Be Quiet, Please?" are in a style some have called K-Mart Realism. Raymond Carver. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

I'm trying a new thing today. Y'all will get to hear my “radio voice.” Is that a treat or a punishment? You tell me. Music by James Milor from Pixabay Information provided by: https://www.carnivorousplantresource.com/the-plants/triffid-triffidus-celestus/ Steve Sekeley (Director). (1963). The Day of the Triffids [Film]. Security Pictures, Ltd. https://en.wikipedia.org/wiki/Triffid https://en.wikipedia.org/wiki/The_Day_of_the_Triffids The Day of the Triffids by John Wyndham (1951)

We're back, with an episode about the great British SF writer John Wyndham. On many occasions we've found ourselves talking about his books - such as The Day of the Triffids and The Midwich Cuckoos - but now we attempt to do them justice with a closer look. For the full show notes, visit our blog at 101sf.blogspot.com

This time out, Jonathan and Gary consider the meaning of "cozy" (or "cosy") SF and fantasy, and whether cozy horror is even a thing. We trace the term back to cozy mystery novels and Brian W. Aldiss's characterization of certain British writers of the 1950s—especially John Wyndham—as "cozy catastrophes". Not surprisingly, this doesn't lead to any meaningful conclusions, but we do touch upon whether the notion of cozy has to do with the fiction itself, or just the reader's experience of it. Authors mentioned include Travis Baldree, Becky Chambers, Peter S. Beagle, Martha Wells, and Terry Pratchett. Then, with our usual lack of grace, we transition awkwardly into a discussion of the new Harlan Ellison's Greatest Hits, how well Ellison's fiction holds up, and some brief previews of forthcoming episodes.

28 Days Later is a 2002 British post-apocalyptic horror film, our first film from the 21st Century. Ewan McGregor was the original choice to play the protagonist, ‘Jim', but he and director Danny Boyle had a falling-out at the time over The Beach, in which McGregor was to play the lead but was replaced by Leonardo DiCaprio (McGregor and Boyle have since reconciled). After McGregor, the role was offered to Ryan Gosling, who passed, having a scheduling conflict, leading to the film being offered to the relatively unknown Cillian Murphy. Danny Boyle films include: Shallow Grave, Trainspotting, A Life Less Ordinary, The Beach, Sunshine and 127 Hours. He was the artistic director for the opening ceremony of the 2012 London Olympics, which he was offered a knighthood but declined.  In 2011 he directed Frankenstein on stage for the National Theatre, with dual Holmes's: Cumberbatch and Miller, (that James was lucky enough to see live). Regular collaborator with Boyle, writer and director Alex Garland (who wrote this film) has a filmography that includes: Never Let Me Go, Dredd, Ex Machina, (for which he received an Oscar nomination), Annihilation and the fantastically bonkers ‘Men'. Garland has said he took inspiration for 28 days later from George A. Romero's Living Dead film series and John Wyndham's 1951 novel The Day of the Triffids. The crew filmed during early mornings and temporarily closed streets to capture recognisable and typically busy areas when they were deserted. For the scene in which Jim walks by the overturned double-decker bus, the crew placed the bus on its side and removed it when the shot was finished, all within 20 minutes. They had asked permission to place the bus outside Downing Street, but Westminster City Council refused. When they arrived at 4am and nobody from the council was present, they placed it there anyway. One of the first mainstream films to be shot entirely digitally, it was a financial success., grossing more than $82.7 million worldwide on its modest budget of $8 million, it became one of the most profitable horror films of 2002. Producer Andrew Macdonald had access to funding from the National Lottery, and pitched it to Universal Pictures, who declined to support it. Budget constraints proved to be an issue, with Christopher Eccleston having to take an emergency pay cut during filming. Macdonald announced to the crew that the production had run out of money, and filming ceased without a closing sequence being shot. After pitching several endings, the original, which featured Jim's death, tested badly with audiences, the studio granted more funding to film the ending scene that was eventually used. The crew organised for a real jet to fly overhead for them to film, as this was cheaper than approximately £70,000 for a computer-generated one. Despite Boyle not considering it a zombie film, 28 Days Later is credited with reinvigorating the zombie genre and influencing a revival in the decade after its release, with its fast-running monsters and character-driven drama. The film was followed by the 2007 sequel 28 Weeks Later and Boyle and Garland have been reportedly working on a 3rd part entitled “28 Years Later” (which may or may not be being released in 3 parts - depending on what rumours you read). Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. Hosted on Acast. See acast.com/privacy for more information.

In Part II of our Botanical Terror Series we are talking some Horrific Horticulture by means of the many The Day of the Triffids and The Little Shop of Horrors influences and remakes. We also get into the atmospheric Japanese classic Matango aka Attack of the Mushroom People. Then, last but not least, after many side tangents, the segment Creeping Vine in the Amicus anthology film Dr. Terror's House of Horrors gets discussed. WE WANT TO HEAR FROM YOU! Send us an email at lastthreerowsofhorror@gmail.com and be sure to like and subscribe on YouTube as well as follow and/or drop us a line on the most evil Instagram and Facebook. Thank you for watching/listening and supporting LAST THREE ROWS OF HORROR! Sources for todays episode include Trouble with the Trees: The Growth of Plant Horror by: Richard Newby in January 2023's Volume 2 Issue 18 of Fangoria Magazine and Plant Horror: Approaches to the Monstrous Vegetal in Fiction and Film, Edited by Dawn Keetley and Angela Tenga. Chapters: 0:00 Intro 0:36 Welcome to the Last Three Rows of Horror! 1:06 Upcoming Days of the Dead Con 1:59 Plant Blindness 4:44 Sources and The Thing 14:21 John Wyndham's The Day of the Triffids 17:04 The Day of the Triffids (1962) 48:13 The Day of the Triffids BBC Limited Series (1981) 53:23 The Day of the Triffids BBC Limited Series (2009) 58:51 The Little Shop of Horrors (1960) 1:31:50 Little Shop of Horrors (1986) 1:51:34 Matango (1963) 2:10:50 Dr. Terror's House of Horrors 2:22:46 Wrapping Up / Late Night with the Devil

Los Cuentos de la Casa de la Bruja es un podcast semanal de audio-relatos de misterio, ciencia ficción y terror. Cada viernes, a las 10 de la noche, traemos un nuevo programa. ¡Si te gusta nuestro contenido suscríbete! Y si te encanta considera hacerte fan desde el botón azul APOYAR y accede a todo el contenido exclusivo. Tu aporte es de mucha ayuda para el mantenimiento de este podcast. ¡Gracias por ello! Mi nombre es Juan Carlos. Dirijo este podcast y también soy locutor y narrador de audiolibros, con estudio propio. Si crees que mi voz encajaría con tu proyecto o negocio contacta conmigo y hablamos. :) Contacto profesional: info@locucioneshablandoclaro.com www.locucioneshablandoclaro.com También estoy en Twitter: @VengadorT Y en Instagram: juancarlos_locutor Imagen de portada: https://pixabay.com/es/photos/fantas%C3%ADa-retrato-m%C3%A1quina-mujer-2660323/ Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

The Stuph File Program Featuring Shawn Leggett, founder & president of Ground Up Eco Ventures; Jean-Benoit Nadeau & Julie Barlow, authors of Going Solo: Everything You Need To Start Your Business And Succeed As Your Own Boss; & Stuart Nulman with Book Banter Download Shawn Leggett is the founder and President of Ground Up Eco Ventures, a company that uses clean technology to upcycle the waste streams of both the coffee and craft brewery industries. Jean-Benoit Nadeau & Julie Barlow are the authors of Going Solo: Everything You Need To Start Your Business And Succeed As Your Own Boss. Stuart Nulman with another edition of Book Banter. This week, in honour of Halloween, several classic books are reviewed. They are: Salem's Lot by Stephen King (originally published in 1975) Misery by Stephen King (originally published in 1987) None Of This is True by Lisa Jewell (Atria Books, $24.99) The Day of the Triffids by John Wyndham (originally published in 1951) You can also read Stuart's reviews in The Montreal Times.  Now you can listen to selected items from The Stuph File Program on the new audio service, Audea. A great way to keep up with many of the interviews from the show and take a trip down memory lane to when this show began back in 2009, with over 800 selections to choose from! This week's guest slate is presented by Virgil Alleyne, my nephew-in-law, who is an engineer who lives in Toronto and is an avid New York Giants fan.  Pray for him.

Listen to us as we discuss the 2002 film 28 Days Later. If you would like to give us feedback on how were doing follow us at:⁠ https://beacons.ai/senornerdpodcast⁠⁠ https://www.instagram.com/senornerdpodcast/ ⁠@senornerdpod on Twitter 28 Days Later is a 2002 British post-apocalyptic horror film directed by Danny Boyle and written by Alex Garland. It stars Cillian Murphy as a bicycle courier who awakens from a coma to discover the accidental release of a highly contagious, aggression-inducing virus has caused the breakdown of society. Naomie Harris, Christopher Eccleston, Megan Burns, and Brendan Gleeson appear in supporting roles.Garland took inspiration from George A. Romero's Night of the Living Dead film series and John Wyndham's 1951 novel The Day of the Triffids for the film's post-apocalyptic story. Filming took place in various locations in the United Kingdom in 2001. The crew filmed for brief periods during early mornings and temporarily closed streets to capture recognisable and typically busy areas when they were deserted. John Murphy composed an original soundtrack for the film, with other instrumental songs by Brian Eno, Godspeed You! Black Emperor and other artists also being featured.28 Days Later was released on 1 November 2002 to critical acclaim and financial success. Grossing more than $82.7 million worldwide on its modest budget of $8 million, it became one of the most profitable horror films of 2002. Reviewers praised Boyle's direction, the cast's performances, Garland's screenplay, the atmosphere and soundtrack. Despite Boyle not considering it a zombie film, 28 Days Later is credited with reinvigorating the zombie genre of horror film and influencing a revival in the decade after its release, with its fast-running infected and character-driven drama.[3][4] Since its release, it has been featured in several "best-of" film lists and maintained a following, particularly amid the COVID-19 pandemic in the 2020s.The film was followed by 2007 sequel 28 Weeks Later, a 2007 graphic novel titled 28 Days Later: The Aftermath, which expands on the timeline of the outbreak, and a 2009 to 2011 comic book series titled 28 Days Later.PlotA highly contagious, aggression-inducing virus called the "rage virus" is unleashed in Great Britain after an infected chimpanzee is freed from its cage in a laboratory in Cambridge by a group of eco-terrorists. Within seconds of exposure after freeing the enraged chimp, one of the terrorists succumbs to the virus and immediately infects another. Over the following hours and days, it spreads rapidly and becomes an epidemic, resulting in total societal collapse.

Win a Google Pixel Fold phone + Ajay Chowdhury on AI & writing books (part 3): Crime author & tech entrepreneur Ajay Chowdhury tells We'd Like A Word hosts Paul Waters & Stevyn Colgan about how he uses artificial intelligence tools to help him write his excellent Detective Kamil Rahman series. Plus answer a question in this 3-part podcast for a chance to win a brand new Google Pixel Fold mobile phone. We've heard they cost £1,700 - so it's a good prize! Hear the question, email your answer to wedlikeaword@gmail.com Also in this 3-part episode: is it ethical or useful to use AI / artificial intelligence tools like Chat GPT to help write books? Is AI an existential threat to human creativity? Will AI put book cover designers out of work? Which of us has a third nipple and why does James Bond get his nipple arrangement all wrong> We also talk - Lily Allen, author Jude O'Reilly, Roger Moore, Children of the Ghetto by Israel Zangwill, A Child of the Jago by Arthur Morrison, John Wyndham, John Wick, Philip Kerr, Jewish East End London, book cover designer Dan Mogford, Barry Cotter v Harry Potter, Christopher Lee, Scaramanga, India, ANPR and other surveillance, AI dating website, Honcho, the Indian epics the Ramayana & Mahabharata. We'd Like A Word is a podcast & radio show from authors Paul Waters & Stevyn Colgan. We talk with writers, readers, editors, agents, celebrities, talkers, poets, publishers, booksellers, & audiobook creators about books - fiction & non-fiction. We go out on various radio & podcast platforms. Our website is http://www.wedlikeaword.com for information on Paul, Steve & our guests. We're on Twitter @wedlikeaword & Facebook @wedlikeaword & our email is wedlikeaword@gmail.com Yes, we're embarrassed by the missing apostrophes. We like to hear from you - questions, thoughts, ideas, guest or book suggestions. Perhaps you'd like to come on We'd Like A Word to chat, review or read out passages from books. Paul is writing a new cosy mystery series set in contemporary Delhi - more on that anon. And if you're still stuck for something to read now, may we recommend Blackwatertown, the thriller by Paul Waters or Cockerings, the comic classic by Stevyn Colgan.

Win a Google Pixel Fold phone + Ajay Chowdhury on AI & writing books (part 2): Crime author & tech entrepreneur Ajay Chowdhury tells We'd Like A Word hosts Paul Waters & Stevyn Colgan about how he uses artificial intelligence tools to help him write his excellent Detective Kamil Rahman series. Plus answer a question in this 3-part podcast for a chance to win a brand new Google Pixel Fold mobile phone. We've heard they cost £1,700 - so it's a good prize! Hear the question, email your answer to wedlikeaword@gmail.com Also in this 3-part episode: is it ethical or useful to use AI / artificial intelligence tools like Chat GPT to help write books? Is AI an existential threat to human creativity? Will AI put book cover designers out of work? Which of us has a third nipple and why does James Bond get his nipple arrangement all wrong> We also talk - Lily Allen, author Jude O'Reilly, Roger Moore, Children of the Ghetto by Israel Zangwill, A Child of the Jago by Arthur Morrison, John Wyndham, John Wick, Philip Kerr, Jewish East End London, book cover designer Dan Mogford, Barry Cotter v Harry Potter, Christopher Lee, Scaramanga, India, ANPR and other surveillance, AI dating website, Honcho, the Indian epics the Ramayana & Mahabharata. We'd Like A Word is a podcast & radio show from authors Paul Waters & Stevyn Colgan. We talk with writers, readers, editors, agents, celebrities, talkers, poets, publishers, booksellers, & audiobook creators about books - fiction & non-fiction. We go out on various radio & podcast platforms. Our website is http://www.wedlikeaword.com for information on Paul, Steve & our guests. We're on Twitter @wedlikeaword & Facebook @wedlikeaword & our email is wedlikeaword@gmail.com Yes, we're embarrassed by the missing apostrophes. We like to hear from you - questions, thoughts, ideas, guest or book suggestions. Perhaps you'd like to come on We'd Like A Word to chat, review or read out passages from books. Paul is writing a new cosy mystery series set in contemporary Delhi - more on that anon. And if you're still stuck for something to read now, may we recommend Blackwatertown, the thriller by Paul Waters or Cockerings, the comic classic by Stevyn Colgan.

Win a Google Pixel Fold phone + Ajay Chowdhury on AI & writing books (part 1): Crime author & tech entrepreneur Ajay Chowdhury tells We'd Like A Word hosts Paul Waters & Stevyn Colgan about how he uses artificial intelligence tools to help him write his excellent Detective Kamil Rahman series. Plus answer a question in this 3-part podcast for a chance to win a brand new Google Pixel Fold mobile phone. We've heard they cost £1,700 - so it's a good prize! Hear the question, email your answer to wedlikeaword@gmail.com Also in this 3-part episode: is it ethical or useful to use AI / artificial intelligence tools like Chat GPT to help write books? Is AI an existential threat to human creativity? Will AI put book cover designers out of work? Which of us has a third nipple and why does James Bond get his nipple arrangement all wrong> We also talk - Lily Allen, author Jude O'Reilly, Roger Moore, Children of the Ghetto by Israel Zangwill, A Child of the Jago by Arthur Morrison, John Wyndham, John Wick, Philip Kerr, Jewish East End London, book cover designer Dan Mogford, Barry Cotter v Harry Potter, Christopher Lee, Scaramanga, India, ANPR and other surveillance, AI dating website, Honcho, the Indian epics the Ramayana & Mahabharata. We'd Like A Word is a podcast & radio show from authors Paul Waters & Stevyn Colgan. We talk with writers, readers, editors, agents, celebrities, talkers, poets, publishers, booksellers, & audiobook creators about books - fiction & non-fiction. We go out on various radio & podcast platforms. Our website is http://www.wedlikeaword.com for information on Paul, Steve & our guests. We're on Twitter @wedlikeaword & Facebook @wedlikeaword & our email is wedlikeaword@gmail.com Yes, we're embarrassed by the missing apostrophes. We like to hear from you - questions, thoughts, ideas, guest or book suggestions. Perhaps you'd like to come on We'd Like A Word to chat, review or read out passages from books. Paul is writing a new cosy mystery series set in contemporary Delhi - more on that anon. And if you're still stuck for something to read now, may we recommend Blackwatertown, the thriller by Paul Waters or Cockerings, the comic classic by Stevyn Colgan.

Brick wall... Brick Wall... BRICK WALL!! This week we cover VILLAGE OF THE DAMNED (1960) from director Wolf Rilla! Adapted from the John Wyndham novel The Midwich Cuckoos, we discuss this evil children horror starring George Sanders, Barbara Shelley and Martin Stephens. Context setting 00:00; Synopsis 42:11; Discussion 50:41; Ranking 1:22:21

•Serie• In Teil eins des Science-Fiction-Hörspiels nach dem Roman von John Wyndham wird Triffid-Züchter Bill auf die Idee gebracht, seine Erinnerungen auf Band zu sprechen. Seine Erzählung setzt in der Zeit vor der Katastrophe an. // Von John Wyndham / WDR 1968 // www.wdr.de/k/hoerspiel-newsletter Von John Wyndham.

The Midwich Cuckoos was a 2022 SkyTV adaptation of John Wyndham's 1957 novel. All of the women of childbearing age in the village of Midwich become pregnant at the same time. What will the children born of this event be like? Please send us your comments, questions, requests and complaints. You can reach us at […]

The Midwich Cuckoos was 2022 adaptation of John Wyndham's classic novel of the same name. Everyone in the quiet village of Midwich loses consciousness all at once. What will happen when they all wake up simultaneously? Please send us your comments, questions, requests and complaints. You can reach us at britishinvaders@gmail.com, and you can find […]

From 1957, a real classic, The Day of The Triffids by John Wyndham

A blind woman who temporarily regains her sight is the heroine of Wilkie Collins' 1872 novel Poor Miss Finch. Matthew Sweet is joined by Clare Walker Gore, Tom Shakespeare and Tanvir Bush to discuss how Collins' own poor health led him to write about disability and physical difference in a more nuanced way than many of his contemporaries. Apart from Lucilla Finch, who has more agency when blind than sighted, other examples include the apparently monstrous Miserrimus Dexter ('the new centaur: half-man, half-chair') in The Law and the Lady, and the shockingly moustachioed Marian Halcombe in The Woman in White. Tanvir Bush is the author of Cull. You can also hear her discussing John Wyndham's novel The Day of the Triffids on Free Thinking. Clare Walker Gore has contributed to a Free Thinking discussion about Depicting Disability and written essays for Radio 3 about authors including Dinah Mulock Craik and Margaret Oliphant. Tom Shakespeare is Professor of Disability Research at the London School of Hygiene and Tropical Medicine. You can hear his Radio 3 essay on Tolkien on BBC Sounds. Producer: Torquil MacLeod

Episode one hundred and fifty-eight of A History of Rock Music in Five Hundred Songs looks at “White Rabbit”, Jefferson Airplane, and the rise of the San Francisco sound. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three-minute bonus episode available, on "Omaha" by Moby Grape. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum I refer to Back to Methuselah by Robert Heinlein. This is of course a play by George Bernard Shaw. What I meant to say was Methuselah's Children. Resources I hope to upload a Mixcloud tomorrow, and will edit it in, but have had some problems with the site today. Jefferson Airplane's first four studio albums, plus a 1968 live album, can be found in this box set. I've referred to three main books here. Got a Revolution!: The Turbulent Flight of Jefferson Airplane by Jeff Tamarkin is written with the co-operation of the band members, but still finds room to criticise them. Jefferson Airplane On Track by Richard Molesworth is a song-by-song guide to the band's music. And Been So Long: My Life and Music by Jorma Kaukonen is Kaukonen's autobiography. Some information on Skip Spence and Matthew Katz also comes from What's Big and Purple and Lives in the Ocean?: The Moby Grape Story, by Cam Cobb, which I also used for this week's bonus. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, I need to confess an important and hugely embarrassing error in this episode. I've only ever seen Marty Balin's name written down, never heard it spoken, and only after recording the episode, during the editing process, did I discover I mispronounce it throughout. It's usually an advantage for the podcast that I get my information from books rather than TV documentaries and the like, because they contain far more information, but occasionally it causes problems like that. My apologies. Also a brief note that this episode contains some mentions of racism, antisemitism, drug and alcohol abuse, and gun violence. One of the themes we've looked at in recent episodes is the way the centre of the musical world -- at least the musical world as it was regarded by the people who thought of themselves as hip in the mid-sixties -- was changing in 1967. Up to this point, for a few years there had been two clear centres of the rock and pop music worlds. In the UK, there was London, and any British band who meant anything had to base themselves there. And in the US, at some point around 1963, the centre of the music industry had moved West. Up to then it had largely been based in New York, and there was still a thriving industry there as of the mid sixties. But increasingly the records that mattered, that everyone in the country had been listening to, had come out of LA Soul music was, of course, still coming primarily from Detroit and from the Country-Soul triangle in Tennessee and Alabama, but when it came to the new brand of electric-guitar rock that was taking over the airwaves, LA was, up until the first few months of 1967, the only city that was competing with London, and was the place to be. But as we heard in the episode on "San Francisco", with the Monterey Pop Festival all that started to change. While the business part of the music business remained centred in LA, and would largely remain so, LA was no longer the hip place to be. Almost overnight, jangly guitars, harmonies, and Brian Jones hairstyles were out, and feedback, extended solos, and droopy moustaches were in. The place to be was no longer LA, but a few hundred miles North, in San Francisco -- something that the LA bands were not all entirely happy about: [Excerpt: The Mothers of Invention, "Who Needs the Peace Corps?"] In truth, the San Francisco music scene, unlike many of the scenes we've looked at so far in this series, had rather a limited impact on the wider world of music. Bands like Jefferson Airplane, the Grateful Dead, and Big Brother and the Holding Company were all both massively commercially successful and highly regarded by critics, but unlike many of the other bands we've looked at before and will look at in future, they didn't have much of an influence on the bands that would come after them, musically at least. Possibly this is because the music from the San Francisco scene was always primarily that -- music created by and for a specific group of people, and inextricable from its context. The San Francisco musicians were defining themselves by their geographical location, their peers, and the situation they were in, and their music was so specifically of the place and time that to attempt to copy it outside of that context would appear ridiculous, so while many of those bands remain much loved to this day, and many made some great music, it's very hard to point to ways in which that music influenced later bands. But what they did influence was the whole of rock music culture. For at least the next thirty years, and arguably to this day, the parameters in which rock musicians worked if they wanted to be taken seriously – their aesthetic and political ideals, their methods of collaboration, the cultural norms around drug use and sexual promiscuity, ideas of artistic freedom and authenticity, the choice of acceptable instruments – in short, what it meant to be a rock musician rather than a pop, jazz, country, or soul artist – all those things were defined by the cultural and behavioural norms of the San Francisco scene between about 1966 and 68. Without the San Francisco scene there's no Woodstock, no Rolling Stone magazine, no Rock and Roll Hall of Fame, no hippies, no groupies, no rock stars. So over the next few months we're going to take several trips to the Bay Area, and look at the bands which, for a brief time, defined the counterculture in America. The story of Jefferson Airplane -- and unlike other bands we've looked at recently, like The Pink Floyd and The Buffalo Springfield, they never had a definite article at the start of their name to wither away like a vestigial organ in subsequent years -- starts with Marty Balin. Balin was born in Ohio, but was a relatively sickly child -- he later talked about being autistic, and seems to have had the chronic illnesses that so often go with neurodivergence -- so in the hope that the dry air would be good for his chest his family moved to Arizona. Then when his father couldn't find work there, they moved further west to San Francisco, in the Haight-Ashbury area, long before that area became the byword for the hippie movement. But it was in LA that he started his music career, and got his surname. Balin had been named Marty Buchwald as a kid, but when he was nineteen he had accompanied a friend to LA to visit a music publisher, and had ended up singing backing vocals on her demos. While he was there, he had encountered the arranger Jimmy Haskell. Haskell was on his way to becoming one of the most prominent arrangers in the music industry, and in his long career he would go on to do arrangements for Bobby Gentry, Blondie, Steely Dan, Simon and Garfunkel, and many others. But at the time he was best known for his work on Ricky Nelson's hits: [Excerpt: Ricky Nelson, "Hello Mary Lou"] Haskell thought that Marty had the makings of a Ricky Nelson style star, as he was a good-looking young man with a decent voice, and he became a mentor for the young man. Making the kind of records that Haskell arranged was expensive, and so Haskell suggested a deal to him -- if Marty's father would pay for studio time and musicians, Haskell would make a record with him and find him a label to put it out. Marty's father did indeed pay for the studio time and the musicians -- some of the finest working in LA at the time. The record, released under the name Marty Balin, featured Jack Nitzsche on keyboards, Earl Palmer on drums, Milt Jackson on vibraphone, Red Callender on bass, and Glen Campbell and Barney Kessell on guitars, and came out on Challenge Records, a label owned by Gene Autry: [Excerpt: Marty Balin, "Nobody But You"] Neither that, nor Balin's follow-up single, sold a noticeable amount of copies, and his career as a teen idol was over before it had begun. Instead, as many musicians of his age did, he decided to get into folk music, joining a vocal harmony group called the Town Criers, who patterned themselves after the Weavers, and performed the same kind of material that every other clean-cut folk vocal group was performing at the time -- the kind of songs that John Phillips and Steve Stills and Cass Elliot and Van Dyke Parks and the rest were all performing in their own groups at the same time. The Town Criers never made any records while they were together, but some archival recordings of them have been released over the decades: [Excerpt: The Town Criers, "900 Miles"] The Town Criers split up, and Balin started performing as a solo folkie again. But like all those other then-folk musicians, Balin realised that he had to adapt to the K/T-event level folk music extinction that happened when the Beatles hit America like a meteorite. He had to form a folk-rock group if he wanted to survive -- and given that there were no venues for such a group to play in San Francisco, he also had to start a nightclub for them to play in. He started hanging around the hootenannies in the area, looking for musicians who might form an electric band. The first person he decided on was a performer called Paul Kantner, mainly because he liked his attitude. Kantner had got on stage in front of a particularly drunk, loud, crowd, and performed precisely half a song before deciding he wasn't going to perform in front of people like that and walking off stage. Kantner was the only member of the new group to be a San Franciscan -- he'd been born and brought up in the city. He'd got into folk music at university, where he'd also met a guitar player named Jorma Kaukonen, who had turned him on to cannabis, and the two had started giving music lessons at a music shop in San Jose. There Kantner had also been responsible for booking acts at a local folk club, where he'd first encountered acts like Mother McCree's Uptown Jug Champions, a jug band which included Jerry Garcia, Pigpen McKernan, and Bob Weir, who would later go on to be the core members of the Grateful Dead: [Excerpt: Mother McCree's Uptown Jug Champions, "In the Jailhouse Now"] Kantner had moved around a bit between Northern and Southern California, and had been friendly with two other musicians on the Californian folk scene, David Crosby and Roger McGuinn. When their new group, the Byrds, suddenly became huge, Kantner became aware of the possibility of doing something similar himself, and so when Marty Balin approached him to form a band, he agreed. On bass, they got in a musician called Bob Harvey, who actually played double bass rather than electric, and who stuck to that for the first few gigs the group played -- he had previously been in a band called the Slippery Rock String Band. On drums, they brought in Jerry Peloquin, who had formerly worked for the police, but now had a day job as an optician. And on vocals, they brought in Signe Toley -- who would soon marry and change her name to Signe Anderson, so that's how I'll talk about her to avoid confusion. The group also needed a lead guitarist though -- both Balin and Kantner were decent rhythm players and singers, but they needed someone who was a better instrumentalist. They decided to ask Kantner's old friend Jorma Kaukonen. Kaukonen was someone who was seriously into what would now be called Americana or roots music. He'd started playing the guitar as a teenager, not like most people of his generation inspired by Elvis or Buddy Holly, but rather after a friend of his had shown him how to play an old Carter Family song, "Jimmy Brown the Newsboy": [Excerpt: The Carter Family, "Jimmy Brown the Newsboy"] Kaukonen had had a far more interesting life than most of the rest of the group. His father had worked for the State Department -- and there's some suggestion he'd worked for the CIA -- and the family had travelled all over the world, staying in Pakistan, the Philippines, and Finland. For most of his childhood, he'd gone by the name Jerry, because other kids beat him up for having a foreign name and called him a Nazi, but by the time he turned twenty he was happy enough using his birth name. Kaukonen wasn't completely immune to the appeal of rock and roll -- he'd formed a rock band, The Triumphs, with his friend Jack Casady when he was a teenager, and he loved Ricky Nelson's records -- but his fate as a folkie had been pretty much sealed when he went to Antioch College. There he met up with a blues guitarist called Ian Buchanan. Buchanan never had much of a career as a professional, but he had supposedly spent nine years studying with the blues and ragtime guitar legend Rev. Gary Davis, and he was certainly a fine guitarist, as can be heard on his contribution to The Blues Project, the album Elektra put out of white Greenwich Village musicians like John Sebastian and Dave Van Ronk playing old blues songs: [Excerpt: Ian Buchanan, "The Winding Boy"] Kaukonen became something of a disciple of Buchanan -- he said later that Buchanan probably taught him how to play because he was such a terrible player and Buchanan couldn't stand to listen to it -- as did John Hammond Jr, another student at Antioch at the same time. After studying at Antioch, Kaukonen started to travel around, including spells in Greenwich Village and in the Philippines, before settling in Santa Clara, where he studied for a sociology degree and became part of a social circle that included Dino Valenti, Jerry Garcia, and Billy Roberts, the credited writer of "Hey Joe". He also started performing as a duo with a singer called Janis Joplin. Various of their recordings from this period circulate, mostly recorded at Kaukonen's home with the sound of his wife typing in the background while the duo rehearse, as on this performance of an old Bessie Smith song: [Excerpt: Jorma Kaukonen and Janis Joplin, "Nobody Loves You When You're Down and Out"] By 1965 Kaukonen saw himself firmly as a folk-blues purist, who would not even think of playing rock and roll music, which he viewed with more than a little contempt. But he allowed himself to be brought along to audition for the new group, and Ken Kesey happened to be there. Kesey was a novelist who had written two best-selling books, One Flew Over The Cuckoo's Nest and Sometimes A Great Notion, and used the financial independence that gave him to organise a group of friends who called themselves the Merry Pranksters, who drove from coast to coast and back again in a psychedelic-painted bus, before starting a series of events that became known as Acid Tests, parties at which everyone was on LSD, immortalised in Tom Wolfe's book The Electric Kool-Aid Acid Test. Nobody has ever said why Kesey was there, but he had brought along an Echoplex, a reverb unit one could put a guitar through -- and nobody has explained why Kesey, who wasn't a musician, had an Echoplex to hand. But Kaukonen loved the sound that he could get by putting his guitar through the device, and so for that reason more than any other he decided to become an electric player and join the band, going out and buying a Rickenbacker twelve-string and Vox Treble Booster because that was what Roger McGuinn used. He would later also get a Guild Thunderbird six-string guitar and a Standel Super Imperial amp, following the same principle of buying the equipment used by other guitarists he liked, as they were what Zal Yanovsky of the Lovin' Spoonful used. He would use them for all his six-string playing for the next couple of years, only later to discover that the Lovin' Spoonful despised them and only used them because they had an endorsement deal with the manufacturers. Kaukonen was also the one who came up with the new group's name. He and his friends had a running joke where they had "Bluesman names", things like "Blind Outrage" and "Little Sun Goldfarb". Kaukonen's bluesman name, given to him by his friend Steve Talbot, had been Blind Thomas Jefferson Airplane, a reference to the 1920s blues guitarist Blind Lemon Jefferson: [Excerpt: Blind Lemon Jefferson, "Match Box Blues"] At the band meeting where they were trying to decide on a name, Kaukonen got frustrated at the ridiculous suggestions that were being made, and said "You want a stupid name? Howzabout this... Jefferson Airplane?" He said in his autobiography "It was one of those rare moments when everyone in the band agreed, and that was that. I think it was the only band meeting that ever allowed me to come away smiling." The newly-named Jefferson Airplane started to rehearse at the Matrix Club, the club that Balin had decided to open. This was run with three sound engineer friends, who put in the seed capital for the club. Balin had stock options in the club, which he got by trading a share of the band's future earnings to his partners, though as the group became bigger he eventually sold his stock in the club back to his business partners. Before their first public performance, they started working with a manager, Matthew Katz, mostly because Katz had access to a recording of a then-unreleased Bob Dylan song, "Lay Down Your Weary Tune": [Excerpt: Bob Dylan, "Lay Down Your Weary Tune"] The group knew that the best way for a folk-rock band to make a name for themselves was to perform a Dylan song nobody else had yet heard, and so they agreed to be managed by Katz. Katz started a pre-publicity blitz, giving out posters, badges, and bumper stickers saying "Jefferson Airplane Loves You" all over San Francisco -- and insisting that none of the band members were allowed to say "Hello" when they answered the phone any more, they had to say "Jefferson Airplane Loves You!" For their early rehearsals and gigs, they were performing almost entirely cover versions of blues and folk songs, things like Fred Neil's "The Other Side of This Life" and Dino Valenti's "Get Together" which were the common currency of the early folk-rock movement, and songs by their friends, like one called "Flower Bomb" by David Crosby, which Crosby now denies ever having written. They did start writing the odd song, but at this point they were more focused on performance than on writing. They also hired a press agent, their friend Bill Thompson. Thompson was friends with the two main music writers at the San Francisco Chronicle, Ralph Gleason, the famous jazz critic, who had recently started also reviewing rock music, and John Wasserman. Thompson got both men to come to the opening night of the Matrix, and both gave the group glowing reviews in the Chronicle. Record labels started sniffing around the group immediately as a result of this coverage, and according to Katz he managed to get a bidding war started by making sure that when A&R men came to the club there were always two of them from different labels, so they would see the other person and realise they weren't the only ones interested. But before signing a record deal they needed to make some personnel changes. The first member to go was Jerry Peloquin, for both musical and personal reasons. Peloquin was used to keeping strict time and the other musicians had a more free-flowing idea of what tempo they should be playing at, but also he had worked for the police while the other members were all taking tons of illegal drugs. The final break with Peloquin came when he did the rest of the group a favour -- Paul Kantner's glasses broke during a rehearsal, and as Peloquin was an optician he offered to take them back to his shop and fix them. When he got back, he found them auditioning replacements for him. He beat Kantner up, and that was the end of Jerry Peloquin in Jefferson Airplane. His replacement was Skip Spence, who the group had met when he had accompanied three friends to the Matrix, which they were using as a rehearsal room. Spence's friends went on to be the core members of Quicksilver Messenger Service along with Dino Valenti: [Excerpt: Quicksilver Messenger Service, "Dino's Song"] But Balin decided that Spence looked like a rock star, and told him that he was now Jefferson Airplane's drummer, despite Spence being a guitarist and singer, not a drummer. But Spence was game, and learned to play the drums. Next they needed to get rid of Bob Harvey. According to Harvey, the decision to sack him came after David Crosby saw the band rehearsing and said "Nice song, but get rid of the bass player" (along with an expletive before the word bass which I can't say without incurring the wrath of Apple). Crosby denies ever having said this. Harvey had started out in the group on double bass, but to show willing he'd switched in his last few gigs to playing an electric bass. When he was sacked by the group, he returned to double bass, and to the Slippery Rock String Band, who released one single in 1967: [Excerpt: The Slippery Rock String Band, "Tule Fog"] Harvey's replacement was Kaukonen's old friend Jack Casady, who Kaukonen knew was now playing bass, though he'd only ever heard him playing guitar when they'd played together. Casady was rather cautious about joining a rock band, but then Kaukonen told him that the band were getting fifty dollars a week salary each from Katz, and Casady flew over from Washington DC to San Francisco to join the band. For the first few gigs, he used Bob Harvey's bass, which Harvey was good enough to lend him despite having been sacked from the band. Unfortunately, right from the start Casady and Kantner didn't get on. When Casady flew in from Washington, he had a much more clean-cut appearance than the rest of the band -- one they've described as being nerdy, with short, slicked-back, side-parted hair and a handlebar moustache. Kantner insisted that Casady shave the moustache off, and he responded by shaving only one side, so in profile on one side he looked clean-shaven, while from the other side he looked like he had a full moustache. Kantner also didn't like Casady's general attitude, or his playing style, at all -- though most critics since this point have pointed to Casady's bass playing as being the most interesting and distinctive thing about Jefferson Airplane's style. This lineup seems to have been the one that travelled to LA to audition for various record companies -- a move that immediately brought the group a certain amount of criticism for selling out, both for auditioning for record companies and for going to LA at all, two things that were already anathema on the San Francisco scene. The only audition anyone remembers them having specifically is one for Phil Spector, who according to Kaukonen was waving a gun around during the audition, so he and Casady walked out. Around this time as well, the group performed at an event billed as "A Tribute to Dr. Strange", organised by the radical hippie collective Family Dog. Marvel Comics, rather than being the multi-billion-dollar Disney-owned corporate juggernaut it is now, was regarded as a hip, almost underground, company -- and around this time they briefly started billing their comics not as comics but as "Marvel Pop Art Productions". The magical adventures of Dr. Strange, Master of the Mystic Arts, and in particular the art by far-right libertarian artist Steve Ditko, were regarded as clear parallels to both the occult dabblings and hallucinogen use popular among the hippies, though Ditko had no time for either, following as he did an extreme version of Ayn Rand's Objectivism. It was at the Tribute to Dr. Strange that Jefferson Airplane performed for the first time with a band named The Great Society, whose lead singer, Grace Slick, would later become very important in Jefferson Airplane's story: [Excerpt: The Great Society, "Someone to Love"] That gig was also the first one where the band and their friends noticed that large chunks of the audience were now dressing up in costumes that were reminiscent of the Old West. Up to this point, while Katz had been managing the group and paying them fifty dollars a week even on weeks when they didn't perform, he'd been doing so without a formal contract, in part because the group didn't trust him much. But now they were starting to get interest from record labels, and in particular RCA Records desperately wanted them. While RCA had been the label who had signed Elvis Presley, they had otherwise largely ignored rock and roll, considering that since they had the biggest rock star in the world they didn't need other ones, and concentrating largely on middle-of-the-road acts. But by the mid-sixties Elvis' star had faded somewhat, and they were desperate to get some of the action for the new music -- and unlike the other major American labels, they didn't have a reciprocal arrangement with a British label that allowed them to release anything by any of the new British stars. The group were introduced to RCA by Rod McKuen, a songwriter and poet who later became America's best-selling poet and wrote songs that sold over a hundred million copies. At this point McKuen was in his Jacques Brel phase, recording loose translations of the Belgian songwriter's songs with McKuen translating the lyrics: [Excerpt: Rod McKuen, "Seasons in the Sun"] McKuen thought that Jefferson Airplane might be a useful market for his own songs, and brought the group to RCA. RCA offered Jefferson Airplane twenty-five thousand dollars to sign with them, and Katz convinced the group that RCA wouldn't give them this money without them having signed a management contract with him. Kaukonen, Kantner, Spence, and Balin all signed without much hesitation, but Jack Casady didn't yet sign, as he was the new boy and nobody knew if he was going to be in the band for the long haul. The other person who refused to sign was Signe Anderson. In her case, she had a much better reason for refusing to sign, as unlike the rest of the band she had actually read the contract, and she found it to be extremely worrying. She did eventually back down on the day of the group's first recording session, but she later had the contract renegotiated. Jack Casady also signed the contract right at the start of the first session -- or at least, he thought he'd signed the contract then. He certainly signed *something*, without having read it. But much later, during a court case involving the band's longstanding legal disputes with Katz, it was revealed that the signature on the contract wasn't Casady's, and was badly forged. What he actually *did* sign that day has never been revealed, to him or to anyone else. Katz also signed all the group as songwriters to his own publishing company, telling them that they legally needed to sign with him if they wanted to make records, and also claimed to RCA that he had power of attorney for the band, which they say they never gave him -- though to be fair to Katz, given the band members' habit of signing things without reading or understanding them, it doesn't seem beyond the realms of possibility that they did. The producer chosen for the group's first album was Tommy Oliver, a friend of Katz's who had previously been an arranger on some of Doris Day's records, and whose next major act after finishing the Jefferson Airplane album was Trombones Unlimited, who released records like "Holiday for Trombones": [Excerpt: Trombones Unlimited, "Holiday For Trombones"] The group weren't particularly thrilled with this choice, but were happier with their engineer, Dave Hassinger, who had worked on records like "Satisfaction" by the Rolling Stones, and had a far better understanding of the kind of music the group were making. They spent about three months recording their first album, even while continually being attacked as sellouts. The album is not considered their best work, though it does contain "Blues From an Airplane", a collaboration between Spence and Balin: [Excerpt: Jefferson Airplane, "Blues From an Airplane"] Even before the album came out, though, things were starting to change for the group. Firstly, they started playing bigger venues -- their home base went from being the Matrix club to the Fillmore, a large auditorium run by the promoter Bill Graham. They also started to get an international reputation. The British singer-songwriter Donovan released a track called "The Fat Angel" which namechecked the group: [Excerpt: Donovan, "The Fat Angel"] The group also needed a new drummer. Skip Spence decided to go on holiday to Mexico without telling the rest of the band. There had already been some friction with Spence, as he was very eager to become a guitarist and songwriter, and the band already had three songwriting guitarists and didn't really see why they needed a fourth. They sacked Spence, who went on to form Moby Grape, who were also managed by Katz: [Excerpt: Moby Grape, "Omaha"] For his replacement they brought in Spencer Dryden, who was a Hollywood brat like their friend David Crosby -- in Dryden's case he was Charlie Chaplin's nephew, and his father worked as Chaplin's assistant. The story normally goes that the great session drummer Earl Palmer recommended Dryden to the group, but it's also the case that Dryden had been in a band, the Heartbeats, with Tommy Oliver and the great blues guitarist Roy Buchanan, so it may well be that Oliver had recommended him. Dryden had been primarily a jazz musician, playing with people like the West Coast jazz legend Charles Lloyd, though like most jazzers he would slum it on occasion by playing rock and roll music to pay the bills. But then he'd seen an early performance by the Mothers of Invention, and realised that rock music could have a serious artistic purpose too. He'd joined a band called The Ashes, who had released one single, the Jackie DeShannon song "Is There Anything I Can Do?" in December 1965: [Excerpt: The Ashes, "Is There Anything I Can Do?"] The Ashes split up once Dryden left the group to join Jefferson Airplane, but they soon reformed without him as The Peanut Butter Conspiracy, who hooked up with Gary Usher and released several albums of psychedelic sunshine pop. Dryden played his first gig with the group at a Republican Party event on June the sixth, 1966. But by the time Dryden had joined, other problems had become apparent. The group were already feeling like it had been a big mistake to accede to Katz's demands to sign a formal contract with him, and Balin in particular was getting annoyed that he wouldn't let the band see their finances. All the money was getting paid to Katz, who then doled out money to the band when they asked for it, and they had no idea if he was actually paying them what they were owed or not. The group's first album, Jefferson Airplane Takes Off, finally came out in September, and it was a comparative flop. It sold well in San Francisco itself, selling around ten thousand copies in the area, but sold basically nothing anywhere else in the country -- the group's local reputation hadn't extended outside their own immediate scene. It didn't help that the album was pulled and reissued, as RCA censored the initial version of the album because of objections to the lyrics. The song "Runnin' Round This World" was pulled off the album altogether for containing the word "trips", while in "Let Me In" they had to rerecord two lines -- “I gotta get in, you know where" was altered to "You shut the door now it ain't fair" and "Don't tell me you want money" became "Don't tell me it's so funny". Similarly in "Run Around" the phrase "as you lay under me" became "as you stay here by me". Things were also becoming difficult for Anderson. She had had a baby in May and was not only unhappy with having to tour while she had a small child, she was also the band member who was most vocally opposed to Katz. Added to that, her husband did not get on well at all with the group, and she felt trapped between her marriage and her bandmates. Reports differ as to whether she quit the band or was fired, but after a disastrous appearance at the Monterey Jazz Festival, one way or another she was out of the band. Her replacement was already waiting in the wings. Grace Slick, the lead singer of the Great Society, had been inspired by going to one of the early Jefferson Airplane gigs. She later said "I went to see Jefferson Airplane at the Matrix, and they were making more money in a day than I made in a week. They only worked for two or three hours a night, and they got to hang out. I thought 'This looks a lot better than what I'm doing.' I knew I could more or less carry a tune, and I figured if they could do it I could." She was married at the time to a film student named Jerry Slick, and indeed she had done the music for his final project at film school, a film called "Everybody Hits Their Brother Once", which sadly I can't find online. She was also having an affair with Jerry's brother Darby, though as the Slicks were in an open marriage this wasn't particularly untoward. The three of them, with a couple of other musicians, had formed The Great Society, named as a joke about President Johnson's programme of the same name. The Great Society was the name Johnson had given to his whole programme of domestic reforms, including civil rights for Black people, the creation of Medicare and Medicaid, the creation of the National Endowment for the Arts, and more. While those projects were broadly popular among the younger generation, Johnson's escalation of the war in Vietnam had made him so personally unpopular that even his progressive domestic programme was regarded with suspicion and contempt. The Great Society had set themselves up as local rivals to Jefferson Airplane -- where Jefferson Airplane had buttons saying "Jefferson Airplane Loves You!" the Great Society put out buttons saying "The Great Society Really Doesn't Like You Much At All". They signed to Autumn Records, and recorded a song that Darby Slick had written, titled "Someone to Love" -- though the song would later be retitled "Somebody to Love": [Excerpt: The Great Society, "Someone to Love"] That track was produced by Sly Stone, who at the time was working as a producer for Autumn Records. The Great Society, though, didn't like working with Stone, because he insisted on them doing forty-five takes to try to sound professional, as none of them were particularly competent musicians. Grace Slick later said "Sly could play any instrument known to man. He could have just made the record himself, except for the singers. It was kind of degrading in a way" -- and on another occasion she said that he *did* end up playing all the instruments on the finished record. "Someone to Love" was put out as a promo record, but never released to the general public, and nor were any of the Great Society's other recordings for Autumn Records released. Their contract expired and they were let go, at which point they were about to sign to Mercury Records, but then Darby Slick and another member decided to go off to India for a while. Grace's marriage to Jerry was falling apart, though they would stay legally married for several years, and the Great Society looked like it was at an end, so when Grace got the offer to join Jefferson Airplane to replace Signe Anderson, she jumped at the chance. At first, she was purely a harmony singer -- she didn't take over any of the lead vocal parts that Anderson had previously sung, as she had a very different vocal style, and instead she just sang the harmony parts that Anderson had sung on songs with other lead vocalists. But two months after the album they were back in the studio again, recording their second album, and Slick sang lead on several songs there. As well as the new lineup, there was another important change in the studio. They were still working with Dave Hassinger, but they had a new producer, Rick Jarrard. Jarrard was at one point a member of the folk group The Wellingtons, who did the theme tune for "Gilligan's Island", though I can't find anything to say whether or not he was in the group when they recorded that track: [Excerpt: The Wellingtons, "The Ballad of Gilligan's Island"] Jarrard had also been in the similar folk group The Greenwood County Singers, where as we heard in the episode on "Heroes and Villains" he replaced Van Dyke Parks. He'd also released a few singles under his own name, including a version of Parks' "High Coin": [Excerpt: Rick Jarrard, "High Coin"] While Jarrard had similar musical roots to those of Jefferson Airplane's members, and would go on to produce records by people like Harry Nilsson and The Family Tree, he wasn't any more liked by the band than their previous producer had been. So much so, that a few of the band members have claimed that while Jarrard is the credited producer, much of the work that one would normally expect to be done by a producer was actually done by their friend Jerry Garcia, who according to the band members gave them a lot of arranging and structural advice, and was present in the studio and played guitar on several tracks. Jarrard, on the other hand, said categorically "I never met Jerry Garcia. I produced that album from start to finish, never heard from Jerry Garcia, never talked to Jerry Garcia. He was not involved creatively on that album at all." According to the band, though, it was Garcia who had the idea of almost doubling the speed of the retitled "Somebody to Love", turning it into an uptempo rocker: [Excerpt: Jefferson Airplane, "Somebody to Love"] And one thing everyone is agreed on is that it was Garcia who came up with the album title, when after listening to some of the recordings he said "That's as surrealistic as a pillow!" It was while they were working on the album that was eventually titled Surrealistic Pillow that they finally broke with Katz as their manager, bringing Bill Thompson in as a temporary replacement. Or at least, it was then that they tried to break with Katz. Katz sued the group over their contract, and won. Then they appealed, and they won. Then Katz appealed the appeal, and the Superior Court insisted that if he wanted to appeal the ruling, he had to put up a bond for the fifty thousand dollars the group said he owed them. He didn't, so in 1970, four years after they sacked him as their manager, the appeal was dismissed. Katz appealed the dismissal, and won that appeal, and the case dragged on for another three years, at which point Katz dragged RCA Records into the lawsuit. As a result of being dragged into the mess, RCA decided to stop paying the group their songwriting royalties from record sales directly, and instead put the money into an escrow account. The claims and counterclaims and appeals *finally* ended in 1987, twenty years after the lawsuits had started and fourteen years after the band had stopped receiving their songwriting royalties. In the end, the group won on almost every point, and finally received one point three million dollars in back royalties and seven hundred thousand dollars in interest that had accrued, while Katz got a small token payment. Early in 1967, when the sessions for Surrealistic Pillow had finished, but before the album was released, Newsweek did a big story on the San Francisco scene, which drew national attention to the bands there, and the first big event of what would come to be called the hippie scene, the Human Be-In, happened in Golden Gate Park in January. As the group's audience was expanding rapidly, they asked Bill Graham to be their manager, as he was the most business-minded of the people around the group. The first single from the album, "My Best Friend", a song written by Skip Spence before he quit the band, came out in January 1967 and had no more success than their earlier recordings had, and didn't make the Hot 100. The album came out in February, and was still no higher than number 137 on the charts in March, when the second single, "Somebody to Love", was released: [Excerpt: Jefferson Airplane, "Somebody to Love"] That entered the charts at the start of April, and by June it had made number five. The single's success also pushed its parent album up to number three by August, just behind the Beatles' Sgt Pepper's Lonely Hearts Club Band and the Monkees' Headquarters. The success of the single also led to the group being asked to do commercials for Levis jeans: [Excerpt: Jefferson Airplane, "Levis commercial"] That once again got them accused of selling out. Abbie Hoffman, the leader of the Yippies, wrote to the Village Voice about the commercials, saying "It summarized for me all the doubts I have about the hippie philosophy. I realise they are just doing their 'thing', but while the Jefferson Airplane grooves with its thing, over 100 workers in the Levi Strauss plant on the Tennessee-Georgia border are doing their thing, which consists of being on strike to protest deplorable working conditions." The third single from the album, "White Rabbit", came out on the twenty-fourth of June, the day before the Beatles recorded "All You Need is Love", nine days after the release of "See Emily Play", and a week after the group played the Monterey Pop Festival, to give you some idea of how compressed a time period we've been in recently. We talked in the last episode about how there's a big difference between American and British psychedelia at this point in time, because the political nature of the American counterculture was determined by the fact that so many people were being sent off to die in Vietnam. Of all the San Francisco bands, though, Jefferson Airplane were by far the least political -- they were into the culture part of the counterculture, but would often and repeatedly disavow any deeper political meaning in their songs. In early 1968, for example, in a press conference, they said “Don't ask us anything about politics. We don't know anything about it. And what we did know, we just forgot.” So it's perhaps not surprising that of all the American groups, they were the one that was most similar to the British psychedelic groups in their influences, and in particular their frequent references to children's fantasy literature. "White Rabbit" was a perfect example of this. It had started out as "White Rabbit Blues", a song that Slick had written influenced by Alice in Wonderland, and originally performed by the Great Society: [Excerpt: The Great Society, "White Rabbit"] Slick explained the lyrics, and their association between childhood fantasy stories and drugs, later by saying "It's an interesting song but it didn't do what I wanted it to. What I was trying to say was that between the ages of zero and five the information and the input you get is almost indelible. In other words, once a Catholic, always a Catholic. And the parents read us these books, like Alice in Wonderland where she gets high, tall, and she takes mushrooms, a hookah, pills, alcohol. And then there's The Wizard of Oz, where they fall into a field of poppies and when they wake up they see Oz. And then there's Peter Pan, where if you sprinkle white dust on you, you could fly. And then you wonder why we do it? Well, what did you read to me?" While the lyrical inspiration for the track was from Alice in Wonderland, the musical inspiration is less obvious. Slick has on multiple occasions said that the idea for the music came from listening to Miles Davis' album "Sketches of Spain", and in particular to Davis' version of -- and I apologise for almost certainly mangling the Spanish pronunciation badly here -- "Concierto de Aranjuez", though I see little musical resemblance to it myself. [Excerpt: Miles Davis, "Concierto de Aranjuez"] She has also, though, talked about how the song was influenced by Ravel's "Bolero", and in particular the way the piece keeps building in intensity, starting softly and slowly building up, rather than having the dynamic peaks and troughs of most music. And that is definitely a connection I can hear in the music: [Excerpt: Ravel, "Bolero"] Jefferson Airplane's version of "White Rabbit", like their version of "Somebody to Love", was far more professional, far -- and apologies for the pun -- slicker than The Great Society's version. It's also much shorter. The version by The Great Society has a four and a half minute instrumental intro before Slick's vocal enters. By contrast, the version on Surrealistic Pillow comes in at under two and a half minutes in total, and is a tight pop song: [Excerpt: Jefferson Airplane, "White Rabbit"] Jack Casady has more recently said that the group originally recorded the song more or less as a lark, because they assumed that all the drug references would mean that RCA would make them remove the song from the album -- after all, they'd cut a song from the earlier album because it had a reference to a trip, so how could they possibly allow a song like "White Rabbit" with its lyrics about pills and mushrooms? But it was left on the album, and ended up making the top ten on the pop charts, peaking at number eight: [Excerpt: Jefferson Airplane, "White Rabbit"] In an interview last year, Slick said she still largely lives off the royalties from writing that one song. It would be the last hit single Jefferson Airplane would ever have. Marty Balin later said "Fame changes your life. It's a bit like prison. It ruined the band. Everybody became rich and selfish and self-centred and couldn't care about the band. That was pretty much the end of it all. After that it was just working and living the high life and watching the band destroy itself, living on its laurels." They started work on their third album, After Bathing at Baxter's, in May 1967, while "Somebody to Love" was still climbing the charts. This time, the album was produced by Al Schmitt. Unlike the two previous producers, Schmitt was a fan of the band, and decided the best thing to do was to just let them do their own thing without interfering. The album took months to record, rather than the weeks that Surrealistic Pillow had taken, and cost almost ten times as much money to record. In part the time it took was because of the promotional work the band had to do. Bill Graham was sending them all over the country to perform, which they didn't appreciate. The group complained to Graham in business meetings, saying they wanted to only play in big cities where there were lots of hippies. Graham pointed out in turn that if they wanted to keep having any kind of success, they needed to play places other than San Francisco, LA, New York, and Chicago, because in fact most of the population of the US didn't live in those four cities. They grudgingly took his point. But there were other arguments all the time as well. They argued about whether Graham should be taking his cut from the net or the gross. They argued about Graham trying to push for the next single to be another Grace Slick lead vocal -- they felt like he was trying to make them into just Grace Slick's backing band, while he thought it made sense to follow up two big hits with more singles with the same vocalist. There was also a lawsuit from Balin's former partners in the Matrix, who remembered that bit in the contract about having a share in the group's income and sued for six hundred thousand dollars -- that was settled out of court three years later. And there were interpersonal squabbles too. Some of these were about the music -- Dryden didn't like the fact that Kaukonen's guitar solos were getting longer and longer, and Balin only contributed one song to the new album because all the other band members made fun of him for writing short, poppy, love songs rather than extended psychedelic jams -- but also the group had become basically two rival factions. On one side were Kaukonen and Casady, the old friends and virtuoso instrumentalists, who wanted to extend the instrumental sections of the songs more to show off their playing. On the other side were Grace Slick and Spencer Dryden, the two oldest members of the group by age, but the most recent people to join. They were also unusual in the San Francisco scene for having alcohol as their drug of choice -- drinking was thought of by most of the hippies as being a bit classless, but they were both alcoholics. They were also sleeping together, and generally on the side of shorter, less exploratory, songs. Kantner, who was attracted to Slick, usually ended up siding with her and Dryden, and this left Balin the odd man out in the middle. He later said "I got disgusted with all the ego trips, and the band was so stoned that I couldn't even talk to them. Everybody was in their little shell". While they were still working on the album, they released the first single from it, Kantner's "The Ballad of You and Me and Pooneil". The "Pooneil" in the song was a figure that combined two of Kantner's influences: the Greenwich Village singer-songwriter Fred Neil, the writer of "Everybody's Talkin'" and "Dolphins"; and Winnie the Pooh. The song contained several lines taken from A.A. Milne's children's stories: [Excerpt: Jefferson Airplane, "The Ballad of You and Me and Pooneil"] That only made number forty-two on the charts. It was the last Jefferson Airplane single to make the top fifty. At a gig in Bakersfield they got arrested for inciting a riot, because they encouraged the crowd to dance, even though local by-laws said that nobody under sixteen was allowed to dance, and then they nearly got arrested again after Kantner's behaviour on the private plane they'd chartered to get them back to San Francisco that night. Kantner had been chain-smoking, and this annoyed the pilot, who asked Kantner to put his cigarette out, so Kantner opened the door of the plane mid-flight and threw the lit cigarette out. They'd chartered that plane because they wanted to make sure they got to see a new group, Cream, who were playing the Fillmore: [Excerpt: Cream, "Strange Brew"] After seeing that, the divisions in the band were even wider -- Kaukonen and Casady now *knew* that what the band needed was to do long, extended, instrumental jams. Cream were the future, two-minute pop songs were the past. Though they weren't completely averse to two-minute pop songs. The group were recording at RCA studios at the same time as the Monkees, and members of the two groups would often jam together. The idea of selling out might have been anathema to their *audience*, but the band members themselves didn't care about things like that. Indeed, at one point the group returned from a gig to the mansion they were renting and found squatters had moved in and were using their private pool -- so they shot at the water. The squatters quickly moved on. As Dryden put it "We all -- Paul, Jorma, Grace, and myself -- had guns. We weren't hippies. Hippies were the people that lived on the streets down in Haight-Ashbury. We were basically musicians and art school kids. We were into guns and machinery" After Bathing at Baxter's only went to number seventeen on the charts, not a bad position but a flop compared to their previous album, and Bill Graham in particular took this as more proof that he had been right when for the last few months he'd been attacking the group as self-indulgent. Eventually, Slick and Dryden decided that either Bill Graham was going as their manager, or they were going. Slick even went so far as to try to negotiate a solo deal with Elektra Records -- as the voice on the hits, everyone was telling her she was the only one who mattered anyway. David Anderle, who was working for the label, agreed a deal with her, but Jac Holzman refused to authorise the deal, saying "Judy Collins doesn't get that much money, why should Grace Slick?" The group did fire Graham, and went one further and tried to become his competitors. They teamed up with the Grateful Dead to open a new venue, the Carousel Ballroom, to compete with the Fillmore, but after a few months they realised they were no good at running a venue and sold it to Graham. Graham, who was apparently unhappy with the fact that the people living around the Fillmore were largely Black given that the bands he booked appealed to mostly white audiences, closed the original Fillmore, renamed the Carousel the Fillmore West, and opened up a second venue in New York, the Fillmore East. The divisions in the band were getting worse -- Kaukonen and Casady were taking more and more speed, which was making them play longer and faster instrumental solos whether or not the rest of the band wanted them to, and Dryden, whose hands often bled from trying to play along with them, definitely did not want them to. But the group soldiered on and recorded their fourth album, Crown of Creation. This album contained several songs that were influenced by science fiction novels. The most famous of these was inspired by the right-libertarian author Robert Heinlein, who was hugely influential on the counterculture. Jefferson Airplane's friends the Monkees had already recorded a song based on Heinlein's The Door Into Summer, an unintentionally disturbing novel about a thirty-year-old man who falls in love with a twelve-year-old girl, and who uses a combination of time travel and cryogenic freezing to make their ages closer together so he can marry her: [Excerpt: The Monkees, "The Door Into Summer"] Now Jefferson Airplane were recording a song based on Heinlein's most famous novel, Stranger in a Strange Land. Stranger in a Strange Land has dated badly, thanks to its casual homophobia and rape-apologia, but at the time it was hugely popular in hippie circles for its advocacy of free love and group marriages -- so popular that a religion, the Church of All Worlds, based itself on the book. David Crosby had taken inspiration from it and written "Triad", a song asking two women if they'll enter into a polygamous relationship with him, and recorded it with the Byrds: [Excerpt: The Byrds, "Triad"] But the other members of the Byrds disliked the song, and it was left unreleased for decades. As Crosby was friendly with Jefferson Airplane, and as members of the band were themselves advocates of open relationships, they recorded their own version with Slick singing lead: [Excerpt: Jefferson Airplane, "Triad"] The other song on the album influenced by science fiction was the title track, Paul Kantner's "Crown of Creation". This song was inspired by The Chrysalids, a novel by the British writer John Wyndham. The Chrysalids is one of Wyndham's most influential novels, a post-apocalyptic story about young children who are born with mutant superpowers and have to hide them from their parents as they will be killed if they're discovered. The novel is often thought to have inspired Marvel Comics' X-Men, and while there's an unpleasant eugenic taste to its ending, with the idea that two species can't survive in the same ecological niche and the younger, "superior", species must outcompete the old, that idea also had a lot of influence in the counterculture, as well as being a popular one in science fiction. Kantner's song took whole lines from The Chrysalids, much as he had earlier done with A.A. Milne: [Excerpt: Jefferson Airplane, "Crown of Creation"] The Crown of Creation album was in some ways a return to the more focused songwriting of Surrealistic Pillow, although the sessions weren't without their experiments. Slick and Dryden collaborated with Frank Zappa and members of the Mothers of Invention on an avant-garde track called "Would You Like a Snack?" (not the same song as the later Zappa song of the same name) which was intended for the album, though went unreleased until a CD box set decades later: [Excerpt: Grace Slick and Frank Zappa, "Would You Like a Snack?"] But the finished album was generally considered less self-indulgent than After Bathing at Baxter's, and did better on the charts as a result. It reached number six, becoming their second and last top ten album, helped by the group's appearance on the Ed Sullivan Show in September 1968, a month after it came out. That appearance was actually organised by Colonel Tom Parker, who suggested them to Sullivan as a favour to RCA Records. But another TV appearance at the time was less successful. They appeared on the Smothers Brothers Comedy Hour, one of the most popular TV shows among the young, hip, audience that the group needed to appeal to, but Slick appeared in blackface. She's later said that there was no political intent behind this, and that she was just trying the different makeup she found in the dressing room as a purely aesthetic thing, but that doesn't really explain the Black power salute she gives at one point. Slick was increasingly obnoxious on stage, as her drinking was getting worse and her relationship with Dryden was starting to break down. Just before the Smothers Brothers appearance she was accused at a benefit for the Whitney Museum of having called the audience "filthy Jews", though she has always said that what she actually said was "filthy jewels", and she was talking about the ostentatious jewellery some of the audience were wearing. The group struggled through a performance at Altamont -- an event we will talk about in a future episode, so I won't go into it here, except to say that it was a horrifying experience for everyone involved -- and performed at Woodstock, before releasing their fifth studio album, Volunteers, in 1969: [Excerpt: Jefferson Airplane, "Volunteers"] That album made the top twenty, but was the last album by the classic lineup of the band. By this point Spencer Dryden and Grace Slick had broken up, with Slick starting to date Kantner, and Dryden was also disappointed at the group's musical direction, and left. Balin also left, feeling sidelined in the group. They released several more albums with varying lineups, including at various points their old friend David Frieberg of Quicksilver Messenger Service, the violinist Papa John Creach, and the former drummer of the Turtles, Johnny Barbata. But as of 1970 the group's members had already started working on two side projects -- an acoustic band called Hot Tuna, led by Kaukonen and Casady, which sometimes also featured Balin, and a project called Paul Kantner's Jefferson Starship, which also featured Slick and had recorded an album, Blows Against the Empire, the second side of which was based on the Robert Heinlein novel Back to Methuselah, and which became one of the first albums ever nominated for science fiction's Hugo Awards: [Excerpt: Jefferson Starship, "Have You Seen The Stars Tonite"] That album featured contributions from David Crosby and members of the Grateful Dead, as well as Casady on two tracks, but  in 1974 when Kaukonen and Casady quit Jefferson Airplane to make Hot Tuna their full-time band, Kantner, Slick, and Frieberg turned Jefferson Starship into a full band. Over the next decade, Jefferson Starship had a lot of moderate-sized hits, with a varying lineup that at one time or another saw several members, including Slick, go and return, and saw Marty Balin back with them for a while. In 1984, Kantner left the group, and sued them to stop them using the Jefferson Starship name. A settlement was reached in which none of Kantner, Slick, Kaukonen, or Casady could use the words "Jefferson" or "Airplane" in their band-names without the permission of all the others, and the remaining members of Jefferson Starship renamed their band just Starship -- and had three number one singles in the late eighties with Slick on lead, becoming far more commercially successful than their precursor bands had ever been: [Excerpt: Starship, "We Built This City on Rock & Roll"] Slick left Starship in 1989, and there was a brief Jefferson Airplane reunion tour, with all the classic members but Dryden, but then Slick decided that she was getting too old to perform rock and roll music, and decided to retire from music and become a painter, something she's stuck to for more than thirty years. Kantner and Balin formed a new Jefferson Starship, called Jefferson Starship: The Next Generation, but Kantner died in January 2016, coincidentally on the same day as Signe Anderson, who had occasionally guested with her old bandmates in the new version of the band. Balin, who had quit the reunited Jefferson Starship due to health reasons, died two years later. Dryden had died in 2005. Currently, there are three bands touring that descend directly from Jefferson Airplane. Hot Tuna still continue to perform, there's a version of Starship that tours featuring one original member, Mickey Thomas, and the reunited Jefferson Starship still tour, led by David Frieberg. Grace Slick has given the latter group her blessing, and even co-wrote one song on their most recent album, released in 2020, though she still doesn't perform any more. Jefferson Airplane's period in the commercial spotlight was brief -- they had charting singles for only a matter of months, and while they had top twenty albums for a few years after their peak, they really only mattered to the wider world during that brief period of the Summer of Love. But precisely because their period of success was so short, their music is indelibly associated with that time. To this day there's nothing as evocative of summer 1967 as "White Rabbit", even for those of us who weren't born then. And while Grace Slick had her problems, as I've made very clear in this episode, she inspired a whole generation of women who went on to be singers themselves, as one of the first prominent women to sing lead with an electric rock band. And when she got tired of doing that, she stopped, and got on with her other artistic pursuits, without feeling the need to go back and revisit the past for ever diminishing returns. One might only wish that some of her male peers had followed her example.

Y hoy visitamos otro clásico de la época de el cine en Blanco y Negro! "Village Of The Damned" dirigida por el director Wolf Rilla y basada en la novela "The Midwich Cuckoos " de John Wyndham. En un dia cualquiera, los habitantes de un pueblito Inglés sin querer acabana tomando una siesta colectiva, ya que al mismo tiempo y por varias horas, todos pierden el conocimiento, pero lo turio es cuando unos meses despues, se empiezan a dar muchos embarazos milagrosos y el producto de esto acaba dando vida a unos bebés muy peculiares. Como siempre, esperamos que este episodio les guste, y de paso les dejamos las vías de contagio: Web Desdeabajo.net Twitter: @desdeabajox Fb: Desde Abajo podcast Patreon: Patreon.com/desdeabajo Instagram: Desdeabajox Youtube.com/desdeabajopodcast

Y hoy visitamos otro clásico de la época de el cine en Blanco y Negro! "Village Of The Damned" dirigida por el director Wolf Rilla y basada en la novela "The Midwich Cuckoos " de John Wyndham. En un dia cualquiera, los habitantes de un pueblito Inglés sin querer acabana tomando una siesta colectiva, ya que al mismo tiempo y por varias horas, todos pierden el conocimiento, pero lo turio es cuando unos meses despues, se empiezan a dar muchos embarazos milagrosos y el producto de esto acaba dando vida a unos bebés muy peculiares. Como siempre, esperamos que este episodio les guste, y de paso les dejamos las vías de contagio: Web Desdeabajo.net Twitter: @desdeabajox Fb: Desde Abajo podcast Patreon: Patreon.com/desdeabajo Instagram: Desdeabajox Youtube.com/desdeabajopodcast

Tom and Jenny talk about a lesser-loved John Carpenter film from the 1990s, a remake of a 1960 sci-fi film that was based on a 1957 novel called The Midwich Cuckoos by John Wyndham. Audio version: Video version: Please support us on Patreon! Don't forget to subscribe to our YouTube channel, like us on Facebook, and follow us … Continue reading Movie Retrospective: Village of the Damned (1995)

Our early Autumn Carry On Streaming show has finally arrived! Not just a show, host Declan makes this a public information spectacular, turning him into our version of Martin Lewis!  Apart from the usual subject of the streaming shows, telling you what's best on offer, we also have another offer for you. Dec will tell you how to get the best value from the various streaming services around in the UK.  Want to save money on the high profile streamers – then come on in! How about finding out the best services that are available for free – yes, we have found those as well.  At The Flicks, not only great listening, it's also wonderful value for your pocket.  If you know of any other money saving tips for streaming services, please let us know and we will pass them on in future episodes.  Having said all that, great value streaming services are no good if the content isn't worthwhile. Luckily, we have found some gems for you.  Classics on BBC iPlayer like Inside No 9 (although Jeff will be a bit more weary of showing this entertainment to unsuspecting members of his family in future – full story revealed on the show), and other BBC gems you might have missed like Avoidance and Life After Life.  From Sky / Now TV we all rave about Peacemaker, James Gunn on top form, the latest version of The Midwich Cuckoo's (especially heartening for Graham who is a big John Wyndham fan) and the latest series of Barry, which Jeff called the highlight of the year so far.  There is just so much quality entertainment out there on all the streaming channels, from Slow Horses (Apple), The Boys (Prime), The Lincoln Lawyer (Netflix) to She-Hulk (Disney).  Then there is the burning question – are you team Dragon or team Rings?  The big fantasy shows go to head to head.  Get our verdict here. How about that as a starter?  There is much, much more available on the show.  And this can be seen as a warmup.  Dec's Halloween streaming selection is coming very shortly. At The Flicks – we only recommend the best.  See you very shortly for our spooky spectacular.

On this weeks Book(ish) I sit down with fluid mechanist Dr Sophie Calabretto to discuss The Midwich Cuckoos by John Wyndham. Our conversation includes why fluid does what it does, the final judgement on whether it's pronounced math or maths, and how many ways you can say you're not interested. Enjoy!Click here to listen to the evolved Cosmos Science Daily now called Science Briefing.Follow Bookish Comedy on Twitter and Instagram.Sign up to our newsletter here. Join our facebook group here.You can now physically send us stuff to PO BOX 7127, Reservoir East, Victoria, 3073.Want to help support the show?Sanspants+ | Podkeep | USB Tapes | Merch Hosted on Acast. See acast.com/privacy for more information.

Orwell, Wells and their pals gather in 1948 for the astonishing season finale. Wells arrives back on  the Isle of Jura with an uninvited guest, where things come to a head as even more time travelling science fiction writers arrive to interfere. CAST Robin Johnson as George OrwellPatrick Spragg as H. G. WellsRachel Pulliam as Ursula Le GuinLiselle Nic Giollabháin as Thought Chief RutherfordTara Court as JuliaAlexander Paul Walsh as Isaac AsimovDavid Court as Ray BradburyCanavan Connolly as Nebogipfel the MorlockJoanna Lawrie as Mrs Watchettadditional voices by Eve Morris, Robin, and AlexanderThe music was by Robin Johnson, and sound effects were sourced from freesound.org.A transcript of this episode is available here. This episode marks Untrue Stories' first season finale. Producing Untrue Stories is the most fun I've had for ages. I'd like to thank everybody in the cast for being part of my daft thing, and the audiodrama communities on Twitter, Facebook and Reddit, who are all much nicer than the ambient niceness on those hellsites. We're of course indebted to all the speculative fiction writers we've messed about with—George Orwell, H. G. Wells, Ursula Le Guin, Ray Bradbury, Aldous Huxley, Margaret Atwood, Isaac Asimov, Yevgeny Zamyatin, Kim Stanley Robinson, Alice Ilgenfritz Jones, Ella Merchant, John Wyndham, and any I've forgotten—and to you for listening. Thank you!If you've enjoyed the show, we'd love it if you could leave us a rating on iTunes, Spotify, Podchaser or your favourite podcast site/app — and tell your friends! Follow us on twitter: @untrue_storiesfacebook: untruestoriespodcastinstagram: untrue.storiessoundcloud: untrue-storiesIf you would like to help cover our costs, you can tip us at ko-fi.com/untruestories or buy Untrue Stories merch at our zazzle store. Robin can be contacted at robindouglasjohnson@gmail.com. Share and Enjoy!

Cinéma : Le village des damnés (John Wyndham) et Le Village (M. Night Shyamalan) BD : Astérix le Gaulois (Goscinny et Uderzo) Musique : YMCA (Village People), Blowin' in the wind (Bob Dylan), Dans mon village (Joséphine Baker), Mon village au bout du monde (Joe Dassin), Le village dans les nuages (Dominique Poulain) et C'est la fête au village (Les Musclés)

It's sixty-five years since John Wyndham published The Midwich Cuckoos, the fourth in his hugely successful series of science fiction novels that began in 1951 with The Day of the Triffids. Many people's first introduction to The Midwich Cuckoos is through the classic film from 1960, which was renamed The Village of the Damned and starred George Sanders. We're joined for this episode by the writer and director David Farr, who has just produced the most recent adaptation of the novel: a seven-episode series for Sky. As well as assessing the merits of the book – sometimes obscured by its popular success – we discuss the process of adapting a classic novel for a modern audience. This episode also features Andy sharing his holiday read – The Feast by Margaret Kennedy (author of The Constant Nymph which we featured last year). The novel is set in Cornwall, which was exactly where Andy found himself when he read it. John also introduces a new independent publisher, Hazel Press, whose exquisite small, environmentally friendly books include The Wren by Julia Blackburn, a haunting sequence of short journal entries and prose poems. For more information visit https://www.backlisted.fm Please support us and unlock bonus material at https://www.patreon.com/backlisted Timings: 11:09 - The Feast by Margaret Kennedy 18:00 - The Wren by Julia Blackburn 22:44 - The Midwich Cuckoos by John Wyndham

The Daleks are back! As restorations of the two 1960s Dr Who films are rereleased in British cinemas, Matthew Sweet lifts the lid on the most memorable monsters of post-war British science fiction. Expert guests will have 2000 rels - that's 45 earth minutes - to explore Dalek culture, politics and philosophy, and to explore how Terry Nation's creations carry the weight of the second world war, the cold war and contemporary arguments about race and difference. Matthew is joined by Roberta Tovey, who played the Doctor's granddaughter Susan in the 1960s film adaptation of the Dalek stories; Nicholas Briggs, who uses a voice modulator to give us the voice of the Daleks; political journalist Stephen Bush; and by Jonn Elledge, whose blog A Misadventure In Space And Time charts his project of watching every available episode of Doctor Who in order, from 1963 to today. Plus, the writer, actor, director and producer Mark Gatiss. Doctor Who And The Daleks and Daleks: Invasion Earth are being given a 4K restoration and screenings in UK cinemas across the summer. Producer: Luke Mulhall You can find more discussions about key tv programmes, films, books and art in our playlist on the Free Thinking programme website called Landmarks which runs from 2001 Space Odyssey and Jaws to writing by Hannah Arendt, Simone De Beauvoir and John Wyndham

RHLSTP Book Club 14 - The Sanctuary - Richard's guest this week is one quarter of the No Such Thing as a Fish podcast, Andrew Hunter Murray. They are talking about his gripping novel, The Sanctuary, which imagines a near future in a world not dissimilar to our own, where wildlife is threatened by extinction and old people have most of the resources and young people have little to no chance of advancement. They talk about John Wyndham, the process of creating the world of a novel, writing a flawed protagonist and how in reality people aren't really good or evil.Buy the book here - https://www.amazon.co.uk/The-Sanctuary/dp/B09KCKF8ZTSUPPORT THE SHOW!Watch our TWITCH CHANNELBecome a badger and see extra content at our WEBSITE See details of the RHLSTP TOUR DATES See acast.com/privacy for privacy and opt-out information. Become a member at https://plus.acast.com/s/rhlstp.

In the season two finale of The Film Scorer Podcast, acclaimed Northern Irish composer Hannah Peel joins the show! We primarily talk about her score for the new series adaptation of John Wyndham's novel The Midwich Cuckoos (which you may know as The Village of the Damned). It's a supremely cool score, mixing dark, oppressive and gentle soundscape electronics with voice. The most notable aspect of the latter - and the part that sold me on the score immediately - is Hannah's manipulation of her own voice to mimic the sound of cuckoos. In the midst of this, Hannah actually talks about why she thinks experimentations with voice have become more common in recent scores, and we talk a bit about her journey into composing media music as well as the thought that goes into curating a soundtrack release. The Midwich Cuckos is available to watch on Sky in the UK and may be forthcoming elsewhere. Hannah's score, and all of her other music, is available digitally, particularly on BandCamp (with The Midwich Cuckoos being released in conjunction with Invada). You can find out more about Hannah by visiting her website.

Meg Mason is the latest in our series of interviews with authors shortlisted for the Women's Prize for Fiction. Her novel Sorrow and Bliss is narrated by Martha, a woman whose path in life is shaped by her mental health. Katie Puckrick and Diran Adebayo join us to review the screen adaptation of John Wyndham's fable, The Midwich Cuckoos, the Edvard Munch Masterpieces from Bergen exhibition at The Courtauld Institute and Pistol, Danny Boyle's new drama about the Sex Pistols.

Jenny talks about the British scifi film, a killer alien-plant epic based on the iconic novel by John Wyndham. Audio version: Video version: Please support us on Patreon! Don't forget to subscribe to our YouTube channel, like us on Facebook, and follow us on Twitter and Instagram. And check out our cool merch at our Zazzle store, and some board and card … Continue reading Flickers Of Fear – Jenny’s Horror Movie Reviews: The Day of the Triffids (1962)

We are joined by writer Jamie Brittain as we kick off March is for Draculas with the John Wyndham story Vengeance by Proxy!