Podcasts about Kyoko

I sat down with Autumn Kyoko Cushman, co-founder of ShiftRx, staffing leader, to hear how she and her team clawed their way back from the edge. From bounced credit cards to nationwide scale—this one's raw, real, and a must-listen for anyone building in pharmacy.

Ep 317 - WWF Monday Night RAW 08/24/1998 Hell in a Cell on TV?!?!? 0:22 - Welcome 13:22 - RAW Opening 17:10 – Ken Shamrock vs Dan Severn 21:44 - Kurrgan (w/ Sable and the Oddities (Golga, Luna Vachon, and Giant Silva)) vs Marvelous Marc Mero 27:49 - Southern Justice (Dennis Knight/Mark Cantebury) vs the New Age Outlaws (Road Dog Jesse James/Bad Ass Billy Gunn) 31:49 - Kane (w/ Undertaker) vs Mankind in a Hell in a Cell match 40:31 - Taka Michinoku (w/ Yamaguchi-san and Kyoko) vs Val Venis 44:59 - Gangrel vs X-Pac 50:36 - Bradshaw vs Bart Gunn in the Brawl for All Finals 1:00:41 - Overall Thoughts 1:03:15 - Smarking It Up 1:15:05 - Making Their Way to the Ring 1:16:13 - Goodbyes Music from this week's show is “We're All in This Together” by Jim Johnston and “Brawl for All Theme” by Jim Johnston Rate and review us on iTunes, Spotify, YouTube, or wherever you find your podcasts Email – WrestlingHistoryX@gmail.com X – WrestlingHistoX

In a boarding house full of eccentric tenants, is there room for love between a bumbling student and his grief stricken landlady? Well, if Yusaku Godai can't get out of his own way long enough to get into University, what chance does he have of ever winning the heart of the beautiful Kyoko Otonashi!?Often celebrated as Rumiko Takahashi's masterpiece, Maison Ikkoku trades the alien antics of Urusei Yatsura and martial arts mayhem of Ranma 1/2 for something more grounded—a slice-of-life romance that showcases her storytelling maturity.Join Mat and returning guest AC (our resident Takahashi Correspondent) as they discuss how this seinen story maintains Takahashi's signature style while breaking new ground. They'll unpack the series' incredible cast of characters, impeccable pacing, and how, despite having the least likeable main character of all Takahashi's works, they still find themselves rooting for romance between the frustratingly indecisive Godai and the emotionally guarded Kyoko!Thanks to Juliano Zucareli for our theme music!Find us on:X: Manga Tak PodBluesky: Manga Tak PodInstagram: Manga Tak Pod

Hey Sailors! In this episode, it's finally the one year anniversary of Tohru's mother's death and the gang is getting together to celebrate Kyoko's life. Uo & Hana serve absolute fashion, Yuki is there to support Tohru, and Kyo is really quiet, which Hana calls out by asking him we he's plagued with feelings of guilt. All of this leads to the thrilling...cliffhanger? that we're finally about to learn who was the little boy from Tohru's past that helped her when she was lost! Long live the baseball cap boy!***Podcast Patreon: patreon.com/sailormangaPodcast Socials: @sailormangapodPodcast Email: sailormangapodcast@gmail.com

Elwood and Stephen look at Sex and Fury a bloody tale of revenge and gambling as pink cinema icon Reiko Ike plays Kyoko a pickpocket and gambler out for revenge against the men who killed her father only to become embroiled in an international conspiracy. Timestamps0:0:00 - Introductions0:01:07 - What Have You Been Watching?0:47:48 - Is That An Anime? - How Heavy Are The Dumbbells You Lift?0:50:36 - Black Test Car Review⁠Buy us a coffee and support the show⁠⁠⁠ - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://ko-fi.com/acfilmclub⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Check out our sponsor: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Yes Please Vintage⁠⁠

Visit our Patreon page to see the various tiers you sign up for today to get in on the ground floor of AIPT Patreon. We hope to see you chatting with us on our Discord soon!NEWSBrian K. Vaughan comments on 'We Stand on Guard' Canada vs. America trendingFilm concept artist Dawn Brown gets ‘Gracie's Ghost' release date'The Vision & the Scarlet Witch' #1 limited series coming May 2025'Marvel & Disney: What If...? Donald Duck Became Iron Man' #1 announcedMarvel unveils 'One World Under Doom' #4 detailsMarvel teases Gwen Stacy will return from the deadMarvel reveals new 'Phoenix' story arc starting in issue #11 with new series cover artist Lukas Werneck and main artist Roi Mercado!'Amadeus Cho 20th Anniversary Special' announced for MayMarvel teases 'Hell Hulk' appearing in 'Hellverine' #6DC announces 'Aquamanatee' coming September 2025Jeff Lemire confirms details surrounding 'Absolute Flash' #1 and beyondOur Top Books of the WeekDave:Into the Unbeing Part 2 #1 (Zac Thompson, Hayden Sherman)Eddie Brock: Carnage #1 (Charles Soule and Jesús Saiz)Dan:One World Under Doom #1 (Ryan North, RB Silva)Bug Wars #1 (Jason Aaron, Mahmud Asrar)Standout KAPOW moment of the week:Dan - Eddie Brock: Carnage #1 by Charles Soule and Jesús Saiz Dave - Batman: Dark Patterns #3 (Dan Watters, Hayden Sherman)TOP BOOKS FOR NEXT WEEKDan: Zatanna #1 by Jamal Campbell, Letters by Ariana Maher (Honorable Mention: Power Rangers Prime #4 by Melissa Flores and Michael Yg)Dave: The New Gods #3 (Ram V, Evan Cagle, Riccardo Federici)JUDGING BY THE COVER JR.Dave: Catwoman #73 (Sebastian Fiumara Cover)Dan: Storm #5 - Black History Month Variand by Taurin ClarkeInterview: Sarah Cho - CamgirlStory and ThemesCamgirl explores intense themes like fetishization, sex work stigmatization, and identity. What inspired you to tackle these issues through Dani's story?Can you give us the elevator pitch for the one-shot?Dani's dual identity as herself and her online persona, Kyoko, highlights themes of performance and identity. How did you approach crafting the tension between these two worlds?You've mentioned exploring how people view and treat Asian women. What message or conversation do you hope Camgirl sparks in readers regarding this cultural obsession and the dangers it brings?Camgirl is framed as a psychosexual thriller. How do you balance the psychological tension and erotic elements to keep the story compelling and meaningful?Characters and DevelopmentThe antagonist in Camgirl is an obsessive follower of Dani's online persona. What can you tell us about the psychological or thematic importance of this stalker figure?Creative ProcessYou've worked in speculative fiction before with Red Light. How did your creative approach differ when crafting a more grounded but still intense story like Camgirl?Collaboration with an artist is key in comics. How did C.P. Smith's art style help bring Dani's world to life, especially when depicting the dual realities of her life and her online persona?Why the use of drugs in the book?If Dani could take a vacation from both her real life and her online persona, where do you think she'd go, and how would she spend her time off?

Welcome to Dive Into Reiki, an interview series hosted by Nathalie Jaspar that explores the journeys of high-profile Reiki teachers and practitioners.You can support the mission of spreading Reiki education through my Patreon for less than the cost of a cup of coffee or for free by rating this podcast on your app!IMPORTANT NOTICE: Dive Into Reiki's mission is to bring information that allows Reiki practitioners from all over the world to deepen their practice. Although this information is shared freely on my platforms, all content is tied to copyrights. Please do not repurpose or translate these interviews without previous authorization.EPISODE 61: Nathalie Jaspar, the founder of Dive Into Reiki,  is a Reiki master with over a decade of experience. She's a graduate teacher from the International House of Reiki, led by world-renowned Reiki master Frans Stiene. She also trained with the Center for True Health and the International Center for Reiki. To gain an even deeper understanding of Reiki practice, Nathalie went to Japan to practice Zen Buddhism at the Chokai-san International Zendo. She is the author of Reiki as a Spiritual Practice: an Illustrated Guide and the Reiki Healing Handbook (Rockridge Press). Support the show

On Diana's second anniversary show, Kyoko is in the main event to challenge to become the promotions inaugural champion. A tag blood feud brawls and bleeds in the semi main event.Shows covered - Diana Danger Zone 2nd Anni Kawasaki Gym 4/29/13Key matches include: World Woman Pro-Wrestling Diana Tag Team Title MatchKaoru Ito & Tomoko Watanabe (c) vs. Keiko Aono & Yumiko Hotta World Woman Pro-Wrestling Diana World Title MatchKyoko Inoue vs. Jaime D Join the patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ For LLPW reviews, Joshi 2010s Journey (2 weeks early), and more. Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@BowlingJD

It's happened, Dragon Age THE Vanguard has dropped and we talk about it for like 20 minutes.In Skip Beat! We near the end with some fairly uneventful episodes. Kyoko and Ren start their TV gigs and both are on the struggle bus. Kyoko must figure out the source of Mio's anger while Ren must discover what it is to love. As you'd probably guess Kyoko does better here. Just two more till the end!Recommendations:Joe - CloverfieldSarah - Dragon Age: The Veilguard

大阪 吹田の音楽スタジオ「Tule music Lab.」（トゥーレ・ミュージック・ラボ）がお届けする情報番組。 Vol.157 guest：シンガーソングライター　KYOKOさん ——

We continue on with Skip beat as we approach the final arc.In our lives, Joe has gotten one last taste of the Ren Fair before it ends this season and Sarah is struggling to find some good action anime with women in it. If you've got some recommendations send them in!In Skip Beat we finish off Sho's music video and move right on to the next thing, a TV drama! We finally address the age gap in the show as Ren starts to plummet head-over-heels for Kyoko as the last five episode roll up on us. Ren may be in denial but Yashiro is here to tell him that yes, he does in fact like this 16 year old. It's cool dude, this is a TV show.Recommendations:Sarah - Diving Bored PodcastJoe - Over the Garden Wall

We inch our way to a romantic subplot this week.But first, Joe and Sarah spend some time discussing video game sequels, as Joe looks back at the Gears of War Franchise, and Sarah looks forward to the new Dragon Age game.In Skip Beat! Kyoko finds away to get Rin off of her body and back into his bed, because he's sick. Unfortunately for everyone, Rin's whole life is work so he must power through. Will his weakened state allow him to finally connect with Kyoko? Then we jump back to what really matters, revenge! Kyoko gets a chance to star in a music promo for…Sho Fuwa. Kyoko must keep her hate in check long enough to finish the promo. But can she do it with Sho's constant taunts? We talk about it.Recommendations:Joe - Fire ForceSarah - Dandelion - Wishes Brough to You-

We cross the halfway point on Skip Beat this week!IRL we'd been having some audio problems. But hopefully it's all good for this episode. Otherwise, Joe has been watching some Gundam including the first Gundam complication movie in theaters and Gundam Wing! Meanwhile, Sarah has picked back up Life in Strange in preparation for the new game out soon!In Skip Beat, Kyoko and Moko join forces to pass a commercial audition and maybe, just maybe, become best friends in the process! Then Kyoko puts on a new hat, as Ren's temporary manager. She must hang out with him all day, which is weird for him because he knows they used to be childhood friends! When will he tell her? Will she find out on her own? Will she perish under the weight of Ren's literal body? We will just have to wait and see.Recommendations:Joe - I Saw the Tv GlowSarah - Annabelle

Robert Ward hosts Axel Berkofsky, Associate Professor at the University of Pavia, Professor Hatakeyama Kyoko, Professor of International Relations at University of Niigata Prefecture, and Professor Takenaka Harukata, Professor of Political Science at the National Graduate Institute for Policy Studies. Robert, Axel, Kyoko and Harukata discuss: · Review of the Kishida administration's security and foreign policy· The Ishiba administration's foreign policy amid intensifying US-China competition· The Ishiba administration's defence policy in Japan's deteriorating security environment· The Ishiba administration's economic security and domestic economic policies We hope you enjoy the episode and please follow, rate, and subscribe to Japan Memo on your podcast platform of choice. If you have any comments or questions, please contact us at japanchair@iiss.org. Date recorded: 08 October 2024 Japan Memo is recorded and produced at the IISS in London. Hosted on Acast. See acast.com/privacy for more information.

In this episode of Skin Anarchy, host Ekta Yadav explores the revolutionary world of carboxytherapy with Kyoko Getz of Shikō Beauty. Kyoko shares how this innovative Japanese skincare technology, which utilizes carbon dioxide to enhance circulation and collagen production, is transforming the way we approach skin health. Originally developed in the 1930s to heal wounds, carboxytherapy has evolved into a powerful treatment for a variety of skin concerns, from sensitivity and acne to anti-aging and post-procedure care.Kyoko explains how carboxytherapy works by increasing blood flow and oxygenation to the skin, resulting in improved texture, firmness, and radiance. The unique gel-based formulation of Shikō Beauty's carboxytherapy mask allows for a slow, sustained release of CO2, making it more effective than traditional methods. Whether used to calm sensitive skin, reduce inflammation, or boost the effectiveness of other skincare products, this versatile treatment offers a holistic solution for maintaining healthy, youthful skin.Shikō Beauty provides both professional and at-home options, making carboxytherapy accessible to everyone. Their products are backed by extensive clinical research and have received global recognition for their efficacy. Tune in to discover how this cutting-edge technology is merging science and tradition to revolutionize skincare.Listen now to learn more about the benefits of carboxytherapy and why it's a game-changer for your skincare routine.Carboxytherapy by J-beauty curator ShikobeautySpaoxy Gel (3 Masks) (shikobeauty.com)Enter special code SA20 for 20% discount for Dr. Medion Spaoxygel mask. For licensed practitioners & retailers:if you are interested in our Wholesale partner program, please apply at below link:Shiko Beauty WholesaleYour 1st order of our professional level of carboxytherapy (30-time use) to be 20% off!Don't forget to subscribe to Skincare Anarchy on Apple Podcasts, Spotify, or your preferred platform. Reach out to us through email with any questions. Hosted on Acast. See acast.com/privacy for more information.

This week Kyoko solves child trauma through acting. But first, Joe tells us about his Disney World Trip and tries to convince Sarah to take her family to the club. Then we talk about One Piece for some reason.In Skip Beat, we finish off the Ruri arc as Kyoko does her best to win the acting competition despite her fractured leg. Then we pick up a new member of the Love Me section and solve a little girl's family problems. All of this takes like two days, Kyoko is a miracle worker. She should get a tuition waiver.Recommendations: Sarah - Tales from the BorderlandsJoe - T90Official (Age of Empires 2)

＜夢や目標がなくても、豊かな人生を生きられる。ニュートラルな生き方＞木に例えるなら、太い幹を持ち、彩り豊かな枝を沢山持つ Kyoko Itoさんの人生。淡々とブレない生き方がとても魅力的です。＜パーソナリティNAO＞ Instagram ＠here_and_nao Website www.hereandnao-salon.com

We seek acceptance in the Love Me section this week. In real life, Sarah tells us all about her TwitchCon experience while Joe finally finishes Scavengers Reign. We didn't play Baulders Gate this week so we got recommendations! In Skip Beat, Kyoko joins LME. She gets assigned as the only member of the Love Me section, a thinly disguised attempt to make her do grunt labor. Her first major assignment is to protect the last Japanese Idol, Ruri, from the sun. Will she be able to achieve this daunting task without major injury? No, the answer is no. Recommendations: Joe - Kubo and the Two StringsSarah - Golden Hour

We start off a new show this week! But first, we catch up with the exicting updates of our real lives. Sarah is getting ready to ship off to TwitchCon, but in the meantime she's bought her first albums for her record player. Joe, on the other hand, has watched the Code Geass sequel and is getting some real sequel Star Wars energy from it (derogatory). We also decide to swap out of recommendation segment for a little update on our Baldur's Gate 3 playthrough, which you can watch on Twitch.In Skip Beat!, we are out for revenge! We get into Kyoko's tragic origin story and cheer her on as she plots her vengeance. She resolves to be in ShowBiz and we work through our complicated feelings about that industry. Then it's off to the audition and we see what talent she's got to show off. It's…unexpected. But will it be enough to land a spot in ShowBiz? Will she ever get her revenge? Will she ever experience love again? Come find out!

「U-NEXTが小泉今日子の全国ツアー「KKCP 90's ~KYOKO KOIZUMI CLUB PARTY 2023~」を9月1日に独占ライブ配信」　USEN＆U-NEXT GROUPのU-NEXTが運営する動画配信サービス「U-NEXT」は、2023年12月10日に東京・Spotify O-EASTにて開催された「小泉今日子 TOUR 2023 KYOKO KOIZUMI CLUB PARTY 90's」追加公演の模様を2024年9月1日に独占ライブ配信することを発表した。本公演は月額会員であれば、追加料金なく視聴できる。

前回に引き続き、サティシュ・クマール氏について、さらに深堀りし、イギリスのトットネスという町にある「シューマッハ・カレッジ」についてや、ゲストの清野恭子さん、大池ちこさん、名児耶美帆さんから、ハチ愛のお話を含めながら、お一人づつ、サティシュさんから受け取ったメッセージとともに、地球に住む私たちの在り方を語っていただいています、きっと皆さんにも共感していただける事があると思います。 サティシュ・クマール氏のイベント関係について Facebookページ https://www.facebook.com/satishzoomtalk/ FBイベントページ https://www.facebook.com/events/1124540858849313/ Peatix詳細・申込フォーム （8/3講演会用・自動的にプレイベントにご招待） https://satishonlinetalk.peatix.com/?fbclid=IwZXh0bgNhZW0CMTAAAR1iHPtxSZvHCo3-uVf1-8IVqsT434txXgXiETJyqvwK87zrtkhKHpqHbo8_aem_plUoJmsNtlT9wIXnegEr_g Peatix詳細・申込フォーム （7/27 無料プレイベント用・まずはプレイベントだけ参加したい方へ） https://satishonlinetalkpreevent.peatix.com/?fbclid=IwZXh0bgNhZW0CMTAAAR1-MVDCLiczGzRlX2HzE-R9fCix2HCJ4PQMG920Auvg-Ftkrqqn3Omj7zg_aem_ASR3tcwYRejueXCneCOfwA 各イベントスケジュール詳細 ⁠https://arikatamederu.my.canva.site/dagkk8vev-y ＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊ いつも、Dear Naturalistポッドキャストをお聴きいただき、ありがとうございます。質問、ご感想は インスタグラムのDMからhttps://www.instagram.com/dear_naturalist/ Email: dearnaturalist.contact@gmail.com

今日のエピソードは、自然と調和した経済学を提唱し、イギリスのトットネスという町にある「シューマッハ・カレッジ」の創設者であるサティシュ・クマール氏が登壇するZOOM講演会「地球もあなたを待っている～最幸にゆたかな人生をアートする極意」について、その企画、運営をされている清野恭子さん、大池ちこさん、そして今回のご縁を紡いでくれた名児耶美帆さんのお三方をお迎えして、講演会についてお聞きしました。前編では、３人が出会ったきっかけ、その繋がりのキーワードはみつばち愛です。 後編も、シューマッハ・カレッジについてや、３人のイベント、そしてこの地球の暮らし方の熱い思いをお聞きしています。 サティシュ・クマール氏のイベント関係について Facebookページ https://www.facebook.com/satishzoomtalk/ FBイベントページ https://www.facebook.com/events/1124540858849313/ Peatix詳細・申込フォーム （8/3講演会用・自動的にプレイベントにご招待） https://satishonlinetalk.peatix.com/ Peatix詳細・申込フォーム （無料プレイベント用・まずはプレイベントだけ参加したい方へ） https://satishonlinetalkpreevent.peatix.com/ 各イベントスケジュール詳細 ⁠https://arikatamederu.my.canva.site/dagkk8vev-y ＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊ ７月２３日午前９時半～３０分のライブ配信 おうちdeガーデニングFacebookグループはこちらから https://www.facebook.com/groups/ouchidegardening

Dr. O is back from Japan, and he's got a few things you can pray for. Pray for those who recently went through the training Dr. O led. Pray for the pastors that are exhausted from working a regular job as well as leading their churches. Pray that God would send believers to train the Japanese people in evangelism, theology, and counseling through mission trips and books being translated into Japanese. Finally, here is a list of names that was given to Dr. O who will be evangelized in the upcoming week by those who attended the training: Yoshihiro, Tagetoshi, Keiko, Yoko, Daryl, Keiko, Shizuka, Kyoko, Koichi, Hisaie, Mikki, Makoto, Naoko, Atsushi, Sachiko, Masanori, Eriko, Takanori, Yuko, Akira, Takashi, Sayaka, Takeshi, and Ayane. Connect with us! Website – ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠soulcare.io⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email – soulcarenomad@gmail.com Facebook – ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Soul Care Nomad

Send us a Text Message.Welcome to another episode of the Business Karaoke Podcast! Today, we have Kyoko Takeyama joining us. Kyoko is a distinguished communication coach with a rich background in helping professionals articulate their unique stories by overcoming their limiting beliefs. With her Japanese heritage, American upbringing, and nearly two decades in Spain, Kyoko brings a truly global perspective to her work and I'm sure lots of you BKP listeners can related to this duality or trinity.  She's the creator of the CLEAR method, a transformative framework designed to help individuals communicate with confidence and clarity. Kyoko's inspiring journey and expertise in communication will leave you equipped with actionable insights to elevate your professional and personal interactions. 8 Key Points and Takeaways from this week's Business Karaoke Podcast with Kyoko!✨ 1. Value of Unique Perspectives

Let's Connect Deeper ヒューマンデザイン＋遺伝子の鍵＋あなた＝Embodied Business ４月９−１２日 Let's leverage Human Design to amplify your unique gifts, impact, and your greater confidence and clarity.   "Human Design"を活用して、あなた独自の才能や影響力、そしてより大きな自信と明確さを高めることができます。 Human Design とGene KeysをブレンドしたオリジナルEnergetic Essence メソッドを使い、あなたの潜在能力とビジネスの可能性を一気に引き出すガイドをしていきます。 このメソッドを使って実際にBiz Sisters（私の受講生さん）のチャートを例にして教えていくので、あなたもチャートを最大限に活用して自分の答えを出せるようになります。   一緒に内に秘められた可能性を引き出していきたいですか？ Ready to uncover the potential within?   ５日間で学べる内容 自分を最大限にビジネスという形で表現するためにHuman Design Bodygraph をどう使っていくか 教えます！ あなたがニッチとしてお客様を惹きつける あなたのブランドエッセンス あなたのマグネティックメッセージ あなたの潜在能力と強み あなたを最大限に表現するあなたの Embodied Business   期間限定無料登録　https://emirasmussen.myflodesk.com/embodiment   Deep Rich Soul無料コミュニティー　ここから あなたの本来の磁石のようなパワーをUnlock：心と戦略が調和するビジネス無料ガイドブックとレッスンビデオ　無料アクセスはこちら Energetic Essence Connection 　詳細はこちら ホームページアクセス Guest Info：Kyoko  https://www.instagram.com/kyoko.f.g/  

This episode is sponsored by MatchRx. Visit them today at MatchRx.com. In this episode of The Business of Pharmacy Podcast™, Mike Koelzer hosts LeeAnn and Autumn to discuss ShiftRx, an innovative solution in pharmacy staffing. The conversation delves into the challenges and opportunities in the pharmacy employment landscape, and how ShiftRx is making a difference. ShiftRx.com 00:12 - Introduction to ShiftRx and its mission. 05:30 - The inception story of ShiftRx. 10:45 - Challenges faced in the pharmacy staffing industry. 15:20 - How ShiftRx addresses staffing issues. 20:35 - The impact of ShiftRx on pharmacists' work-life balance. 25:50 - User experiences and testimonials. 30:10 - Future plans and vision for ShiftRx. 35:25 - The role of technology in ShiftRx's model. 40:40 - Discussion on the gig economy in pharmacy. 45:55 - Closing thoughts and takeaways. The Business of Pharmacy Podcast™ offers in-depth, candid conversations with pharmacy business leaders. Hosted by pharmacist Mike Koelzer, each episode covers new topics relevant to pharmacists and pharmacy owners. Listen to a new episode every Monday morning.

Happy holidays everyone! Welcome to our annual awards show! dakazu, Darfox8, Morgana, and seamus2389 celebrate with their individual awards, such as Why Are These Boy Problems™ So Fucking Boring and Not All Teen Fiction! Then we share our top manga picks of the year!!! Send us emails! mangamachinations@gmail.com  Follow us on Twitter! @mangamacpodcast Check out our website! https://mangamachinations.com Check out our YouTube channel! https://www.youtube.com/mangamactv Timestamps: Introductions - 00:00:00 Best for Manga Machinations Award - 00:04:14 Best Livestream Chatter Award - 00:08:30 "Why Are These Boy Problems™ So Fucking Boring" Award - 00:12:13 Best Reread by Seamus Award - 00:14:06 Best Reread by dakazu Award - 00:14:32 Best Use of Livestreams So Far - 00:16:38 Most Enjoyable Manga Mac Discussion Award - 00:21:06 Not All Teen Fiction Award - 00:24:03 Best Ramrodded Hong Kong Cinema Conversation - 00:26:21 Style is Substance Award - 00:34:02 Most Surprising Manga Award - 00:38:18 The Obliteration of the Self Award - 00:41:44 Best Older Unknown Manga Award - 00:43:05 Most Majestic Manga Mac Mahjong Meme - 00:45:04 "Fuck This" Hall of Fame - 00:50:29 List of Vintage Horror Award - 00:54:38 Clever But Not Smart Award - 00:57:40 Manga Machinations Listener Popularity Award - 01:10:22 Food Interlude - 01:12:39 Seamus' Top Manga of 2023 - 01:20:41 dakazu's Top Manga of 2023 - 01:25:32 Morgana's Top Manga of 2023 - 01:31:04 Darfox's Top Manga of 2023 - 01:34:55 Final reflection on 2023, Thank yous - 01:45:08 Songs Credits: “Christmas is Here” by The Delegates “Here Comes Christmas” by Bob Hart “Auld Lang Syne” by Lone Star Vibes

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

This week, Stay and Moa battle it out in the first-ever Fandom Face-Off (05:25). Plus, a full review of Taemin's latest EP (38:07), a new song from RIIZE (1:00:07), K-pop news, and more! Lamar Woods - https://www.instagram.com/prophmatic/Kyoko - https://twitter.com/skzmy8loves(Alyssa does not have social media)Please subscribe and follow the show: TikTok - https://www.tiktok.com/@kpopweeklypodInstagram - https://www.instagram.com/kpopweeklypod/X - https://twitter.com/kpopweeklypodNewsletter - https://kpopweeklypod.substack.com/Discord - https://discord.gg/ez69Pjm3Email: kpopweeklypod@gmail.comSupport the show

In this episode of Shoujo Sundae, Giana and Chika are back to review episodes sixteen through eighteen of Fruits Basket (2019). We begin by wishing Giana a very happy belated birthday before we get into the shenanigans. In episode 16, Uo and Hanajima get the Sohmas to pay for Tohru's new swimsuit as a reward for all the support she gives them. We also learn Uo's backstory on how she befriended Tohru. Chika and Giana discuss their perspectives on Uo's insistence on Tohru getting a new swimsuit and how this situation could have happened differently. Giana is banana split on why pink wasn't incorporated more into Tohru's character design. In episode 17, we continue to learn Uo's backstory with scenes from how she left her gang to be a better best friend to Tohru, Kyoko saving Uo, and Uo giving Kyoko-like advice to middle school delinquents who had been following her. Chika loves how, with Kyoko's help, Uo can see life as what it could be rather than what life hasn't given to her. Giana sees herself in Tohru because they both speak formally to others. And both Giana and Chika are upset with Uo's gang being violent towards her for leaving. Lastly, in episode 18, we meet Kisa Sohma, the tiger zodiac who went mute after being bullied at school. She mustered the courage to talk once more and go back to school with help from Hatsuharu, Yuki, and Tohru. Chika and Giana have a big hot fudge session about Kisa's mom and family.  This episode is edited by Delaney Jordan.  Grab your spoons, and let's dig in! EPISODE 16 [0:58] Happy Birthday Giana [1:46] Soft Serve Summary [4:31] Sprinkles on Top  [5:34] Floats Your Boat [20:30] Banana Split [25:11] Rocky Road [26:36] I Scream, You Scream EPISODE 17 [28:38] Soft Serve Summary [32:43] Floats Your Boat [37:14] Honorary Sprinkles on Top  [45:07] Banana Split [47:02] Rocky Road [48:23] I Scream, You Scream EPISODE 18 [51:18] Soft Serve Summary [53:41] Sprinkles on Top [54:20] Floats Your Boat [1:01:06] Banana Split [1:05:18] Rocky Road [1:09:32] Hot Fudge [1:21:17] I Scream, You Scream   About Shoujo Sundae: Shoujo Sundae is a podcast safe haven for fans that are in love with shoujo anime and manga. Hosted by Giana Luna and Chika Supreme, Shoujo Sundae aims to review and reflect on shoujo properties that deserve more attention than what they currently receive. Giana Luna is a podcaster by moonlight and a dueling pianist by daylight. Chika Supreme is a podcaster by moonlight and a social media manager by daylight. Find Shoujo Sundae wherever you listen to your podcasts: https://pod.link/1634859352 If you enjoyed this episode, SHARE it with a friend and RATE/REVIEW it on Apple Podcasts and Spotify! Connect with Giana, Chika, and Shoujo Sundae! Visit our website: http://shoujosundae.com  Pledge on Patreon: https://patreon.com/shoujosundae Shoujo Sundae's Social Media: https://linktr.ee/shoujosundae Send us an email: shoujosundaepodcast@gmail.com Follow Giana Luna on Twitter: https://twitter.com/Giana_Luna_  Follow her on Instagram: https://www.instagram.com/giana_luna_  Follow Chika Supreme on Twitter: https://twitter.com/ChikaSupreme  Follow her on Instagram: https://www.instagram.com/chikasupreme  A breakdown of the Shoujo Sundae segments: -A Soft Serve Summary (episode recap) -Sprinkles on Top (symbolism portrayed in the episode) -Floats Your Boat (positive aspects from the episode) -Banana Split (moments that are neither good or bad)-Rocky Road (emotional/sad moments) -Nuts! (shocking moments) -Hot Fudge (hot takes or rants) -I Scream, You Scream (bad moments)

About @marisaduran Dive into the world of the talented Marisa Duran, the voice behind Kyoko Hori in Horimiya and Yamada Asaemon Sagiri in Hell's Paradise. Join us for an exclusive look at her voice-acting journey and the captivating characters she brings to life! About @itsanimemagic Experience enchantment at 'Anime Magic' – the ultimate celebration of anime, video games, and pop culture, right in the heart of Rosemont, Illinois!

In this second part, we continue our investigation of Yoko Ono's 4 June 1968 audio diary. John messes around with a fretless guitar, Kyoko goes missing and an interesting visitor arrives to EMI Studios.   To follow along with the audio, you can download an improved transcript here.

Matsuba san previously had been General Manager Japan Healthcare IT at GE.  Before that she was Director of Business Planning at the Columbia Medical Center.  She started her career in the Japanese Post Office bureaucracy.  She graduated for Keio University in economics and has an MBA from the Simon Business School at the University of Rochester.

Courtney catches up with writer and professor, Kyoko Mori, and they talk about their mutual love of animals, Jo Ann Beard's Festival Days, and how writing is more like birds than cats, all on this month's episode of Just Checking In, a series of informal chats with some of our favorite writers.

On this episode we talk about anime shops, Check, Please!, Meanwhile, Black Clover, and more! Then, we explore the tragic and extraordinary lives of troubled teens in Kyoko Okazaki's River's Edge for a One Shot! Send us emails! mangamachinations@gmail.com  Follow us on Twitter! @mangamacpodcast Check out our website! https://mangamachinations.com Check out our YouTube channel! https://www.youtube.com/mangamactv Timestamps: Intro Song: “Are You Ready For Me Baby” by Funk Giraffe, Opening, Introductions, Morgana joins Mahjong Machinations, Darfox's weekly schedule - 00:00:00 Darfox's weekly schedule - 00:03:35 Learning Koi Koi - 00:06:20 Morgana went to Arisu anime store - 00:09:45 Listener Emails: Iconic items in manga and video games - 00:17:32 Whatchu Been Reading: Transition Song: “Funkymania” by The Original Orchestra, Morgana is working her way through Check, Please! - 00:27:18 Meanwhile is Jason Shiga's wild "choose your own adventure" comic - 00:31:34 We discuss the news of Black Clover moving to a new magazine - 00:38:28 Darfox is cautiously optimistic about the live-action One Piece show - 00:44:48 Next Episode Preview and Rundown: Manga in Motion on Belle, We will watch Mamoru Hosoda's anime film based on Beauty and the Beast - 00:51:28 Main Segment One Shot: River's Edge, Transition Song: “It's Over” by Generation Lost, We review Kyoko Okazaki's story about troubled teenage drama - 00:54:55 Next Week's Topic: Belle, Social Media Rundown, Sign Off Song: “Crazy for Your Love” by Orkas - 01:36:38

For self-published authors, marketing and advertising expenses can be overwhelming, but not all book promotion options have to blow your budget. In this episode of Fully Booked, USA Today bestselling author Kyoko M shares her knowledge on the various ways of launching your book without spending a fortune. Over the years of launching her own books, Kyoko has tried a variety of techniques and learned not only which ones work and which don't, but also whether they're budget friendly or will break the bank. Today she is sharing this knowledge on how to generate exposure for your work through promotional methods like blog tours, cover reveals, Goodreads giveaways, book trailers, guest posting, and a lot more. Once you know what your options are, it's simply a matter of trying them out to determine which ones are most effective for you. Once you have that figured out, you can focus on the ones that work, bringing you to higher levels of success with each new release.   Kyoko M https://shewhowritesmonsters.com/   Hidden Gems Need our help publishing or marketing your book? https://www.hiddengemsbooks.com/author-services/ All episode details and links: https://www.hiddengemsbooks.com/podcast  

Toyota and Yamada lay an egg while Kyoko has her... "toughest" challenge to date. Team JWP and Team AJW reach a fantastic peak. (All Matches From Wrestling Queendom @ Osaka-Jo Hall, 11/28/1993) Tomoko Watanabe vs. Candy Okutsu Kyoko Inoue vs. Yukie Nabeno Bull Nakano vs. Hikari Fukuoka (Survival Elimination Match) Devil Masami, Dynamite Kansai, Mayumi Ozaki & Plum Mariko vs. Akira Hokuto, Etsuko Mita, Mima Shimoda & Suzuka Minami (All-Pacific Championship) Toshiyo Yamada vs. Manami Toyota Join the patreon For LLPW reviews, Joshi 2010s Journey, and more. Website: https://redleafretrocast.blogspot.com https://linktr.ee/RedLeafRetrocast Twitter: @BowlingJD

It's Back to School this week for Nick and Dave but this time as renegade teens Misako and Kyoko. Instead of having to deal with High School Politics and Exams, they have to save their dreamy boyfriends from mysterious kidnappers. But this isn't normal suburbia. Everyone is trying to stop them from the Principal and his Students to the mall clerks and Security Guards, and even the infamous Yakuza. Will Nick and Dave be able to fight the odds and save their boyfriends?Support the show at patreon.com/criticalarcade or criticalarcade.comEmail us at nick@criticalarcade.com and dave@criticalarcade.comThanks for listening and keep on gaming! Hosted on Acast. See acast.com/privacy for more information.

The 1970s … a boom time for smoooth music but dark times for The Beatles, torn apart and born again in their separate musical identities, each feeling their way to rediscover who they were before The Beatles, who they are now, and who they could become (before their soft new shells harden). All four would flirt with becoming Christmas Beatles, but only John Lennon and Paul McCartney would achieve immortality on Smooth Radio at Christmastime. Who is the “immortal snail” and will John and Paul have to face it before the Earth is destroyed? Deploying their weapons of passive-aggressive song writing from both ends of a troubled decade, John and Paul are locked in a very slow battle for Christmas Beatle supremacy. Paul harnesses the ear-piercing power of his new Commodore VIC20 home computer. John name-drops his family struggles, leaves one child and embarks on a life-long odyssey to find the another, but finds time to send us all on a guilt trip. A further two dark souls would also be born in this decade, their ultimate destiny would be to analyse, interpret, critique, speculate wildly, and sit in judgement of much greater people that came before them. This time with two songs and two artists to consider - can they upset two sets of fans at once? Challenge accepted. Is there really a debate as to which song is better? Is John idealistic, unrealistic or both? When was Paul cool, exactly? Is there a race of cowards? War is over if you want it (or fear it?) (or is it?). Also discussed: The Pogues, Maroon 5, Tom Mcrae, Eminem versus Moby, Madonna versus Aled Jones, Jay Z versus Burt Bacharach, Don't Look Now, In Bruges, and protesting in a bag. We also have brand new (and terrible) Christmas bob-bon puns to moan over. Learn the famous painters of history at the same time. What is Boxing Day anyway? Is it true that John and Paul had a physical fight? We have the exclusive audio of it going down. Simply wonderful regular segments: Misheard Lyrics, Internet Theories, and more. Would you like to appear (well, vocally) on the show? Do you have a pop song or ear-worm from the SMOOTH FM genre that's infested your mind and needs to be investigated? Visit this page https://speakpipe.com/lyrics to record us your own voicemail hot-take on your specific smooth song of suckiness. You could be on a future episode! (you can always email sound files or text your thoughts to poidadavis@gmail.com if that's easier). Cheers! Find us on Twitter, Facebook and all your favourite podcasting platforms. Sound clips are included for educational reference, criticism, satire and parody in fair use. Clips remain the property of the respective rights holder and no endorsement is implied. All information and opinion is performed and expressed in-character and does not reflect reality or genuine commentary on any persons (living or dead), bands or other organisations, or their works, and is not recommended listening for anyone, anywhere.

In this episode you'll be treated to an outstanding overview of a category that is both familiar and exotic, Sake. The most Japanese of all drinks has hit the headlines around the world as growing exports but falling consumption at home have caused issues for brewers and the taxman alike. Luckily Kyoko Nagano  of Sake Lovers Inc. was available to help guide Will through the very basics of how Sake is made, what makes it unique, how the traditional brewers are being challenged by changing tastes and demographics but also the new opportunities that are being developed for this most ancient of drinks.For the Desert Island Drink, John Kelly returns to the pod yet again, giving us a short and sweet view of his go to drink if he was all alone and in need of some comfort.We also discuss Foxy's first impressions of Kazakhstan (really), his (hazy) memories of drinking Sake in Toyko and Will's coffee confusion.Support the showFor more high-lights and low-downs follow @BizBevPod on Twitter or LinkedInBusiness of Beverages is self-funded and hosted/ edited/produced by Will Keating.Pádraig Fox co-hosts in a strictly personal capacity.All opinions are those of the person expressing them at all times. We're not sponsored but we would appreciate it if you could click the link below:

Auguest continues! Impulse. Response. Fluid. Imperfect. Patterned. Chaotic. All words to describe this podcast, but also uttered by Nathan describing the brain of his ultimate creation; Ava. But can Ava pass as human? Let's find out as we delve into Alex Garland's (sort-of!) directorial debut, EX MACHINA! This week's guest wasn't lucky, he was chosen. I had to use all of my self-awareness, imagination, manipulation, sexuality and empathy to be joined by the terrific Jack Chambers-Ward from Sequelisers, who was made to be on this podcast talking about Ex Machina. Despite all of his work so far, Ex Machina might very well be Alex Garland's masterpiece. A complex, character-driven piece, on the power of nature vs future, nature vs nurture and man vs object of desire. Basically this movie and this episode.... is all about Kyoko. Kyoko is the key. Don't believe us? Listen in and we'll explain why.... If you've created a conscious machine, it's not the history of man. That's the history of gods. The YouTube video we mention several times, by Shaun, is titled How Wikipedia Got Ex Machina (2014) Wrong and is available https://www.youtube.com/watch?v=s0UAEjsKy4I&ab_channel=Shaun (here) Jack (https://twitter.com/JLWChambers (@jlwchambers)) hosts https://www.sequelisers.com/ (Sequelisers) alongside Matt Stogdon and Tim Maytom. You can find their back catalogue of brilliant episodes in your podcast app of choice, and they're on Twitter as https://twitter.com/Sequelisers (@Sequelisers) I would love to hear your thoughts on Ex Machina! GET IN TOUCH.... Twitter https://twitter.com/verbaldiorama (@verbaldiorama) Instagram https://www.instagram.com/verbaldiorama (@verbaldiorama) Facebook https://www.facebook.com/verbaldiorama (@verbaldiorama) Letterboxd https://www.facebook.com/verbaldiorama (@verbaldiorama) Email verbaldiorama [at] gmail [dot] com Website https://my.captivate.fm/verbaldiorama.com (verbaldiorama.com) SUPPORT VERBAL DIORAMA.... Give this podcast a five-star https://verbaldiorama.com/rateandreview (Rate & Review) Join the https://verbaldiorama.com/patreon (Patreon) Thank you to all the patrons Simon E, Sade, Claudia, Simon B, Laurel, Derek, Vern, Kristin, Cat, Andy, Mike, Griff, Luke, Emily, Michael, Scott, Brendan, Ian M, Lisa, Sam, Will, Jack, Dave, Chris, Stuart, Jason, Ian D, Sunni, Drew, Nicholas, Zo, Kev, Pete and Heather. BRAND-NEW https://verbaldiorama.com/merch (Merch) STORE!! T-shirts inspired by The Mummy (1999) with more collections to come! EPISODE THANKS TO.... Jack, for being awesome and coming on! Theme Music: Verbal Diorama Theme Song Music by Chloe Enticott - https://www.facebook.com/watch/Compositionsbychloe/ (Compositions by Chloe ) Lyrics by Chloe Enticott (and me!) Production by Ellis Powell-Bevan of Ewenique Studio https://www.captivate.fm/signup?ref=emmcgowan (This podcast is hosted by Captivate, try it yourself for free.)

Yoko haters f**k off: Marc and John put the needle down on Plastic Ono Band's 1969 single, featuring "some of the best guitar [John Lennon] ever played—bone rattling, Flipper-esque" and proto-Krautrock boogies. About The Spindle: The 7-inch record isn't just a format—it's an art form. On each episode of The Spindle podcast, music writer Marc Masters (Pitchfork, The Wire, Bandcamp) and music historian (and music maker) John Howarddive into a great 7-inch, dissecting its background, impact, and the reasons why it stands out as a small plastic piece of music history. What's your favorite 7″? Call us at 1-877-WASTOIDS and weigh in!

Sonoya Mizuno recently made her stage debut as Maggie in the first Off-Broadway production of the Tennessee Williams classic, "Cat On a Hot Tin Roof". The actress slash ballet dancer and now a stage performer speaks candidly about her childhood, and how her uncle who was a stage actor inspired her to pursue acting. She talks about her ballet dancing career, auditioning and getting the role of Kyoko in Alex Garland's "Ex Machina" which was also her first feature film. She would later appear in Garland's other works as well. She shares what made her try theatre and how she got an audition for "Cat On a Hot Tin Roof", the production timeline and how the pandemic affected it, her favorite part about performing on stage, and why she prefers to play characters that are far from her personality. Sonoya Mizuno is an actress and ballet dancer who has appeared in movies, including Alex Garland's works like "Ex Machina" and "Annihilation". Her other film credits include "La La Land", "Beauty and the Beast", and "Crazy Rich Asians". She also appeared in film shows such as the Netflix miniseries "Maniac" and "Devs". Her upcoming works include the HBO Game of Thrones prequel series, "House of the Dragon" and the movie, “Civil War”. She made her stage debut as Maggie in the first Off-Broadway production of the Tennessee Williams classic, "Cat On a Hot Tin Roof". Get tickets to see "Cat On A Hot Tin Roof": https://www.telecharge.com/Off-Broadway/Cat-on-a-Hot-Tin-Roof/Overview Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast TikTok: @thetheatrepodcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's been a dry shojo season for way too long, so let's check out the new movie from the fan-favorite series Fruits Basket! Does this Kyoko and Katsuya origin story deliver the drama?

Follow me to see #HeadsTalk Podcast Audiograms every Monday on LinkedIn. Episode Title:-

Hello nomads and welcome to The Nomads of Fantasy podcast. Please join our conversation with Frederick Gautier, as we discuss the movie Ex Machina. What was up with Nathan and his ego? Who was right in the end? And is there more going on with Kyoko than we think?At the end of the show, please join us for a round of Movie 20 Questions.Safe travels, nomads.

In the 14th episode of Tombstone Shadows, we're going to visit San Francisco, California, where we'll meet a young lady named Kyoko. We will follow her and her husband to southern California and hear how her life tragically ended. Then we will head over to the east coast of the United States to New York, where we'll hear about a grisly death, and then follow one of the involved persons back to the west coast in Seattle, Washington, and find out what else went wrong in that individual's life. Kyoko Kuwako Johnson Born: April 20, 1937 Died: November 23, 1990 Born in Japan, Kyoko married a U.S. military man while she was living in San Francisco. The couple moved to Harbor City, California (southern California), where, after raising a family, she was brutally killed on a late November morning as she slept. Her husband was put on trial, but found not guilty. Wells Benner van Steenbergh Jr. Born: March 29, 1935 Died: June 19, 2012 In an attempt to steal some cash from a home, Wells Jr. burned down a home where a husband and wife lived, who had been friends with Wells Jr. for a few years. Unknown to Wells Jr., the wife was at home sleeping. Wells Jr. later moved to Seattle where he almost pulled off another perfect crime.

I know I'm a little late. T^T Toga saves you from perverted Mineta. you and Toga go to UA together after sge is done with her test it your turn. You soon lose control and toga ends up running to you and kissing you to calm you down.[credit to Kyoko for the story] --- Send in a voice message: https://anchor.fm/demon-life-3/message Support this podcast: https://anchor.fm/demon-life-3/support